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融合文化底蘊與設計感的族群創意美學：以當代那瑪夏布農族創藝家為例
The Ethnic Creative Aesthetics Combining Cultural Roots with Sense of Well-Designed: A Case Study of Contemporary Namasia Bunun Artist
摘要
關於文化本真性的議題，筆者認為，只要文化元素的改變與創新掌握在族群創藝家手中便不失真，換言之，是原藝家作為主體，自由運用生活體驗俯拾即是的媒材作為題裁，便可以說這也是延續文化生命力的一種有力方式。以本研究為例，旮旦娃力絲工藝坊的作品便蘊含有態度、有概念、有認同感的設計內涵。再者，物的造型、圖案、色彩、功能均是族群美的底蘊之展現，高雄市那瑪夏區布農族創藝家Valis Ispalidav融合了傳統素材與外來要素。從此例觀之，手工藝商品化也可以是個性化、有文化底蘊的作品，不一定是大規模機械化的產物。由於布農族傳統工藝並不發達，因此Valis的創作靈感源自對日常生活的觀察與體驗，樸實無華但兼顧實用性，而富含原創性。她的設計帶著真摯純樸的生活態度，表現尊重自然的概念，且傳達手作的感動。
並列摘要
On the issue about cultural authenticity, in my opinion, if the change and creation of cultural elements were held by ethnic artists, then it's not fake. In other words, it is indigenous artists as subjects who freely select materials just around the surroundings from their life experiences to be the themes. Thus, we may say this is an effective way to maintain cultural vitality. Taking this research for instance, the works of Kadan Valis Workshop contain the designed contents with attitude, perspectives, and identity. In addition, the style, picture, color, and function are all the expression of ethnic roots of beauty. Namasia Bunun artist Valis Ispalidav combines traditional materials with outer elements. Therefore, the commoditization of craft can be works with personality and cultural roots, not necessarily large-scale mechanical products. The traditional artisanship of Bunun people is not so flourishing that Valis's creative work is inspired by her observation and experience from daily life, rustic but both practical and original. Her design is full of the sincere and pure attitudes towards life, expressing the perspectives to respect nature, as well as conveying the touched feelings by handmade.