凝結的浪 2019臺東工藝材質復育計畫專刊 by Echo Taitung

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

CONTENTS 02

縣長序

院長序

凝結的浪－自然原生的工藝探索

臺東工藝材質復育及其未來設計之研究—以苧麻與瓊麻為例

展覽論述－凝結的浪

工藝新秀獎評審介紹

參展作品

展覽紀實

Foreword of Magistrate of Taitung County Foreword of the Dean Waves of Convergence - Natural and Original Craft Exploration Research on Taitung Craft Material Rehabilitation and Its Future Design: a Case Study of Ramie and Sisal Hemp Waves of Convergence Origin of Plan The Juror of Rising Star Award Introduction Exhibits Introduction Exhibition Review

縣長序

Foreword of Magistrate of Taitung County 臺東縣長——饒慶齡 Rao, Qing-Ling

Magistrate of Taitung County

小時候去高雄，車子過了知本，海邊的景象就

I visited Kaohsiung when I was ver y young. Driving past

還帶刺的植物叫什麼名字，其實我們是敬而遠之

the tall and broad edged plant with thorns, we always kept

僅有木麻黃和瓊麻，雖然不知道那高大、寬邊葉子的，因為那個刺很堅硬，連大人都怕的，長大後才知道，原來它叫瓊麻，而且在塑膠材料出現之前，

它還是我們重要的民生物資，像是傳統米糧麻布袋，漁船必需品的粗麻繩等都是，至於苧麻就更不用說了，它在原住民文化裡的重要性恐怕不亞於漢

人社會裡的瓊麻，可是現代人認識它們的不多了，大家日常所需的給養，街角轉轉就全部可以滿足，可是，生活越便利就離土地越遠，然後就越活越迷茫，這就是為什麼很多人跑來台東，想找回心靈的

故鄉，給身心一個安駐的空間，因為我們的天很藍，海很乾淨，很親近土地，我很高興文化處可以推動這個復育的計畫。

某位詩人曾說，鄉愁是無解的，近來全省很多

懷舊復古的餐廳開張，大概緣於這樣的鄉愁，但是我相信重新復育瓊麻苧麻，在撫慰鄉愁之外，有更高更遠的目標，那就是環境教育的重要性，告訴我們珍惜土地，愛護地球，儘量使用友善可回歸大地的材料。

WAVES OF CONVERGENCE

Chihpen, what came to our view were only the Casuarina

and Sisal hemp along the seaside. Not knowing the name of

away from it because the thorns were so rough that even the adults were afraid of them. After growing up, I got to

know its name of Sisal hemp. Before the invention of plastic materials, it was an important material for our necessities, such as the traditional gunny bags for carrying grain, thick

twines for fishing boats, and ramie. Undoubtedly, while the

importance of ramie in aboriginal culture may be no less than that of Sisal hemp in Han society, they are no longer well known to modern people, as we can get virtually every daily necessity from the stores around the corner. However,

the more convenient life is, the farther away we are from

the land, and the more perplexed we feel in our life. With its

blue sky, transparent sea, and closeness to the land, Taitung has become the ideal place for people who try to find the

homeland of their soul and rest their body and mind. I’m

very glad to see this rehabilitation program promoted by the Cultural Affair Department.

A poet once said that nostalgia is inextricable. This may explain why there are so many vintage restaurants springing

up recently in Kaohsiung. Howe ver, I belie ve that the

rehabilitation of Sisal hemp and ramie has much deeper and further missions than soothing nostalgia. That is, it can impart the significance of environmental education, which

tells us to cherish the land, love the earth, and try to use friendly and recyclable materials.

臺東有大山大海，更有大格局大氣魄，足堪擁

Taitung features high mountains and vast ocean vistas, as

延，文化當如是，設計亦如是，源自土地才能成就

energy of the land extends far and wide, as does the culture

抱八方水土四方遊子，我們堅信土地的能量亙遠綿

一切美感經驗，這就是臺東的生活態度，也是生命的堅持，歡迎來臺東。

well as a grand layout and boldness to embrace lands and wanderers from all directions. We firmly believe that the

and design. Only from the land can we achieve all the aesthetic experiences we desire. This is Taitung people’s

attitude towards life, and their persistence in life. Welcome to Taitung!

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

院長序

Foreword of the Dean 國立臺東大學人文學院院長暨美術產業學系教授——林永發

Lin, Yung-Fa

College of Humanities, National Taitung University Dean, Professor of the Department of Art Industry

在臺東投入教育多年，總是常被人們問到這兒

Throughout the years of my education career in Taitung, I have

的南國景致所迷？然它的好，實在於每個片刻不盡

poetic and picturesque scenery of the southern area? In fact,

的好，是在工作中能坐擁山海風光？亦或被如詩畫相同的美麗感受，總是如夢變化萬千，雖難一言以蔽之，但或許是在地人常道之臺東土地那黏人的特

質，讓已愛上它的我不易走遠。有句俗諺：「後山日先照。」臺東為日出之鄉、依山臨海，是全臺最

早被喚醒的土地，也是南島文化的原鄉，這兒乘載著對多元族群的吸納與包容，阿美、卑南、排灣、魯凱等原住民族，乃至於移墾的漢人與晚近渡海的

華人，都持續用雙手鬆動著這塊土地，在這兒持續孕育著強韌澎湃的生命力量。

這片土地過往孕養著人們生活的必需，非單葉

always been asked what is good about Taitung. Is it the scenery of mountains and seas we can enjoy during work? Or is it the the beauty of Taitung lies in its different feelings of beauty at

every moment, every turn of the head, which are constantly changing like dreams, and thus, beyond the description of a few words. Maybe it’s the calming nature of Taitung’s lands

that make me so deeply in love with it that I can hardly stay away. There’s a common saying: “The sun shines first on the

back of the mountain”. Taitung, backed by mountains and facing the sea, is the first land awakened by the sunrise. It’s

also the hometown of South Island culture, and a place that accommodates and embraces diverse ethnic groups. Amis, Puyuma, Paiwan, Rukai, and other original ethnic groups, as

well as the Han people and Chinese immigrants from across the Strait, have toiled this land with their hands, continuously breeding the surging momentum of life.

菜稻果等作物，瓊麻與苧麻這易栽且實用的民生必

On this land, the people grew crops to meet their needs for

便利的現代社會，材質跟環境的源頭其實越來越顯

were also grown here. In modern society, with its convenient

需也因此落地生根。在創作材料與材質取得越來越得疏離，這敦促著人們自省，也因此，復興臺東工藝產業與土地人文連結之使命，透過「凝結的浪－ 2019 臺東工藝材質復育暨年度策展計畫」以傳統材質再次表現於工藝設計和創作，在與土地有了接觸後，彷彿開啟了計畫的參與者們與往昔安居原鄉的先民、滿富勇氣拓荒者們的彼此呼應。

臺東縣政府、本校美術產業中心團隊、參展工

藝家以及工作坊夥伴們試圖以植物纖維作為材料創新前導，在本校知本校區進行 100 平方公尺苧麻與瓊麻復育及「材質復育工作坊」教學計畫，從最初的原物料種植、習得與處理材料技術，結合在地工坊教學材質種植、材料處理與工藝設計創作，讓計

畫內容忠實地從零開始記錄著以此等材質之創作歷

程，這實然美感教育跟多元文化孵育的實踐，復育、回顧、嘗試與再開創，深刻地人文內涵彰顯，促成

設計與創作重回環境，這場工藝展演的不只是傳統， 04

WAVES OF CONVERGENCE

necessities, such as non-leafy vegetables, rice, and fruits. Some

useful plants that are easy to grow, like Sisal Hemp and Ramie,

access to materials and textures for creation, the origins of the textures and the environment have become increasingly

alienated, which is an issue worthy of our self-reflection. Therefore, with the mission of restoring Taitung’s craft

industry and connecting the land and humanity, the “Waves of Convergence-2019 Taitung Craft Material Renaissance

Exhibition” made the traditional materials reappear in craft

design and creation. Contact with the land seems to have initiated interactions between the creators of this plan, our

aboriginal ancestors, and the courageous contemporary pioneers on this land.

With plant fibers for pioneering material innovation, the Taitung

county government, a team from the Art Industry Center of

National Taitung University, the participating craftsmen, and the workshop partners, have been trying to rehabilitate ramie and sisal hemp on a 100 square meter field in the Zhiben

Campus of National Taitung University, in order to carry out a “material rehabilitation workshop” teaching plan. From

the planting of the raw materials and applying the technology of material acquisition and processing, to combining plant

teaching materials in local workshops and material processing with craft design and creation, the content of this plan tries to

更是對於土地的理念，展現和環境和平共處之後大

faithfully record the creation process of such materials from

喊：「看呀！我們在傳統材質的應用中，找到了如

review, creation, and recreation, profoundly demonstrates the

地賜予的豐盛回饋，此時，我們彷彿可以大聲地呼此動人的情懷！」

美，讓我們更珍惜臺東的好！縣府透過文化處讓「關注臺東」成為了顯學，多樣的展示記錄著臺東的過去、現在和未來的文化面容，文化猶如一座的城市客廳門面，溫暖且真摯；執行團隊東大美術

scratch. This kind of natural aesthetic education, coupled with the practices of multi-cultural incubation, rehabilitation,

humanistic connotations and facilitates the return of design

and creation to the environment. This craft exhibition is not

just about tradition, but more importantly, about the concept of the land and the display of the bountiful returns given by

the land after peaceful coexistence with the environment. At

this time, we may exclaim loudly: “Look! We have found such touching feelings in the application of traditional materials”

產業中心更是以源源不絕的能量、嫻熟紮實的計畫

Beauty makes us cherish the goodness of Taitung more

為核心理念之下，持續推行「美術產業化」的具體

Affair Department, which records Tatung’s past, present,

執行能力與經驗，在「設計整合」與「藝術文化」成果與各界溝通，亦為臺灣工藝、美術之學術研究與產業培育許許多多亮眼新秀與優秀人才。「凝結的浪－ 2019 臺東工藝材質復育暨年度策展計畫」

之工藝材質復育工作坊、工藝材質復育展、大型裝置藝術、苧麻及瓊麻復育種植等系列提供了全民一起認識泥土裡、自然界能提供的創作環境與材質之平臺 ─ ─ 苧麻纖維造紙之細緻白淨，瓊麻纖維堅韌

粗糙的自然淡綠，講師阿布斯對於苧麻剝皮、取纖、搓揉、成線、織成布步驟之熟稔更是精采！可以驕傲地說，計畫實現了保護傳統文化資產價值，提升國人精神層次與藝術人文素養，昇化全民的文化氣質與生活品質，並促進社會的安祥與和諧的宏大使

命。臺東工藝材質復育在 2019 年有了好的開始，

然依然有著許許多多的親土材質與在地的智慧等待著我們再次喚起，深刻體驗！

deeply! The county government has made “eyes on Taitung”

prominent through the program advocated by the Cultural and future cultural looks through various exhibitions. Culture

is like a city’s living room, which is warm and sincere. As the implementation unit, the Art Industry Center of National

Taitung University had devoted its endless energy, abilities, and strong planning and execution capabilities and experience to advocate the specific achievements of “art industrialization” and communicating with all walks of life under the core

concept of “design integration” and “art culture”. It has also cultivated many promising young people and outstanding talents for Taiwan’s academic research and arts and crafts industry.

Under the “Waves of Convergence-2019 Taitung Craft Material Renaissance Exhibition”, a series of programs were carried

out, such as the craft material rehabilitation workshop and exhibition, large-scale installation art, and ramie and sisal hemp rehabilitation planting, which provide a platform for the public

to understand the creation environment and materials that nature can provide from the soil – the delicacy and fineness of Ramie fiber paper and the natural light green of the rough and tough Sisal Hemp fiber. The lecturer Arbus’ mastery of

the steps of Ramie peeling, fiber extraction, kneading, thread forming, and cloth weaving is even more brilliant! We can be proud to say that this plan has realized the grand mission of

protecting the value of traditional cultural assets, improving the

spiritual level and artistic and humanistic qualities of the people, enhancing the cultural temperament and quality of life of the people, and promoting social peace and harmony. Taitung craft material rehabilitation has a good start in 2019, but there is still a

lot of local materials and wisdom waiting for us to arouse again and experience deeply!

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

凝結的浪－自然原生的工藝探索

Waves of Convergence - Natural and Original Craft Exploration 國立臺灣師範大學美術學系博士候選人——汪凱彬 Wong, Kai-Bing

Doctoral Candidate, Department of Fine Arts, National Taiwan Normal University

「凝結的浪－ 2019 臺東工藝材質復育展」，展

“Waves of Convergence—2019 Taitung Craft Material

那凍結的瞬間！以自然媒材為本，試圖將工藝作品、

that is, the frozen moments! Based on natural media, this

如其名，宛如工藝創作過程中美好片刻的詮釋，即作者與土地的串起連結，也鏈結出了藝術家和環境共融的智慧與力量。十九世紀末的美術與工藝運動（Arts and Crafts movement）面對了工業革命

後的劣質裝飾美術與製品，人們希望傳統工藝與裝飾美術之結合，進而導入工藝產業，此同時，也促

發了工藝設計領域的建構，帶起了對美感的關注和生活美學的興起。來到二十世紀，Bonser 在 1914

年提出新的工藝定義，將材料製成產品過程中須使之在善用之餘更具美觀以滿足使用者的需要，如木材、金屬、土及其它天然材料結合紡織技法的複合運用，更是突破既有的工藝設計與創作藩籬。在大

時代的脈絡下，回頭凝視「凝結的浪」一展可見著

傳統工藝材質中存在著人們的集體記憶與緊貼土地的內在蘊藏。

於緊鄰臺東的屏東縣恆春半島，瓊麻為該地最

典型半島的風光，亦是耐旱耐瘠的纖維植物，麻質堅韌且優良，早年因經濟需求被引進栽種，係恆春

三寶之一。苧麻則源於大陸華南地區，引進之確切時間已難從文獻得知，其在臺被視為經濟作物。晚

清彰化儒者吳德功〈村婦嘆〉「鄉村之婦一何苦，纖纖弱手兼數技。漚芋漚麻霏明晦，雞鳴報曉整衣

起。」詩文中則可窺見苧麻於常民生活之普遍性；

清康熙年間《臺灣府志》〈貨之屬〉項下載錄「土民所種，可織暑布。」也能發現原住民栽植苧麻的歷史亦久，為其織製衣料的主要資源。在工藝本質

上的探究，敦促著人們改變材料形式以增進其價值的企圖心，也進而關乎生活上持續產生的問題。放

眼現代社會普遍存在的低成本工業量產思維，傳統工藝材質容易被忽略及取代，總不免讓人嘆息對比傳統材質今昔居然有著全然不同的價值，即便如此， 06

WAVES OF CONVERGENCE

Re n a i s s a n ce Ex h i b i t i o n ” , a s t h e n a m e i m p l i e s , i s a n interpretation of the beautiful moments of craft creation, exhibition attempts to link the craft works, the creators, and the land, as well as the wisdom and power of artists and the environment. During the Arts and Crafts Movement at the end

of the 19th century, surrounded by inferior decorative arts and

products after the industrial revolution, people longed to see the combination of traditional crafts and decorative arts, which triggered the emergence of the craft industry. At the same time, it also promoted the construction of the craft design

field, which aroused the concern of aesthetic feeling and the rise of life aesthetics. In the 20th century, Bonser put forward

a new definition for craft in 1914, that is, while processing craft

materials into products, we should not only pay attention to their usefulness, but also their aesthetic looks to meet users’ needs, such as the composite application of wood, metal,

clay, and other natural materials combined with the textile techniques, which broke through the existing barriers of craft design and creation. In the context of the era, the “Waves of

Convergence” exhibition depicts our collective memories and

the connotation of the closeness to the land in the traditional craft materials.

Growing on the Hengchun Peninsula of Pingtung County adjacent to Taitung, Sisal hemp, a drought resistant and

barren resistant fiber plant, is the most typical scenery of the peninsula. Sisal hemp is strong, but pliable in texture and with excellent quality, and was introduced for planting in the early

years to meet economic demands, and is now one of the three

treasures of Hengchun. Ramie was introduced from South China to be planted in Taiwan as an economic crop, but the

exact time of its introduction is hardly traceable in literature.

The popularity of Ramie among residents can be shown in a poem called “Sighs of a Country Woman” written by De-

Kung Wu, a Confucianist of Changhua in the late Qing Dynasty:

“so bitter the life of a country woman is/ her delicate and weak hands master so many skills/she rets taro and hemp in all

weathers/and gets up with the crowing of cocks at sunrise”. The long history of the local tradition of planting Ramie was also recorded under the “Categories of Goods” of the book

Taiwan Fu Zhi” written in the reign of Kangxi of the Qing

Dynasty, which says that “it is planted by local people to weave summer cloth.”, which means that Ramie was the main resource for weaving clothes. The exploration of the essence

瓊麻與苧麻的作品仍然忠實地呈現了媒材的特性，

of craft prompts people to change the form of materials to

毅力和堅持。

mass production thinking common in modern society,

亦將媒材特性同步映照著工藝家們所具備、散發的「凝結的浪」展覽本質在於呈現工藝材質復育、

作品、作者及土地的連結，工藝家們在利用媒材創作之際，同時透過媒材與所處時空，串接起重新詮

釋物件的各種可能，藉由所處環境裡對媒材元素的

enhance their value, and further draws people’s concerns

regarding sustainability in their life. In the low-cost industrial traditional craft materials are easily ignored and replaced, and people lament the totally different values of the traditional materials in modern times. Even so, the works of Sisal hemp

and Ramie still faithfully represent the characteristics of the media, while simultaneously reflecting the perseverance and insistence of the craftsmen.

拆解與創造，使得纖維線條帶有抽象性，續也呈現

The essence of the “Waves of Convergence” exhibition is to

家們得透過不斷地嘗試，將自己從作品中抽離，進

create works with this media, they build a connection between

了與空間對話的自然美學及人文想像，同時間工藝而觸發所處當下的感知與思維，讓自然工藝媒材在創新設計上有著更多的想像，乃至於更超然的藝術表現。工藝設計與創作一直以來常被認為是要擁有自我意志與品牌意識，而非為純粹供人觀賞，歷經

時空的推演，它已轉化成一種得在未定的狀態下呈現作品的實踐過程，「凝結的浪」亦試著打破這樣

子的疆界藩籬，展示與復育過程中不全然強調於個人，而是讓媒材為主體替工藝作品發聲，傳達出工

藝媒材復育期間的象徵意義，讓工藝媒材蘊藏的力量透過一件件的作品被完整地呈現出來，每件作品的深度故事使它結合了在地精神，堆砌出集體意識中的智慧和力量。

工藝家們先後安置作品的過程裡，場地現況呼

應了介入空間的方式，媒材的關聯串接於每件作品之間，在隨機、自由的工作過程中逐步成形。「凝

結的浪」也是一種在未定的狀態中呈現作品的實踐過程，而這個過程同時讓作品、作者與空間相互激

發、漸次生成，如此的模式緊繫著「傳統工藝材質」和「復育」的策展概念核心，有著感知的藝術

創作與理性的設計規則，主題內涵強調著個人創作之探尋，在混沌時空中的碰撞與拉扯，激盪著創作時靈感、激發起工藝家的才能與本事，找到生命的

present the rehabilitation of craft materials, and the connection

between the works, the creators and the land. When craftsmen the time and space they are in to reinterpret the various

possibilities of objects. By disassembling and creating media elements in their environment, they manage to make the

fiber lines abstract, and present the natural aesthetics and humanistic imagination that interact with the space. At the

same time, through constant attempts, craft masters managed to separate themselves from their works, and then, trigger their current perception and thinking, in order to have more

imagination in innovative design with this natural craft media,

and achieve even more transcendent artistic expression. It is believed that craft design and creation should have their own

will and brand awareness, rather than purely for appreciation,

and through the evolution of time and space, be transformed i n to t h e p ra c t i c a l p r o ce s s o f p r e s e n t i n g w o r k s i n a n undetermined state. The “Waves of Convergence” exhibition

also tries to break this kind of boundary. The exhibition and rehabilitation focus attention on the individuals, and provide

a voice for craft works with the media as the main body to

convey the symbolic significance of the rehabilitation of craft materials, and fully present the energy reserved in the craft media through the works. The deep story told by each work

builds wisdom and power in its collective consciousness by integrating local spirit.

