本文依據實地勘察之資料並結合幾位老匠師訪問追憶之片段，嘗試對一位福建建築匠師在本世紀二十年代於臺灣所設計之四座廟宇作初步之綜合研究。這四座大廟是臺灣建築史中屬於後期之精致建築之重要典型，它們除了總結前期之發展，尚對後來的廟宇産生了深刻的影響。企圖透過建築細部及形式之討論，對臺灣的閩南式建築提出一個技術屆層面之整理，作爲中國地方建築支流之比較。研究的重點將側重於匠師流派之手法及基本上承繼了宋代以來福建拱建築之傳統，但是以廈門與西洋文化長期接之背景及王氏勇於扱取創造之性格，王益順的作品適切地反映了時代之風貌及審美之價值取向。建築詮釋時代流風，他的廟宇爲我們提出了註腳。本文除了環繞在這四座廟宇作建築之分析外，並時而興臺灣本地出身之重要匠師陳應彬之風格興技巧作整合之比較。希望對臺灣建築史之整理，開出一個從匠師與作品之間連作爲研究角度之新視野。

This article is based opon the material of on-the-spot investigational and combines the fragments of the retrospections of several old craftsmasters in interviews. The article tries to make a primary colletive study of 4 temples designed by a Fukien craftsmaster-architect in the second decade of this century. These four great temples are important models of the delicate architecture that belonged to the later period in the architectural history of Taiwan. Besides summing up the developments of the former period, they also had great influences on, the temples after them This article tries to arrange and orgonize the Southern Fukien style of architecture in Taiwan into order on the technical level. The serve as a comparison of the: tributaries of Chinese local architecture. The major emphases of the study will be on the methods of the branches and dimensions of the craftsmasters and the characteristics of the individual style. Wang I-Shvn was from the Hsi-Ti school of Chuan Chow His life as a carpenter strode over the period between the end of Chin Dynasty and the beginning of the Republic of China, and he belonged to the last generation of Chinese crafsmaster-architect His works basically succeded the tradition f cha-kung (one way style of bracket) architecture of Fukien. since Sung Dynasty. Yet, with a background of coustantly contacting western civilization in Amoy and his own charter of hold asseptauce and creations, Wang I-Shun`s works reflected appropriately the manner and appearance of the age and its inclination of aesthetic value judgment Architecture expounds the style of an age, and his temples served as a foctnote Besides making architectural analyses surronding these four temples, this article also makes collective comparsion now and then between them and the style and technique of an important craftsmaster in Taiwan Chen YinPih of local their with a view to open up a new field 0f vision using the relationships between craftsmasters and their works as an angle 0f study in the compiling and organizing of archtectural history of Taiwan.