織路繡徑穿重山：臺灣原住民族服飾精品聯展

臺灣原住民族 服飾精品聯展

Innumerable Efforts on the Art of Clothes A Joint Exhibit of Taiwan Indigenous Textiles

院長序

織路繡徑 穿重山 臺灣原住民族 服飾精品聯展

Innumerable Efforts on the Art of Clothes: A Joint Exhibit of Taiwan Indigenous Textiles

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目 次 Contents

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院長序

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Contents

院長序 The Director's Preface

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六館序 Six Museums' Preface

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導論 Introduction

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打製類 Tree bark pressing and hide tanning

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II 織布類 Weaving

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III 刺繡類 Embroidery

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IV 綴珠類 Beadwork

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Ⅴ 貼飾類 Appliqué

250

Ⅵ 飾品類 Accessories

270

專文 Essays

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1. 傳統的當代轉化 - 織品服飾工藝的實踐經驗 —尤瑪 ˙ 達陸 Creating a Modernized Traditional Craft: As Seen in Our Practice in the Textile Sector —Yuma·Taru 2. 中部平埔原住民的衣飾 —胡家瑜原著 、申尚艷整理 The Costumes of Central Taiwan Indigenous Peoples —Authored by Chia-yu Hu Copyedited by Shang-yen Shen

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院長序 服飾，從材質、形式、色彩到紋樣，都與生活環境和文化內涵 密切關聯，成為不同族群間的識別表徵。臺灣原住民族由早期構樹 皮製作樹皮布開始，在織縫技術和工具出現後，具傳統意義的紋飾 除表現在生活器物外，也運用在衣服的縫繡，凸顯我族認同；而後 搭配貝片、獸牙、獸骨、鳥羽裝飾，建立出族群獨有的生活美學， 以及表彰個人身分地位或武勇氣慨。至清末到日本時代，再加入交 易來的瓷釦、錢幣、金屬片和塑膠珠子等飾物，為臺灣原住民族衣 飾文化增添多元內涵。

臺灣做為南島語族擴散的起點，自日本人類學者土田滋將臺灣原 住民族依照語言分類出高山和平埔族群，至今在原住民族委員會制定 規範下，已經有十六個族群的歷史和文化獲得認定。各族群從簡單剪 裁到繁複工法，含各種材料、形式、顏色和紋飾的服飾，呈現特有工 藝傳統和文化意涵：鄒族以獸皮縫製富山林特色服裝，兼具文化傳承 及與大自然共生意義。然而泰雅族傳統服裝對紅色的喜好，源自嚇阻 惡靈的傳說；又做為尊貴象徵和價值保證的貝珠衣，材料據說因為阿 美族人的製作。雅美 / 達悟族人用蘭嶼的椰鬚製作背心；傳世的牛皮 甲來自菲律賓巴丹群島，銀盔材料可能交換自日本。除了由取材看到 院長序

臺灣原住民族的文化傳承與交流，卑南族的多彩菱格紋，布農族的棋 盤式菱格紋，賽夏族的卍字形紋，魯凱族慣用的八角花形紋，以及排 灣族以百步蛇、人形紋、太陽形紋表現社會階級，各族群的衣飾符號 各自有其精彩故事，也寓含自我認同和文化融合的結果。

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院長序

臺灣原住民族服裝發展從初始的方衣到晚近的長衣長袖，受限於 衣飾相關歷史文獻、圖像缺乏詳細描寫，由臺灣各原住民博物館的典 藏提供了近一、兩百年原住民族服飾樣貌的前提下，國立故宮博物院 南部院區延展臺灣已有原住民族服飾典藏成果，開啟與各博物館聯合 策展形式，推出臺灣原住民族服飾精品展。在國立臺灣博物館和國立 臺灣大學人類學博物館擁有珍稀平埔原住民織布、刺繡藏品；國立臺 灣史前文化博物館長期關注臺灣東岸原住民族歷史、文化之保存；中 央研究院民族學研究所博物館，自戰後積極進行臺灣原住民族研究與 物件蒐羅、研究的基礎，而順益台灣原住民博物館與北投文物館的數 千件原住民族衣飾典藏，又豐富了臺灣原住民族文化的詮釋。故宮與 六館的攜手聯展，除開啟館際資源交流、研究整合與展覽分享的新頁， 二百餘件經典服飾的展陳，將讓觀眾看見原住民族精良工藝、生活美 學，以及不同地域文化融合，傳統與現代要素互動過程，也具體呈現 臺灣島在面向太平洋東南亞，輻射出的文化圈樣態。

