排灣族百步蛇紋飾之研究

Researches of hundred-pace Snake's Emblazonry in Paiwan Tribe

吳松芳(Sung-Fang Wu) ； 胡澤民(Zer-Man Hu)

《藝術論文集刊》 9期 (2007/10) Pp. 1-29

https://doi.org/10.29480/CPAR.200710.0001

摘要

排灣族人崇拜百步蛇，自稱爲百步蛇的子民，從聯繫該族工藝器物表面的蛇紋圖案來看，說明排灣族是以百步蛇爲其圖騰崇拜的，這也是排灣族的文物風格。本研究根據採集之63件樣本，企圖從設計角度探索百步蛇紋飾之造形特徵，並依構成設計分析其配置構成及形式原理。經樣本觀察發現，百步蛇圖案依其成象原理，可概分爲單蛇紋、單蛇與人頭複合紋、雙蛇紋、雙蛇與人頭複合紋、蛇與人形複合紋、蛇與壺複合紋、複數蛇紋、立體蛇紋、半抽象與抽象形紋、幾何形蛇紋等。配置構成方面，以接觸應用最廣，幾何形蛇紋以繁殖構成最普遍，在美的形式原理則以對稱美呈現最多。

關鍵字

圖騰崇拜 ； 百步蛇紋飾 ； 配置構成 ； 形式原理

並列摘要

Paiwan clansman worship hundred-pace snakes, claim it as descendants of hundred-pace snakes, according to its decoration relative on the surface of craft implements, to explain hundred-pace snakes as their totemism, it is cultural artifact style of paiwan clansman too. This paper has collected 63 samples of hundred-pace snakes' emblazonry, to seek for its characteristics of design features, in accordance with constructive design to analyze its constructive composition and principle of form. Through the study of samples, it becomes the principle in accordance with it, but divide it for the single snake's emblazonry、single snake and head complex emblazonry、twin snakes' emblazonry、twin snakes and head complex emblazonry、snake and portrait complex emblazonry、snake and pot complex emblazonry、plural snakes' emblazonry、solid snakes' emblazonry、semi-abstract and abstract emblazonry、geometry pattern emblazonry、etc; In the respect of constructive composition, in order to contact using widemost, the geometry pattern emblazonry in order to breed the composition in the generality, by appearing symmetrically and beautifully most in the principle of beautiful form.

並列關鍵字

Totemism ； Hundred-pace snake's emblazonry ； Constructive composition ； Principles of form

參考文獻

山地文物陳列室專輯。臺東縣立文化中心。

大智浩、王秀雄譯(1990)。美術設計的基礎。臺北:大陸書店。

王無邪(1979)。平面設計的原理。臺北:雄獅圖書有限公司。

王訊(1998)。騰蛇乘霧。北京:社會科學文獻出版社。

天理大學、天理教道友社(1993)。臺灣原住民的生活用具。奈良縣:天理教道友社。