服飾類似一種語言，具備溝通的可能性，溝通的符號在於材質、型制、工藝、圖紋、製作與使用者等。在南島語族的各族群的服飾文化裡，服飾像是留言板一般寫著許多訊息，例如可以在台灣與大洋洲各島嶼的樹皮布材質，顯示出南島的先祖們的遷移路徑；從服飾裡的貝珠與玻璃珠發現到族群與物質交流的痕跡；或是在服飾的製作工藝裡，感受到親人的祝福與愛。
Embedded Files
Clothing is akin to a language with possibilities of communication. The symbols of this communication lie in the materials, forms, craftsmanship, patterns, creators, and users. In the clothing culture of various Austronesian groups, garments are like message boards with numerous messages. For example, the bark cloth material found in Taiwan and the islands of Oceania reveals the migration routes of Austronesian ancestors. The presence of shell beads and glass beads in clothing reflects traces of cultural and material exchanges between groups. Through the craftsmanship of clothing, people can also sense the blessings and love from family members.
起源
構樹與樹皮布在南島語族的起源與發展研究中，被視為是重要的文化特質。樹皮布的原料主要來自桑科植物，其中構樹與麵包樹最為常見。值得注意的是，太平洋島嶼的構樹並非島上的原生植物，這些地區的構樹很可能是經由人為傳播的，顯示出與南島語族的遷徙有著密切關係。
Origins
In the study of the origins and development of Austronesian cultures, the paper mulberry and bark cloth are regarded as important cultural traits. The primary material for bark cloth comes from plants in the mulberry family, both trees are the most common sources. Notably, the paper mulberry found on Pacific islands is not native to these regions; it was likely spread through human activities which indicate a close connection with the migrations of the Austronesian peoples.
臺灣阿美族的樹皮布
阿美族的樹皮衣是早期祭師舉行祈雨祭時，或是獵人在上山打獵時所穿戴的服飾。雖然阿美族在樹皮布傳承的過程中曾經產生斷層，但目前仍有部落族人正致力於阿美族樹皮布工藝復振，試圖與傳統文化連結與對話
Bark cloth of the Amis/Pangcah people
The bark clothing of the Amis/Pangcah people was traditionally worn by shamans during rainmaking ritual or by hunters when going into the mountains to hunt. Although there was a period of interruption in the transmission of the Amis/Pangcah bark cloth tradition, some members of the Indigenous communities are currently dedicated to reviving this craft, seeking to reconnect with and engage in a dialogue with their traditional culture.
樹皮布打棒
透過樹皮布打棒處歷過的樹皮布，不僅變得更薄更柔軟，也可以透過連接的方式增加樹皮布的面積。
Bark beater
By using a bark beater to process the bark cloth, it can be thinner and softer, and the size of it can also be expanded through joining techniques.
有槽石棒
在卑南遺址發現的有槽石棒，在其中一側刻劃斜向交錯的溝槽，推測是卑南文化人用來拍打或是製作某種器物的工具，目前仍需更多考古發現。
Grooved Stonebaton
Grooved stonebatons were discovered at the Peinan archaeological site, with one side featuring diagonally intersecting grooves. It is speculated that these tools were used by the people of the Peinan culture for beating or crafting certain objects. However, further archaeological findings are needed to confirm their exact purpose.
斐濟樹皮布
索羅門樹皮布
薩摩亞樹皮布（中）
大洋洲的樹皮布（索羅門、薩摩亞、斐濟）
樹皮布在大洋洲多稱為tapa，柔軟且具延展性，通常由女性製作，因此被拿來象徵女性的能力以及地位。製作樹皮布時，常選用構樹的柔軟內皮，使用刮削器清理並浸水軟化。經過槌打後，樹皮會緩慢延展成近似方形，人們可以將多塊樹皮布黏合或是在上面印製花紋，這些花紋具有表現身份地位的作用，不同地區亦有不同的技法，例如斐濟所製作的樹皮布運用了最多樣的裝飾性技法。樹皮布除了用來作為衣服、毯子或包裝珍貴物品等實用用途外，也做交換或儀式中的用具。
Bark Cloth of Oceania (Solomon Islands, Samoa, Fiji)
In Oceania, bark cloth is commonly known as tapa. It is soft and flexible, often made by women, and is thus used to symbolize feminine power and status. The process of making bark cloth typically involves selecting the soft inner bark of the paper mulberry, which is cleaned with a scraper and soaked to soften it. After being beaten, the bark slowly expands into a nearly square shape. Multiple pieces of bark cloth can be joined together, or patterns can be printed on the surface, which often serve to indicate social status. Different regions have their own distinct techniques for this process. Besides being used for clothing, blankets, or to wrap precious items, bark cloth also functions as an object for exchange or ritual use.
