/ 2013 / / Abstract Previously, the Seediq had been classified as a sub-tribe related to Atayal. It was not until 2008 that the Seediq were offi

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1 南投縣賽德克族傳統織布工藝與Puniri 經挑技法保存現況研究紀要投縣賽德克族傳統織布工藝與Puniri 經挑技法保存現南況以Seta Iban 張玉英母女三代為研究對象 Pilot Study on Transmission of the Seediq Weaving Tradition and A Handicraft Puniri in Nantou County:The Three Generations of Seta Iban (Zhang Yu-Ying) as Research Subject 曾麗芬 Tseng Li-feng 摘要過去賽德克族 Seediq 被視為泰雅族 Atayal 的亞族自民國97年 2008 正名以來各面向文化特質逐漸被重視與強調本文嘗試以民國101年 2012 底甫完成文化資產公告的南投縣賽德克族織布工藝與Puniri技法為例觀察此一傳統工藝之具體特徵保存概況以及女性在織布活動中自我建構的歷程所選擇對象為文化資產保存者張貴珠 Bakan Nawi 與張鳳英 Seta Bakan 母女並上溯至祖母張玉英 Seta Iban 女士以祖母女3位不同世代女性織者的習藝經歷與生命經驗初步進行觀察文中首先概述傳統織布工藝文化意涵其次從質材工具紋飾織法與衣飾形制等外顯特徵進行描述再者從3位女性織者對傳統織布的文化記憶與日常生活實踐體驗了解自我認同與適應狀況進而提出保存維護建議關鍵詞賽德克族織布工藝 Puniri 文化部文化資產局傳藝民俗組研究助理 [email protected] 收件日期 2012 / 12 / 31 接受日期 2013 / 9 / 17 Received Date: 2012 / 12 / 31; Accepted Date: 2013 / 9 / 17 33

2 / 2013 / / Abstract Previously, the Seediq had been classified as a sub-tribe related to Atayal. It was not until 2008 that the Seediq were officially recognized as Taiwan's 14th indigenous group, and all aspects of their cultural characteristics have since been treasured and highlighted increasingly. In 2012, the Nantou County Government announced the Seediq s traditional weaving handicraft Puniri would be classified as intangible cultural heritage. Human beings, the carriers of cultures, are practitioners of craftsmanship whose endeavors ensure that folk arts continue to be followed and transmitted. Through examining the life experiences and learning processes of three female weavers from different generations within registered preservers families, this study aims to observe and portray this craft s preservation conditions and the self-construction processes during weaving activities. First, this article will summarize the cultural content of traditional weaving. Second, the distinct features presented in the Seediq weaving products will be stated in accordance with examining the artifacts textures, forms and decorative patterns. And conclusively, the findings in observations and analyses of this research are expected to provide recommendations to promote the safeguarding and conservation/preservation of such artifacts in the future. Keywords: Seediq, Woven Fabrics, Puniri 34

3 35 Puniri Seediq Sejiq Truku Seediq Tgdaya Sediq Toda 3 Utux Atayal Tgdaya Temi nawi Puniri 3 Seta Iban Puniri

4 / 2013 / / Bakan Nawi Seta Bakan Puniri Puniri Puniri Utux Gaya 4 Utux hako utux tuxan karang Gaya karang Iwan Perin Tgdaya 3 Yuma Tara Gaya Gaga Waya Gaga/Gaya/Waya Gaga/Gaya/Waya Gaga/ Gaya/Waya 2003 Gaya

5 37 Puniri Gaya

6 / 2013 / / 圖 1-3. 依序為原生苧麻析理後的麻線與天然染料薯榔 Figures 1-3. A native ramie plant, braided hemp twine and shoulang yam used as a natural dye. 圖片來源 : 鄭光博提供

7 39 Puniri lukus ratang lukus ratang lukus pala pungu 4 punqapa

8 / 2013 / / 圖 4-6. 依序為傳統賽德克男女盛裝頭飾頸飾耳飾乃以貝殼磨製成貝板, 佐以黑色珠子而成 Figures 4-6. Traditional Seediq male in tribal dress, traditional female in tribal dress, female wearing headdress, necklace and earrings made from polished shells strung together with black beads. 圖片來源 : 鄭光博提供 pala puniri ratang pala pungu pragic libut gidi puceyqun briku 5-6 ratang ratang qupaxan T rako dagit tninun punkodung ratang purubuwan ratang qupaxan ratang purubuwan 圖 7. 女子片裙 libut Figure 7. A traditional lady's skirt, called a libut. 圖片來源 : 曾麗芬提供 libut 7 40

9 Puniri 6 ratang Truku Atayal doriq doriq doriq utux doriq ulin X pala paru pala pungu pala lukus Casimilon y m c k m100 y90 y80 m100 c30 m100 y100 c10 k pala

10 / 2013 / / 圖 8. 平織 Figure 8. Traditional woven fabric. 圖片來源 : 鄭光博提供圖 9. 菱形織 Figure 9. Fabric with rhombus pattern. 圖片來源 : 曾麗芬提供 9 capan 10 lukus punqapah 圖浮織 punqapa 布樣 ( 正反面 ) Figures Swatches of raised patterns, called punqapa front and back. 圖片來源 : 曾麗芬提供 capan pala paru latu 12 gunsunguc Puniri Pu 42