When the craftsmen were placing their works at the exhibition

site one by one, the site layout echoed the ways of intervening

within the space, and the associations of the media materials cascaded between the works and gradually formed in the

random and free work process. “Waves of Convergence” is also a practical process of presenting craft works in an

uncertain state, during which the works, their creators, and

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

出口和價值，也讓作者與觀者們持續探索與思考，

the space were mutually inspired to gradually generate the

中感受在空間的虛實邊界與主客辯證，更以充沛的

with perceptual artistic creation and rational design rules. The

在感性與理智之間，從展覽的光影、氣流與時間軸情感傳達出展覽跨越文化、時間、空間的在地人文價值，以及手作工藝之魅力與生命力。

本於生活的經驗與智慧，扣合在地、採集進而體驗和詮釋，展覽與工作坊得讓人們自由盡情地感受在地樂活、學習生活工藝中的傳統知識，相互交

流間每個手作人更是成為了文化知識與技術傳遞的最佳平臺。「凝結的浪」展覽也希望在材質研究上能夠更為廣泛，不受限於既有，多位展覽創作者取

自於傳統材料或用不同的材料做結合，且關注著過程中的環境友善；工作坊中的傳統編織成形的技法能回歸給了工藝家、藝術家、創作者與參與者做運

用，如將瓊麻與苧麻的處理方式進行了視覺的轉

換，又似簡易的圖像，除了抽象與意境，更在簡約中讓人們易於瞭解到該傳統媒材的友善與處理方

式，觸發著對自然材質實驗的樂趣，啟動著創作、裝置和實用開發的多元可能性，同時拉近傳統文化與當代人們的疏離感。靠著互動和分享，工坊中與

媒材的零距離操作，參與的人們得感受到文化傳遞的智慧與和與大自然互動和諧共處的溫度。

裝置藝術家鄭元東之作品「光之家」以苧麻

布、鋼索等媒材在東美館大文創戶外穿廊搭建而起，作品穿透著透明溫暖的東陽光輝；黃色內蘊散發出精神，然作品的另一個轉角，時為藍時而綠的

變化透發著光影間多變的俏皮性格，紅與紫亦釋放著輕柔的溫暖，光影的柔和舒適宛若在層層的包裹

間的自在穿梭，持續充滿「家」為名的溫馨能量。從事陶藝與金工創作多年的工藝家吳姿瑩，突破了在既有媒材的熟悉，挑戰全然陌生的苧麻材質，並將學習纖維編織的每個階段記錄下來，再以銅、 08

WAVES OF CONVERGENCE

forms. This mode is closely related to the core of the exhibition concepts of “traditional craft material” and “rehabilitation”,

connotation of the theme emphasizes individuals’explorations of creation. During the process of collision and pull in chaotic time and space, the craft artists are inspired to create craft works with their talents and expertise, and find their outlet

and value of life. This process also allows the creators and the audience to engage in constant exploration and thinking,

feel the boundary between the virtuality and reality of the

space, and perceive the dialectic between the subject and the object from the light and shadow, air flow, and time axis of the exhibition, and more importantly, convey the local humanistic

value of the exhibition across the culture, time, and space, as well as the charm and vitality of handicrafts.

Through collection, experience, and interpretation in the

exhibition and workshops, as based on the experiences and wisdom of life integrated with local features, people have

the opportunities to freely enjoy the local life, and learn the traditional knowledge of the crafts in daily life. Moreover, communication between craftsmen has become the best platform for the transmission of cultural knowledge and

techniques. “Waves of Convergence” also hopes to be

more extensive in material research without limitations to the existing materials. Many exhibition creators take inspiration

from traditional materials or combine different materials,

and are environmentally friendly in the creation process. The traditional weaving and forming techniques in the workshops can be applied by the craftsmen, artists, creators and participants; for example, the processing method of Sisal hemp and Ramie were transited visually in simple images, which not

only gave a sense of abstraction and artistic perception, but such simplicity also allowed people to easily understand the

environmentally friendly processing methods of the traditional media materials, arouse people’s interests in experimenting

with natural materials, and initiate multiple possibilities

for creation, installation, and practical development, while

simultaneously closing the gap between traditional culture and modern people. Through interaction, sharing, and personal

operation of the media materials in the workshops, the participants can perceive the wisdom of cultural transmission,

feel the warmth of interaction, and experience harmonious coexistence with nature.

紅色磚石等創作出九件乘載著族群文化內涵的精美

The work “Light House” by Bruce Cheng, an installation artist,

出。恆麻 ‧ 繁團隊以熟悉的器皿造形風格呈現了

cable, and other media materials. The work penetrates the

手飾，在眾家新秀中獲頒新秀獎之肯定，脫穎而

「香火因緣」和「聚寶盆」兩件新創作品，詮釋了岸邊物歷經風雨海蝕之樣貌及招財容器的滿滿財

「腹」，讓其過往造形經驗與展覽間有著新的激盪。旅法藝術家張君懿教授曾經提到，身為藝術家

與策展人，她不斷地思考和想像藝術實踐場域在未來是個甚麼的樣態？然此回工藝材質復育之設計與創作的實踐恰好正銜接著先民生活的智慧，乘載了過去，也呈現了多元藝術的當下種種，開啟未來時

空中的每一扇大門。「凝結的浪」是個起始，但段落絕非終點，工藝材質復育也將持續發生，或許此

次的參與者們，已為藝術實踐場域的未來樣態下了個經典的詮釋。

was built in the outdoor corridor of the Cultural and Creative

Center of Taitung Art Museum, which applied Ramie cloth, steel transparent and glowing warmth of the east sun, with vigorous

spirit illuminated in yellow, while another corner of the work, the counterchanging of the blue and green reveals the dashing characters changing between the light and the shadow, and the

red and purple colors bring a feeling of soft warmth. The soft and comfortable feeling from the light and shadow make the

audience feel like they are freely walking between the layers

and the abundant warmth of the “home”. Wu Zi-ying, a craftsman who has been engaged in ceramic and metalworking creation for many years, has broken through the familiarity of

existing media materials and completely challenged unfamiliar

Ramie materials. She recorded every stage of learning fiber weaving, and created nine exquisite hand ornament works with

ethnic culture connotations by using various materials, such as copper and red brick stones, which stood out from other

rising stars and won Rising Star Award. The team Hemp･Fun presented two new works, namely “xiānɡ huǒ yīn yuan”

(Congeniality) and “Treasure Bowl” in the familiar utensil style, depicting the appearance of coastal objects through

storms and sea erosion and the full “belly” (homophonic of “fortune”) of the fortune container, thus, generating a mutual reaction between the past shaping experience and the

exhibition. The France-based artist, Professor Zhang Jun-yi once mentioned that, as an artist and curator, she is constantly

thinking about and imagining what the artistic practice field will be like in the future. In this exhibition, the design and

creation practice of the rehabilitation of craft materials is just

in line with the ancestors' wisdom of life. Moreover, it takes the past to present the current diversified arts, opening every door in the future time and space. “Waves of Convergence” is a start, but never an end, as the rehabilitation of craft materials

will continuously take place. Perhaps the participants of this exhibition have made a classic interpretation of the future of the art practice field.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

臺東工藝材質復育及其未來設計之研究 —以苧麻與瓊麻為例

Research on Taitung Craft Material Rehabilitation and Its Future Design: a Case Study of Ramie and Sisal Hemp

——李飛曄撰

國立臺東大學美術產學中心研究員／兼任講師國立臺灣師範大學美術學系美術教育與美術行政暨管理組博士生 Research by Lee,FeiYeh

Researcher/Part-time Instructor, Art Industry-Academia Collaboration Center, National Taitung University

PhD Student, Art Education and Art Administration & Management Group, Department of Fine Arts, National Taiwan Normal University

自然植物的取用來自於山林智慧與植物認識，以植物纖維製成材料，材料應用於工藝製作，展現地方文化與傳統技藝，從傳統工藝材質為出發，深入瞭解地方工藝以保存延續在地文化以及發展工藝設計。本文以臺東

工藝材質為核心，對在地植物苧麻、瓊麻作深入探討，從植物種植、產地分布與生產，以完整瞭解臺東環境分布，植物纖維材料處理製作、工藝技術現況調查以分析工藝復育發展的可能性。工藝材質設計與發展需以材質特性

為考量，作延伸開發應用，內容規劃材料創新試驗，藉由多元方式試驗深入瞭解材質特性，為工藝與藝術創作

提供參考。山林智慧與歷史文化交織成地方工藝，工藝材質的使用是一種既有傳統，材料創新是一種新的應用，以文化資產保存與傳承延續為概念，融合傳統與創新點亮材質發展能量、激發設計靈感，為臺東傳統工藝保存

傳承作準備，探討傳統工藝於未來設計應用的可能性，以材質為中心，輔以設計加值，以期透過土地與文化的感知，轉化成為在地文化的故事，翻轉創新詮釋臺東工藝生活美學。

The use of natural plants is based on the wisdom of mountain and forest and the understanding of plants. Craft works made of materials processed from plant fibers can present the local culture and traditional skills. Starting from traditional craft materials, we can have

a deep understanding of the local craft to preserve and continue the local culture and develop the craft designs. This paper intends to conduct an in-depth exploration of local plants, including ramie and sisal hemp, by taking Taitung’s craft materials as the core to analyze the possibility of developing craft rehabilitation from the perspectives of plant cultivation, origin distribution, and production,

and by fully understanding the distribution of the plants in Taitung, the processing the plant fiber materials, as well as the investigation

of the craft process status. The design and development of craft materials take the material characteristics into consideration and carry out extended development and application. The content involves material innovation experiments by multiple methods to deeply

understand the material characteristics, in order to provide references to craft and artistic creation. The wisdom of the mountains, history, and culture are interwoven into local crafts. The use of craft materials is an existing tradition, while material innovation is a new application. Based on the concept of cultural asset preservation and inheritance, the integration of tradition and innovation could light

up the development energy of materials, stimulate design inspiration, and prepare for the preservation and inheritance of Taitung’s traditional crafts. This paper discusses the possibility of using traditional crafts in future designs by using materials as the center, supplemented by added value design, with the expectation to transform the crafts into the story of local culture through the perception of land and culture, and to innovate the interpretation of the life aesthetics of Taitung’s crafts.

WAVES OF CONVERGENCE

種一畝麻於蔚藍山海間

Planting a field of Hemp in the blue mountains along the Seas

苧麻 Ramie

苧麻（學名 Boehmeria nivea (L.) Gaudich.，英名 Ramie）屬於蕁

麻料的縮根草，臺灣苧麻栽種起源，一為來自於中國華南、華中，另一為自南洋輸入，或臺灣的野生品種經栽育培植的系統，苧麻分為中國系（白葉種）與馬來系（綠葉種）。

Ramie (scientific name: Boehmeria nivea (L.) Gaudich; English name: Ramie) belongs

to grass with a contractile root of nettle. The planting of Ramie in Taiwan originated from south China and Central China, and was imported from southeast Asia or from

the system of wild species in Taiwan after cultivation. Ramie can be divided into

China species (Agave rigida Var ElogataBakea) and Malay species (Agave rigida Var SisalenaEnglen).

˙ 臺灣苧麻品種 Species of Taiwanese Ramie 青心種系

紅心種系

Green Core Series

Red Core Series

系

統中國系苧麻。

系

統馬來系苧麻。

適

地適宜平地種植，但如非傾斜過甚，亦適宜山地。

適

地在急傾斜的及乾燥貧脊土地上亦能正常生長。

態莖的心髓部成白青色，葉的反面白色，開淡綠色花。

型

度植科高四公尺，葉徑亦大。

高

纖維品質色澤為綠青色、暗青色、淡青色，品質較紅心種系良好。 Chinese series Ramie.

System Form

Suitable Location Height

Fiber Quality

型高

態莖的心髓部呈紅色，開淡紅色花。

度普通高二公尺左右，莖徑較青心種小。

纖維品質色澤為淡紅或紅褐色，纖維粗硬而強度較弱，剝皮調製，較青心種系困難。

The core of the stalk is whitish green. The underside of

System

It is suitable to be planted in flat ground but also in the

Suitable Location

the leaf is white. The flower is light green. hills if the slope is not too steep.

Malay Ramie.

Form

The plant is four meters tall; leaf veins are also large.

Height

than the red-core strain

Fiber Quality

Colors are green, dark green, light green, better quality

The core of the stalk appears red. The flower is light red. It can grow in very steep slope and in dry and infertile land.

The plant is about two meters tall. The stalk diameter is smaller than the green core.

Colors are light red or brownish red. Fibers are thick

and tough but less rigid. Skinning process is harder than the green core series.

˙ 苧麻系種 Ramie Species 種名

Species 中國系苧麻

Chinese Ramie

馬來系苧麻

Malay Ramie

適宜栽培地區

葉 Leaf

Suitable Planting Location 中國、日本及歐洲的溫帶及亞熱帶。

Temperate and subtropical zones in China, Japan, and Europe.

型態 Form 穗 Ear of Grain

葉的反面呈銀白色，密生短毛。

Underside of leaf is silver white; dense growth, short hair.

南洋群島及印度等熱帶，在溫帶地

葉的反面呈綠色，無毛，較

Islands in the South Sea and tropical zone such as India. Hard to grow in temperate zone.

Underside of leaf is green; hairless, larger than that of the Chinese strain.

區生長困難。

中國系苧麻大。

穗在枝上結實。

Ear of grain seeding on twig.

穗直接附生於麻桿，形狀雖

小，但其量較中國系苧麻多。

Ear of grain grows within the stalk; form is small but has higher quantity than that of the Chinese strain.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

苧麻的栽培以熱帶及溫帶氣候較為適宜，在生長

During cultivation, the soil must be improved by applying

其根有抵抗冬季低溫的能力，冬季雖寒只要夏季生長

and tough fibers, smooth fiber cells, and lacks twisting force,

期間需要高溫，生長期間溫度越高收穫次數會越多，期間為高溫，仍適宜於經濟的栽培。苧麻在生長期間

需要多量水分，若雨量過稀會影響生長的進度及收穫量，年雨量需達 1000 公釐才適宜種植。理想種植的土地為有深厚的表土，輕鬆脹軟的土質，含有機質並

有適度的濕氣（土壤水分含量 12-14%），日光足而風害少的沙質壤土。苧麻的乾燥抵抗力微弱，對水濕

感應敏銳，故在水分易於停滯的地方容易使根部腐朽或枯死，栽培時除施以堆肥改良土地，更應注意排水

compost, and attention should be paid to drainage equipment.

Ramie has less hygroscopicity, fast divergence, long-shaped meaning it is difficult to spin without using special machines.

Ramie fabric, which contains rubber substances, has strong tensile force and low ductility, a rough texture, and is mainly

used to make ropes, thick thread, fish nets, hook lines, canvas, mosquito nets, rough linen, etc. The fiber peeled manually or by machinery is called rough hemp, which can be made

into cotton-like fiber after the rubber substances are removed through chemical treatment. This kind of fiber has silk-like

luster and uniform thickness, and can be blended with cotton and man-made fibers.

設備。

Taitung Ramie has been planted on a large scale since the

苧麻吸濕性少，發散快，纖維形長而性韌，纖維

the needs for fiber, grease, and medicinal crops during the war,

細胞平滑，缺乏對捻力，若無使用特殊機器紡織較為

困難，因含有橡膠性物質，拉力強而延伸度小，織成

的苧麻布具有生硬感，主要用途為製造繩索、粗縫線、魚網、鉤魚線、帆布、蚊帳及粗麻布等。纖維經人力或機器剝皮而得者稱為粗麻，粗麻經化學藥品處理，

將橡膠性物質除去可製成棉花狀纖維，此種纖維有光澤如絹絲，粗細均勻，可與棉、人造纖維混紡。

臺東苧麻具規模大量種植起於日治時期設置臺灣拓植株式會社為推廣農業栽種事業，因應戰爭所須的纖維、油脂、藥用作物規劃纖維栽培重點為棉花、苧

麻、黃麻（張靜宜，2009）。傳統取用苧麻植物纖維做織品製作主要原料，以手工做植物採纖，製作耗

Japanese Colonial Period, when Taiwan Takushoku Tabushiki

Kaisha was set up to generalize agricultural planting. To meet fiber cultivation was planned to focus on cotton, Ramie, and

jute (Chang, 2009). Traditionally, Ramie plant fibers were used as the main raw material for fabric making, and were collected

manually, which is time-consuming and costly, and thus, has been gradually replaced during the industrial mechanization

era. Nowadays, the planting amount of Taitung ramie is very low, and it is mostly planted near private homes in small

scale for personal needs. It is often planted in high-altitude mountainous areas, including Litao Village (Haiduan Township),

Taoyuan Village (Yanping Township), Kanding Village (Yanping Township), and Douli Village (Chenggong Township).

臺東苧麻分佈圖 Taitung Ramie Distribution Map

時且成本高，面臨工業機械化時代的轉變下逐漸被取代，現今臺東苧麻種植量非常稀少，多為個人需求而少量種植於住家附近，以縱谷一帶山區較易見，於海端鄉利稻部落、延平鄉桃源部落、延平鄉崁頂部落以及成功鎮都歷部落等四個區域呈現零星種植狀況。

Tropical and temperate climates are most suitable for the

cultivation of Ramie, as high temperatures are required to grow Ramie; the higher the temperature, the more times it

can be harvested. Ramie roots are resistant to low winter temperatures, thus, provided the temperature is high during

its growth period in summer, it is still suitable for economic

cultivation. Ramie also needs plentiful water during the growth period, and only those areas with an annual rainfall of at least

1000 mm are suitable for Ramie cultivation. If the rainfall is too scarce, its growth progress and harvest yield will be affected.

The ideal land for planting Ramie is sandy loam with loose

and soft soil texture and deep topsoil, contains organic matter and moderate moisture (soil moisture content is 12-14%), has

sufficient sunlight, and suffers less wind damage. Ramie has weak dryness resistance and is sensitive to water and humidity,

thus, it can easily rot or wither where water easily stagnates.

WAVES OF CONVERGENCE

海端鄕利稻部落

Haiduan Township Litu Tribe

海端鄕崁頂部落

Haiduan Township Kamcing Tribe

延平鄕桃源部落

Yanping Township Pasikau Tribe

成功鎮都歷部落 Chenggong Township Torik Tribe

瓊麻 Sisal Hemp

瓊麻原產中美洲墨西哥地區，十八世紀歐洲人用作製造船舶所需繩索，1836 年輸入美國佛羅里達州，1845 年巴拿馬及西印度諸島開始引

進栽培，至今熱帶地區非洲、印度、越南、菲律賓、臺灣、中國廣東及

廣西皆有栽培。臺灣於 1901 年美國領事 Davidson 引入，1911 年開始栽培採用纖維（王進和，2000），最初在屏東墾丁公園栽植觀察，品種

數個，經比較試驗以綠葉種為優，故推廣至屏東縣恆春、車城地區種植，再推廣至東部臺東、花蓮丘陵地帶，另一品種為白葉瓊麻，因製麻絲率較低，品質較差，種植者少（趙荷生，1963）。

Sisal hemp originated in Mexico, Central America, was used by Europeans in the 18th century to make ropes for ships, and was imported into Florida, U.S.A. in 1836. In 1845, it was introduced and cultivated in Panama and the West Indian islands. To date,

it has been cultivated in tropical areas, such as Africa, India, Vietnam, the Philippines, Taiwan, and the Guangdong and Guangxi provinces of China. It was introduced into Taiwan by American consul Davidson in 1901 for fiber collection (Wang, 2000), and was

first planted in Kenting National Park. After observation of several varieties and through comparative testing, the green-leaf variety

was decided to be the best variety, which was then popularized to Hengchun and Chengcheng areas of Pingtung County, and then,

to Taitung and the Hualien hills in the East. Another variety is white-leaf Sisal hemp, which is rarely planted due to its low hemp thread production rate and poor quality (Chao, 1963)

瓊麻（學名 Agave rigida miller，英名 Sisal

Sisal hemp (scientific name: Agave rigida miller), known as

本植物，瓊麻有兩變種，一為綠葉種（Agave rigida

one is Agave rigida Var SisalenaEnglen and the other is Agave

hemp）又稱劍麻，屬於石蒜科，為多年生縮根性之草

Var Sisalena Englen），一為白葉種（Agave rigida Var Elogata Bakea），臺灣栽培者為綠葉種。綠葉種

葉呈綠色，葉片邊緣無刺，葉片尖端具有堅硬的針刺，

此種瓊麻纖維較白葉種細美柔軟光澤且彈力強；白葉種，葉片被有白粉，呈白色，葉片邊緣有刺，纖維品質較綠葉種為劣，風土適應較綠葉種為強。兩者主要差異如下（陳振凱，1955）：

sisal, belongs to Amaryllidaceae, and is an herbaceous plant with perennial contractile roots. Sisal hemp has two variants: rigida Var Elogata Bakea. Those planted in Taiwan belong to Agave rigida Var Sisalena Englen. The green-leaf variety has green leaves without thorns at the edge and with needle-like

tips. This kind of Sisal hemp fiber is more refined and beautiful

with soft luster and stronger elasticity, as compared with the white-leaf varieties. The leaves of the white-leaf varieties are

white with white powder, and thorns on the edge. It has lower fiber quality, but better wind and sand adaptability than the

green-leaf variety. The main differences between the two are, as follows (Chen, 1955) :

˙ 瓊麻品種 Sisal Hemp Species

綠葉種

白葉種

Green Leaf Species

產型

White Leaf Species

地墨西哥、美國、印度、臺灣、菲律賓。

態葉綠色，葉緣無刺，成熟後莖不長大，結種稀少，壽命短。

產型

地墨西哥。

態葉蓋有白粉，白色。葉緣有刺，成熟經長大 (60-150 公分 )，生命長。

栽培條件好高濕及高溫，土壤宜稍肥沃。

栽培條件風土惡劣亦不妨礙生長。

Place of Production Mexico, the United States, India, Taiwan, the Philippines.

Place of Production Mexico.

reaching maturity. Very little seeds, short lived.

and big after reaching maturity (60-150 cm). Long lifecycle.

收量與品質收量少，含纖維率低，品質優良。

收量與品質收量多，含纖維率高，品質劣。

Form Leaf is green with no thorn on the edge. The stalk is not big after Conditions of Cultivation Affinity for high moisture and high temperature.

