[ 摘要 ]

在全球化的趨勢下，無不追求在地文化的延續與發展。台灣原住民的工藝特色是台灣文化不可獲缺的一環，而各族群之傳統藝術美學意涵，更可以從原住民族人代代相傳的服飾上探尋其根源，且能明白各族群的文化美學價值。另一方面，從伊斯蘭文化與東方織品的對稱研究中，了解不同文化所產生的對稱圖樣，並非隨意安排，而是具有其文化意義。各文化皆有其偏愛之對稱形式，故試圖從研究中獲得台灣原住民服飾中，被特別偏好的對稱形式。

本研究係針對國史館所典藏的原住民服飾作文飾對稱運用的研究。由服飾上文飾的對稱比較分析後，透過相關的統計分析，再針對服飾文飾與造型構成基本形式之間作相關性的運算與分析。從而獲得以下之結論：

（1）原住民各族雖多以線狀作為裝飾，但並非全然都運用了對稱。（2）就對稱的型式而言，排灣族與魯凱族具有平移與旋轉的對稱性質；泰雅族則具備了鏡射與旋轉的對稱性質。（3）在服飾上使用對稱與穿戴者的性別並無明顯之相關性，但裝飾的方式卻與穿戴著的性別有其相關性。這也許與族群社會是否為母系社會亦或者父系社會有其相關聯。（4）使用類別中，盛服比起其他服裝更是注重對稱的運用，甚至有多種之對稱運用的情況。

由此可知，在服飾上運用對稱的情況，應僅存於部分族群之間，所以建議未來研究的範圍，除了增加樣本數之外，可就運用於美學上的各種原理再做深入的探究。

[ 英文摘要 ]

While the market heads toward “globalization,” design tends toward “localization.” So we must “think globally” for the market, but “act locally” for design. Cultural features then are considered to be a unique character to embed into a product both for the enhancement of product identity in the global market and for the fulfillment of the individual consumer’s experiences. “Culture” plays an important role in the design field, and “cross cultural design” will be a key design evaluation point in the future. The aboriginal garment culture provides a good example of applying cultural features to design while still retaining a meaningful cultural value. Therefore, this study focuses on the analysis of cultural meaning, symmetrical patterns, and its esthetics. In the other hand, from the study Islam culture and Orient textiles’ symmetrical patterns, we know that every culture has its own symmetrical patterns, not arranged at random, but presented its own culture meanings. Every culture has its own favor symmetrical patterns, and this paper demonstrated what the favor symmetrical patterns of Taiwan aboriginal garment are.

In this study, first, the symmetry patterns features of aboriginal garment culture are identified. Then, the symmetry patterns of aboriginal garment are analyzed and discussed. Finally, results are summarized as follows: 1) Every aboriginal tribe likes to use line to decorate their garment, but not just using symmetrical pattern at all. 2) Regarding to symmetrical patterns, the results showed that Paiwan and Rukai used “translation and rotation” in their symmetry pattern, while Atayal using “mirroring and rotation.” 3) The symmetry of clothing and ornament is nothing to do with the wearer’s gender, but matters the way of decoration. It may connect to the tribe society whether matriarchy or paternal. 4) For the garment category, full dress always has more symmetrical patterns than others, and usually has more than one pattern.

Overall, the using of symmetrical patterns in clothing and ornament should just exist in some tribes. To suggest the further researchers should not only increase the amount of samples but also deepen the study of the applications of each different theory of aesthetics.