國立故宮博物院 院長

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The Director's Preface Costumes, differ in their material, shape, color, and pattern, is like a window to people's living environment and culture. They have become a tell-tale feature that helps distinguishing groups of people. In the beginning, Taiwan indigenous peoples learned to wear tree bark clothes. By the invention of sewing tools, they began to stitch meaningful patterns on their clothes, in order to show one's group identity. The ornaments made using shells, animal tusks, bones, and feathers were added later. This advancement allowed them to develop their own unique aesthetics which can be used to emphasize one's social status and bravery. From late Qing to Japanese domination bartered porcelain buttons, coins, metal pieces, and plastic beads brought multiculturalism into the textile cultures of Taiwan indigenous peoples.

院镡�

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Taiwan is known as the home of the Austronesian peoples. The diversified nature of Taiwan indigenous peoples can be inferred from the fact that Shigeru Tsuchida (1934-), a Japanese scholar of anthropology, divided the Taiwan indigenous peoples into the plain and mountain groups according to linguistic features, to today's 16 officially recognized groups of people based on the Council of Indigenous Peoples' criteria. From simplicity to more complex techniques, costumes made using a variety of materials, forms, colors and patterns are showing a group's technical traditions and cultural meanings. The Tsou's leather costumes were a cultural heritage that symbolized men and nature's coexistence.

The love for red clothes by the Atayal people was resulted in their devil-deterring legends. The beads suit that showcased a person's nobility and wealth, was made possible thanks to the shelll clam bead makers. The Yami/Tao people used local coconut fiber to make vests. They also used cow hide from the Batanes of the Philippines. Their silver could have been bartered from Japanese traders. Through the use of materials, we can see the heritage and exchanges Taiwan indigenous cultures in Taiwan. Additionally the multicolored diamonds of the Puyuma, the grid diamonds of the Bunun, the swastika of the Saisiyat, and the Paiwan's use of Deinagkistrodon snake, human form, and solar patterns to denote social classes, the symbols used on each group of people have their own great stories to tell

院長序

and they are used today to enhance one's group identity and demonstrate their adoption of other cultures.

The Taiwan indigenous costumes are known to be from rectangular cuts in the early days to more recent long shirts and long sleeves. However, the research suffered from a lack of historical records and images. Thanks to our partner museums, we now have a joint collection of the past two centuries' Taiwan indigenous costumes. The Southern Branch of the National Palace Museum is honored to present this Taiwan Indigenous Costumes Exhibition. We may use this opportunity to advance the studies of Taiwan indigenous peoples' costumes and promote future joint exhibitions. The National Taiwan Museum and the Museum of Anthropology of National Taiwan University both are known for their collections of the plains Taiwan indigenous cloths and embroidery.

For a very long time, the National Museum of Prehistory was devoted to the preservation of the history and culture of east coast Taiwan indigenous peoples.

After the end of the World War II, the Museum of the Institute of Ethnology at the Academia Sinica actively laid the groundwork for the study of Taiwan indigenous peoples and their artifact. The thousands of Taiwan indigenous costumes collected by the Shung Ye Museum of Formosan Aborigines and the Beitou Museum enriched the studies of their cultures. This joint exhibition of the National Palace Museum and the above six museums opened a new era in the inter-museum resource exchanges, research integration and exhibition cooperation. The display of over 200 pieces of classic costumes also demonstrate to the audience Taiwan the excellent craftsmanship, aesthetics, the cultural exchanges, and the interplay between traditional and modern elements in indigenous cultures. It also showed us clearly the Island of Taiwan's role in the cultural diffusion of the southeast Pacific area.