Productivity and Quality The soil should be a little fertile. Productivity is low. Low content of fibers. Good quality.

Form White powder on top of leaf, white; thorns on leaf edge. Stalk is long Conditions of Cultivation Growth is not thwarted by bad weather and soil.

Productivity and Quality High productivity. Hight content of fibers. Low quality.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

瓊麻原產熱帶地區，多在北緯 25-26 度之內為

hard in texture, and with little twist, thus, it can only be used

低溫度在攝氏 10 度以上，在日間溫度高熱、空氣乾

and hard, with strong tensile force, water and humidity

適宜分佈生長地帶，年平均溫在攝氏 22 度以上，最燥，夜間多霧地帶更為理想，生長只需年雨量 1000-

1500 公釐，以降雨量分布均勻而能時有輕快之驟雨

更佳（趙荷生，1963）。臺灣南部及臺東均為瓊麻理想栽培地，瓊麻為淺根性植物，土壤肥脊不重要，普通以排水良好、富石灰質土壤為適宜，栽培上最重

要的是日照，陰雨多或樹蔭下栽培，若日照不足，雖

發育迅速而會植株壽命縮短（陳振凱，1955）。瓊麻原產於中美洲，起初使用腐熟方法脫製纖維以編製日常用品，後發明採取纖維機器，臺灣瓊麻纖維均用

機器剝取。瓊麻纖維白色或帶淡黃之白色，有光澤，

長度 75-120 公分，形呈螺旋狀，較粗硬，捻曲性小，僅能用在織粗麻布的原料。臺灣製造漁網、繩索之原

料皆以瓊麻為使用，其纖維粗硬，拉力大，對水濕有耐久性、耐鹽性強（王進和，2000）。

as raw material for weaving rough linen. In Taiwan, fishing

nets and ropes are made with Sisal hemp as its fiber is rough durability, and strong salt resistance (Wang, 2000).

Sisal hemp has been planted in Taiwan since 1902, when it was introduced by Japanese botanist Tashiro Yasusada for experimental cultivation and promotion. In addition

to fiber crops, he carried out research on the cultivation

of commercial tree species, medicinal plants, spices, and other plants (Huang, 2010). Sisal hemp was first planted in the Hengchun tropical plant farm, and then, planted

and cultivated in Taitung. The adoption of Sisal hemp fiber extraction by machine led to a sharp increase in fiber output.

However, since 1960s, Sisal hemp fiber products have been

replaced by chemical fiber nylon ropes. Nowadays, Sisal

hemp is no longer specially planted in Taitung, is mostly

wild, and is often seen in hillside areas along the coast. Wide Sisal hemp can be seen sporadically in Douli Village

(Chenggong Township), Daniao Village, and Shangwu Coastal Park (Dawu Township)

臺灣種植瓊麻，1902 年以田代安定氏引進的瓊麻予以試驗栽培並加以推廣，除纖維作物外，亦施行用材樹種、藥用、香料等植物栽培研究（黃宗煌， 2010）。瓊麻於恆春熱帶植物殖育場栽植再推廣至

臺東種植培育，運用機器採取瓊麻纖維使得纖維產

量激增，惟 1960 年代開始化學纖維尼龍繩索取代瓊麻纖維品，至今臺東已無人專門栽種瓊麻多為野生，

以海岸一帶山坡區較易見，於成功鎮都歷部落、大

臺東瓊麻分佈圖 Taitung Sisal Hemp Distribution Map

武至大鳥、尚武濱海公園等三個區域可見零星的野生瓊麻。

S i s a l h e m p o r i g i n ate d i n t ro p i ca l a rea s . T h e s u i ta b l e

成功鎮都歷部落

zones for its growth distribution were mostly within the north latitude 25-26 degrees, where the annual average temperature is above 22 is above 10

Chenggong Township Torik Tribe

° C, and the lowest temperature

° C. The most ideal areas are those with high

temperature in the daytime, dry air, and foggy at night. Its growth only needs the annual rainfall of 1000-1500 mm,

and it is better to have light showers with even rainfall

distribution (Chao, 1963), thus, southern Taiwan and Taitung are ideal places for the cultivation of Sisal hemp. Sisal

hemp is a plant with shallow roots, thus, soil fertility is not important, and generally speaking, calcareous soil with good drainage is more suitable. The key to its cultivation

is sunshine, and if it is cultivated under an environment without sufficient sunshine, such as rainy areas or under the shade of trees, it will have shorter plant life despite its

rapid growth (Chen, 1955). Sisal hemp originated in Central America. Initially, before the invention of the fiber machine, the corrosion method was used to remove its fiber to make

daily necessities. In Taiwan, Sisal hemp fibers are all peeled

by machine. Sisal hemp fiber is white or yellowish white in color, glossy, 75-120 cm long, spiral in shape, rough and

WAVES OF CONVERGENCE

大武鄕大武至大鳥、尚武海濱公園

Dawu Township From Dawu to Daniao / ShangWu Waterfront Park

苧麻製作工序 Ramie Production Process STEP 01 採割苧麻

STEP 02 撥麻皮

一般苧麻生長期以三到四個月最適宜採

徒手將麻莖折斷，取出莖

需距離根部約 3 至 5 公分處割下，去

莖幹，整株泡水使之變軟。

Harvest Ramie

收，太久則纖維粗糙易斷裂。採割苧麻除葉子。

Ramie grown for 3 to 4 months is generally most suitable for harvest. Overgrown ramie will have coarse and easily-broken fiber. The harvest of ramie requires cutting at around 3 to 5 centimeters above the root and the removal of leaves.

Remove Ramie Skin

幹，留下靠近根部的一小節 Snap ramie with hands and remove stem. Leave a knobble of stem near the root and soak the entire plant in water to soften it.

STEP 03 刮麻

STEP 04 曬麻

以竹製的刮麻器將麻皮的裡層刮去，

將麻皮綁成一束，自然曬

Use a ramie scraper made of bamboo to remove the inner layer of ramie skin and remove colloid to make the skin thinner.

Tie up the ramie skin and dry it in under sunlight.

Scrape Ramie Skin

去除膠質，使麻皮變薄。

Dry Ramie Skin

乾。

STEP 05 洗麻

STEP 06 搓麻、甩麻

將已曬乾的麻線泡水，不斷

為使麻線變得更加柔軟，將麻線放在

Soak the dried hemp thread in water, rub it to make it soft, and clean colloid.

變軟。

Wash Hemp Thread

搓揉使之變軟也洗去膠質。

STEP 07 曬麻

Expose Hemp Thread To Sunlight

再次將麻線曝曬於日光下。

Expose the hemp thread to sunlight again.

Rub And Slap Hemp Thread

玉米粉末中搓揉，時而甩打麻線使之 To make hemp thread softer, place the hemp thread in corn flour and rub it and slap it every now and then to make it soft.

STEP 08 續麻

Twist Hemp Thread

手工麻線粗細不一，長短不同，麻線需

連續成衣長條才能使用，績麻是將短纖維績接成連續不斷的長纖維。

As the manual hemp thread features various thickness and length, it needs to be twisted to a long line for usage. Hemp thread twisting refers to the process of twisting a short staple continuously into a long staple.

STEP 09 紡捻

STEP 10 絡紗

纖維績成麻線後仍不夠緊實，須經加捻

利用一個工字型的木架繞

Twist Spinning

來強化麻線。將竹桿插入紡錘，利用紡

錘的重量以及手搓竹桿使其連續旋轉，達到加捻的作用。

After fiber is twisted into hemp thread, it is not firm enough and requires more twisting to strengthen the hemp thread. Insert bamboo pole into spindle, make use of the weight of the spindle, and rub bamboo pole with hand to make it rotate and activate twisting.

Winding

線，使麻線疏通，防止在煮染（作染色處理）時糾結在一起。

Use an I-shaped wooden support to wrap thread, to make hemp thread smooth, and to prevent entanglement when boiling and dying (for dyeing treatment).

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

STEP 11 煮麻（漂白）

Hemp Thread Boiling (Bleaching)

為使麻線更柔軟與潔白，絡

STEP 12 曬麻

Expose Hemp Thread To Sunlight

紗完後開始準備木炭，在鍋

將煮好的麻線清洗擰乾，置

再放入麻線，期間要不停攪

織布的麻線。

內放入清水、木炭，煮沸後拌，使麻線色澤均勻，歷時四小時始完成。

To make hemp thread softer and whiter, after winding, start preparing

於自然光下曝曬，製成可以 Clean and twist dry boiled hemp

thread, expose it under natural

light, and make it into hemp thread for weaving.

charcoal and put clean water and

charcoal in the spot. After boiling,

place hemp thread and keep mixing during the process to make hemp

thread color be even. It takes 4 hours to complete.

瓊麻製作工序 Sisal Hemp Production Process STEP 01 採割瓊麻

STEP 02 撥麻皮

一般瓊麻每隔八個月到一年

1966 年開始運用自動採纖

Harvest Sisal Hemp

採收，採收瓊麻以鐮刀砍下葉片，削去尖端利刺，運至工廠採纖。

Remove Ramie Skin

機，經由機器巨輪壓刮葉片

成纖維，同時注入大量水流，沖洗掉刮下的葉渣與葉汁。

In general, it takes 8 months to 1

The automatic fiber collection

is used to cut off the blade and clip

1966. The blade is pressed and

year to harvest sisal hemp. A sickle off the tip thorn before the sisal hemp is transported to the factory for fiber collection.

machine has been employed since

scraped by a large wheel of the machine into fiber with a large

amount of current injected to wash off the scraped leaves’ residue and juice.

STEP 03 刮麻

STEP 04 製繩

將麻絲綁成一束，自然曬

將麻絲經由梳理機逐次梳理，

Scrape Ramie Skin

乾。

Expose the bundled hemp thread to sunlight again.

Dry Ramie Skin

成為一條條長索，在經由捻絲機與合股機完成瓊麻繩。

Tease the hemp thread via carding mac h i ne i nto a lo n g ro pe . Th e silk throwing machine and plying

machine work together to complete sisal hemp rope.

WAVES OF CONVERGENCE

形色紋質未來語彙

Testing The Tension and Corrosion Resistance of The Future Vocabulary 以麻作為一個起始點，層次性地試驗材質多樣可能性，規劃「材質試驗」與「創新試驗」兩部份。材質試驗，以材質特性為核心規劃耐腐性與拉力性試驗，耐腐性試驗試圖透過不同水質，以瞭解材質特性的轉變，拉力性

試驗是透過專業機器測試，以數據化方式呈現；創新試驗，以材質特性進行延伸應用發展試驗，由單一線材使用，延伸發展到平面空間的纖維造紙，立體空間的工藝品編織創作，輔以在地特有植物的植物染，規劃纖維造紙、

纖維編織以及纖維植物染，展現工藝材質形、色、紋、質多樣的可能性，以期找出工藝材質創新應用之未來發展。 The purpose is to test the possibility of material diversity in a hierarchical manner by taking hemp as a starting point, for which two parts are planned, including “material test” and “innovation test”. During the material test, corrosion resistance was tested with material characteristics as the core, in order to understand the change of material characteristics through different water qualities,

while the tension test was presented in a digital manner through professional machine testing. During innovation testing, extended applications and development experiments were conducted according to the material characteristics. The applications were extended

from the single wire rod to fiber papermaking in the plane space, and handicraft weaving creation in the three-dimensional space, which is supplemented by dyeing with local unique plants, fiber papermaking, fiber weaving, and fiber plant dyeing, in order to

show the possibilities of the variety of shapes, colors, grains, and quality of the craft materials, which expects to determine the future development of the innovative application of this craft material.

拉力與耐腐力測試 Tensile Strength and Corrosion resistance Test ˙ 耐腐性 Corrosion Resistance

在常溫中進行麻料耐腐性試驗，分為自來水、海水兩種水質，比較一般苧麻、植物染苧麻、一般瓊

麻、植物染瓊麻四種材質，試驗不同水質對材質之腐壞率。觀測十五天的時間，材質腐化方面，一般苧麻

（海水）、植物染苧麻（自來水）、植物染苧麻（海水）、植物染瓊麻（自來水）、植物染瓊麻（海水）

在浸泡海水第十天都會出現材質腐化或褪色情形，顯示出苧麻在受到海水與植物染的狀況下容易出現腐化狀況，瓊麻僅於植物染的狀況下會發生。材質韌度方面，苧麻不會因海水或植物染改變材質的韌性，瓊麻則會因植物染材質變得脆弱易斷裂。

The corrosion resistance of Ramie was tested under normal temperatures and with two kinds of water quality: tap water

and sea water. Comparisons were made between four kinds of materials: general Ramie, plant-dyed Ramie, general Sisal hemp, and plant-dyed Sisal hemp, where the purpose was to test the corrosion rate of the materials under different water

qualities. The observation period was 15 days. In terms of the

corrosion of the materials, the general Ramie (sea water), plant

dyeing Ramie (tap water), plant dyeing Ramie (sea water), plant dyeing Sisal hemp (tap water), and plant dyeing Sisal hemp (sea

water) will show material corrosion or fading on the 10th day

after soaking in sea water, which shows that Ramie is prone to

corrosion under the condition of sea water and plant dyeing,

while this situation will only occur to Sisal hemp under the

under the condition of sea water or plant dyeing, while in the

case of Ramie, the toughness of the material will not change

to break due to plant dyeing.

condition of plant dyeing. In terms of material toughness, in the

case of Sisal hemp, the material will become fragile and easily

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

試驗材質

Experiment Material Quality

一般苧麻 Average Ramie

植物染苧麻

Plant-dyed Ramie

植物染苧麻

Plant-dyed Ramie

一般瓊麻

自來水

海水

Sea Water

自來水

Tap Water

海水

Sea Water

自來水

海水

植物染瓊麻

Plant-dyed Sisal Ramie

Sea Water

Running Water

10 15

10 15 5

Sea Water

WAVES OF CONVERGENCE

無

良好

Well

無

良好

Well

10 15

無

些微

良好良好

Well

良好

Well

Obvious

明顯

良好

Well

無

良好

Well

無

良好

Well

無

良好

Well

無

良好

Well

Little

良好

Well

明顯

良好

Well

無

良好

Well

無 No

無

良好

Well

水色微黑，微混濁，苧麻轉微黑色

Water color is light black and slightly murky. Ramie turned light black.

無

水色微深，微混濁，苧麻產生褪色 Water color becomes darker with high murkiness. Ramie becomes discolored.

水色加深，混濁度高，苧麻產生褪色 Water color becomes darker with high murkiness Ramie becomes discolored.

無

水色微深，微混濁，苧麻產生褪色 Water color becomes darker with high murkiness. Ramie becomes discolored.

水色加深，混濁度高，苧麻褪色轉黑 Water color becomes darker with high murkiness Ramie turned light black.

無

Little

水色微黑，微混濁

無

Water color is light black and slightly murky.

10 15

韌性

Tenacity

無

腐臭味

Stench from decaying

無

5 海水

Decaying

無

自來水

腐化

一般瓊麻

Plant-dyed Sisal Ramie

Tap Water

植物染瓊麻

觀測天數

Number of Days of Observation

Tap Water

Average Sisal Ramie

水質

Water Quality

無

No No

無 No

無

水色微深，微混濁，瓊麻產生褪色

Water color is light black and slightly murky. Hemp becomes discolored.

水色微深，混濁度高，瓊麻產生褪色 Water color becomes darker with high murkiness. Hemp becomes discolored.

無

水色微深，微混濁，瓊麻產生褪色

Water color is light black and slightly murky. Hemp becomes discolored.

水色微深，混濁度高，瓊麻產生褪色 Water color becomes darker with high murkiness. Hemp becomes discolored.

些微

Obvious

無無無無無

良好

無

些微 Little

明顯

Obvious

良好

適中

Well

Well Well Well Well

Medium

易斷裂 Brittle

良好

Well

易斷裂 Brittle

˙ 拉力性 Tensile Strength

Ramie fiber is long and tough, with great tensile strength

纖維具拉力、耐海水特性，運用拉力試驗機瞭解麻

a tensile testing machine, as this method tests the tensile

苧麻纖維形長而性韌，拉力強而延伸度小，瓊麻纖維拉力承受度，將已捻繞成線的苧麻纖維與瓊麻纖維做為測試物件，測試材質拉力強度，數據化的拉力

承受度有益於編織創作時更瞭解材料運用。將取得的麻料材質送至紡織綜合研究中心進行試驗，以 CNS

1126 1.3216-2003 8.5 為試驗方式，以直徑 8mm

苧麻繩與直徑 5mm 瓊麻繩進行斷裂強力試驗，經試

驗苧麻線斷裂強力為 220.8 公斤，瓊麻線斷裂強力為 47.8 公斤。數據顯示苧麻線需超過 220.8 公斤重量

才會斷裂，瓊麻線須超過 47.8 公斤重量才會斷裂，由此可看出苧麻線的拉力更勝於瓊麻線。

220.8kgf

47.8kgf

and poor ductility. Sisal hemp fiber is tensile and resistant to seawater. The tensile strength of ramie fiber was tested using

strength of the material by taking ramie and sisal hemp fibers that have been twisted into thread as the test objects. The data about tensile strength of material is helpful for a better

understanding of the material application in weaving creation.

The ramie material was sent to the textile comprehensive research center for testing. Taking CNS 1126 1.3216-2003 8.5

as the test method, the breaking strength test was conducted with 8mm ramie rope and 5mm Sisal hemp rope, and the test

results show that the breaking strengths of the Ramie rope and

the Sisal hemp rope were 220.8kg and 47.8kg, respectively. The data shows that the Ramie rope would break only when

the weight was over 220.8kg, while the Sisal hemp rope would

break only when the weight was over 47.8kg, indicating that the tensile force of the Ramie rope is better than that of the Sisal hemp rope.

苧麻線

Ramie Thread

瓊麻線

Sisal Ramie Thread

試驗項目

Items of Experiment

單紗斷裂強力（kgf）

Single yarn breaking strength（kgf）

試驗方式

Method of Experiment

CNS 1126 1.3216-2003 8.5 Speed: 25± 1cm/min,CRE

創造編織材質發覺溫潤色光 Creative Material Weaving ˙ 纖維造紙 Fiber Paper

自古以來造紙原料多使用植物纖維為主，原料以

In ancient times, the raw materials for papermaking were

後有樹皮紙、籐紙與竹紙。植物纖維具有較輕、可再

followed by tree bark paper, rattan paper, and bamboo paper.

麻、皮、籐、竹、草五類，麻是最早用於造紙之原料，生、可生物降解、對人體無危害等特質，植物纖維造

紙，會因光照而老化，高溫高溼環境易受黴菌侵害，此種生物降解性，對環境沒有傷害是可再生的資源，並可解決農業廢棄物的問題。苧麻屬於韌皮纖維，瓊

麻屬葉脈纖維，韌皮類的紙較為適用於長期保存的珍貴文物，是較好的選擇。

植物纖維長度、強度以及粗細都會影響紙張特性，考量紙漿易取性與影響性，衛生紙漿材質易取，顏色白，顏色影響度低，故以此為測試紙漿。運用不同比例將苧麻、瓊麻纖維混合紙漿進行測試，觀察出

苧麻纖維紙質較細，紙張較白；瓊麻纖維紙質較粗，紙張偏淡綠色；苧麻瓊麻紙質略粗，混入兩種纖維，紙質纖維感重。

mainly plant fibers, including hemp, bark, rattan, bamboo, and grass. Hemp was the first raw material for papermaking,

Plant fibers are light, renewable, biodegradable, and harmless to the human body. Paper made of plant fiber will age due to light, and is vulnerable to mold damage in high-temperature

and humid environments. This kind of biodegradable, environmental-friendly, and renewable resource can solve the

problem of agricultural waste. Ramie belongs to phloem fiber, while Sisal hemp belongs to vein fiber. Phloem paper is a better choice for long-term preservation of precious cultural relics.

The length, strength, and thickness of the plant fibers will affect the paper characteristics. Considering the accessibility

and influence of pulp, sanitary pulp was selected as the test pulp due to its accessibility, white color, and low influence of

color. The tests were conducted on pulp with different mixing ratios of ramie and sisal hemp. According to observations, the

Ramie fiber paper is more delicate in texture and white in color; the sisal hemp fiber paper is quite rough in texture and light green in color; the ramie and sisal hemp fiber paper is slightly

rough in texture and with stronger fibers due to the mixture of two kinds of fibers.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

紙漿：苧麻（5：1） Pulp : Ramie (5:1)

製作原料：紙漿、苧麻

Raw materials of production: Pulp, Ramie

紙質粗細：細緻

Paper texture: Medium texture

原料比例：紙漿混苧麻比例 5:1 紙面肌理：中紋顏色：白

Ratio of raw materials: \ Pulp to ramie ratio 5:1 Paper coarseness: Delicate Color: White

第一步：將苧麻纖維以 2.5~3cm 長度剪斷，泡水靜置一段時間使纖維軟化後，混合 30 克紙漿與 6 克苧麻，倒入 3500 c.c. 的水盆裡，輕輕攪拌均勻。

第二步：將抄網組合，放入水盆中輕轉 3~5 圈進行抄紙，將抄網拿起瀝水，從抄網取下手工紙，靜置晾乾。

FIRST STEP : Cut ramie fibers into 2.5 ~ 3cm strands, and place in water for a period of time to soften the

fibers. Mix 30 grams of pulp and 6 grams of ramie. Pour into 3,500 c.c. of water bucket and stir evenly lightly.

