臺灣原住民百步蛇圖騰轉化為服裝元素之研究—以「排灣族」為例

Abstract

臺灣原住民文化屬於南島民族文化的一部份，它相當獨特且豐富，展現出人類在適應環境、人群互動等諸多方面的創造性，而背後的重要元素，非原始藝術--「圖騰」莫屬。在歷史上，臺灣原住民雖然歷經清朝、日本與國民政府的統治，對其經濟、社會、風俗、信仰皆造成重大的轉變，其深厚的文化內涵，在面臨這些外來力量時雖然有所改變，卻也轉化與創造出特殊的面貌。換言之，原住民圖騰並非一成不變的，尤其以象徵守護神的百步蛇圖騰來說，彼此之間的內在意涵、外在形貌都可能有所不同，傳統生活、神話世界、部落人物，都是原住民藝術家取材的重點，他們運用不同的方式，再現各民族文化的真實，透過圖騰設計告訴世人自己部落的故事。 百步蛇圖騰具多樣的形式呈現，除了具有藝術價值之外，也包含了不同的圖像傳播意涵，可透過潘諾夫斯基（Erwin Panofsky）提出之圖像學原理，來加以檢視其圖像語言。守護神百步蛇來自於各族群背後的神話傳說，而後轉化為圖騰以象徵各族群，但神話不能單一地加以解釋，而是在要將它們放在「變形」的神話群關係中解釋。也就是說，百步蛇圖騰雖然會因為創作者的設計靈感，而有各種不同的美感呈現，但其基本象徵與約定俗成的意義是差別不大的，因此回顧「神話學」相關文獻有其必要性。本論文聚焦於排灣族百步蛇圖騰的圖像分析，由於臺灣原住民的傳統圖騰經常會呈現在他們的服裝上，加上近年來文化創意產業日顯重要，「服裝」為其中較普及，最常被人拿來討論的一項產業，因此研究者欲探究百步蛇圖騰轉化為服裝元素的歷程。 首先蒐集文獻資料加以探討，以神話學與圖像學原理解釋百步蛇傳統意象，進一步藉由深度訪談法檢視百步蛇圖騰文本分析的結果，藉以了解百步蛇圖騰轉化為服裝元素之傳播過程。期盼本研究的結果可作為有志於研究原住民傳統藝術暨推廣其文化創意產業者的參考。

As a part of the Austronesian culture, Taiwan aboriginal culture is very unique and rich, and showing human adaptation to the environment, the creativity of the crowd interaction and other aspects. The important element of Taiwan aboriginal culture is none other than the primitive art - "Totem". That being ruled by Qing Dynasty, Japan, Kuomintang Government, not only affected Taiwan aborigines’ economy, society, customs, beliefs, but also transformed its deep cultural connotation and generated a new look. In other words, aboriginal totems are not motionless, especially the hundred-pacer viper, the symbol of patron saint, whose inner meaning and outer appearance may very. The traditional way of life, the world of myth, tribal figures are where aboriginal artists drawing from. They represent the authenticity from different cultures, and with totem design, they tell the story of their tribes to the world. Hundred-pacer totems are presented by a variety of forms, in addition to artistic value, but also contain different graphical communication definition. The implications through Panofsky (Erwin Panofsky) proposed Principles image to view it its pictorial language. Patron saint of the hundred from behind the myths and legends of various ethnic groups, which translates into a totem to symbolize the various ethnic groups, but the myth can not be explained solely, but to put them in the "distortion" of the mythical group relationship is explained. That is, the hundred-totem though because the creators of design inspiration, but there are a variety of different aesthetic presentation, but the basic symbolism and significance of the convention is not very different, therefore, to review "mythology" literature is necessary. This paper focuses on the totem Paiwan hundred-image analysis, due to the traditional aboriginal totem often presented in their clothing, and in recent years, increasingly important cultural and creative industries, "clothing" as one of the more universal, the most commonly used being discussed in an industry, so the researcher wants to explore the hundred-totem clothing elements into the course. Firstly, collecting literatures from mythology and iconography principles to explain the hundred-pace totems, and further by viewing the analysis results of interviews about hundred-path totems, in order to understand the hundred-path totems spread into garment elements process. The results of this study can be used as a reference for those who interested in promoting traditional aboriginal art and promote its cultural and creativity industries.