余明旂、張至善。〈排灣族平織技藝民族誌：以平和 (Piyuma) 部落及古樓 (Kuljaljau) 部落為中心〉。《民俗曲藝》217
(2022.9): 105-59。
Semuenuq Paljaljuman and Chang Chi-shan. “Ethnography of Paiwan Plain Weaving
with a Special Emphasis on That of the Piyuma and the Kuljaljau Tribes.” Journal
of Chinese Ritual, Theatre and Folklore 217 (2022.9): 105-59.
Abstract
本文探討排灣族的織布，特別著重於「平織」之技藝及圖紋探討，行文由排灣族織布起源傳說及禁忌開始，記錄排灣族平和（Piyuma）部落織布祭儀的再現、描寫苧麻線材的製作工序、織布工具及使用、排灣族織布技法和織紋討論等，企圖刻畫排灣族織布在當代的樣貌，並探討排灣族織布在當代的意義。研究以田野調查和參與觀察進行，透過織者的生命歷程分享或口述知識以瞭解織布背後的文化內涵。本文主要的報導人為來義鄉古樓（Kuljaljau）部落工藝師許春美女士（排灣族語名Ljumiyang），據許春美女士陳述，她主要是靠着父親從小觀看祖母和媽媽織布的記憶，口述指導各種織法技巧，一步一步摸索，找回排灣婦女自豪的傳統文化。本文同時記錄了2020年平和部落中斷許久的織布祭儀，詳細記載了儀式過程和祭語，並探討排灣族平織織紋意義，從語言學和人類學的視角來分析織紋，考慮群體的想法及族群文化意涵，來考證織紋的意義。最後提出結論與建議，希冀能增加對於當代排灣族織布的理解。
This
article discusses Paiwan weaving, with particular emphasis on the techniques
and patterns of “plain weaving.” The discussion begins with the legends and
taboos of the origin of Paiwan weaving, and documents the revival of weaving
rituals of the Piyuma tribe. It describes the production process of ramie
fiber, the weaving tools, methods, and weaving patterns in an attempt to
present the contemporary revival of Paiwan weaving, and to explore its
contemporary significance. Fieldwork was conducted to discern the weaver’s life
experience and transcribe her oral knowledge to apprehend the cultural connotations
of weaving. The main informant is Ms. Hsu Chun-mei (Ljumiyang in Paiwanese), a
weaver from the Kuljaljau village. Hsu Chun-mei’s knowledge of weaving
techniques largely relies on her father’s childhood memory of watching his
mother and grandmother weaving. Through gradual fumbling, she re-discovers the
traditional culture that Paiwan women are proud of. This paper also records the
long-discontinued Piyuma weaving ritual re-enacted in 2020. It documents the
ritual process and ritual language in detail, and discusses the meaning of
Paiwan plain weaving pattern. The purpose of this article is to enhance the
understanding of contemporary Paiwan weaving.