[ 摘要 ]

緣於文字書寫紀錄的缺乏，過去的泰雅族文化，多半是藉由口傳或傳統工藝扮演記載歷史、文化的角色，而這些傳統工藝代表著一個族群，在一個區域裡為求生存，所製造生產出滿足生活需要的種種物件，其孕藏著文化脈絡、歷史情境、社會結構、經濟體系、宗教信仰等內涵，因不同階段的改變而呈現不同的形式與內容。因此，在泰雅社會中傳統工藝也可以說是一種族群文化的歷史標誌和象徵。

本研究係以泰雅亞族及澤敖利群的北勢群，即現今苗栗縣泰安鄉梅園、象鼻、士林三村的天狗、梅園、大安、永安（麻必浩）、象鼻、馬那邦、蘇魯等七個部落為研究範圍。以文獻分析、影像分析及田野研究等研究方法，依據泰雅語、使用的材料、製作的工具、運用的技術方法等，將北勢群傳統工藝分為：織布工藝、編織工藝、匏削工藝三大類，再就其材料、工具、技術方法、製成品、社會文化脈絡等面向，探討這三大類傳統工藝的內涵。並從清代統治、日據、國民政府、原住民社會運動後等不同歷史的分期，就各時期的原住民政策、經濟發展、宗教信仰、教育制度等面向，來論述這三大類傳統工藝在各時期變遷的情形，也就是以「物」（工藝）為基礎，藉以來探討在不同特定的時空環境下，存在於某個社群的社會文化脈絡。

經由上述的討論，進而了解泰雅族北勢群現階段傳統工藝傳承的措施，以及其所面臨的政策未見具體作為或未具延續性、政府部門及部落的資源整合不夠、經費支援不足、傳承師資及教育、環境條件的缺乏、族群文化認同危機、部落生計式微、文化空間的窄縮等困境，並從決策機制的建構、社區重建與部落生計、族群認同與傳統工藝復振、文化資本累積與人才培育等課題，思考泰雅族北勢群傳統工藝未來發展的可能性。

[ 英文摘要 ]

Abstract

Owing to lacking of literal records, Tayal Culture was recorded in the past by narratives and its traditional crafts, which played the historical and cultural role in Tayal culture. These traditional crafts appeared as all kinds of things meeting the conditions of livelihood, which a tribe in certain kind of surroundings manufactured for the purpose of the survival. All manufactured things contained cultural context, historical situation, social structure, economic system, and religious belief, etc. The forms and contents of these traditional crafts changed according to different historical stages. Henceforth, we can say the traditional craft is so-called a mark and symbol of Tayal Culture.

The sampling population of the study constrained within Tayal and Tseole spreading over G’saya area, including Bay-a-nu、Ma-lu-wan、Nu-hu-ru-ma、Ma-pi-haw、Me-pu-wan、Ta-la-wan and Su-lu seven tribes located in Tai Ann countryside of Miao-Li County. The research methods concluded Documents Analysis, Photographic Analysis, and Field study. The G’saya traditional crafts was classified into：weaving skill, knitting skill, shaping skill three main categories according to their language, raw materials, tools, manufactured skills。More detail classification was divided into materials, tools, skills, and social cultural context dimensions as a horizontal axis to explore the content of the three traditional crafts, while the historical stage was divided into four ones from Ching Dynasty, Japanese colonial rule, KMT regime, Aborigine’ social movement as a vertical axis, according to original inhabitants’ policy, ecnomic development, religious belief, to treat of the transitions of three traditional crafts at each stage; namely, the research focused on the influence of different social cultural context on certain traditional crafts from the transition of historical stage and environment.

The discovery of the research leads to a conclusion that the present implementations of G’saya tradition craft fell into the difficulties in lacking of extending policy or a policy without concrete action, lacking of integration of tribe resources or of governmental departments, lacking of financial support, fading of traditional masters, crisis of tribe recognition, hard living environment, reductions of cultural space, thus suggestions were prompted as building up policy deciding mechanism, reconstructing community and tribal livelihood, inspiration for ethnic recognition and the revival of traditional crafts, accumulation of cultural capitals, cultivating talents of traditional crafts. From these viewpoints, we can search our mind for the possibilities of G’saya traditional crafts’ development in the future.