SECOND STEP : Take the mesh and place in the water bucket. Swirl 3 ~ 5 rounds to mesh the paper. Take the mesh out to drain off water. Take the paper out of the mesh and place to dry.

紙漿：苧麻（1：1） Pulp : Ramie (1:1)

製作原料：紙漿、苧麻

原料比例：紙漿混苧麻比例 1:1 紙質粗細：略粗紙面肌理：中紋顏色：白

Raw materials of production: Pulp, Ramie

Ratio of raw materials: Pulp to ramie ratio 1:1 Paper coarseness: Slightly coarse Paper texture: Medium texture Color: White

第一步：將苧麻纖維以 2.5~3cm 長度剪斷，泡水靜置一段時間使纖維軟化後，混合 30 克紙漿與 30 克苧麻，倒入 3500 c.c. 的水盆裡，輕輕攪拌均勻。

第二步：將抄網組合，放入水盆中輕轉 3~5 圈進行抄紙，將抄網拿起瀝水，從抄網取下手工紙，靜置晾乾。

FIRST STEP : Cut ramie fibers into 2.5 ~ 3cm strands, and place in water for a period of time to soften the

fibers. Mix 30 grams of pulp and 30 grams of ramie. Pour into 3,500 c.c. of water bucket and stir evenly lightly.

SECOND STEP : Take the mesh and place in the water bucket. Swirl 3 ~ 5 rounds to mesh the paper. Take the mesh out to drain off water. Take the paper out of the mesh and place to dry.

紙漿：苧麻（1：5） Pulp : Ramie (1:5)

製作原料：紙漿、苧麻

原料比例：紙漿混苧麻比例 1:5 紙質粗細：略粗紙面肌理：中紋顏色：米白

Raw materials of production: Pulp, Ramie

Ratio of raw materials: Pulp to ramie ratio 1:5 Paper coarseness: Slightly coarse Paper texture: Medium texture Color: Off white

第一步：將苧麻纖維以 2.5~3cm 長度剪斷，泡水靜置一段時間使纖維軟化後，混合 6 克紙漿與 30 克苧麻，倒入 3500 c.c. 的水盆裡，輕輕攪拌均勻。

第二步：將抄網組合，放入水盆中輕轉 3~5 圈進行抄紙，將抄網拿起瀝水，從抄網取下手工紙，靜置晾乾。

FIRST STEP : Cut ramie fibers into 2.5 ~ 3cm strands, and place in water for a period of time to soften the

fibers. Mix 6 grams of pulp and 30 grams of ramie. Pour into 3,500 c.c. of water bucket and stir evenly lightly.

SECOND STEP : Take the mesh and place in the water bucket. Swirl 3 ~ 5 rounds to mesh the paper. Take the mesh out to drain off water. Take the paper out of the mesh and place to dry.

WAVES OF CONVERGENCE

紙漿：瓊麻（5：1） Pulp : Sisal Hemp (5:1)

製作原料：紙漿、瓊麻

Raw materials of production: Pulp, Hemp

紙質粗細：略粗

Paper texture: Medium texture

原料比例：紙漿混瓊麻比例 5:1 紙面肌理：中紋顏色：白

Ratio of raw materials: Pulp to hemp ratio 5:1 Paper coarseness: Slightly coarse Color: White

第一步：將瓊麻纖維以 2.5~3cm 長度剪斷，泡水靜置一段時間使纖維軟化後，混合 30 克紙漿與 6 克瓊麻，倒入 3500 c.c. 的水盆裡，輕輕攪拌均勻。

第二步：將抄網組合，放入水盆中輕轉 3~5 圈進行抄紙，將抄網拿起瀝水，從抄網取下手工紙，靜置晾乾。

FIRST STEP : Cut hemp e fibers into 2.5 ~ 3cm strands, and place in water for a period of time to soften the fibers. Mix 30 grams of pulp and 6 grams of hemp. Pour into 3,500 c.c. of water bucket and stir evenly lightly.

SECOND STEP : Take the mesh and place in the water bucket. Swirl 3 ~ 5 rounds to mesh the paper. Take the mesh out to drain off water. Take the paper out of the mesh and place to dry.

紙漿：瓊麻（1：1） Pulp : Sisal Hemp (1:1)

製作原料：紙漿、瓊麻

原料比例：紙漿混瓊麻比例 1:1 紙質粗細：粗糙紙面肌理：粗紋顏色：淡綠

Raw materials of production: Pulp, Hemp

Ratio of raw materials: Pulp to hemp ratio 1:1 Paper coarseness: Coarse

Paper texture: Thick texture Color: Light green

第一步：將瓊麻纖維以 2.5~3cm 長度剪斷，泡水靜置一段時間使纖維軟化後，混合 30 克紙漿與 30 克瓊麻，倒入 3500 c.c. 的水盆裡，輕輕攪拌均勻。

第二步：將抄網組合，放入水盆中輕轉 3~5 圈進行抄紙，將抄網拿起瀝水，從抄網取下手工紙，靜置晾乾。

FIRST STEP : Cut hemp e fibers into 2.5 ~ 3cm strands, and place in water for a period of time to soften the fibers. Mix 30 grams of pulp and 30 grams of hemp. Pour into 3,500 c.c. of water bucket and stir evenly lightly.

SECOND STEP : Take the mesh and place in the water bucket. Swirl 3 ~ 5 rounds to mesh the paper. Take the mesh out to drain off water. Take the paper out of the mesh and place to dry.

紙漿：瓊麻（1：5） Pulp : Sisal Hemp (1:5)

製作原料：紙漿、瓊麻

原料比例：紙漿混瓊麻比例 1:5 紙質粗細：粗糙紙面肌理：粗紋顏色：淡綠

Raw materials of production: Pulp, Hemp

Ratio of raw materials: Pulp to hemp ratio 1:5 Paper coarseness: Coarse

Paper texture: Thick texture Color: Light green

第一步：將瓊麻纖維以 2.5~3cm 長度剪斷，泡水靜置一段時間使纖維軟化後，混合 6 克紙漿與 30 克瓊麻，倒入 3500 c.c. 的水盆裡，輕輕攪拌均勻。

第二步：將抄網組合，放入水盆中輕轉 3~5 圈進行抄紙，將抄網拿起瀝水，從抄網取下手工紙，靜置晾乾。

FIRST STEP : Cut hemp e fibers into 2.5 ~ 3cm strands, and place in water for a period of time to soften the fibers. Mix 6 grams of pulp and 30 grams of hemp. Pour into 3,500 c.c. of water bucket and stir evenly lightly.

SECOND STEP : Take the mesh and place in the water bucket. Swirl 3 ~ 5 rounds to mesh the paper. Take the mesh out to drain off water. Take the paper out of the mesh and place to dry.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

紙漿：苧麻：瓊麻（ 5 ： 1 ： 1 ） Pulp : Ramie :Sisal Hemp (5:1:1)

製作原料：紙漿、苧麻、瓊麻

Raw materials of production: Pulp, Ramie, Hemp

紙質粗細：粗糙

Paper texture: Medium texture

原料比例：紙漿混苧麻、瓊麻比例 5:1:1 紙面肌理：中紋顏色：白

Ratio of raw materials: Pulp to hemp to ramie ratio 5:1:1 Paper coarseness: Coarse Color: White

第一步：將苧麻和瓊麻纖維以 2.5~3cm 長度剪斷，泡水靜置一段時間使纖維軟化後，混合 30 克紙漿與 6 克苧麻、6 克瓊麻，倒入 3500 c.c. 的水盆裡，輕輕攪拌均勻。

第二步：將抄網組合，放入水盆中輕轉 3~5 圈進行抄紙，將抄網拿起瀝水，從抄網取下手工紙，靜置晾乾。

FIRST STEP : Cut hemp and ramie fibers into 2.5 ~ 3cm strands, and place in water for a period of time to soften the fibers. Mix 30 grams of pulp, 6 grams of ramie and 6 grams of hemp. Pour into 3,500 c.c. of water bucket and stir evenly lightly.

SECOND STEP : Take the mesh and place in the water bucket. Swirl 3 ~ 5 rounds to mesh the paper. Take the mesh out to drain off water. Take the paper out of the mesh and place to dry.

紙漿：苧麻：瓊麻（ 1 ： 1 ： 1 ） Pulp : Ramie : Sisal Hemp (1:1:1)

製作原料：紙漿、苧麻、瓊麻

Raw materials of production: Pulp, Ramie, Hemp

紙質粗細：粗糙

Paper texture: Thick texture

原料比例：紙漿混苧麻、瓊麻比例 1:1:1 紙面肌理：粗紋顏色：淡綠

Ratio of raw materials: Pulp to hemp toramie ratio 1:1:1 Paper coarseness: Coarse Color:Light green

第一步：將苧麻和瓊麻纖維以 2.5~3cm 長度剪斷，泡水靜置一段時間使纖維軟化後，混合 30 克紙漿與 30 克苧麻、30 克瓊麻，倒入 3500 c.c. 的水盆裡，輕輕攪拌均勻。

第二步：將抄網組合，放入水盆中輕轉 3~5 圈進行抄紙，將抄網拿起瀝水，從抄網取下手工紙，靜置晾乾。

FIRST STEP : Cut hemp and ramie fibers into 2.5 ~ 3cm strands, and place in water for a period of time to soften the fibers. Mix 30 grams of pulp, 30 grams of ramie and 30 grams of hemp. Pour into 3,500 c.c. of water bucket and stir evenly lightly.

SECOND STEP : Take the mesh and place in the water bucket. Swirl 3 ~ 5 rounds to mesh the paper. Take the mesh out to drain off water. Take the paper out of the mesh and place to dry.

紙漿：苧麻：瓊麻（ 1 ： 5 ： 5 ） Pulp : Ramie : Sisal Hemp (1:1:5)

製作原料：紙漿、苧麻、瓊麻

原料比例：紙漿混苧麻、瓊麻比例 1:1:5 紙質粗細：粗糙紙面肌理：粗紋顏色：淡綠

Raw materials of production: Pulp, Ramie, hemp

Ratio of raw materials: Pulp to hemp toramie ratio 1:5:5 Paper coarseness: Coarse

Paper texture: Thick texture Color: Light green

第一步：將苧麻和瓊麻纖維以 2.5~3cm 長度剪斷，泡水靜置一段時間使纖維軟化後，混合 6 克紙漿與 30 克苧麻、30 克瓊麻，倒入 3500 c.c. 的水盆裡，輕輕攪拌均勻。

第二步：將抄網組合，放入水盆中輕轉 3~5 圈進行抄紙，將抄網拿起瀝水，從抄網取下手工紙，靜置晾乾。

FIRST STEP : Cut hemp and ramie fibers into 2.5 ~ 3cm strands, and place in water for a period of time to soften the fibers. Mix 6 grams of pulp, 30 grams of ramie and 30 grams of hemp. Pour into 3,500 c.c. of water bucket and stir evenly lightly.

SECOND STEP : Take the mesh and place in the water bucket. Swirl 3 ~ 5 rounds to mesh the paper. Take the mesh out to drain off water. Take the paper out of the mesh and place to dry.

WAVES OF CONVERGENCE

˙ 纖維編織 Fiber Paper

苧麻材質細緻，臺灣原住民族多使用苧麻製作族

Ramie has delicate texture and is often used by Taiwan’s

菱形織等；瓊麻材質粗糙，傳統常將瓊麻纖維製作成

diamond-shaped weaving; Sisal hemp is rough in texture and

服，運用傳統織布機製作服飾，織出平織、斜紋織、繩索，基本製作以平織法、纏繞法與辮編法為主。傳統編織多運用苧麻製做成單層布料，瓊麻製做成繩

索與生活用袋子，兩者皆是以單層面料呈現不同花色的製作方式，本次纖維編織試圖打破面料編織的單層性，運用重組建構方式將兩種材質面料組合，製作成小型傢飾掛毯。

底層以瓊麻線為主，瓊麻纖維粗糙，拉力度佳，惟易因線繩摩擦起毛鬚，顏色偏黃褐色，故運用苧麻

線將併排的瓊麻繩縫起，以併排的瓊麻線呈現大地質

感；上層以苧麻線為主，苧麻纖維細緻，擁有良好的拉力度與韌性，顏色純淨潔白，故以繩結方式編織苧麻線，先將苧麻線績麻成相同粗細度，抹上些許凡士

林增加潤澤度以利繩結編織，再以兩種繩結法呈現苧麻線的變化。

indigenous peoples to make ethnic costumes with traditional

looms and various weaving styles, such as plain, twill, and traditionally used to make ropes by plain weaving, winding,

and braiding. Traditionally, Ramie is used to weave single-layer fabrics, while Sisal hemp is used to make ropes and bags for

daily use, both of which present different patterns of singlelayer fabrics. This exhibition attempts to surpass single-layer

fabric weaving by combining two fabric materials through restructuring construction to make a small home decoration tapestry.

The bottom layer is mainly made of Sisal hemp thread, which

is rough and has good tensile strength; however, it tends to fluff due to the friction between the thread ropes, and its color

is yellowish brown. Therefore, Ramie thread is used to sew the

side-by-side Sisal hemp ropes, which presents the texture of the earth. The upper layer is mainly made of Ramie thread, which

has delicate texture, good tensile strength and toughness, and

is pure white in color. Therefore, knotting methods were used to weave the Ramie thread, where the Ramie thread was first

spun to be evenly thick, and then, Vaseline was applied to make it moister for knot weaving. Then, two kinds of known

methods were used to present the changes of the ramie thread.

苧麻編織（左）、瓊麻編織（右）

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

小型傢飾掛毯橫桿部分，一般多以木頭桿作為

The crossbar part of the small household tapestry is generally

製作橫桿，運用三種方式試編橫桿（如圖 2-12，上

the crossbar (as shown in Figure 2-12, from top to bottom). The

主要支撐，在此運用瓊麻材質的粗糙與線繩牢固度

至下），第一種瓊麻線繩重疊法，簡約呈現瓊麻質

感；第二種瓊麻線繩繞編法，質感較為粗曠；第三種瓊麻線作主軸加以苧麻線繞編法，因外層為苧麻

線繞編，橫桿會過度柔軟無支撐力，因此橫桿部分選擇以第一種瓊麻線繩重疊法製作，橫桿具支撐力

並能展現瓊麻質感。掛繩部分，延續橫桿簡約風，單純以苧麻與瓊麻繞編法製作，展現兩種材質交織融合之感。

最後將製作好的底層瓊麻、上層苧麻、橫桿、

掛繩組合起來，透過編織重組方式，在細緻與粗糙交錯運用間，相互融合成一件生活傢飾，核心傳達的是地方性與文化性，運用材質述說地方文化，展現臺東地方文化之大地感。

supported by a wood pole, which is made of the rough Sisal

hemp and firm wire ropes, and three ways were used to weave first method is the overlapping of Sisal hemp thread ropes, which presents the texture of Sisal Hemp in a simple manner;

the second method is the winding of Sisal hemp thread ropes,

which creates a relatively rough texture; the third method is the winding of Ramie around the spindle of Sisal hemp thread.

As the outer layer is made of wound Ramie, the crossbar will be too soft without a supporting force; therefore, the crossbar

part is made by the first method, i.e., overlapping of Sisal hemp thread ropes so that the crossbar has supporting force and can

show the texture of the Sisal hemp. The hanging ropes continue the simple style of the crossbar, which were made by winding the ramie and sisal hemp to present the sense of interweaving and blending of the two materials.

Finally, the bottom layer was completed with Sisal hemp, the

upper layer with Ramie, and the crossbar and hanging ropes were combined to form the home furnishing through the weaving and restructuring of the delicate and coarse textures.

The core of the work is to convey local and cultural features,

describe the local culture with the materials, and show the sense of the earth of Taitung’s local culture.

橫桿試做

掛繩編織

WAVES OF CONVERGENCE

編織重組完成

˙ 纖維植物染 Fiber Dyeing

傳統文化使用植物纖維編織生活用品，運用植物根、莖、葉中萃取出色素，形成天然植物染料，

變化不同色系編製衣飾，呈現地方文化與在地顏色，於此選用臺東在地植物毛柿、福木、月桃做植物染

試驗，目的在於試驗苧麻與瓊麻的色彩呈現。苧麻原色偏米白色，瓊麻原色偏黃綠色，植物染試驗觀

察到毛柿、福木染使用於苧麻易上色，瓊麻較困難，而月桃染則呈現相反狀況，苧麻難上色，瓊麻較容

易，整體而言，苧麻色澤與飽合度都較佳，瓊麻顏色顯得較為混濁。

I n t ra d i t i o n a l c u l t u re , p l a n t f i b e rs a re u s e d to wea ve articles for daily use, and pigments are extracted from the

roots, stems, and leaves of plants to form natural plant dyes. Clothes and ornaments are weaved in different color

systems to present local cultures and colors. Taitung’s

local plants, such as diospyros philippensis, garcinia

spicata, and shellflower, were selected to conduct plant dyeing experiments, where the purpose is to test the color

presentation of ramie and sisal hemp. The primary color of Ramie is creamy white, while that of Sisal hemp is yellowish

In contrast, it is difficult to color Ramie, but easy to color

that it is easy to color Ramie and difficult to color Sisal hemp

better color, luster, and saturation, while Sisal hemp has

green. During the plant dyeing experiment, it was observed with diospyros philippensis and garcinia spicata dyes.

Sisal hemp with shellflower dye. As a whole, Ramie has more turbid color.

福木 Fumu 福木，別名菲島福木、福樹、楠仔、金錢樹，屬藤黃科，為常綠中喬木，高可達二十公尺，樹幹粗狀，樹皮帶黑色，樹皮厚，樹姿美圓錐塔型，葉橢圓形，厚革質，葉表深綠色，葉形、葉色極似古時日

本之貨幣「小判」，因此取名為「福木」，表示栽種此樹易發財得福。

Fumu, of Clusiaceae, is also known as Philippines fumu, lucky tree, money tree. It is ever

green mesophanerophyte. It reaches as tall as 20 meters. The trunk is thick. The bark is black and thick. The form of the tree is beautiful with a cone tower shape. The leaves are

oval in shape and leathery. Leaf surface is dark green. The shape and color of the leaves

resemble the ancient Japanese coin, Goban’ very much and hence the name ‘Fumu’, meaning that it’s easy to beget wealth and happiness by planting the tree.

福木植物染，福木葉子煮成染料，加入粗鹽與竹灰水做為定色劑，將煮好的福木染料使用持續加熱方式，溫度控制在 80 度，放入瓊麻、苧麻，靜置 40 分鐘上色。

顏色呈金黃色，苧麻纖維色澤米白且細緻，瓊麻纖維色澤偏黃且

細如絲，苧麻呈現亮黃色，染色後的瓊麻呈暗黃色，顯示出瓊麻上色較苧麻上色不易。

Fumu plant dye. Cook the Fumu leaves into dye. Add coarse salt and bamboo charcoal water as the color fixer. Continue to heat the cooked Fumu dye at 80 degrees. Add hemp,

ramie into the dye and let it settle for 40 minutes for coloration. The color will be golden yellow. The color of ramie fibers appears off white and delicate.

The color of the hemp fibers appears off yellow and fibers are thin as silk. Ramie appears bright yellow. Hemp appears dark yellow after dying, indicating that hemp is harder to dye than ramie.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

毛柿 Taiwan Persimmon 毛柿，別名台灣黑檀、烏木、台灣柿，屬柿樹科，為常綠大喬木，

主幹粗狀直立，樹皮呈黑褐色，株高可至二十公尺，樹形優美。枝葉濃郁，全株披黃褐色絹毛，葉橢圓披針，葉正面平滑，木材質地堅硬，是名貴的黑檀木之一，也是五大闊葉樹之一級木。

Taiwan persimmon is also known as Taiwan ebony, blackwood, Taiwan persimmon, and belongs to Ebenaceae. It is ever green megaphanecophyte. The trunk is thick and straight.

The bark appears blackish brown. The plant can be as tall as 20 meters. The form of the

tree is beautiful. Twigs and leaves are thick. The plant is covered in yellowish brown hairs. The leaf is oval and has thorns. The top side of the leaf is smooth. The wood is hard. It is one of the precious ebonies and also one of the five class-one broad-leaf trees.

毛柿植物染，運用毛柿葉子煮成染料，加入粗鹽與竹灰水做為定色劑，將煮好的毛柿染料使用浸泡方式冷染，放入瓊麻、苧麻，靜置 2~3 小時上色。

毛柿染，顏色呈暗紅色，染色後的瓊麻與苧麻皆呈暗紅色，苧麻色澤較具飽和度，而瓊麻色澤顯得更為混濁。

Taiwan persimmon dye cooks the leaves to become dye. Add coarse salt and bamboo

charcoal water as the color fixer. Take the cooked dye and use it in cold immersion dying. Add hemp, ramie into the dye and let it settle for 2~3 hours for coloration.

Taiwan persimmon dye color appears dark red. Colors of hemp and ramie both appear dark red. Ramie coloration appears more saturated while murkier for hemp.