Director, National Palace Museum

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六館序 臺灣博物館界的一大盛事，第一次結合了公、私立六座博物館，在嘉義故 宮南院重現臺灣原住民族典藏服飾精品。「織路繡徑穿重山」的主題訂定，即 意涵服飾技法的多樣性以及在社區部落的自然生活中，蘊育出百年來縱有千百 變，卻也不曾消失的各族服飾特色。很高興，故宮南院於去 (2017) 年底邀請北 投文物館館長擔任此次聯展初始概念的原發想人及執行策展人。為了讓更多人 認識並瞭解臺灣原住民族文化藝術和生活習俗中的服飾用品，我們提出結合國 內收藏有精彩豐富臺灣原住民族文物與服飾精品的六座公、私立博物館，即中 央研究院民族學研究所博物館、國立臺灣大學人類學博物館、國立臺灣博物館、 國立臺灣史前文化博物館、順益台灣原住民博物館以及北投文物館，共同參與 策劃難得一見的臺灣原住民族服飾精品聯展。六館均表達高度合作意願，並於 多次研商討論之後，陸續提供總數 269 件的服飾精品，作為展示要項。有各館 的大力支持，展覽作業才得以順遂進行。

六館館長 / 主任 / 負責人均表達極榮幸參與此次聯展，各館提供的館藏服 飾珍品，讓國內外友人能有機會欣賞臺灣原住民先人所遺留下來的智慧與工藝。 中央研究院民族學研究所胡台麗所長指出，該所博物館典藏的臺灣原住民族文 物約有百分之八十於 1956-1970 年間採集入藏。當時面對急速變遷的臺灣原住民 社會文化環境，人類學家前輩們遠赴交通不便的部落進行田野調查，除了訪問 六館序

耆老蒐集民族誌資料外，同時也收藏了許多正面臨消逝的文物。研究者有時甚 至請部落報導人進行製作示範教學，以求妥善紀錄保存這些珍貴的技藝與文化。 這批具有學術研究意義的民族學物件的收藏，幾十年來經由民族所博物館的保 存與展示，逐漸成為召喚耆老記憶、建構族群或部落主體性、重建並傳承知識

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六館序

與技藝的重要文化資產。此次提供聯展展出的服飾相關藏品共有 50 件，其中大 部分是近年來文物源出部落的耆老、工藝師或學校團體曾親自到館進行藏品調 閱研究的文物，例如蘊含失傳技法的泰雅族貝珠衣、排灣族貴族頭目階級盛裝 採用的綴珠男子短上衣與豹皮衣、織紋富有變化的太魯閣族女裙、織藝精巧的 卑南族男子後敞褲、紋樣呈現雷女傳說的賽夏族祭儀用長上衣等。

透過此次聯展機會，胡所長希望邀請社會大眾一同欣賞臺灣原住民衣飾文 化的內涵，從衣飾的型制圖紋來了解各族的傳說與文化精神，從多樣材質的運 用來理解族人向自然界取材的智慧，一窺過去不同族群間密切往來交易的樣貌。 另方面，在驚艷感佩於原住民高超的技藝與智慧時，我們也呼籲全民一起來關 注與維護當前各族群的文化傳承、傳統工藝技法保存與創新的努力與成果。

中央研究院民族學研究所所長

國立臺灣大學人類學系林開世主任強調該系人類學博物館的館藏，主要是 日治時期臺北帝國大學 ( 國立臺灣大學前身 ) 文政學部土俗人種學講座的學者所 收集；戰後初期又由老師輩學者補充了另外一小批文物。在經費困難和運輸不 易的情況下，辛苦地為後代保留了一些快速消逝的文物，讓我們能在今天舉辦 如此的盛宴。此次提供 29 件文物，其中以 18 件平埔原住民文物為大宗，包含 和安雅 ( 或稱洪安雅 )、噶哈巫、巴宰、馬卡道、和大武壠等族的織花、刺繡和

