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 ch0165@boch.gov.tw 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
/ 2013 / / 33-57 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
35 Puniri Seediq Sejiq Truku Seediq Tgdaya Sediq Toda 3 Utux Atayal 93 2004 12 97 2008 14 2001 2011 1998 2003 2004 1998 1999 1999 2003 2010 2006 2008 1999 1999 2012 Tgdaya Temi nawi 2000 2011 3 3 2012 2012 279 100 2011 101 2012 Puniri 3 Seta Iban 1919-2008 Puniri 93 2004 2 90 2
/ 2013 / / 33-57 Bakan Nawi 1936-60 1971 3 Seta Bakan 1957-921 Puniri 101 2012 Puniri Puniri 102 2013 1 4 1 2 3 1. Utux Gaya 4 Utux hako utux tuxan karang Gaya karang 1 2003 2 Iwan Perin Tgdaya 3 Yuma Tara 100 2011 4 Gaya Gaga Waya Gaga/Gaya/Waya Gaga/Gaya/Waya Gaga/ Gaya/Waya 2003 Gaya 1 1 77-104 36
37 Puniri 1999 89 Gaya 2012 269 2010 35 2003 2.
/ 2013 / / 33-57 60 1 80 90 2 3 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 1. 1 1998 2003 1-3 38
39 Puniri 2000 71 28 3 1960 2. lukus ratang lukus ratang lukus pala pungu 4 punqapa
/ 2013 / / 33-57 4 5 6 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 5 2003 83 libut 7 40
Puniri 6 ratang Truku Atayal 1998 87 3. 1999 94 doriq doriq doriq utux doriq ulin X 1993 90 8 pala paru pala pungu pala lukus 7 5 2003 2011 6 60Casimilon y m c k m100 y90 y80 m100 c30 m100 y100 c10 k10 2003 7 pala 2012 176 255-263 41
/ 2013 / / 33-57 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 10-11 11 圖 10-11. 浮織 punqapa 布樣 ( 正反面 ) Figures 10-11. 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
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
/ 2013 / / 33-57 Seta Iban 1919-2008 Seta Iban Tgdaya Paran Ruco 8 1919 Seta Iban 10 Seta Iban Paran Awi Neyung 5 1930 Tgdaya 9 Tgdaya Paran 14 1939 Nakahala Paran ubung 10 1. 7 Awi Neyung 11 12 9 6 1930 Tgdaya Seta.Iban Bagah Nobing 2003 Alang Nkhala 346 10 345 11 Awi Neyung 7-69 67 12 Seta Iban Awi Neyung 69 1980 7 6 48-51 3 41-47 2 30-78 7 53-88 345 44
Puniri 14 15 圖 14-15. 左右圖分別為 1930 年代末期與 2003 年的張玉英 Figure 14-15. Seta Iban in the late 1930s (left) and in 2003. (right) 圖片來源 : 鄭光博提供 Puniri 92 2003 14-16 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 2. 13 2004 15 45
/ 2013 / / 33-57 1990 Temi Nawi Rabe Tado Yuma Tara Bakan Nawi 1936- Puniri 1. 17 1960 ubung 78 14 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 14 40 1951 6 46
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 18 1950 54 1965 1988 15 ethnic tourism 16 17 15 1988 16 1994 1994 17 55 1966 1988 15 47
/ 2013 / / 33-57 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 58 63 Bakan 19 20 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
Puniri Casimilon 80 18 ratang qupaxan T 21 lukus 22 21 22 圖 21-22. 張貴珠織品 Figures 21-22. Articles of clothing woven by Bakan Nawi. 圖片來源 : 曾麗芬提供 18 83 1994 80 7 1995 55 4-9 49
/ 2013 / / 33-57 3. 921 19 Puniri BUBU Seta Bakan 1957- Tgdaya 2003 53 Seta Bakan Seta Iban Awi Neyung Seta Iban 1. 19 2011 921 70 50
51 Puniri 20 1970 1990 2008 13-23 921 Puniri Puniri Puniri 20 2. Puniri Gaya dorig pulali ulin gunsunguc kuseikus ratang ratang doriq puniri libut Puniri 5 6 domestic Puniri 23 ratang
/ 2013 / / 33-57 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 24 25 52
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 3. 97 2008 ubung 2012 Puniri 4 53
54 / 2013 / / 33-57 101 2012 Puniri hako utux Puniri 1998
55 Puniri UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage Living Heritage Puniri Puniri
/ 2013 / / 33-57 2011 1998 2003 2012 LIMA 2008 13-23 2012 176 233-286 2003 gaga 1 1 77-104 2004 2003 Alang Nkhala 2004 2003 http://www.hss.nthu.edu. tw/~khku/discussion/essay/thesis2.htm 1999 87-105 1997 277-105 1998 2011 2012 2011 2000 75-96 2009 56
Puniri 2012 1995 1995 55 4-9 2010 2006 1994 1999 44 8-40 2011 2000 57