薩摩亞的樹皮布 提供者 | 方鈞瑋
交換
人群的移動會伴隨著許多的行為，物品的交換與交易更是其中一種常見的行為，所交換的物品有時會因此而產生更多的附加價值和象徵意義。在南島各族群的服飾中，有時會見到其中的材料是來自於交換，並且因此產生多元的文化詮釋與美學變革。
Exchange
The movement of people often brings about various activities, with the exchange and trade of goods being one of the most common. The items exchanged can sometimes gain additional value and symbolic meaning as a result. In the clothing of various Austronesian groups, materials are sometimes obtained through such exchanges, leading to diverse cultural interpretations and aesthetic transformations.
泰雅族的貝珠長衣
泰雅族貝珠長衣，屬於泰雅族的特殊禮服。是一種尊貴的禮服，同時也可作為餽贈的重要禮物或聘禮，或者是等同於貨幣的物件。雖然貝珠衣是上述族群中最具代表性也最重要的服飾，但是作為原料的貝珠卻不是自行生產，而是透過漢人、阿美與噶瑪蘭等族交易所獲得的。
Shell bead garment of the Atayal people
The shell bead garment of the Atayal people is special and esteemed. It can also be given as a significant gift or betrothal present, functioning much like currency. Although the shell bead garment is the most iconic and important clothing item among the Atayal people, the shell beads were not locally produced. Instead, they were acquired through trade with the Han, the Amis/Pangcah, and the Kavalan peoples.
北部南勢阿美男子無袖長衣
此款男子無袖長衣為花蓮地區之北部南勢阿美男性長者服飾。泰雅族木瓜群亦有類似形制的男子長上衣，據說此類服飾大多由泰雅族人製作或是與泰雅族人交易而來。但另一說認為服飾上紅色毛線來自與荷蘭人的交換──「荷蘭人到東部採金雖無所獲，但是卻為阿美族人帶來美麗的珠子、嗶嘰布、紅布、紗線卷等被視為珍寶的物資。」（鄭惠美，花蓮南勢阿美族服飾研究，1997）
Male sleeveless garment of the northern Nanshi Amis/Pangcah people
This male sleeveless garment is a traditional one worn by elderly men of the northern Nanshi Amis/Pangcah in Hualien. The Mugua subgroup of the Atayal people also has a similar style of the garment, which is believed to have been either made by the Atayal people or acquired through trade with them. However, another theory suggests that the red yarn used in the garment came from exchanges with the Dutch: “The Dutch, though unsuccessful in their quest for gold in the east, brought the Amis/Pangcah beautiful beads, serge fabrics, red cloth, and spools of thread, which were considered precious materials.” (Hui-mei Cheng, A Study of Nanshi Amis Clothing in Hualien, 1997).
砂拉越的串珠工藝
據考古發掘，島嶼東南亞的珠飾所使用的「印度-太平洋珠子」，是在過去的兩個世紀裡，於新加坡貿易半徑內流通，符合砂拉越原住民的口述歷史的敘述。珠子主要是從汶萊、新加坡和婆羅洲西岸等地交易而來，如砂拉越的山都望(Santubong)地區在8至14世紀是貿易集中地，有著興盛的珠子貿易和生產，當地商人們以其它貨物換取珠子。1920年以前，普通的珠子都是從威尼斯、波斯米亞和荷蘭進口。除了交易外，某些像是瑪瑙之類的珍貴珠子是穆斯林前往麥加朝聖時所帶回的。
Bead craft of Sarawak
According to archaeological findings, the "Indo-Pacific beads" used in islands of Southeast Asia were circulated within the trade radius of Singapore over the past two centuries. This aligns with the oral histories of the Indigenous people of Sarawak, which describe beads being traded primarily from Brunei, Singapore, and the western coast of Borneo. Santubong in Sarawak was a major trade hub from the 8th to the 14th century, known for its thriving bead trade and production. Local merchants exchanged other goods for beads. Before 1920, common beads were imported from Venice, Bohemia, and the Netherlands. In addition to trade, certain precious beads, such as agate, were brought back by Muslim pilgrims returning from Mecca.