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貼布服飾，皆於 1930 年代左右入館典藏，製作日期則可追溯更早。展示物品雖 不多，但都是相當重要且難得一見的珍貴文物。特別值得一提的是，因有這批 保存在該館的文物，讓許多原住民族的智慧結晶得以留下。今日，歷經急遽變 遷的部落族人後裔，可以重新造訪原本遺失的工藝、形象、技術與用品，再度 與祖靈連結感應。族人一方面得以重振傳統技藝，另一方面更可以安撫心靈， 拾回與祖靈和傳統文化的細密絲縷連線。文物不再只是博物館內部的展示品， 它們是博物館與原住民部落之間的橋樑。大家把博物館的展示，視作祖先神聖 的付託，繼而共同營造一個更為豐富與信賴的未來。

國立臺灣大學人類學系主任

國立臺灣博物館洪世佑館長說明本次聯展集結國內重量級原住民典藏機構 之精華，表現臺灣原住民傳統服飾文化之廣度及深度，除了服飾的材質、技法 與工藝之美，更透過這批服飾呈現出原住民族群的社會意義與文化內涵，進而 推廣原住民族群文化。臺博館典藏了豐富的原住民文物，相關收藏研究自 1908 年成立至今已百餘年，此次提供 81 件經典藏品豐富本展，包含達悟族牛皮甲、 巴宰族男子無袖短衣、噶瑪蘭族女裙、排灣族女子三角形喪帽、泰雅族貝珠衣、 阿美族男子山豬獠牙藤帽、賽夏族貝珠串頸飾等文物。不但是「常民文物」、「藝 術傑作」，更多有經典之作，在服飾工藝的型制風格、材質技法、藝術性上均 六館序

具代表性及稀有性。其中世上唯一證明蘭嶼達悟族與菲律賓巴丹群島文化親緣 關係的物質證據，以整片鞣製皮革製成的「牛皮甲」；充分展現其獨步織藝的「巴 宰族男子無袖短衣」等，更富涵社會文化的重大意義。臺博館致力於臺灣原住 民族群文化資產保存、教育推廣及文化傳承的關懷，期待透過這些濃縮原住民

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六館序

歷史文化傳統焦點的文物，凝聚原住民傳統智慧與技藝經典，冀盼大眾能深入 瞭解臺灣原住民族的文化內涵。

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國立臺灣博物館館長

國立臺灣史前文化博物館李玉芬館長提到，此次聯展除了引領我們欣賞精 緻的臺灣原住民族服飾，更期待能藉此認識原住民族深湛的文化內涵。史前館 做為一座以考古學與人類學為核心的博物館，自開館以來就致力以考古學發掘 這塊土地上人與環境長時間互動的歷史過程，以人類學探究臺灣原住民族與南 島語族文化的多樣性。該館自 1992 年來開始進行民族學藏品的蒐藏，迄今已有 1 萬 4 千多件的收藏品，涵蓋的範圍包括臺灣原住民族、中國西南少數民族與世 界南島地區。這些典藏的文物，不但做為本館展示教育使用，近年來更成為臺 灣原住民族社群進行文化復振與文物重製重要的參考資料。此次提供 48 件典藏 精品。在此，特別感謝故宮博物院及各單位的通力合作，讓這個展覽得以呈現 在世人面前，透過臺灣原住民服飾的展示讓大眾有機會認識原住民族豐富且多 樣的文化資產。

國立臺灣史前文化博物館館長

順益台灣原住民博物館游浩乙館長表示，該館自 1994 年開館迄今，就與國 立故宮博物院有長期的合作關係。在籌建選址過程中，即因故宮位於臺北市的 外雙溪地區，最終選擇奠基於故宮的斜對面，讓屬於中華文化與臺灣原住民族 文化的展示同時呈現。近年兩館並共同發行聯合參觀券，讓觀眾更能同時體驗 到臺灣文化的多元風貌。該館係由創辦人林清富先生將其喜好的文物收藏品捐 贈成立，非以學術研究為目的收集，大都屬各族製作顯現形式美學的文物為主， 因而呈現出臺灣原住民各族物質文化及工藝製作精湛的面貌。配合特展籌劃， 提供了 37 件 / 組典藏文物。樂見故宮南院呈現出臺灣原住民族文化特展，讓更 多民眾能認識到臺灣原住民族文化的風貌與精髓。

