泰雅族織物工藝品之商業模式-以野桐工坊為例

詹育娟

doi:10.6843/NTHU.2012.00454

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泰雅族織物工藝品之商業模式-以野桐工坊為例

Atayal Weaving Handcrafts business model - The Case Study of Lihang Studio

詹育娟 , Masters　　Advisor：黎正中　　

繁體中文 DOI： 10.6843/NTHU.2012.00454

文化創意；原住民；織物；工藝品；個案研究；尤瑪達陸；野桐工坊

Abstract │ Reference (52) │ Times Cited (1) │ Altmetrics

Abstract 〈TOP〉

Parallel Abstract 〈TOP〉

In this study, we focused on cultural and creative industry and summarized the business and marketing strategies of aboriginal people’s arts and crafts through literature review, and create an analysis approach with business model feature dimensions. We selected traditional Atayal fabric studio – Lihang Studio as case study object. We have induced the case’s management and marketing business model by exploring the Lihang studio's mission and vision through five forces analysis and the dimensions of business model, and finally, proposed the advantages and disadvantages of the case with conclusions and recommendations.
Through our analysis, we learned that, Lihang Studio puts much emphasis on traditional fabric culture and highlights their own value. In the process of research and weaving, they not only gets the ethnic self-identification back, but also gets others recognition of fabric.  As a productive studio of preservative art works, Lihang Studio provides not just fabric crafts, but more fabric art. The Atayal’s culture has very distinct style. Lihang Studio its value and spreads the ethnic culture through the manufacturing of interior cloth and other kinds of cloth.
The works of Lihang Studio are rich with culture and stories, as every works has its story and allusion. Due to such art collection of works contain a historical emotion and cultural artistic connotations, it is called the cultural giant of Atayal traditional fabrics. As to its mechanisms for marketing, because their works have a strong cultural conservation, so that the public are in droves, and resulting in the effect of word of mouth marketing and brand marketing.
The Lihang Studio 's mission is to find new value of tradition, and provides  innovative products form. Its business and marketing strategy are not profit-oriented. Its rich cultural basis results in the value of the fabric crafts highlighted, and good word of mouth marketing, brand marketing. This paradigm should be worth pondering and benchmarking in the "profit-based" and “sales-oriented" commercial market.
This research provides the other creators of those interested in Aborigines fabric crafts a clear business model context, and by the case of Lihang Studio, others can adjust their business and marketing strategy so that aboriginal fabric crafts are more than "commodities" and can spread deep ethnic cultures and has successfully sustainable development.

Reference ( 52 ) 〈TOP〉

彭映淳，文化創意產業感性行銷之研究-以苗栗三義木雕為例，國立中央大學客家政治經濟研究所碩士論文，2007。
連結：
程道琳，影響地方工藝特色產品特徵價格因素之研究，國立臺北科技大學商業自動化與管理研究所碩士論文，2007。
連結：
林佳穎，台灣原住民文化產業之智慧資源規劃─以編織工藝為例，國立政治大學智慧財產研究所碩士論文，2009。
連結：
鄭玉雲，編織課程對泰雅族原住民學童、教師編織才能、族群意識與文化認同之研究，國立台灣師範大學特殊教育學系特需教育行政碩士論文，2010。
連結：
許瑄，原住民文化工藝產業發展：三家原住民工坊之經營比較研究，國立東華大學社會暨公共行政學系社會學碩士班碩士論文，2011。
連結：

Times Cited (1) 〈TOP〉

楊書瑋(2016)。金屬工藝產業微型創業成功關鍵因素_以 FAHP 之研究。中原大學企業管理學系學位論文。2016。1-77。

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