月桃葉 Alpinia Zerumbet 月桃葉，別名草蔻、荳蔻、玉桃、良薑、虎子花，屬薑科，屬多年

生草本，為臺灣低海拔山區廣佈的多年生大型草本植物，高可達三公尺，葉廣披針形，葉緣生有細毛，葉鞘甚長相互緊包成稈狀，表面具有蠟質，常作為食物包裹的材料或者墊材，多生長於林蔭下。

Alpinia zerumbet is also known as Alpinia katsumadai, doukou, yutao, Alpinia officinarum Hance, Alpinia zerumbet, and belongs to Zingiberaceae. It is perennial

herbaceous, a large perennial herbaceous plant that spreads throughout the low altitude mountainous areas in Taiwan. It can be as tall as three meters. The leaves have thorns.

The edge of leaves has fine hairs. The leaf sheaths wrap around each other into a stalklike form. The leaf surface is waxy and is usually used as food wrapping material or as matts. It grows mostly under the shadow and shade of trees in the forest.

月桃植物染，運用月桃葉煮成染料，加入粗鹽與竹灰水做為定色劑，將煮好的月桃染料使用二階段方式上色，先將溫度控制在 80 度，放入瓊麻、苧麻，靜置 40 分鐘，再於陽光下靜置 40 分鐘。

月桃染，顏色呈淡暗紅色，染色後的瓊麻與苧麻皆呈現淡淡的暗紅色，上色不易，色澤顯得混濁，月桃染劑通常需進行第二次加熱染色，顏色才能顯示出來。

Alpinia zerumbet dye cooks the leaves to become dye. Add coarse salt and bamboo charcoal water as the color fixer. Apply the cooked dye by two-stage coloration. Control the temperature at 80 degrees first.

Alpinia zerumbet dye color appears light crimson. Colors of hemp and ramie both appear

light crimson, very hard to dye and murky. The Alpinia zerumbet dye usually requires reheating for dying in order for the color to appear and show.

WAVES OF CONVERGENCE

工藝材質苧麻與瓊麻透過耐腐性試驗，觀察到瓊

In the corrosion resistance testing of ramie and sisal hemp

質才保有拉力性與耐海水性，若經染色會改變材質特

material maintain its tensile strength and seawater resistance.

麻的耐海水特性需為原始麻料、未經染色為前提，材性，使其變得脆弱易斷裂；纖維編織發現到苧麻韌性良好，由於材質較細軟，使用於編織時易變形需有輔

助工具作固定，此亦反應到藝術家以苧麻創作裝置藝術時，會以毛線與其他麻材質搭配使用，於製作成型

時增加作品整體硬挺度，而瓊麻材質因易起毛鬚，編

織製作時以簡單的繩結作重覆編織最適合，同時拉大線材繩結間距以防止過度起毛產生雜亂感；纖維植物

染顯示出苧麻染色後色彩飽和度高呈現明亮光澤度，瓊麻染色後色彩飽和度較低呈現混濁。材質是重要的感知媒材，從材質試驗觀察與手做過程中，將材質互

動的感知經驗轉化成具溫度的手作工藝，以傳遞出獨特的在地文化。

craft materials, it was observed that, only when it is the unpigmented original ramie material can the Sisal hemp Dyeing will change the material characteristics, making it fragile

and easy to break. Ramie is found to have good toughness

in fiber weaving; however, because the material is thin and soft, it is easily deformed during the weaving, and auxiliary

tools are needed for fixation. This is also reflected in artists’ creations of installation art with Ramie. They will use wool and

other hemp materials together to increase the overall rigidity of the work when forming its shape. As Sisal hemp materials

will easily fluff, it is most suitable to adopt repeated weaving with simple knots, and expand the space between the knots

to prevent the disorderly feeling caused by excessive fluffing. Ramie with fiber plant dyeing presents high color saturation and bright luster, while the dyed Sisal hemp presents low color saturation and turbidity. Material is an important medium of

perception, thus, in the observations and practices of the craft

material experiments, the perception experiences of material interactions are transformed into handicrafts with human touch, in order to convey the unique local culture.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

織有土地故事的藝術

The Art of Weaving A Land Story

文化流年經緯交織 Traditional Weaving 苧麻纖維屬於韌皮纖維，材質細緻，具有吸濕、

Ramie fiber is a kind of phloem fiber with delicate texture,

長，歷史上從戰國時期開始，苧麻布就是統治階級

for textiles. Ramie cloth has a long history, and since the Warring

透氣特點，成為重要紡織原料。苧麻布製作淵遠流

互相餽贈的貴重禮物，到宋代時期江南產的苧麻布，不僅數量多且花色品種亦多（王蜀桂，2004）。臺

灣原住民族多使用苧麻布製作族服，由於苧麻纖維

製作較為繁複，原住民族日常穿著以素色、白色或原色為主，自歐洲布料開始進口至臺灣且毛線的引

進，原住民族發現毛線與苧麻搭配得來，於是從日治時期開始運用至服飾製作。

瓊麻屬葉脈纖維，材質粗糙，纖維具有拉力與

耐海水特性，傳統常將瓊麻纖維製作成繩索為主要

或製作成輪船的纜繩、漁網、拔河活動的粗纜繩以及吊床，又因良好透氣性，製作成生活用品使用的地蓆、床墊、沙發襯墊、瓊麻鞋等。瓊麻纖維製作

常使用傳統編織方式，基本製作分為平織法、纏繞法與辮編法，平織是指一根經線壓一根緯線和一根

緯線壓一根經線的編織方式，是最普遍常見的織法；纏繞法主要是在骨架上以同樣的材質，連續以螺旋形由基底部往上或往外纏繞而成；辮編法是運用多

股編方式，以縱橫直角交叉方式，將經線與緯線一

上一下互相交錯地編結而成，多運用在編織結尾上。臺灣原住民族的傳統織布機屬於移動式水平背

which has the characteristics of moisture absorption and air permeability, and thus, has become an important raw material States period, ramie cloth was regarded as a valuable gift among the ruling class. In the Song Dynasty, a large number of ramie

fabrics were produced in the south of the Yangtze River, which were varied in design and color (Wang, 2004). Ramie cloth was

often used by Taiwanese indigenous peoples to make ethnic costumes. As ramie fiber production is more complicated, the daily clothes of aboriginal people were mainly in plain, white,

or primary colors. After the import of European cloth to Taiwan and the introduction of wool, the aboriginal people found that

wool and Ramie were well matched, thus, they started using it in clothing production in the Japanese Colonial period.

Sisal hemp is a kind of leaf vein fiber with rough texture. As Sisal hemp fiber has the characteristics of tensile force and sea water

resistance, it is traditionally made into ropes or ship mooring ropes, fishing nets, tug-of-war ropes, and hammocks. Due to its good air permeability, it is also used to make articles for daily

use, such as floor mats, mattresses, sofa liners, and Sisal hemp shoes. Sisal hemp fiber is often made by traditional weaving methods, which mainly include plain weaving, winding, and

braiding methods. Plain weaving refers to the weaving method

of one warp pressing one weft and one weft pressing one warp, which is the most common weaving method. The winding

method is mainly to continuously wind the same material on the framework spirally from the base upward or outward. The

braiding method uses the multi strand weaving method to intertwine the warp and the weft in an overlapping manner with right-angle intersections, which is often used at the end of knitting.

帶織布機，因形制上有一條背帶置於織者的腰背部

The traditional loom used by Taiwan indigenous peoples

踏住經卷支持經線，故又有「腰機」、與「地機」

weaver needs to sit on the ground when using it, and step on

以拉直經線，織布者在使用時需坐於地面，用腳底的簡稱。此種織布法早於新石器時代早期就出現，分布廣泛從埃及蘇丹到東非坦干伊喀區域，墨西哥到美洲安第斯山，從中亞到東南亞一帶都有出現（王

蜀桂，2004）。織布機包含兩大部分，一為整經架，用以整理線材、設計紋路；另一為織機與一組織布用的工具。臺灣原住民族傳統以苧麻為線材，使用織布機製作服飾，隨著不同族群而有不同的經軸樣式，使用的織布方法基本運用平織、斜紋織、菱形

織、緯線浮織、緯線挑花、緯線夾織以及羅紋織等技法製作。 28

WAVES OF CONVERGENCE

belongs to the mobile horizontal belt loom. As there is a belt on the back of the weaver's waist to straighten the warp, the

the warp roll to support the warp, thus, it is also called a “waist machine” and a “ground machine”. This kind of weaving

method appeared in the early Neolithic age, and is widely distributed in Egypt, the Sudan, and Tanganyika areas in East

Africa, Mexico and the Andes in the Americas, as well as Central Asia and Southeast Asia (Wang, 2004). The loom consists of two parts, one is a warping frame, which is used to arrange the warp

and design patterns, and the other is the loom machine and a tool set for weaving. Taiwanese indigenous people traditionally

use Ramie as the thread material and use a loom to make clothing. The warp styles vary with different ethnic groups, and

the basic weaving methods are plain weaving, twill weaving, diamond-shaped weaving, weft floating weaving, weft picking, weft clip weaving, rib weaving, etc.

麻材質的多元應用 Composite Media Application 傳統常將苧麻作為紡織原料，瓊麻作為製造漁

Ramie is often used as a raw material for textiles, while

耐水泡以及易形塑等特性，傳統材質應用以編織製

resistance, water-soaking resistance, and easy shaping, and

網、繩索原料，共同特質在於具有耐摩擦、耐腐蝕、

作成生活用品為主。1980 年代以來，由於科技進步

以及後現代浪潮的衝擊，纖維材質成為創作媒材之一，工藝創作透過多元媒材運用，從工藝實用範疇

的生活物件，朝向兼具設計、美感的居家用品，藝

術創作開始傾向面對生活環境議題提出省思，與自己、環境以及社會對話，透過藝術創作讓社會議題、地方文化的特殊性更加聚焦呈現。

sisal hemp is used for fishing nets and ropes. They share

the common characteristics of friction resistance, corrosion are mainly applied to weaving articles for daily use. Since the 1980s, due to the technological advances and impact of

post-modern times, fiber material has become a media for

creation. Through composite media applications, craft creation

has turned from crafts to create life objects with practical functions to household products with both design and

aesthetic feeling. Art creation tends to reflect the issues of the living environment, dialogue with itself, the environment, and

society, and focus more on presenting the uniqueness of local culture.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

吳姿瑩〈纖維筆記〉

林詣祖〈生活日，嚐〉

呂宗翰〈Process 過程〉

「凝結的浪－ 2019 臺東工藝材質復育展」纖維

and the value that should exist, and discussed the relationship

方式，吳姿瑩〈纖維筆記〉將苧麻與瓊麻融合金工

traditional hemp rope, and its replacement with man-made

材質工藝創作，設計師承襲傳統技藝或創造新的成型

創作，將麻材質設計成金工飾品，展現材質多元的可能性；林詣祖〈生活日，嚐〉融合月桃與瓊麻編

織，編製成購物袋，回應著環境保護的趨勢；呂宗翰

〈Process 過程〉融合苧麻梗、苧麻纖維以及編織帶，編製成掛飾，將創作過程以掛飾記錄保存。

between land and humans. Hemp・Fun’s “Treasure Bowl” used sisal hemp and styrofoam to show the declining use of

fibers, to show the changing times; Lin-li Liao’s “Vestigial”

integrated the elements of hemp fabric and tea, and during the exhibition, every 20 minutes, the tea would permeate from the inner layer of the hemp fabric and dye the cloth to show its natural texture.

纖維材質藝術創作，藝術家透過材質探討的是

人與土地、社會關係，曾詩云〈糸〉運用麻布的本

色象徵土地原本應有的樣貌，羊毛氈代表人為的介入與染色，使用枯枝去做自然生命的結束與本應存在的價值，探討的是土地與人為之間的關係；恆麻・繁〈聚寶盆〉運用瓊麻與保麗龍，展現隨著時代

變遷人造纖維取代，傳統麻繩的沒落；廖琳俐〈跡澱〉融合麻布、茶，於展出期間每隔 20 分鐘茶從麻

曾詩云〈糸〉

布內層滲透暈染出來，展現其自然紋理。

The craft works displayed in the“Waves of Convergence—2019 Taitung Craft Material Rehabilitation Exhibition” were created

with fiber materials, where the designers either inherited the

traditional skills or created new forming methods. Tzu Ying Wu’s “Fiber Notes” integrated ramie and sisal hemp into

metalwork creations and designed metalwork ornaments with

hemp materials, revealing the possibility of multiple materials; Yi-Zu Lin’s “A Day in Life, Taste” integrated shellflowers and

sisal hemp to weave shopping bags as a response to the trend

恆麻・繁〈聚寶盆〉

of environmental protection; Tsung-han Lu’s work “Process” integrated ramie stems, ramie fibers, and braided tape to make hanging ornaments, and recorded the creation process.

During art creation with fiber materials, the artists discussed

the relationship between human beings, the land, and society through the materials. Shih-yun Tseng’s work “Seek” used

the natural color of linen to symbolize the original appearance

of the land, wool felt to represent human intervention and dyeing, and dead branches to symbolize the end of natural life

WAVES OF CONVERGENCE

廖琳俐〈跡澱〉

材質創作從單一性走向複合媒材創作，單一材

The forms of material creation range from single media to

複合媒材運用以表現創作者的創作概念為核心，透

where the material is the main axis; while composite media

質運用是以材質為主軸，突顯苧麻、瓊麻材質特色，

過多元材質複合運用，以創作者為主的觀點，從個人生命經驗、在地文化特質到與社會對話的主題，

交織出藝術創作詮釋，書寫出人與土地的故事。麻是一種日常生活的材質，較常運用創作成生活用品，

因其親近性與在地性，亦常運用創作呼應土地與文化，苧麻與瓊麻皆為臺東在地特有資源，將其轉化

為ㄧ種社會溝通介質時，透過創作詮釋展現地方文化特殊性讓大眾瞭解地方文化。

苧麻與瓊麻纖維材質的複合運用，從工藝與藝

術創作中看見纖維材質的綠色設計魅力，工藝與藝

composite media creations. The application of single materials

is to highlight the features of ramie and sisal hemp materials, application emphasizes the presentation of the creators’

creative concepts as the core. From the perspective of the

creators, the composite application of multiple materials allows the works to be interweaved with the creators’ personal life

experiences, and local cultural characteristics, while the theme

of the dialogue with society interprets the artistic creation and

tells the story of the people and the land. Hemp is a material of daily life, which is often used to create articles for daily

use, and due to its proximity and locality, it is often used in

creation works to echo the land and culture. Ramie and Sisal

hemp are both unique local resources of Taitung. When they are transformed into a media for social communication, they can show the uniqueness of the local culture through creative interpretation to let the public understand the local culture.

術是「用」與「美」的兩端，無論是實用的物件或

With the composite application of ramie and sisal hemp fiber

植物纖維具有較輕、可再生、可生物降解、對人體

of “use” and “beauty”. Whether they are practical objects

是美的藝術品，核心內容傳達皆是地方性與文化性，

無危害等特質，運用植物纖維特質設計產品，對未

來發展綠色設計具有優勢，亦是未來可持續向前研究發展的方向，從產品設計擴展至室內設計運用，

找尋材質多元發展的可能性，將材質文化特殊性發展成臺東地方文化美感特質。

materials, crafts and artistic creations can show the green design charm of fiber materials. Craft and art are the two ends or beautiful works of art, the core content conveyed is the

locality and cultural character. Plant fiber is light, renewable, biodegradable, and harmless to the human body. Product

designs with plant fibers contribute to the future development

of green designs, which is also the direction of sustainable research and development in the future. From product design

to interior design, we can find possibilities for the multi-

development of materials, and develop the uniqueness of material culture into the aesthetic characteristics of Taitung’s local culture.

島嶼文化空間絮語 Material and Space Dialogue 從博物館空間走向戶外公共場域，藝術作品的

By extending the exhibition of art works from the museum

當代藝術作品走入公共空間，社會大眾開始有機會

and contemporary art works are starting to enter public

設置、公共藝術的發展乃至生活美學的美感教育，

在美術館圍牆外接觸到藝術作品，藝術作品必須考量空間特質與在地文化作連結，使民眾產生美感，故或多或少具有裝飾性。藝術家融合在地環境、文

化、創作概念與風格，空間成為一個對話場域，以

裝置藝術為媒介詮釋對在地環境的認識與感知，透過作品與社會大眾互動與對話。鄭元東觀察到臺東環境平視望去外層時而藍時而綠的包覆在外圍，運用布料與色彩於「凝結的浪－ 2019 臺東工藝材質復

育展」創作〈光之家〉，詮釋臺東自然環境，作品

色彩藉由布料透明感的層層堆疊，黃色從內散發出溫暖，房子安全的形象適合光所傳達的感受，讓人感到舒適放鬆與安全感。

space to outdoor public fields and spaces, we can see that the

development of public art, the education of life aesthetics, spaces, giving the public opportunities to enjoy the art works outside the walls of the art museum. Art works are more or less decorative, as they must consider the connection between

the spatial characteristics and local culture, in order to arouse

the aesthetic feelings of the public. By integrating the local environment, culture, creation concept, and style with the space as a dialogue field, the artists interpret their understanding

and perception of the local environment with the medium of the installation art, and interactively dialogues with the public through their works. Bruce Cheng observed that Taitung seems

to be wrapped by an outer layer that is sometimes blue and sometimes green, which inspired him to create the work “Light House” in “Waves of Convergence—2019 Taitung Craft

Material Rehabilitation Exhibition”. The work “Light House” is an interpretation of the natural environment of Taitung

through the use of cloth and colors. The yellow color transcends from the layers of the cloth with a sense of transparency and

radiates warmth from inside, while the safe image of the house fits in with the feelings conveyed by the light, making people

feel comfortable, relaxed, and safe. 2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

鄭元東，〈光之家〉

2009 年尤瑪 ‧ 達陸〈從九二一到八八〉是

In 2009, Yuma Taru participated in the “Contemporary Art

畫 -98 年南島藝術工坊藝術家駐館計畫」作品，回

as organized by the Kaohsiung Museum of Fine Arts with

參與高雄市立美術館「南島語系當代藝術發展計首九二一地震後的重建之路，並為當年因八八風災受苦的人們表達祈禱與祝福，將印有大地震圖樣及泰雅祈福咒語的織布剪開，重新織回崎嶇殘破的影像，由下往上織品由分裂而完整，交織成高約三公尺的圓柱型織品裝置，地面的多彩織布象徵土石流。

2016 年尤瑪 ‧ 達陸〈島嶼四季〉作品長五十八公尺，高三點五公尺，如長軸般一字展開，融入泰雅族染織、編結、綑紮等技法，透過詮釋島嶼的春、

夏、秋、冬，展現台灣的山川海景和這塊土地上生活的人物、故事。

Development Plan of Austronesian Language Family -- 2009 Residence Plan of Austronesian Art Workshop Artists”,

the work “From 921 to 88”, which was a reflection of the reconstruction course after the 921 Earthquake, and an

expression of prayer and blessings for people suffering from the Eight-Eight Flood in that year. The artist cut the woven fabric

printed with the pattern of the great earthquake and the prayer

mantra of Atayal tribe, and wove the cloth again to form the rugged and broken images. The fabric is divided and integrated

from the bottom to the top, interwoven into a cylindrical fabric

device with a height of about 3 m, and the colorful fabric on the ground symbolizes the soil flow. In 2016, Yuma Taru presented

the work “Four Season of the Island”, which was 58 m long and 3.5 m high, and unfolded in a cross type like a long scroll. By integrating Atayal dyeing, weaving, knotwork, bundling, and other techniques, this work depicted Taiwan’s mountains,

rivers, and sea views, as well as the residents of this land and their stories, through the interpretation of spring, summer, fall, and winter on the island.

WAVES OF CONVERGENCE

尤瑪．達陸，〈從九二一到八八〉，高雄市立美術館授權提供，註一

尤瑪．達陸，〈島嶼四季〉，王嵩山授權提供

藝術家進行創作時會因個人熟悉性、易取性與

Artists will choose their creation media based on their own

八八〉運用不鏽鋼紗、手捻蠶絲、環保紗、苧麻纖

used composite media, such as stainless steel yarn, hand twist

在地性選用媒材創作，尤瑪 ‧ 達陸〈從九二一到維、羊毛等複合媒材進行創作，作品運用戶外空間

呈現大型裝置藝術，呼應著因天災而受苦的社會大眾，〈島嶼四季〉運用苧麻、染織品、木等複合媒

材演譯春夏秋冬四季，作品置於桃園機場第一航廈三樓入境大廳，是臺灣面對世界遊客的入口，展現

泰雅族染織工藝從失傳到復育，透過作品讓海外遊客與返抵國人從藝術認識臺灣文化；鄭元東〈光之

家〉運用苧麻布、鋼索、金屬方管創作，作品置於臺東美術館川堂，運用在地植物纖維與環境顏色，

透過作品讓到訪的民眾更認識臺東在地工藝植物與色彩。〈從九二一到八八〉、〈島嶼四季〉、〈光

之家〉作品皆是運用苧麻纖維為主加入其它復合媒材進行創作，苧麻纖維的大地環境特質，於戶外空

間中易與環境相融常以大型裝置藝術創作的展現，苧麻纖維走入室內公共空間，則以更細緻的方式融合染織、織布工藝，運用材質的文化性聚焦的述說

島嶼文化與土地的故事，透過藝術作品閱讀在地文化與社會議題，讓觀者瞭解臺灣的美麗與多元。

familiarity, as well the accessibility and location of the media. In the creation of the work “From 921 to 88”, Yuma Taru yarn, environmental friendly yarn, ramie fiber, and wool, and

presented the large-scale installation art in the outdoor space,

echoing the people suffering from natural disasters. “Four Season of the Island” uses ramie, dyed fabrics, wood, and

other composite media to interpret spring, summer, fall, and

winter, which has been placed in the arrival hall of Taoyuan International Airport Terminal 1, the entrance to Taiwan for

foreigh tourists. This work took the evolution of Atayal dyeing and weaving crafts from a lost art to rehabilitation, through which, overseas tourists and returnees could understand

Taiwanese culture from the perspective of art. Bruce Cheng’s “Light House”, which is placed in the Taitung Art Museum

Hall, used ramie cloth, steel cable, and metal square tubes for creation, and helps visitors know more about Taitung’s local craft plants and color through its use of the local plant

fibers and the colors of the local environment. “From 921 to 88”, “Four Season of the Island”, and “Light House”

were all created by using ramie fiber as the main material and adding other composite media. With the characteristics of

the land and environment, ramie fiber is easily blended with the environment in outdoor spaces, and therefore, is often

used for the display of large-scale installation art creations.