順益台灣原住民博物館館長

北投文物館同時提供 24 件原住民精品服飾，豐富展品內容。按一般經驗認 知，服飾展期不宜超過三個月，因此，文物以 149 件和 120 件分屬前後二檔期 (6 月 1 日至 9 月 2 日；9 月 8 日至 12 月 9 日 ) 展出。另外，除了已於 6 月份出版 導覽手冊外，亦將於 9 月份出版資料完整的圖錄。我們期盼藉由原住民族服飾 的展示，引領大家清楚認識臺灣原住民族的文化底蘊，進而激起對原住民，尤 其是平埔原住民許多未知的故事產生興趣並持續關心。這次故宮與各族原住民 的接觸，可謂是一場美麗又具深度的邂逅。 六館序

北投文物館館長

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六館序 13

Six Museums Preface

This is one of the greatest events in Taiwan's history of museums. This is the first time that six private and public museums devoted their efforts to launch an exhibition of Taiwan indigenous peoples' textile masterpieces in the Southern Branch of the National Palace Museum. The theme of the Innumerable Efforts on the Art of Clothes exhibition was the introduction of certain everlasting features and the diversified techniques developed by the people during the thousands of years of living with the nature. We are pleased that the National Palace Museum kindly invited the Director of the Beitou Museum to plan and execute this exhibition in late 2017. In order to introduce Taiwan indigenous peoples' cultures, aesthetics, and their costumes, we proposed to invite the six museums having abundant and representative collections of indigenous peoples' costumes for the preparation of this special exhibition. They include the Museum of the Institute of Ethnology at the Academia Sinica, the Museum of Anthropology of National Taiwan University, the National Taiwan Museum, the National Museum of Prehistory, the Shung Ye Museum of Formosan Aborigines, and the Beitou Museum. After countless times of discussions, we have selected 269 masterpieces for this exhibition. Without their support, we can never have launched this exhibition.

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The six heads of museums all expressed they are pleased to be invited. The masterpieces offered by them allowed guests from all over the world to appreciate the wisdom and craftsmanship left to us by the Taiwan indigenous peoples. Taili Hu, Director of the Institute of Ethnology at the Academia Sinica, told us that about 80% of the artifacts collected by them were obtained between 1956 and 1970. In a time when the indigenous societies were affected by a fast-changing world, many pioneering ethnologists went to remote communities for field studies. Not only interviewing the old ones for the compilation of ethnography, they had collected many disappearing artifacts as well. In many cases, investigators invited the interviewees to demonstrate the making of these items in order to well-preserve these precious skills and cultures. This batch of collection, not only for academic uses, they have been used to refresh people's memories, rebuild group identity, and pass on knowledge and skills. This exhibition provides 50

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costume-related items. Most of them have been examined by the elders of their source societies, craftsmen, and educational institutions. They include the Atayal shell bead vest, the men's short shirt and leopard shirt worn and formal dresses by the Paiwan upper class, the Truku women's skirt, the Puyuma men's front-only pants, and the swastika patterned Saisiyat ritual-use long shirt.

Director Hu wishes the public could use this opportunity to appreciate the Taiwan indigenous people's costumes. The patterns of their clothing tell us about their legends and cultures. The use of multiple materials tells us about their natural life wisdom. We may learn about these peoples' trading. In addition to be amazed by their achievements in techniques and wisdom, we shall be more aware of their cultural heritage, traditional skills preservation and innovation.

Director Tai-li Hu of the Institute of Ethnology at the Academia Sinica

Kai-shih Lin, Dean of the Department of Anthropology of National Taiwan University, held that their collections were mostly collected by the lecture scholars of anthropology of the Taipei Imperial University during Japanese domination while some others were collected by post-war scholars. These artifacts were carefully collected despite of many difficulties in budgets and transportation so we may see them today. They provide 29 items for this exhibition. Among them 18 were from Taiwan plains indigenous peoples. They include weaving, embroidery, and appliqué of the Hoanya, Kaxabu, Pazeh, Makatao, and Taivoan peoples made very early and collected in the 1930s. Even though the number is relatively small, they are really precious. We have to emphasize the fact that these artifacts helped the preservation of many groups of people's wisdom. Their descendents may revisit these skills, images, techniques and artifacts and meet the creations of their ancestors. They are now enabled to restore their tradition and harmonize

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themselves in their traditions. They are not just museum items. They are a bridge between the museum and the people. These collected items are seen as a sacred entrust that help the making of a richer and trustable future.

