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原住民百步蛇紋飾應用於金屬媒材之創作研究 A Study of the Creation of Metalworking with the Indigenous Snake Pattern
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| 作者 |
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董逸馨 |
| 學校系所 |
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國立東華大學民族藝術研究所 |
| 地點 |
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全臺 全部
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| 研究內容 |
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[ 摘要 ]
台灣眾多原住民族群之中，排灣族與魯凱族，因其傳統的社會階級制度與裝飾權力，在物質文化的表現上較其他族群多元且豐富，不論是琉璃珠、木雕、石雕或是陶壺的製作等，都能見到其精緻的工藝表現，不但種類樣式繁多，更富有屬於其族群的文化意義。
在其文化傳統中，百步蛇佔有重要的地位，百步蛇是祖先、朋友、長老，是民族生命的來源，族人將百步蛇的崇敬信仰，轉化成為百步蛇紋的圖案，裝飾在其衣飾、器物、木雕工藝等，在其物質文化的表現上，都展現出族群特有的美感觀念。
首先，本研究試著藉由視知覺、完形美感的概念為基礎，用以分析百步蛇紋飾之美感；接著，再利用符號學理論來詮釋百步蛇紋的文化意涵及美感表現。此外，本人可透過相關文獻回顧及田野調查之執行，更能瞭解族群的文化特色。最後，乃透過金屬媒材的創作實踐之方式，創作出一系列的金工作品，將百步蛇圖紋及其意象轉化為作品創作的內涵。
作者期望藉由金工創作的實踐，來強化本人作為一個藝術研究者，如此則能更深入體會作品與創作者對於視覺形式表現，並且深刻體會傳統原住民文化之美感。另外，也期望透過自身的研究與創作，對於原住民藝術傳承與理解有所助益。
[ 英文摘要 ]
Among Indigenous peoples in Taiwan, the performance of material culture of Paiwan and Rukai are rich in varieties and cultural meanings, such as glass beads, wood sculpture, stone carving or ceramic jug, to serve their traditional social hierarchy and decorating privilege.
In Paiwan and Rukai traditional culture, the snake specie, called Formosan Agkistrodon acutus, are important in traditional belief as their ancestors and the origin of tribe. With great respect, the pattern of snake is applied as decoration in clothing, tools, wood carving, to show distinctive value.
Based on perspectives of visual perception, Gestalt theory and symbolic theory, this study interprets content and aesthetic expression of snake pattern in Indigenous culture, especially in Paiwan and Rukai culture. Moreover, methods of literature review and field work are utilized to understand characteristics of Paiwan and Rukai culture. Eventually, by practices of metalworking, the snake pattern and image are transformed into the content of art creation.
In doing so, it is expected to strengthen individual as an art researcher to deeply experience the visual art performance and beauty of Indigenous culture. On the other hand, through the process of researching and practicing art, it provides better understanding to the transmission of Indigenous art.
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