祝福與叮嚀
服飾的製作與穿戴往往伴隨著祝福與叮嚀的心意，服飾上一針一線的圖紋更訴說著深刻的連結與觀察。南島各族服飾上的許多圖紋來自於對於對大自然植物與動物的觀察，表明了人與人與自然之間的連結關係，再經過不同製作者各自的工藝及美感轉化，呈現出多元豐富的設計。
Blessings and gentle reminders
The making and wearing of clothing are often accompanied by blessings and gentle reminders, with each stitch and pattern conveying deep connections and insights. Many of the patterns found in the clothing of various Austronesian groups are inspired by observations of plants and animals in nature, symbolizing the relationship between people and the natural world. Through the craftsmanship and aesthetic interpretations of different artisans, these observations are transformed into diverse and rich designs.
大武壠族的繡片
本件藏品係採集自高雄甲仙的繡片，推測應為大武壠族的繡片。此類繡片的來源有多種說法，此類繡片的使用應該是為了保存或記錄繡紋元素樣本以便供人參考而製成的刺繡方巾，一說認為這是早期少女出嫁前，母親將圖樣繡在似手巾的布上供女兒參考練習用的樣本。
Textile patch of the Taivoan people
This collection piece is a textile patch from Jiasian in Kaohsiung, which is believed to be from the Taivoan people. There are various theories regarding the origin of this kind of patches. It is thought that they were created as embroidered square cloth to preserve or document samples of embroidery patterns for reference. One theory suggests that these patches were made by mothers for their daughters to practice on before marriage, with the patterns embroidered on cloth like handkerchiefs for the daughters to refer to.
阿美族的攜物袋
當阿美族的男性成年時，母親會為其準備此款攜物袋做為祝福。流蘇毛絨線 (saysay)象徵植物的穗，亦為生命力('orip) 的表現。也具有使稻穀豐收及生財的象徵意涵﹔背帶上所裝飾的圓球乃象徵果實，果實當供欣賞觀看之時，象徵小孩，有多子多孫之意。
Shoulder bag of the Amis/Pangcah people
When an Amis/Pangcah boy becomes an adult, his mother prepares this shoulder bag as a gift of blessing for him. The tassels of fluffy yarn (saysay) symbolize the ears of plants and represent vitality (orip). They also carry symbolic meanings related to abundant rice harvests and prosperity. The round balls decorated on the straps symbolize fruit, and when the fruit is meant for admiration, it represents children, conveying the wish for many offspring and descendants.
布農族男子無袖長衣
方衣背面的菱形圖紋相傳來自於百步蛇。布農族與百步蛇是世交的好友，傳說有位布農族婦人苦思先生方衣上的織紋而向百步蛇借了一條小蛇作為織布圖案的參考。有另一說是小蛇在輾轉相借之間不幸身亡，母蛇揚言復仇因而爆發人蛇戰爭，直到最後，雙方達成協議，百步蛇願為布農族人織布參考，布農族人則須尊敬百步蛇。
Male sleeveless garment of the Bunun people
The diamond patterns on the back of the square garment are said to be inspired by the hundred-pace viper. The Bunun people and the hundred-pace viper are old family friends, and there is a legend about a Bunun woman who, in her quest for inspiration for the woven patterns on her husband’s garment, borrowed a small snake from the hundred-pace viper as a reference for her weaving design. According to another version of the legend, the small snake unfortunately died during the borrowing process, then led the mother snake to vow revenge, which sparked a conflict between humans and snakes. Eventually, both sides reached an agreement: the hundred-pace viper would provide weaving inspiration for the Bunun people, and in return, the Bunun people would show respect for them.
魯凱族之女子連身長衣
魯凱族人認為百步蛇是貴族的祖先或是祖靈的象徵，因此百步蛇圖案經常出現在魯凱人的住家木雕、石雕、衣飾、刺繡的紋飾上、生活器物上，藉以表達他們對百步蛇虔誠和敬畏之意。而這件來自屏東霧台地區的女子長衣，以玻璃珠繡滿了菱形、人頭紋、曲折紋、蛇形紋、三角形、八瓣花葉紋等圖樣，顯示出穿戴者的社會位階。
Female robe of the Rukai people
The Rukai people believe that the hundred-pace viper symbolizes ancestral nobles or spirits. As a result, the patterns of the hundred-pace viper often appear in Rukai wooden carvings, stone sculptures, clothing, embroidered designs, and utensils, expressing their devotion and reverence for them. This female robe from Wutai in Pingtung is adorned with glass beads embroidered in diamond patterns, human head patterns, zigzag patterns, serpentine patterns, triangle patterns, and eight-petal flower patterns, these reflect the social status of the wearer.
Page updated
Google Sites
Report abuse