Dean Kai-shih Lin of the Department of Anthropology of National Taiwan University

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Shih-yu Hung, Director of the National Taiwan Museum, explained to us that this joint exhibition gathered the best of Taiwan's most prestigious collectors of indigenous peoples' artifacts. The width and depth of this exhibition is unparalleled. In addition to the materials, techniques, and skills, they showed us the social and cultural aspects of these peoples and brought their cultures to the public. The National Taiwan Museum is more than one hundred years old and supplied us 81 masterpieces. They include the Tao's cow hide armor, the Pazeh's sleeveless short male shirt, the Kavalan woman's skirt, the Paiwan's triangular mourning hat for women, the Atayal shell bead shirt, the Amis ratten hat with wild boar tusks for men, the Saisiyat shell bed necklace. They are not just everyday items, many of them are masterpieces. They are both rare and representative in their styles, techniques, and art values. The cow hide armor, made using a whole piece of cow hide, is the world's only proof that the Tao people was related to the Batanes of the Philippines. The Pazeh's sleeveless short male shirt was known for its demanding weaving skills. They are all very meaningful to their societies. The National Taiwan Museum is an institute dedicated to preserve, promote, and pass on Taiwan indigenous peoples' cultures. We hope these clippings of the history of Taiwan indigenous peoples may bring us to the wisdom, skills and beautiful cultures of the Taiwan indigenous peoples.

Director Shih-yu Hung of the National Taiwan Museum

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Yu-Fen Lee, Director of the National Museum of Prehistory, said this joint exhibition not just brings us Taiwan indigenous peoples' costumes; they bring their cultures to us. The National Museum of Prehistory, a museum of archaeology and ethnology, was determined to explore the long history of people and the environment on this island and investigate the multiple faces of the Austronesian cultures of the Taiwan indigenous peoples. The museum has been collecting ethnological artifacts since 1992 and has obtained more than 14 thousand pieces so far. These items were from the Taiwan indigenous peoples, minority groups of Southeastern China, and the worldwide Austronesians. They are not just for display and educational purposes; they also served the function of Taiwan indigenous peoples' cultural revival and restoration. 48 items are displayed in this exhibition. The Director wants to thank the National Palace Museum and other partners who are making this joint exhibition possible. By making these costumes available to the exhibition, the public may know more about Taiwan indigenous peoples' rich and diverse cultural heritages.

Director Yu-Fen Lee of the National Museum of Prehistory,

Eric H. Y. Yu, Director of the Shung Ye Museum of Formosan Aborigines, told us they've been in close cooperation with the National Palace Museum since its opening in 1994. In the location scouring process, they had chosen the site across the street from the National Palace Museum in order to present Taiwan indigenous peoples' cultures along with the Chinese culture. Both museums issue dual tickets in order to let viewers visit both museums and appreciate Taiwan's multiculturalism. This museum was based on a donated batch of its founder's personal collection rather than items collected for research purposes. These items were created for aesthetic purposes and showcased the Taiwan indigenous peoples' craftsmanship and material culture. 37 items were supplied. They loved to see the

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exhibition launched at the South Branch of the National Palace Museum in order to let more people appreciate Taiwan indigenous peoples' rich cultures.

Director Eric H. Y. Yu of the Shung Ye Museum of Formosan Aborigines

The Beitou Museum supplied 24 pieces of Taiwan indigenous peoples' costumes. The rule of thumb of textile exhibitions is that a piece of cloth shall not be public displayed for more than three months. Therefore, 149 of them are displayed from June 1 to September 2, and another batch of 120 is displayed from September 8 to December 9. In addition to the guidebook published in June, we are going to publish a complete catalog in September. We hope this exhibition of the Taiwan indigenous peoples' costumes could initiate our reader's awareness to understand more about Taiwan indigenous peoples' unique and diversified cultures and become interested in the plains indigenous peoples' unknown stories.