When ramie fiber enters the indoor public space, it can be

integrated with dyeing and weaving crafts in a more detailed manner. By focusing on the cultural features of the materials,

the works could tell the island culture and the story of land, and by reading the local culture and social issues through art

works, the audience can understand the beauty and diversity of Taiwan. 註一作者 : 尤瑪 ˙ 達陸｜名稱 : 從九二一到八八｜媒材 : 綜合媒材（不鏽鋼紗、金屬紗、手捻蠶絲、環保紗、苧麻纖維、金、銀紗、羊毛、不鏽鋼紗、黃麻繩、花紗）｜尺寸 :300cm ｜年代 :2009 高雄市立美術館典藏

Remark 1

Author:Yuma Taru/Name:From 921 to 88/Creation medium:Stainless steel yarn, metal yarn, hand-twisted natural silk, environment-friendly yarn, ramie

fibers, gold and silver yarn, wool, jute cord and multicolored yarn/Size:300cm/ Age:2009/Kaohsiung Museum of Fine Arts Collection

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

走在復育的文化行者

Cultural Walker Walking In Rehabilitation

布農族編織文化－阿布斯 Bunun Weaving Culture - Abus ˙ 布農族文化 Bunun Culture

布農族自十七世紀以來，陸續由中央山脈以東

Since the 17th century, the Bunun people have successively

現在的花蓮、臺東、高雄等地，形成布農族各大

Hualien, Taitung, Kaohsiung, and other places, thus, forming

的原始住地（今日南投縣），越過中央山脈移住社群分佈，遷移後與鄰近族群接觸產生傳統服飾的轉變，傳統服飾以南投縣仁愛鄉、信義鄉最具傳統性，高雄、臺東一帶布農族傳統服飾的轉變受排灣族與魯凱族影響最顯著。高雄、臺東的布農族服飾有大量採借排灣族的傾向，出現一種「混雜」的穿法，即內著排灣化的短上衣 pito，外罩

布農族無袖外敞上衣 habang，依據劉斌雄研究

指出，這種先穿上 pito，再批上外敞衣，是當地

正式場合的穿著，當地人稱此種外衣為「布農人的衣服（ulus bunun）」（劉斌雄，1988）。

對於布農族本有外敞衣的稱呼，顯見外敞衣未採借鄰近族群元素，是布農族服飾重要表徵。

布農族的服飾與臺灣其他原住民族群相比，色彩普遍偏暗，多從自然環境中取材製作，布農族男子服飾依製作材料及穿著時機可分為兩種，一種由獸皮加工而成，主要在氣候較寒冷時或山上狩獵時穿著，另一種以苧麻為原料，運用苧麻

纖維織成衣服；女子服飾早期以苧麻為原料，棉布出現後逐漸取代苧麻纖維，使用織布機的形式為水平背帶織布機，紋飾色彩運用紅、黃、黑、藍等，織法有平織、斜紋織、夾織等（陳述巧，

2004）。居住在花蓮縣崙山部落的施菊花，是花蓮現僅存能運用傳統織布機織出代表性圖紋的耆老，2011 年花蓮縣政府將施菊花登錄為布農文化

男子傳統服飾編織保存者，其織布特色在於以布

農族地機，運用五竿技法織出傳統男子服飾後片橫向百步蛇圖紋。以前婦女會利用種小米後的空暇時間才能織布，一年當中的織布時間約集中在 10 月到次年 2 月，布農族織布多為素色的，用自己種的苧麻線染色，使用薯榔、黑泥、薑黃染出咖啡紅、黑、黃，直至外國傳教士或是荷蘭人帶

來了毛線，才有了織布上的變化（瞿海良、鐘仁嫻等，2013）。 34

WAVES OF CONVERGENCE

moved from their original residential area in the east of the Central Range (today’s Nantou County) to the present

the distribution of Bunun’s major communities. After the migration, Bunun people contacted neighboring ethnic groups,

which resulted in the transformation of its traditional costume. The most typical Bunun traditional costume can be seen in

Xinyi Township and Ren’ai Township, Nantou County, while

the traditional Bunun costume in Kaohsiung and Taitung experienced changes under the influence of Paiwan and Rukai.

Bunun costumes in Kaihsiung and Taitung tend to refer to Paiwan’s costumes to a large extent, forming a “mixed”

way of wearing, namely, the inside layer is a Paiwan style short

jacket called a pito, while the outside layer is a sleeveless Bunun style front-opening garment called a habang. According to Liu Bin-xiong, this style of the pito inside and the front-

opening garment outside is often for formal occasions in local areas. This front-opening garment is called “ulus bunun” by

local people (Liu, 1988). From the specific name given by the

Bunun people for the front-opening garment, we can see that this kind of garment obviously did not borrow the clothing elements of the neighboring ethnic groups, and therefore, is an important representation of Bunun costumes.

Compared with other indigenous peoples in Taiwan, Bunun

costumes are generally dark in color, and are mostly made of materials from the natural environment. Classified according

to the materials and timing of wearing, Bunun costumes can be divided into two types: one is made of animal skins, mainly worn in cold weather or when hunting in the mountains; the

other is woven with ramie fiber; in the early periods, women’s costumes were made of ramie, which was gradually replaced by ramie fiber after the emergence of cotton cloth. The loom

form used was the horizontal strap loom, the colors of the

ornaments were red, yellow, black, blue, etc., and the weaving methods included plain weaving, twilling, clip weaving, etc.

(Chen, 2004). Shi Ju-hua, an old lady living in Lunshan Village

of Hualien County, is the only person remaining who can weave representative patterns with a traditional loom, and in 2011,

was recorded by Hualien County government as the weaving inheritor of Bunun men’s traditional costumes. Her weaving

features include the use of a Bunun ground loom, and the fivepole weaving technique to weave the horizontal snake pattern

on the back of Bunun men’s traditional costumes. In the past, women would only weave in their spare time after planting millet, thus, the weaving time was mainly from October to

February. Most Bunun woven cloth is in plain colors, with ramie threads dyed into coffee, red, black, and yellow colors by using

potato hammers, black mud, and turmeric, and only after the

織物與社會文化是緊密相連的關係，臺灣原

introduction of wool to Taiwan by foreign missionaries or the

化呈現出一個族群的特殊工法與美感，展現族群

Fabric is closely related to social cultures. Each ethnic

住民族各族群都有屬於自己的編織文化，編織文對自然環境的認識與材料使用。傳統服飾與紋飾具有象徵作用，透過傳統織物與編織技藝呈現族群社會文化特殊性，而布農族因近百年的族群遷徙與多元文化融合影響下，織布技藝逐漸消逝，

故編織文化的復育與傳承為文化保存之首要，透過編織讓文化在部落中傳承延續。

Dutch did changes appear in weaving (Di, Chung et al., 2013).

group of Taiwan’s indigenous peoples has its own weaving culture. Weaving culture presents the special techniques and aesthetic feelings of an ethnic group, and shows the ethnic

group’s understanding of the natural environment and

use of materials. Traditional costumes and ornaments have symbolic implications and present the social and cultural uniqueness of the ethnic group through traditional fabric

and weaving techniques. Due to the influence of ethnic migration and multi-cultural integration in the past hundred

years, Bunun’s weaving skills have gradually disappeared. Therefore, the priority task for its cultural preservation is the

rehabilitation and inheritance of its weaving culture, in order

the the culture is passed-down and continued in the tribes through weaving.

˙ 工藝復育 Craft Rehabilitation of Bunun Culture 阿布斯（漢名邱春女）出生於臺東縣延平鄉加

拿部落，婚後住在延平鄉桃源部落，1996 年從馬偕

醫院書記工作退休，返回部落開始去瞭解部落生活文化，著手部落田野調查與觀察，歷經二十年，重

新找尋布農族織布文化；1996 年開始在部落教十字

繡編織，2006 年開始教簡易織布機，並持續帶著部落族人進階學習地織機；2012 年於臺東縣延平鄉桃源部落成立「阿布斯工紡」，致力於布農族傳統織

布文化的復振，推動部落文化傳承為主要目標，讓

阿布斯

社會大眾瞭解布農族織布工藝。

Abus (Chun-nu Chiu) was born in Chiana Village (Yanping

Township, Taitung County) and lived in Taoyuan Village

(Yanping Township) after marriage. In 1996, she retired from her job as secretary of the Mackay Memorial Hospital and returned

to the tribe to study tribal life culture. She spent 20 years there

for field surveys and observations to rediscover the Bunun’s weaving culture. She began to teach cross-stitch weaving to the

tribe in 1996, reintroduced the use of simple looms in 2006, and continued to guide the tribal people in advanced learning of the looms. In 2012, she established the “Abus Workshop” in

Taoyuan Village (Yanping Township, Taitung County), which is

dedicated to the rehabilitation of Bunun’s traditional weaving culture and promoting the cultural heritage of the tribe as the

main goal, in order that the public can understand Bunun’s weaving craft.

Abus found that only 1 or 2 out the 50 elders were still

practicing weaving. The tribe’s cultural discontinuity had

lasted about 70 years, and during this long period of cultural discontinuity, the elders mainly used the thread materials that

were easily available on the market, and then, wove the thread

materials in the way of trial making. Therefore, the thread

阿布斯工紡

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

回到部落的阿布斯，發現五十個老人中只有一、

materials may not be ramie, and color matching may not

間的文化斷層，老人以市面易取得的線材為主，取

a long time, thus, people of the tribe do not need to wear

兩個有在做編織，部落文化斷層約有七十年，長時得線材後以試做的方式編織，因此線材未必使用苧麻，色彩搭配未必遵照傳統，部落有很長一段時間沒有舉行報戰功、射耳祭等祭典，族人不需穿族服，

又原住民族常被稱為「番人」等社會現象下，導致

整個部落活動呈現停滯狀態，使得族人不會想要編織製作族服。

在找尋遺失的部落文化過程中，阿布斯投入編織復育二十年，第一個十年著重「刺繡」，透過針、

線縫製布製品，教導部落族人十字繡，多數婦女會利用下班後的時間學習，每個部落有不同成長過程，

有些老人家看到這些刺繡，會主動想要試著繡，這

個過程不僅是單向式的刺繡教學，而是讓更多的族人加入把部落編織從新建立起來。第二個十年著重「編織」，連續四年在南投工藝研究中心學習編織，

教學並進的把編織技藝教回部落，從最簡單的織帶機、簡易織布機再進階到地織機。從部落走向學校，

教學對象從部落族人擴至學校學生，觀察到學生擁有豐富的創造力，每個階段的學生適合不同課程型式，國小階段以工藝概念為基礎，國小六年級至國

中時期再接觸實作，循序漸進的從小開始瞭解編織文化，讓部落文化持續向下扎根。

˙ 部落文化傳承 Tribal Cultural Heritage

follow the tradition. The tribe has not held ritual ceremonies,

such as reporting battle achievements and Malahtangia, for

ethnic costumes. Moreover, under such social phenomena, the indigenous people are often called “Fan people” (a pejorative term meaning “aboriginal tribe”), where all tribal activities

turn to a stagnate state, and people refrain from weaving their ethnic costumes.

In the process of looking for the lost tribal culture, Abus has devoted 20 years to weaving rehabilitation. In the first decade,

she placed emphasis on “embroidery”, and taught the tribal people to make cross-stitch embroidery by making cloth

products with needle and thread. Most of the women will use the time after work to learn, and each tribe has different

growth processes. Some elderly people will take the initiative

to try embroidery when they see these embroidery works; this process is not one-way embroidery lecturing, but a way

to encourage more people of the tribe to join the weaving restoration of the tribe. In the second decade, the focus was on

“weaving”. She spent four consecutive years in the Nantou Craft Research Center to learn weaving, and then, brought

the weaving techniques back to the tribe to teach the tribe people to weave with the simplest weaving machines, simple

looms, and the ground loom. From the tribe to the school, the teaching objects expanded from the tribal people to school

students. She observed that the students have rich creativity, and different curriculum types are suitable for students in different stages. Students can lay a good foundation by learning

the concept of craft in the primary school stage, and learn the practical operations from Grade 6 to junior high school. In this

way, they can gradually understand the weaving culture from childhood, and the tribal culture can continue to take root and grow.

文化斷層使部落文化持續消逝，語言、信仰、

Cultural discontinuity makes the tribal culture continue to

運用編織工藝把部落文化保存下來，透過尋根探訪

used weaving craft to preserve the tribal culture. By looking

風俗習慣轉變皆使部落文化保存益加困難，阿布斯逾百年的耆老族服，研究博物館典藏的織品服飾，

把傳統織品文化與技藝一點一點拼回來，編織工藝是一種文化紀錄。工藝復育從編織技藝走向恢復傳統材質的使用，感於傳統智慧對植物特性的瞭解與環境保護趨勢，阿布斯不僅以苧麻線做傳統服飾編織，更因苧麻好種植與易取性之特質，推廣苧麻線

實用到生活層面，讓苧麻線從原住民族特有編織線材，轉變成為親近大眾廣泛運用的材料。工藝復育

與文化傳承之間的關係是緊密的，將尋回的編織文化傳承至下一代是阿布斯正在做的事情，每個族群編織的工具與方法都不同，布農族織法、排灣族織 36

WAVES OF CONVERGENCE

disappear, and the changes of language, belief, customs, and

habits all make it more difficult to preserve tribal culture. Abus

for old ethnic costumes kept by seniors with a history of more

than one hundred years, and studying the woven fabrics and costumes collected in museums, Abus put the traditional fabric

culture and techniques back together, making weaving craft a cultural record. With the understanding of traditional wisdom regarding plant characteristics and the trend of environmental

protection, craft rehabilitation is moving from weaving techniques to restoring the use of traditional materials. Abus

not only used ramie thread to weave traditional clothes, but also promoted its application in practical life. Due to ramie’s

characteristics of being easy to plant and obtain, ramie thread is transformed from the unique weaving thread material of

the indigenous people into the material widely used by the public.There is a close relationship between craft rehabilitation

and cultural heritage. Abus is passing the recovered weaving

法、太魯閣族織法以及其他族群的都有不同技藝與

culture down to the next generation. The tools and methods

藝不能侷限於某一部分人，部落編織文化不僅要傳

weaving skills with different cultural implications. Abus

文化意涵。阿布斯覺得現在要做文化傳承，編織技給族人，更要擴大到社會大眾，讓有興趣的人能瞭解原住民族編織文化，把織布文化傳承延續下去。

of weaving are different for each ethnic group, and Bunun, Paiwan, Taroko, and other ethnic groups all have different believes that, for the purpose of cultural heritage, weaving

skills should not be limited to a certain set of people, meaning the tribe’s weaving culture should not only be passed on to

its own ethnic group, but also be extended to the public, in

order that interested people can understand and carry on the weaving culture of indigenous peoples.

阿布斯〈苧麻編織〉

泰雅族染織文化－尤瑪 • 達陸 Atayal Dyeing and Weaving Culture - Yuma Taru ˙ 泰雅族文化 Atayal Culture

泰雅族的織布學習從小就開始，逐步教剝麻、

Atayal people start to learn weaving from their childhood,

孩以織布方式通過 gaga 的規定，具備謀生能力後，

First, they will learn weaving and beam-warping, and only

紡織等織布的前置作業，先學習織布再教整經，女才能論及婚嫁。泰雅族認為生命像織布機，日復一

日地織著，織完時便宣告死亡，在泰雅話中，死亡即「織完」的意思，在紡織期間累積許多善行的人，死後應 UTUX（神和祖靈）的邀請，安然度過彩虹

橋，來到盡善盡美的殿堂，可和祖先共享幸福生活（王蜀桂，2004）。

泰雅族傳統織布有三種形式，第一種是做衣服

during which period they will gradually be taught how to peel hemp, spin, and conduct other preparatory tasks for weaving.

when they pass gaga’s regulations for weaving, and have the ability to make a living, could they get married. The Atayal believe that life is like a loom weaving day after day, and then, death is declared upon the completion of weaving. In the Atayal

language, death means “weaving finished”, and if people have accumulated many good acts during the weaving period,

after their death, they can safely cross the rainbow bridge and come to the perfect palace to share a happy life with their

ancestors at the invitation of UTUX (meaning “God and spirits of ancestors”) (Wang, 2004)

的布，以素色為主，布的幅度較窄；第二種是使用

There are three forms of Atayal traditional weaving. The first

第三種是有紀錄的布，以挑花織出來的美麗花紋、

other articles, such as straps, cushions, quilts, etc., which is

的布，如：做背帶、墊子、被子等，此種布較寬；

is the cloth for making clothes, which is mainly in plain color and with narrow width; the second is the cloth used to make

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

文字，此種布因較難織，所以寬度很窄，只有頭目

with broad width; the third is the cloth for recording, which

上的圖案，不僅止於裝飾，更多的是象徵意涵，具

and only the vest of chiefs can have this kind of cloth with

背心能出現這種富歷史紀錄的布。每個民族在織布有其文化信仰、神話傳說、身分地位與歷史事件

等。菱形紋在泰雅語有「眼睛」之意，亦即被認為是「祖靈眼睛的象徵」，具有保護作用（悠蘭• 多

又，1997）。傳統服飾另一重要紋飾型式是由多樣

化的色彩搭配構成的平織線條，被認為是與「彩虹

的意象」有關（黃亞莉，1998）。傳統泰雅族衣飾文化不僅傳達人與超自然信仰之間關係，也表現出一個社會關係和社會秩序的維持，傳統織物亦可做為族群文化的歷史標記和民族精神象徵（王嵩山， 2014）。

is with beautiful patterns and characters weaved by crossstitch work. As it is difficult to weave, the width is very narrow

historical records. The patterns on the woven fabrics of each ethnic group are not only for decoration, but more for symbolic meaning of their cultural beliefs, myths, legends, status, and

historical events. Diamond-shaped patterns have the meaning of “eyes” in the Atayal language, “the symbol of the eyes are the spirits of ancestors”, and have a protective function (Yulan.Toyuw, 1997). Another important pattern of traditional

costumes is plain-weaved stripes constructed by a variety of color combinations, which is considered to be related to “the

image of a rainbow” (Huang, 1998). Traditional Atayal clothing culture conveys the relationship between human beings and

supernatural beliefs, and shows the maintenance of social relationship and social order. Traditional woven fabrics can

also be used as historical marks of ethnic culture and symbols of national spirit (Wang, 2014).

˙ 文化傳承與教育 Cultural Heritage and Education

尤瑪•達陸（漢名黃亞莉）1963 年出生於苗栗

縣泰安鄉大安部落，1992 年起著手泰雅部落田野調查，重製失傳的原住民族服飾，歷經二十年，成功

重現四、五百件泰雅族的傳統服裝；1994 年於輔仁大學織品研究所學習織品專業知能，並於 1997 年完

成泰雅服飾研究碩士論文；2000 年受邀回輔仁大學織品服裝系，負責為期二年的「原住民傳統染織及設計學程師資培養計畫」，來自各族群的種子老師，

除了傳統的織、染、繡深度課程為主軸外，並融入

現代化的設計概念；2004 年於苗栗象鼻部落的泰雅染織文化園區成立「野桐工坊」，持續致力傳統服飾的復振，並以織品為創作媒材，發展創新服飾與裝置藝術創作。

Yuma Taru (Ya-li Huang) was born in 1963 in Daan Village

(Tai’an Township, Miaoli County), and in 1992, she began to carry out a field survey of the Atayal tribe to restore the

lost indigenous ethnic costumes. After 20 years of effort, she

successfully reproduced 400 to 500 Atayal traditional costumes. In 1994, she entered the Graduate Institute of Textiles &

Clothing, Fu Jen Catholic University to study the professional knowledge of textiles, and completed her Master’s thesis on

Atayal costume research in 1997. In 2000, she was invited to return to the Department of Textiles & clothing, Fu Jen Catholic

University, where she was in charge of the 2-year program called “Training Plan for Teachers of Indigenous Traditional Dyeing,

Weaving, and Design, which “targeted seed teachers from all ethnic groups, took the traditional in-depth courses of weaving, dyeing,

and embroidery as the core, and integrated modern design concepts. In 2004, she set up the “Yetong Workshop” in the Atayal Dyeing and Weaving Cultural Park located in the Xiangbi tribe of Miaoli, which is dedicated to the revival of traditional costumes, as well as developing innovative clothing and installation art creations with woven fabrics as the media.

