泰雅族菱形紋飾之研究

The study of Rhombus pattern in Atayal

陳正哲(Jheng-Jhe Chen)

指導教授 ： 黃雅卿

國立臺中科技大學/設計學群/商業設計系碩士班/碩士(2009年)

https://doi.org/10.6826/NUTC.2009.00022

摘要

菱形，係世界各區域裝飾應用上常現的幾何圖形，亦是台灣原住民各族傳統藝術中顯見的紋飾題材。本研究，主要以泰雅族傳統裝飾核心紋樣之菱形紋為主軸，研究範疇涵括：一‧從泰雅族傳統文化思維角度探討菱形紋於該族精神意義之建構與影響。二‧藉由心理學、藝術人類學、裝飾美學等論述，剖析菱形紋造形過程之心理趨向及形成因素和侷限。三‧整合分析泰雅族菱形紋相關圖錄與藏品，以釐清紋飾之形式種類及運用表現。四‧探討當代泰雅族菱形紋飾運用於設計領域之發展概況。
經本研究獲得具體之成果如下所述：一‧傳統信仰下的菱形紋飾：(1)泰雅族為『祖靈』之信仰，其認為人一生福、禍皆受祖靈左右，故在傳統社會具法律規範之作用。(2)信仰影響下的菱形紋應用，主要衍生出『祖靈的監視』與『祖靈的保護』兩種涵意。二‧傳統服飾上的菱形紋：(1)傳統服飾上紋飾以多彩的線條與二方連續與四方連續的菱形紋為準。(2)服飾上的菱形紋飾，係在族群識別所限定的裝飾區域內，並無特定紋樣，全視織作者對前人倣效及後天創新的結果。(3)整體而言，服飾上菱形紋飾表現，隨織作技法困難程度、所需情境不同與相異組件的搭配需要而變化。三‧菱形紋飾之象徵：(1)泰雅族織紋普遍具書寫、記錄之作用，而題材多為歷史復現與生活觀照下的結果。(2)因年代久遠、日據時期編織舊習之禁止、口傳的隨意性、身份限制等因素，使今日象徵意涵已多不復在。(3)『祖靈之眼』為當代延伸的詞彙，雖與前人僅稱『眼睛』之說法不同，但就宗教意義而言，則如出一轍。四‧心理影響下的菱形造形：(1)菱形造型符合人對平衡之追求且較其它形狀具有張力，係趨使人應用此圖形於裝飾上之主要原因。五‧泰雅族菱形紋飾運用文化商品之現況：(1)商品通常以『泰雅編織』及『祖靈之眼』兩方向作為品牌主要訴求。(2)現今商品多以符合編織布面屬性之物品為主。(3)相似性高、無導入設計、行銷之概念，為現今最大問題。六‧泰雅族菱形紋飾形式分析結果：(1)紋飾大抵分作線狀及面狀發展兩種。面狀依配置可分作接觸、分離、減缺三種，其中接觸構成，亦可往下分作單純型、單框型、雙框型、套疊框型四種；線狀則分作分離、接觸、覆疊、透疊、聯合、減缺、差疊七種。其中接觸配置又可分單純型、有框型及鏡射型；聯合配置又可細分，線型與環型。(2)泰雅菱形紋表現受所需情境、相異服飾組件及織作困難程度不同而有所變化。

關鍵字

泰雅族 ； 菱形紋飾 ； 祖靈之眼 ； 原住民文化 ； 文化創意產業

並列摘要

Rhombus is the geometric figure that is usually applied to decorations all over the world, and it is also the obvious decorations and themes of aborigines’ traditional art in Taiwan. This study mainly regards rhombus pattern, the core pattern of Atayal’s traditional art, as the theme, and the study scope includes: 1. discussing the construction and influence of rhombus pattern towards Atayal’s spiritual meaning from Atayal’s traditional cultural thought; 2. analyzing the psychological trend of forming rhombus pattern, factors and limitations of formation through the discussions about psychology, art anthropology, and decoration esthetics; 3. integrating and analyzing relevant illustrations and collections of Atayal’s rhombus pattern to clarify the form categories and expression of application of this pattern; 4. discussing the general development situation of how Atayal’s contemporary rhombus pattern is applied to the design field.
The specific result that is obtained from this study is described as follows: I. Rhombus pattern decoration under traditional belief: 1. Atayal believes in “ancestor’s soul”, they think the good fortunes and disasters of a man’s life are mastered by ancestor’s soul; so, ancestor’s soul has influence towards legal rules in traditional society; 2. under the influence of belief, there are two meanings, “monitoring from ancestor’s soul” and “protection from ancestor’s soul”, for the application of rhombus pattern. II. Rhombus pattern on the costume and accessories: 1. on traditional costume and accessories, the patterns are mainly colorful lines, two-directional and four-directional continuous rhombus patterns; 2. the rhombus pattern decorations on the costume and accessories are within the restricted decoration area that the race discriminates, which is totally depended on how the weavers learn from ancestors and their innovations, so there is no specific pattern type; 3. the expression of rhombus pattern decorations on the costume and accessories varies with the difficulty of weaving skill, different conditions, and arrangement of different components. III. The symbolization of rhombus pattern decorations: 1. the weaving patterns of Atayal generally have writing and recording functions, and most of the subjects are the expression of history and life style; 2. because of the remote past, forbiddance of weaving habit during Japanese ruled period, arbitrariness of oral instruction, and position limitation, the symbolized meaning has disappeared nowadays; 3. “ancestor’s eye” is the extended phrase of the day, it is different from the “eye” of predecessors, but they are very similar with respect to the religious meaning. IV. Rhombus model under psychological influence: 1. rhombus model matches with people’s pursuit of balance, and it has more tension than other shapes; thus, they are the main reasons that drive people to apply this shape to the costume and accessories. V. The current situation of applying Atayal’s rhombus pattern decorations to cultural products: 1. the products generally regard two directions, “Atayal weaving” and “ancestor’s eye”, as the main demand of the brand; 2. most of the products are goods that match with weaving cloth attribute; 3. the biggest problems nowadays are high similarity, and without the concepts of design and marketing. VI. Analytical result of Atayal’s rhombus pattern form: 1. pattern decorations can be practically categorized into two types, line and surface developments. Surface can be categorized into three types according to configuration, which are touch, separate, and deficient. Touch composition can be categorized into four types, simple, single frame, double frame, and overlay frame. Line can be categorized into seven types, separate, touch, overlap, overlap transparently, united, deficient, and only overlapping area can be seen. Touch configuration can be categorized into simple, frame, and mirror reflection. United configuration can be subdivided into line and ring types; 2. the expression of Atayal’s rhombus pattern varies because of the difference of required conditions, components of different costume and accessories, and weaving difficulty.

並列關鍵字

Atayal ； rhombus pattern decoration ； ancestor’s eye ； aboriginal culture ； industry of cultural creation

參考文獻

8.田哲益(2001)，台灣原住民的社會與文化，台北，武陵。

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11.李亦園(1982)，台灣土著民族的社會與文化，台北，聯經出版事業公司。

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