11 南投縣賽德克族傳統織布工藝與Puniri 經挑技法保存現況圖12. 挑織latu布樣 Figure 12. A swatch of knitted fabric, called latu. 圖片來源曾麗芬提供使完成之意 n i r i 即 mini 意挑織因構詞在前綴pu 故m轉為n Puniri織作時以緊密挑織顯經技法表現多重菱形浮紋為其特色故稱精挑用以區別其他挑織技法圖13 由於Puniri所有織紋皆以挑織經線完成緯線完全為浮經包覆織者需精準牢記圖案結構耐心專注使用挑花工具次序且過程中不得出錯才能正確呈顯織紋紋飾此種精巧手織工藝需具備精深織藝技術經驗與耐勞心性且極度耗費眼力從而族人視為女性織藝實踐的最高表現如賽德克人認為一個會織doriq puniri 挑織最高級菱形紋的女人會被人稱為mqeditin bale 真正的女人不會織此種花紋者則被譏為ngangah 傻瓜 ini kela tminun 不會織布 uxe mqeditin 不是女人 Puniri技法多用於盛裝服飾織品其紋飾用色與鄰近泰雅族及遷移至花蓮地區的太魯閣族者殊異深具地方特色與族群識別功能為南投 8 地區賽德克族最具代表性織法民國101 圖13. 以挑織顯經技法表現多重組合菱形浮經圖紋的Puniri Figure 13. An example of the skillful Puniri work, showcasing the knitting of multiple rhombus patterns. 圖片來源曾麗芬提供年 2012 經南投縣政府登錄為傳統藝術文化資產 4. 傳習過去織布技術多為女性親屬間以口述操作方式傳遞學習若家族中無善織者或想讓自己提升織藝需以物品或金錢為謝禮以向其他善織的女性取得技藝 8 同註5 43

12 / 2013 / / Seta Iban Seta Iban Tgdaya Paran Ruco Seta Iban 10 Seta Iban Paran Awi Neyung Tgdaya 9 Tgdaya Paran Nakahala Paran ubung Awi Neyung Tgdaya Seta.Iban Bagah Nobing 2003 Alang Nkhala Awi Neyung Seta Iban Awi Neyung

13 Puniri 圖左右圖分別為 1930 年代末期與 2003 年的張玉英 Figure Seta Iban in the late 1930s (left) and in (right) 圖片來源 : 鄭光博提供 Puniri ratang qupaxan T ratang Puniri ulin doriq 13 圖 16. 張玉英家傳 Pala Puniri( 背面 ) Figure 16. The back of a woven piece (pala puniri) handed down by Seta Iban. 圖片來源 : 曾麗芬提供

14 / 2013 / / Temi Nawi Rabe Tado Yuma Tara Bakan Nawi Puniri ubung 圖 17. 張貴珠以地機織作 Figure 17. Bakan Nawi using a floor loom. 圖片來源 : 曾麗芬提供

15 Puniri 圖 18. 早期外國神父引進的高機 Figure 18. An early version of the upright looms introduced by foreign missionaries. 圖片來源 : 曾麗芬提供 ethnic tourism

16 / 2013 / / 圖 19. 張貴珠仍保留 1970 年代經營觀光商品郵運單據 Figure 19. A tourism business receipt from the 1970s kept by Bakan Nawi. 圖片來源 : 曾麗芬提供 Bakan 圖 20. 張貴珠所製文化商品, 從傳統服飾日式睡袍 pala 背心皆為銷售範圍 Figure 20. Examples from the full line of cultural products made by Bakan Nawi, including traditional wear, Japanese gowns, pala and tribal vests. 圖片來源 : 曾麗芬提供 2. 48

17 Puniri Casimilon ratang qupaxan T 21 lukus 圖張貴珠織品 Figures Articles of clothing woven by Bakan Nawi. 圖片來源 : 曾麗芬提供

18 / 2013 / / Puniri BUBU Seta Bakan Tgdaya Seta Bakan Seta Iban Awi Neyung Seta Iban

19 51 Puniri Puniri Puniri Puniri Puniri Gaya dorig pulali ulin gunsunguc kuseikus ratang ratang doriq puniri libut Puniri 5 6 domestic Puniri 23 ratang

20 / 2013 / / pulali dorip gunsunguc kuseikus ulin 圖 23. 賽德克織物多以菱形與橫條紋加以組合變化, 某些特有紋飾用以傳承群體社會記憶, 不同織者則藉此展現個人織藝及祖靈信仰上圖為保存者張鳳英 bala purini 織藝作品, 以菱紋稱 dorip, 多重菱形紋飾組成 pulali, 直線 Ulin 與斜紋則代表通往祖先福地的彩虹橋, 而挑織點狀紋稱 gunsunguc,kuseikus 則象徵農作豐收 Figure 23. Seediq woven textiles feature multiple rhombus patterns and horizontal stripes in various combinations. Certain decorative patterns have been passed down in the tribal community and express shared memories. Distinctive patterns demonstrate an individual weaver's skill as well as express ancestral spirituality. The photo above shows a piece of traditional bala purini weaving work by Seta Bakan. The rhombus weave used in the piece is called Dorip, and the multiple rhombus patterns make up what's called pulali, with straight lines called Ulin and diagonal lines representing the ancestral journey toward the Promised Land across the rainbow bridge. In addition, the raised woven dots are called gunsunguc, Kuseikus, and they represent the reaping of a bountiful harvest. 圖片來源 : 曾麗芬提供 Puniri

21 Puniri 圖 24. 張鳳英講解 bala purini Figure 24. Seta Bakan is explaining the patterns of the bala purini. 圖片來源 : 曾麗芬提供圖 25. 織作 Purini 使用挑花棒 Figure 25. Weaving the Purini with a seated loom. 圖片來源 : 曾麗芬提供 ubung 2012 Puniri 4 53

22 54 / 2013 / / Puniri hako utux Puniri 1998

23 55 Puniri UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage Living Heritage Puniri Puniri

24 / 2013 / / LIMA gaga Alang Nkhala tw/~khku/discussion/essay/thesis2.htm

25 Puniri

Microsoft Word - 05第二部份-從能高俯瞰霧社的光與影（鄧相揚）

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