Yuma Taru hoped to serve the tribe for 50 years during her lifetime. The theme of the first decade was “rehabilitation”: in these

years, she tried to recover the materials and rehabilitate the techniques. To achieve such aim, she first conducted basic field

WAVES OF CONVERGENCE

回到部落的尤瑪• 達陸，希望在有生之年為部

surveys, and then, travelled from the tribe to seek roots to

與技術的復原，先做基礎的田野調查，為尋根走出

then, classified these traditional items. The theme of the

落服務五十年，第一個十年－「復原」：尋回材料部落，把傳統的東西一個一個接回來，作分析與研

究，把它知識化、系統化，將傳統的東西加以分類；第二個十年－「重製」：織女重製消失的織紋，

成立野桐工坊，開始培養人才，訓練部落織女成為工藝師，兼顧現實，接受各種來自政府民間對部落

婦女有實質助益的肯定和資源，讓傳統技藝與生計結合；第三個十年，成立色舞繞民族學園，以織女自製教材的全母語民族學園，推動新工藝運動，設立民族學校，傳承泰雅文化（瞿海良、鐘仁嫻等， 2013）。

take back traditional things one by one, converted them into

systematic knowledge through analysis and research, and second decade was “remaking”: in this period, she helped weaving maids reproduce lost weaving patterns, set up the “Yetong Workshop”, and started to cultivate talents and

train the women weavers in the tribe to become craftswomen. Meanwhile, she received affirmations and resources from

governmental and non-governmental organizations that could

provide practical help for the women in the tribe, in order that

they could make a living with their traditional craft skills. In the

third decade, she set up the S’uraw Ethnic Learning Center, which used the teaching materials compiled by the weaving

maids and the mother tongue of the ethnic group as the sole

teaching language; she also promoted the New Craft Movement

and established schools for ethnic minorities to pass on the Atayal culture (Di and Chung et al., 2013).

尤瑪• 達陸從染織工藝到傳統紋樣的研究，還

Yuma Taru managed to restore the lost traditional culture of

史前文化博物館合作，於 1999 年完成《重現泰雅》，

Museum of Prehistory, she completed the monograph Return of

原消失的傳統文化，並更進一步的透過與國立臺灣

是第一本把泰雅的服裝知識整理出一套體系的專書。另外，對於族語保存則是透過色舞繞民族教育學園進行實踐，色舞繞民族教育學園是依照泰雅族傳統工法興建成的竹屋，成立目的是保存泰雅族傳統文化與語言，對泰雅族傳統語言及染織工藝孰悉且能操作的耆老進行訪談，記錄耆老對傳統族群語言的認識與族群遷移、傳說故事、工藝技術、傳統農業

經濟行為、狩獵文化等主題，透過口述整理、文本製作、教具設計開發與教學執行，將傳統文化語言完整紀錄並傳承延續。

dyeing and weaving crafts and traditional patterns from her research. Furthermore, through cooperation with the National

Atayal in 1999, which was the first monograph that focused on Atayal’s clothing knowledge. In addition, she carried out the

preservation of ethnic languages through the practices of the

S’uraw Ethnic Learning Center, which is a bamboo house built

in accordance with Atayal’s traditional construction methods, and was established to preserve Atayal’s traditional culture

and language. By interviewing seniors who could understand

Atayal’s traditional language and operate the dyeing craft,

she recorded the seniors’ understanding of traditional ethnic

language and ethnic migration, legends, craft skills, traditional agricultural economic behavior, the hunting culture, and other

themes. Through oral arrangement, text production, teaching aids planning and development, and teaching practice, the

traditional culture and language were completely recorded and inherited.

˙ 藝術創作 Artistic Creation

語言文化是族群的根本，族群的工藝文化交織著

Language and culture are the basis of ethnic groups. The craft

為一種載體，藉著紋飾記錄歷史與文化，透過織品

carrier to record the history and culture through ornaments,

傳說、歷史與信仰，泰雅族的編織文化，將織品做

述說泰雅族文化。尤瑪•達陸從 1992 年返回部落進行田野調查，重製失傳的原住民族服飾，直至 2002

年於國立臺灣史前文化博物館公共藝術創作〈展開

夢想的翅膀〉，從部落工藝家走向原住民藝術家，是更紮根於族群文化，試圖運用多元創作方式讓社會大眾更瞭解泰雅族文化。

〈展開夢想的翅膀〉目前展示於臺灣史前文化博物館二樓迴廊展示廳入口旁，作品採用當地部落

culture of ethnic groups is interweaved with legends, history, and belief. Atayal’s weaving culture takes woven fabrics as a

and describes the Atayal culture through woven fabrics. Yuma Taru returned to the tribe in 1992 to carry out field

investigations and reproduce lost indigenous ethnic costumes. In 2002, her public art work “Spreading the Wings of Dreams” was displayed in the National Museum of Prehistory, marking her growth from a tribal craftswoman to an indigenous

artist. Moreover, she rooted her works in ethnic culture, and attempted to use multiple creative methods to provide the public with more knowledge about the Atayal culture.

“Spreading the Wings of Dreams” is currently displayed at

the entrance of the corridor exhibition hall on the second floor

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

婦女親自栽植、取纖處理後的苧麻纖維，以傳統的

of the National Museum of Prehistory. This work uses ramie

栽植五年的苧麻、瓊麻構成，整個作品以微觀的角

colors. It is composed of more than 3600 bundles of ramie and

染織色彩構思，由三千六百多把、總重五百多公斤、

度，將織品的苧麻纖維質感與配色，作極致的放大與定格，尤瑪• 達陸期望透過觀者對大量苧麻纖維

的好奇，進一步了解這是許多部落婦女的雙手為了

生活而努力的生活故事，作品並於 2007 年獲得臺灣首屆公共藝術獎之「卓越獎」的肯定。

fiber extracted from the ramie cultivated by local indigenous women and is designed with traditional dyeing and weaving

sisal hemp cultivated for 5 years, with a total weight of more than 500 kg. The overall work has maximized the integration

of the texture of ramie fiber and color matching from a micro

perspective. Yuma Taru expects that with the curiosity toward such a large number of ramie fibers, the audience may further know the life story and hardships of many tribal women striving

for life with their own hands. The work won the “Excellence Award” of Taiwan’s first Public Art Award in 2007.

尤瑪•達陸〈展開夢想的翅膀〉

2009 年參與高雄市立美術館「南島語系當代

I n 2 0 0 9 , s h e pa r t i c i pate d i n t h e “ C o n te m p o ra r y A r t

畫」，駐館創作〈從九二一到八八〉，將印有大地

Kaohsiung Museum of Fine Arts, where she created the work

藝術發展計畫－ 98 年南島藝術工坊藝術家駐館計

震圖樣及泰雅祈福咒語的織布一一剪開，再重新織回，將織布、麻線及纖維交織成高約三公尺的圓柱型織品裝置，地面舖設的多彩織布是土石流的象徵。 1999 年的九二一大地震與 2009 年的八八風災都是

造成嚴重損傷的自然災害，尤瑪．達陸透過藝術創

作表達出災害帶來的苦難傷痛，並祝福災民走出更平順安是的人生。2011 年舉辦「森林之心－泰雅服裝秀」共分為傳統、圖紋印花、麻 ‧ 色彩、手織布等 4 個主題，透過傳統編織結合時尚設計，以服裝秀的方式展現；2013 年「森林之心－色 ‧ 舞 ‧ 繞 40

WAVES OF CONVERGENCE

Development Plan of Austronesian Language Family -- 2009

Residence Plan of Austronesian Art Workshop Artists” in the “From 921 to 88”. She cut the fabrics woven with the great

earthquake pattern and the praying mantra of Atayal and rewove it into a 3m-tall cylindrical fabric device interweaved with the fabrics, hemp yarn and fiber, where the colorful fabrics

on the ground symbolized the soil flow. The 921 Earthquake in

1999 and Eight Eight Flood in 2009 are both natural disasters that have caused serious damage. Through artistic creation, Yuma Taru expressed the suffering and pain brought by the disasters, and her prayer for a more peaceful life for the victims.

In 2011, the “Heart of the Forest - Atayal Fashion Show”

was held, which was presented under four themes: Tradition,

Pattern Printing, Hemp•Color and Hand Woven Cloth, with integrated traditional weaving and fashion design. In

泰雅傳統暨創新服飾發表會」為推廣泰雅族傳統服

2013, the “Heart of the Forest –S’uraw Atayal Traditional

臺灣史前文化博物館合作，將過去數年委託由野桐

designs. In cooperation with the National Taiwan Museum and

飾與圖紋創新應用設計，與國立臺灣博物館及國立工坊承製之泰雅傳統服飾 260 餘件，共同於活動當

天呈現，將博物館裡的傳統服飾與部落創新設計，共同在部落展現。

2015 年桃園機場第一航廈以「臺灣山海經」為

and Innovative Clothing Launch” was held with the aim of

promoting traditional Atayal clothing, and its innovative pattern the National Museum of Prehistory, more than 260 pieces of Atayal traditional costumes that were commissioned by the

Yetong Workshop in the past few years were presented on the day of the event, and the traditional costumes in the museum

and the innovative design of the tribe were presented together by the tribe.

主題的公共藝術，表現台灣的山川海景和這塊土地

In 2015, three pieces of public art works under the theme of

即為尤瑪．達陸〈島嶼四季〉，從泰雅族觀點凝望

expressed the scenery of Taiwan’s mountains, rivers, and

上生活的人物、故事，三項公共藝術作品其中之一

臺灣島嶼的變化，詮釋島嶼的春、夏、秋、冬，展現山、海、雲、浪的歲月風情，作品更結合超過 50

位部落婦女的投入而完成。從文化傳承走向藝術創作的過程，尤瑪．達陸將部落文化關懷提升至社會關懷的視野，以部落為起點，關心文化保存與社會議題使社會大眾更加瞭解臺灣這片土地。2016 年 7

月尤瑪．達陸的泰雅染織獲得文化部指定為「重要

傳統藝術保存者」（俗稱人間國寶），對尤瑪．達

陸而言找回傳統編織技藝，在文化傳承與延續中融入當代元素，邁向創新設計泰雅族織布文化的傳承與延續是一種使命。

“Classic of Taiwan’s Mountains and Seas” were displayed in Terminal One of Taoyuan International Airport, which seas, as well as the people living on this land. Yuma Taru’s

“Four Season of the Island” was one of them, which depicted

the changes of Taiwan in the eyes of the Atayal, as interpreted

for spring, summer, fall, and winter of the island and the

fascinating views of mountains, seas, clouds, and waves, and this work was completed through the efforts of over 50 tribal

women. In the process from cultural inheritance to artistic creation, Yuma Taru extended her concerns from tribal culture to social care. Starting from the tribe, Yuma Taru focused her

attention on cultural preservation and social issues, in order that the public could better understand Taiwan. In July 2016,

Yuma Taru’s Atayal dyeing and weaving was designated by the Ministry of Culture as an “important traditional art

preserver” (commonly known as the Living National Treasure).

For Yuma Taru, it is a mission to retrieve the traditional weaving skills, integrate contemporary elements into cultural heritage,

create stability, and move towards the heritage and continuity of Atayal weaving culture through innovative design.

尤瑪．達陸，〈島嶼四季〉，王嵩山授權提供

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

結論：在地工藝美感創新

Conclusion：Aesthetic Innovation of Local Craft 苧麻與瓊麻曾是臺東廣泛種植的植物與工藝重

Ramie and sisal hemp used to be widely planted in Taitung

運用，傳統工藝製作以手做為主，需要大量人力時

mooring ropes. The traditional craft production was mainly

要材質，傳統以苧麻做織布原料，瓊麻做海邊纜繩間投入，當面臨量化、規格化與快速製作為指標的工業科技化時代，傳統工藝逐漸沒落，材料種植與

工藝技法出現文化斷層，地方工藝是重要的在地文化資產，本研究以臺東工藝材質苧麻、瓊麻為核心深入調查，以麻材質作為一個起始點，透過層次性

地試驗，瞭解材質多樣可能性，由單一線材使用，

延伸發展到平面空間的纖維造紙，立體空間的工藝品編織創作以及在地特有植物的植物染，展現工藝材質形、色、紋、質多樣的可能性。

綠色設計是近年來的設計潮流，反映現代科技

as an important craft material. Traditionally, ramie was used

as the weaving material and sisal hemp was used to make by hand, which required the input of a lot of manpower and time. In the era of industrial technology with quantitative, standardized, and rapid production as indicators, traditional

craft has gradually declined, and cultural discontinuity has

appeared in material planting and craft techniques. Local crafts are important local cultural assets, thus, this study

conducts an in-depth investigation of craft materials in Taitung, including ramie and sisal hemp, with hemp material

as a starting point to understand and present the possible

material diversity of shape, color, pattern, and quality through

layers of experiments extending from the use of single thread

materials to fiber papermaking in the plane space, craft weaving in three-dimensional space, and plant dyeing with unique local plants.

引起的環境及生態破壞的反思，展現出設計的社會

Green design is the trend in recent years, which is in

特質，使用天然媒材的苧麻與瓊麻材質之設計回應

social responsibility of design. A s plant fibers have the

責任，而植物纖維具較輕、可再生、可生物降解等

著綠色設計的生態性原則，以保存工藝傳統技藝為中心，綠色設計為原則，輔以設計加值，將材質文

化特殊性發展成地方文化美感特質，以找出工藝材質創新應用發展之未來語彙，翻轉創新詮釋臺東工藝生活美學。

地方文化融合著歷史、人文、族群、地理等在

地特質，透過在地材質與工藝文化交織出在地文化，

當以實用為主的工藝，轉以兼具實用與設計美學發

展時，是更聚焦的專注於材質蘊含的文化性與未來的可能性，材質是一種溝通介質，引導社會大眾瞭

解一個地方及其土地故事，藉由工藝創作新的成型方式走進日常生活，透過藝術創作體現社會議題與文化保存的重要性，促使社會大眾瞭解自己所生存的土地，這座島嶼的文化脈動。

response to the reflection of environmental and ecological d a m a ge ca u s e d b y m o d e r n te c h n o l o g y, s u g ge sts t h e

characteristics of being light, renewable, and biodegradable, designing with natural media, such as ramie and sisal hemp

materials, conforms to the ecological principle of green design, that is, develop the cultural uniqueness of the

materials into the aesthetic characteristics of local culture with focus on the preservation of traditional craft skills and under the principle of green design supported by added-value

design, in order to determine the future vocabulary of the innovative application and development of craft materials,

and achieve innovative interpretation of the life aesthetics of Taitung crafts.

Local culture integrates local characteristics, such as history,

culture, ethnic groups, and geography, as formed by the

interweaving of local materials and craft culture. When a

practicability-oriented craft is developed to combine both practicability and design aesthetics, it is more focused on the

culture contained in materials and the possibility of the future.

Materials are a communication medium to guide the public to understand a place and its land story. Through attachment to daily life in new forms of creation, craft creation can reflect

social issues and the importance of cultural preservation, and

promote the public to understand the land and the cultural pulse of the island they live on.

WAVES OF CONVERGENCE

展覽論述－凝結的浪

Waves of Convergence Origin of Plan 國立臺東大學美術產業學系系主任／計畫主持人——林昶戎 Lin, Chang Rong

Dean of the Department of Art Industry, National Taitung University /Project host

本次「凝結的浪」展覽所要呈現的主軸是工藝

The main axis of “Waves of Convergence” is the connection

社會，傳統的工藝材質是非常容易被忽略及取代

ignored and replaced. Its existence is very tiny, but also

材質與作品、作者及土地的連結。在這個現代化的

的，它的存在相當渺小，卻又重要。它蘊藏的力量能夠使一件作品完整的被呈現出來，完整的將故事

表達出來，它結合了作品以及土地的故事，也鏈結集體的智慧與力量。這樣的表現形式，彰顯出藝術家嘗試將自己從作品中抽離，不過度強調個人，反而是讓工藝媒材為作品發聲，也間接傳達出工藝媒材漸漸復育成功的象徵意義。

將此工藝創作定義為擁有自我意志的主體與品

牌意識，而非單純供人觀賞的物件；媒材的創作同時也是對所處時空的重新詮釋，藉由在空間裡拆解媒材元素與創造纖維線條，具體呈現空間中的自然

美學，也呼應所處當下的感知與想像，應用在地工藝材料創新啟動設計能量。

「凝結的浪」藉由「感知的藝術創作」及「理性的設計規則」探尋個人創作，在混沌中，彼此碰

撞、拉扯，激發創作靈感與才能，找到生命的出口。而設計與作品，則是透過探索與思考，在感知與理智交融之下的情感表達及呈現。整體展覽呈現從光

影、氣流及時間中，感受在空間的虛實邊界與主客辯證。

between craft materials and works, creators and land. In this modern society, a traditional craft material is very easily

important. It has the power to completely present a work,

and express a whole story. It also combines the stories of the work and the land, as well as the collective wisdom and

strength. Such forms of expression show that artists try to

separate themselves from works. Instead of overemphasizing individuals, they allow the craft media to speak for the works,

and indirectly convey the symbolic significance of the gradual rehabilitation of the craft media.

Craft creation is defined as a subject with self-will and brand consciousness, rather than an object simply for people to

appreciate; creation with a media is also a reinterpretation

of the time and space in which it is located. By disassembling

media elements and creating fiber lines in the space, the natural aesthetics in the space are concretely presented,

which also echo the current perception and imagination, and

local craft material innovation is applied to initiate the design energy.

“Waves of Convergence” explores personal creation through “perceptual art creation” and “rational design rules”,

which collide and pull each other in chaos, stimulating creative inspiration and talent, and finding the outlet of life.

Design and works are emotional expression and presentation through exploration and thinking, and under the fusion of

perception and reason. From the presentation of light and

shadow, air flow, and time, the overall exhibition makes the

audience feel the boundary between virtuality and reality and the dialectic of subject and object in the space.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

工藝新秀獎評審介紹

The Juror of Rising Star Award Introduction

林永發

Lin, Yung-Fa

國立臺東大學美術產業學系教授兼院長中國文化大學藝術研究所碩士國立臺灣師範大學中文系

林昶戎

Lin, Chang-Rong

國立臺東大學美術產業學系系主任

國立雲林科技大學設計學研究所博士國立臺北教育大學藝術學系碩士

WAVES OF CONVERGENCE

陳貺怡

Chen, Kuang-Yi

國立臺灣藝術大學美術學院院長

國立臺灣藝術大學美術學系專任教授國立臺灣藝術大學美術學系系主任

李英嘉

Lee, Ying-Chia

國立臺灣藝術大學工藝設計學系專任教師國立清華大學藝術與設計學系碩士

2014 年台灣工藝競賽獲創新工藝組一等獎與作品典藏

廖慶華

Liao, Ching-Hua(Jack)

國立東華大學藝術與設計學系副教授澳洲旋濱科技大學專業設計博士紐約理工學院傳播藝術碩士

參展作品

Exhibits Introduction

戶外裝置藝術工藝藝術創作工藝產品設計

註：每類別依照創作者姓氏排序

光之家 Light House

創作者——鄭元東 Creators: Bruce Cheng

創作媒材：苧麻布、鋼索、金屬方管

Media: Ramie Cloth, Wire Rope, Square Metal Tube

臺東的天然環境擁有的光讓生活在其中的人事

The light of Taitung’s natural environment makes the people

出來一般，黃色從內在散發出溫暖，外層時而藍時

yellow color from inside, sharpness is deepened with the

物都變得極度清晰，顏色像是透明的狀態層層堆疊而綠的增加了銳利度，最深處的熱情紅或紫也不掩飾的釋放，讓人舒適放鬆且充滿安全感的光之家。

房子安全的形象很適合這個光所傳達的感受，

輕柔麻布穿透的顏色，就如層層的光將所有事物用溫暖的充滿能量的包裹其中，讓人不自覺想親近它穿梭它，台東－光的家。 46

WAVES OF CONVERGENCE

and things living in it extremely clear. The colors seem to be piled up at a transparent state, warmth is radiated by the

alternately appearing blue and green colors, and passionate

feelings are fully released from the red or purple colors in

the most inner layer, making people that the Light House is a comfortable, relaxed, and completely safe place.

The safe image of the house fits well with the feeling conveyed

by the light. The colors penetrating the soft linen are like layers of light that wrap all things in warmth and energy, and make

people unconsciously want to get close to it and go through it. Taitung –Light House.

戶外裝置藝術

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

WAVES OF CONVERGENCE

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

苧麻編織

Ramie Weaving

創作者——邱春女

Creators : Chiou, Chuen-niu

創作媒材：苧麻 Media : Ramie

為找回布農族傳統苧麻工藝，從栽種苧麻開始，

In order to revive Bunun’s traditional ramie craft, the creators

程雖然耗工費時，阿布斯仍帶著使命感，堅持要找

the thread to weaving the cloth. Although the process is time-

剝莖皮、搓揉成線到織成布匹，全都依照古法，過回這項工藝。此展出內容為創新研發出的成品。

WAVES OF CONVERGENCE

followed the ancient methods in the whole process from planting the ramie, peeling the stem and skin, and kneading

consuming, Abs Cina Abus still holds to the mission of reviving

the craft and this exhibition work is a newly developed innovative product.