This indigenous people exhibition at the National Palace Museum can be a beautiful beginning.

Director Saalih Hsieh-Lee of the Beitou Museum 六館序 18

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導論 緣起 「織路繡徑穿重山 : 臺灣原住民族服飾精品聯展」，是一場故宮與臺灣原住民族的 美麗邂逅，也是臺灣博物館界有史以來第一次結合六座公、私立博物館的典藏原住民族 服飾精品完整的呈現 ! 國立故宮博物院典藏近 70 萬件冊的藝術品和文物，各類藏品分別由器物處、書畫 處、圖書文獻處和南院處等四個策展部門管理，其中與臺灣原住民族相關的僅圖書文獻 類，並無文物的收藏。這次在嘉義故宮南部院區推出臺灣原住民族服飾精品聯展，係因 南院的定位為「亞洲藝術文化博物館」，以立足臺灣，放眼亞洲藝術文化為展覽主軸， 為了讓更多人認識並瞭解臺灣原住民族的文化藝術以及生活習俗中的用品與服飾，遂於 今（2018）年 6 月起推出一系列與臺灣原住民族相關的展覽。 由於臺灣原住民各族服飾的呈現形制多樣化且豐富多彩，包含了五種傳統的技法， 如打製樹皮布與皮革、織布、刺繡、綴珠以及貼縫等，蘊含不同族群、社會組織、祭典 儀式，以及使用場合的文化意涵，已成為臺灣原住民族具代表性的衣飾文化，也是重要 的族群識別表徵。而服飾的材質與染料的運用，隨著時代的演變與發展，反映出族群間 相互的影響以及與外來貿易交流的關係，在在顯現臺灣原住民族衣飾文化的獨特性、多 元性以及包容性。 因此，首展即以臺灣原住民族傳統衣飾文化為主題，結合國內收藏有豐富精彩的臺 灣原住民族文物與服飾珍品的六座博物館，即中央研究院民族學研究所博物館、國立臺 灣大學人類學博物館、國立臺灣博物館、國立臺灣史前文化博物館、順益台灣原住民博 導論

物館以及北投文物館等，共同策劃「織路繡徑穿重山 : 臺灣原住民族服飾精品聯展」。 此次展覽，一方面係依據臺灣原住民各族服飾的表現特色，區劃出不同技法與材質 的展區，由六館自行挑選館藏最具經典性服飾精品，尤其具有特殊工藝或藝術的代表 性，獨特而富有重大社會、文化、歷史意義，足以代表族群文化傳統的服飾；同時具技 法稀有性以及保存狀況良好者，共計 269 件，中央研究院民族學博物館提供 50 件、國

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導論

立臺灣大學人類學博物館提供 29 件、國立臺灣博物館提供 81 件、國立臺灣史前文化博 物館 48 件、順益台灣原住民博物館提供 37 件以及北投文物館提供 24 件。由於件數豐富， 分為二檔期（6 月 1 日至 9 月 2 日；9 月 8 日至 12 月 9 日）展出。另一方面，藉由南部 院區的 258 坪展覽空間，促進國內公、私立博物館的資源交流、研究整合與展覽分享， 增加臺灣原住民族服飾與參觀者的互動，同時喚起大眾對於原住民族文化的重視，以利 原住民族文化藝術的推廣與傳承。 此圖錄的出版，係收入 269 件精品服飾，透過各種傳統服飾的技法，以精緻的圖檔、 淺顯扼要的說明，並邀請人間國寶尤瑪 ˙ 達陸女士與胡家瑜教授撰寫二篇專文，彰顯各 族群精彩的文化內涵與背後的故事，讓民眾更加瞭解臺灣原住民族特殊而多元的文化樣 貌，為原住民族的傳統服飾留下美麗的圖像與歷史的記憶。

臺灣原住民族概述 臺灣原住民族屬於主要分布在太平洋地區之南島或馬來 - 波里尼西亞語族的一支。 該語族西起非洲東南的馬達加斯加島，東抵接近南美洲的復活節島，南至紐西蘭，臺灣 則是目前公認的分布最北端。（參圖一） 圖一 南島語族分布圖

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