工藝藝術創作

在我眼中，你是如此的美麗

創作者——林戎依

Creators : Lin, Jung-Yu（Halomei）

創作媒材：樹皮布、油畫布、麻繩、木板、油彩 Media : Bark Cloth, Canvas, Hemp Rope, Wood Plate, Pain

You Are So Beautiful In My Eyes 以一個把眼睛放大並深入的創作方式來呈現作品

The concept of this work is manifested by the form of creating

的皮膚。此作品為瞳孔裡的我們，當我們被對方注

varied patterns. This work is about us in the eyes of others;

理念，運用樹皮布深淺及紋路的不同呈現每個部位視時，我們的樣子就映入在對方的瞳孔裡，由神經帶入使人感受到我們的模樣。講述的是當你被我注視之

下，你或許會因為自己身心的殘缺感到自卑恐懼，但不要害怕，因為在我眼中，你是如此的美麗。

工藝藝術創作

a pair of magnified and deepened eyes, and presenting each

part of the skin by using barks of different color depths and when we are looked at by others, our look is reflected in their

eyes and transmitted by their nerves to form their feelings about our looks. This work intends to express that, when I

stare at you, you may feel inferior and fearful due to your physical and mental disability, but don’t be afraid, because you are so beautiful in my eyes.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

竄

創作者——周夢嬋

Drill out

Creators : Chou, Meng-Chan

創作媒材：魚缸、苧麻絲

Media : Fish Tank, Ramie Thread

小小的相框是科技，一串又一串的傳統技藝麻

The small picture frame is a token of the technology, in which

下去，被侷限在框框內的傳統技藝如何從框架中突

sur vive. This is a metaphor of how the traditional craft

線，被困在這個相框之中，孤獨卻又頑強地試著活破竄出。

小小的魚缸是孕育，在高速進步的時代中，傳統技藝在這魚缸中被培育，在這之中吸取經驗茁壯，融合科技及傳統，回歸本質、回歸初心，竄出新生命。

WAVES OF CONVERGENCE

a trapped string of hemp yarn is a symbol of the traditional craft, meaning it is striving and lonely, but tenacious to confined in a frame can break through it.

The small fish tank is a container for incubation. In the era of

high-speed progress, traditional crafts are cultivated in the fish tank, where they constantly accumulate experience and thrive, integrate technology and tradition, and finally, achieve revival after returning to their essence and their original aspiration.

工藝藝術創作

球

創作者——恆麻・繁 Creators: Hemp・Fun

Ball

創作媒材：麻繩、保麗龍 Media : Hemp Rope, Styrofoam

恆春三寶之一的瓊麻，是製造麻繩的天然材料。

As one of the Three Treasures of Hengchun, Sisal hemp is

落。然而，瓊麻工業遺留的文史遺跡，靜靜地座落

however, the cultural and historical remains of the Sisal

在時代的變遷下，人造纖維取代了傳統的麻繩而沒在鎮上角落，有賴年輕世代為它注入新生命。作品

理念來自於生活常見運動，因為在製作過程中消耗許多時間與精力，所以我們把想運動的心態放進了我們的剪黏麻繩作品技術中，形成一顆讓人看了有網球排球足球的感覺。

工藝藝術創作

a natural material for making hemp rope. Over the years,

artificial fibers have replaced the traditional hemp rope; hemp industry can still be found in the town of Hengchun, as the young generation is bringing new life to this old

craftsmanship. The idea of this work comes from the sports common in life, as we spend a lot of time and energy in the creation process, we input the mentality of sports into our

hemp rope work skills, reminding the audience of a tennis ball, a volleyball, and a football.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

香火因緣 Incense Cause

創作者——恆麻・繁 Creators : Hemp・Fun

創作媒材：麻繩、保麗龍 Media : Hemp Rope, Styrofoam

恆春三寶之一的瓊麻，是製造麻繩的天然材料。

As one of the Three Treasures of Hengchun, Sisal hemp is

落。然而，瓊麻工業遺留的文史遺跡，靜靜地座落

however, the cultural and historical remains of the Sisal hemp

在時代的變遷下，人造纖維取代了傳統的麻繩而沒在鎮上角落，有賴年輕世代為它注入新生命。本作

品啟發於海邊棄置的保麗龍塊• 經歷風吹雨打、海

洋侵蝕等多苦多難，形狀看起來相當神似佛像等傳統工藝品，如石雕、木雕等，我們利用他原來的造型樣貌，去製作出此項作品。

WAVES OF CONVERGENCE

a natural material for making hemp rope. Over the years,

artificial fibers have replaced the traditional hemp rope; industry can still be found in the town of Hengchun, as the young generation is bringing new life to this old craftsmanship. This work is inspired by the abandoned EPS block at the

seaside, which has experienced many hardships, such as wind, rain, sea erosion, etc. Its shape looks quite like a Buddha statue or other traditional craft products, such as stone and

wood carvings, thus, this work is created with its original shape.

工藝藝術創作

軀體

創作者——恆麻・繁 Creators : Hemp・Fun

Body

創作媒材：麻繩、保麗龍 Media : Hemp Rope, Styrofoam

恆春三寶之一的瓊麻，是製造麻繩的天然材料。

As one of the Three Treasures of Hengchun, Sisal hemp is

落。然而，瓊麻工業遺留的文史遺跡，靜靜地座落

however, the cultural and historical remains of the Sisal hemp

在時代的變遷下，人造纖維取代了傳統的麻繩而沒在鎮上角落，有賴年輕世代為它注入新生命。作品

以女性的身體為主，更近一步將身體的中間段，將

其表現出，女性溫柔、勇敢的一個線條，讓觀賞者這能夠在觀賞同時，進而加以思索，女性在這個社會上的付出，是否充滿辛酸與感慨。

工藝藝術創作

a natural material for making hemp rope. Over the years,

women’s gentleness and bravery by using a line in the middle

part of the body, thus, the audience may consider whether women’s efforts in society are full of bitterness and emotion while enjoying this work.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

球中球

Ball In The Ball

創作者——恆麻・繁 Creators : Hemp・Fun

創作媒材：麻繩、保麗龍 Media : Hemp Rope, Styrofoam

恆春三寶之一的瓊麻，是製造麻繩的天然材料。

As one of the Three Treasures of Hengchun, Sisal hemp is

落。然而，瓊麻工業遺留的文史遺跡，靜靜地座落

however, the cultural and historical remains of the Sisal hemp

在時代的變遷下，人造纖維取代了傳統的麻繩而沒在鎮上角落，有賴年輕世代為它注入新生命。作品

理念來自於網路上看見許多的格式材質製作而成的球中球藝品，所以我們想靈活運用現有麻繩與保力龍來製作屬於我們的瓊麻球中球。

WAVES OF CONVERGENCE

a natural material for making hemp rope. Over the years,

artificial fibers have replaced the traditional hemp rope; industry can still be found in the town of Hengchun, as the young generation is bringing new life to this old craftsmanship.

The idea of the work comes from the ball art products made of many format materials found on the Internet, thus, we want to flexibly use the existing hemp rope and styrofoam to make a ball in the ball with hemp.

工藝藝術創作

聚寶盆

創作者——恆麻・繁 Creators : Hemp・Fun

Treasure Bowl

創作媒材：麻繩、保麗龍 Media : Hemp Rope, Styrofoam

恆春三寶之一的瓊麻，是製造麻繩的天然材料。

As one of the Three Treasures of Hengchun, Sisal hemp is

落。然而，瓊麻工業遺留的文史遺跡，靜靜地座落

however, the cultural and historical remains of the Sisal

在時代的變遷下，人造纖維取代了傳統的麻繩而沒在鎮上角落，有賴年輕世代為它注入新生命。本作

品啟發於招財容器，內部挖空，噴上金漆，呈現一個滿滿的財腹，已將聚寶盆的方向去發展，作品內部挖空，噴上金漆，呈現一個滿滿的財氣。

工藝藝術創作

a natural material for making hemp rope. Over the years,

artificial fibers have replaced the traditional hemp rope; hemp industry can still be found in the town of Hengchun, as the young generation is bringing new life to this old craftsmanship. This work is inspired by the fortune container,

which is hollowed out and sprayed with gold paint to present a full belly of fortune, thus, it is developed in the direction of a Treasure Bowl.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

地景謎題

創作者——許文瀚

Creators : Hsu, Wen-Han

創作媒材：木盒、音響撥放器 Media : Wood Box, Loudspeaker

將自身的勞動力操作，瓊麻的物理聲音，在音箱

The operation of their own labor force, the physical voice of

看器官確立新的經驗，作品本身需要被重複，直到此

are obtained from viewing the spectacle, while the work itself

不斷循環之聲響。震動、編織於空間生成伸縮，從觀奇觀成為習慣，使得空間得以被介入出沒有過的想像都回饋在此呢喃，過去與現在猜不完的遊戲。

WAVES OF CONVERGENCE

the hemp, and the continuous circulation of sound in a speaker

are weaved in a space to generate expansion. New experiences

needs to be repeated until this spectacle becomes a habit, and new imaginations are echoed in this space, murmuring the endless puzzles in the past and the present.

工藝藝術創作

歲月停格

創作者——孫青田

Creators : Sun, Ching-Tien

Static Time

創作媒材：麻線、樹皮等 Media : Hemp Yarn, Bark Etc.

光陰滴答滴答的轉，又回到了原點。

Time ticks back to the original point.

但大地之母始終如一用愛復育著生命萬物，午

all things on earth. At midnight, it’s quiet as if the time has

夜十二時，靜悄悄的就像光陰停格了。

樹皮佇立在時鐘上，想結合現代科技以及大自然的產物表現生生不息的科技與生命延續。

相思豆紅熟了就代表著該辭別枝頭，在充滿繾綣的回憶季節凋落後青春重生。工藝藝術創作

But the mother of the earth is always restoring the life and stopped.

With the bark on the clock, the creators tried to show the

endless technology and life continuity through the integration of the modern technology and the products of nature.

When jequirity bean grows red and ripe, it has to say farewell

to the branches. The youth returns after withering in the seasons full of sweet memories.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

兒歌

Children's Song

創作者——黃子定

Creators : Huang, Tzu-Ting

創作媒材：瓊麻、樹皮、鐵、陶 Media : Sisal Hemp, Bark, Iron, Pottery

東部的生活使我更體會土地，小時在玩爛泥的

Life in the East makes me more deeply appreciate the land and

人偶，再搭配上傳統的傳統的苧麻瓊麻，結合之後

traditional ramie and sisal hemp, which means returning to

時光。所以我運用自身所擁有的陶藝技能來製作小完成此作品，有反璞歸真之意。

WAVES OF CONVERGENCE

the days of playing with mud when I was a child. So I used my

own ceramic skills to create this work of small puppets with nature.

工藝藝術創作

原

創作者——郭大維 Creators : Kuo, Ta-Wei

Original

創作媒材：麻線、鐵、烤漆 Media : Hemp Yarn, Iron, Paint

作品以在地的原生麻線，透過纏繞的線性構作

This work is constructed by winding the original hemp yarn

造型。當代性的設計語彙以瓊麻結合鐵件的複合媒

contemporary design vocabulary, this work takes the form of a

方式，凝結出浪花、風帆、亦如羽翼般的抽象有機材形式，在樸素的原始材質中融入 LED 燈具，在「機

能性」與「雕塑性」的表現中成為乘浪飛翔的光影雕塑。不同的觀看視角可發現『原』流露出的豐富光影變化；也在編織纏繞的材質筆觸律動中，探索「手作感」文化創意的獨創性開發研究。

grown in local areas in a linear pattern, which form winglike abstract organic modeling of waves and sails. With the

composite media of sisal hemp and iron parts, integrates LED lamps in the simple original materials, and forms a light and

shadow sculpture with the image of flying on the waves, while presenting both “functional” and “sculpture” features.

Viewing from different perspectives, we can find the rich

changes of the light and shadow revealed by [Original]. This work is also an exploration of the original development and research of “hand feeling” cultural creativity in the weaving and winding material strokes.

工藝藝術創作

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

陽光、空氣、電 Sun, Air, Electricity

創作者——黃冠菱

Creators : Huang, Kuan-Ling

創作媒材：植物、現成物

Media : Plants, Ready-Made Goods

在作品中同時並置了兩個元素「擁有生命的有

Two elements are juxtaposed in this work, namely “the

在同一空間之中同時並存時所產生材質與觀念上的

between materials and concepts during their coexistence in

機植物體」與人為日常的生活動作「插電」，兩者對話，現代人們對於電源的需求宛如植物對於陽光、

空氣、水，等需求一般的重要與不可或缺，將兩者並置之後所產生了新的思考，生命與能源、自然與人為、種種對立的矛盾與弔詭，造成的衝擊與趣味。

WAVES OF CONVERGENCE

organic plants with life” and the action of “plugging-in”, as commonly seen in daily human life, which produce a dialogue

the same space. Power is important and indispensable to modern people, just as sunlight, air, and water are to plants. The juxtaposition of the two elements arouses a new thinking about life and energy, nature and human, as well as the

impacts and interests aroused by all kinds of contradictions and paradoxes.

工藝藝術創作

質變

創作者——黃冠菱

Creators : Huang, Kuan-Ling

Material Change

創作媒材：酒瓶蘭、空氣鳳梨、麻繩、現成物、土壤

Media : Nolina Recurvata, Tillandsia, Hemp Rope, Ready-Made Goods, Soil

以木材質為作品出發的核心，將木材質一步步

Taking wood as the core, this work gradually decomposes and

狀態的原生植物本身的樣貌，也有經過人為加工、

also the state of the wood materials after being processed, cut,

的透過分解與重組在同一空間之中，作品中有自然裁切、打磨後的木質狀態，同時並置自然原生與人為加工，透過同質異構之下的轉換與呈現，木材質之間的種種變化、差異與不同層次，產生新的關係鏈，呈現材質本身的各殊性與材質變化的趣味性。

工藝藝術創作

reorganizes the wood materials in the same space, which not

only shows the natural appearance of the original plants, but and polished by human beings, thereby, combining the natural originality and human processing. Through the isomeric transformation and presentation, new relationship chains

are generated from the changes, differences, and different layers, showing the differences of materials and the interest of material changes.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

破繭而出

Breaking Through

創作者——陳宥丞

Creators : Chen, You-Chen

創作媒材：紗窗、瓊麻絲、苧麻

Media : Screen Window, Sisal Hemp Yarn, Ramie

上方破出來的是真苧麻，用工業化的麻繩做繭，

Authentic ramie is breaking through the top, and this work

夠努力出頭。

rehabilitation.

再用塑膠類做底，呼應我們復育主題是需要讓他能

WAVES OF CONVERGENCE

uses industrial hemp rope as a cocoon and plastic as the

bottom, echoing the theme that breakthroughs are needed for

工藝藝術創作

糸

創作者——曾詩云

Creators : Tseng, Shih-Yun

Seek Silk

創作媒材：麻布、羊毛氈、樹枝

Media : Hemp Fabric, Wool Felt, Branches

我想探討的是土地與人為之間的關係，自古自

What I want to discuss is the relationship between land and

予人擁有土地的權利，在彼此依存的關係中，充斥

beings, the lands are divided and cut, and people are given

然的存在為根本，因人的介入將之劃分與切割並賦著人類的濫墾與破壞，藉此販賣得利，當我們自以

為擁有土地所有權時高樓大廈的迭起，可是當自然被破壞的快消失殆盡的時候，人們又提出了所謂的綠化政策，在這之中運用羊毛氈代表人為的介入與染色，堆疊的高度是人類看待土地的價值，最後一刀裁下是諷刺人類無情的切割，想想也實屬諷刺。

工藝藝術創作

human beings. Since ancient times, the existence of nature

is the foundation, and because of the intervention of human the right to own the land. This interdependent relationship

is full of estrepement and destruction by human beings

who gain profits from trading land. We see the tall buildings

soaring on the lands, and we believe this to be our property, but nature is being destroyed and disappearing quickly, thus, we put forward the so-called green policies. In this work, wool

felt is used to represent artificial intervention and dyeing, where the height of the stack represents the value of the land

in human’s view, and finally, the cut is a satiric metaphor of the merciless cutting of human beings.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

沈積

Deposition

創作者——廖琳俐 Creators : Liao, Lin-Li

創作媒材：植物纖紙、空氣霉、水

Media : Plant Fiber Paper, Air Mildew, Water

作品取材原於自然大地的植物纖維，進入人類

The work is created by using paper with natural plant fibers,

費、棄置的紙張。藝術家透過肉身精密的勞動將紙

precise manual work, the artists glued and accumulated the

文明世界成為眼前一疊疊工業化後大量被生產、消張層層黏合、堆積，紙纖維隨著空氣中的溼氣膨脹，

生物在期間滋生蔓延留下生命痕跡，人類與自然相互抗衡、城市的再生，產生一種特殊的有機質地以及新的生態系循環。

WAVES OF CONVERGENCE

which has been produced, consumed, and discarded on a large scale in the world of human civilization. Through the paper layer by layer, and the paper fiber expanded due to the

moisture in the air, while microorganisms grew and spread and

left traces of life. The opposition between human and nature and the regeneration of a city produced a special organic texture and a new ecosystem cycle.

工藝藝術創作

跡澱

創作者——廖琳俐 Creators : Liao, Lin-Li

Vestigial

創作媒材：麻布、裝置、複合媒材

Media : Hemp Fabric, Installation, Composite Media

在西方，油畫的基底材畫布會以苧麻布來製作，

In the west, the base material of oil painting canvas will be

的吸水性和穿透性都十分良好，油畫顏料的層層覆

are very good, and the layers of oil paint would block the

並且以油畫顏料在上面層層覆蓋。然而，苧麻纖維

蓋反而阻塞了植物纖維的呼吸。藝術家從大自然以

及自身文化思考將其茶葉作為顏料彰顯苧麻基底材本身的自然紋理以及特殊質地。其自然茶葉特殊色

澤在時間變化的有機及不穩定的活性在苧麻纖維中自然流動暈染開來，在時間的長河積澱形成層層痕跡。也在平面繪畫史上的共時性的限制開啟一種新的視覺經驗以及其材質語彙。工藝藝術創作

made of ramie cloth and covered with oil paint layer by layer.

However, the water absorption and penetration of ramie fiber breath of the plant fibers. Artists show the natural pattern and unique texture of ramie base material itself by using its tea as a

pigment from the perspective of nature and their own culture. With its organic and unstable activity under changes in time, the special color of the natural tea leaves flows naturally and

blooms in the ramie fiber, forming trace layers in the long river of time. Moreover, it also opens a new visual experience

through its material vocabular y due to the limitation of synchronicity in the history of plane painting.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

串流

Water flow

創作者——劉奕伶 Creators : Liu, Yi-Ling

創作媒材：瓊麻絲、植物

Media : Sisal Hemp Yarn, Plants

以瓊麻絲裝飾盆栽，並將瓊麻絲染色，染成水

Potted plants are decorated with sisal hemp yarn dyed into the

裡面種植的是活生生的瓊麻，想要表達一種，從活

living sisal hemp. The creator wants to express a sense that it

的顏色，象徵瓊麻的文化能是像是生生不息的水流，

的延伸到死亡之後，都能有所用途的感覺，就好比水一樣，川流不息。

WAVES OF CONVERGENCE

color of water, symbolizing that the culture of sisal hemp can be like the endless flow of water, and what grows inside is the

can be useful from life to death, just like the unending flow of water.

工藝藝術創作

風景 2

創作者——劉鑑青

Creators : Liu, Chien-Chin

Landscape II

創作媒材：複合媒材 ( 純麻布、地工織布）

Media : Composite Media (Pure Hemp Fabric, Architectural Fabric)

以「陰陽」的概念出發，將正圓形折半後立體

Starting from the concept of “Yin and Yang”, the circular

雕塑觀看時會有不同的造型轉變，視覺變化會引發

hand. As you view around the circular sculpture, it will show

化，將麻布手工縫製在建築織布上。當繞著圓形的

不同抽象思維，意表作品不是單一向度的定義，而

是多重解讀。觀者看到布料上的皺褶會引發身體感知，與作品之間產生連結。色彩引用 Morandi 靜物畫中的「灰藍色」，低彩度的沉靜可以使得觀看作

品時只專注在雕塑造形上，進入純粹的抽象思考中想像。

工藝藝術創作

shape is folded in half to form a three-dimensional shape, and the hemp fabric is sewn to the architectural fabric by

different modeling changes, and the visual changes will lead to different abstract thinking. The creator wants to express

that the work is not a definition of a single dimension, but a multiple interpretation. When the viewers see the wrinkles on

the cloth, they will produce a physical perception and a link

with the work. Its use of color refers to the “gray blue” in Morandi’s still life painting. The quiescence feeling given by

the low color saturation can make viewers focus on the shape of the sculpture and enter into pure abstract thinking.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

細旋草燈 Cidal Light

創作者——Kamaro'an 住下來吧 Creators : Kamaro'an

創作媒材：輪傘草

Media : Verticillatus Grass

Cidal 在阿美族語中是太陽的意思。曬著東海岸

Cidal means “the sun” in the Pangcah language. The

暖暖地照著我們。Cidal 可以當吊燈，也可以倒過來

be used as a chandelier or placed upside down as a table

大太陽的輪傘草，旋轉呈放射狀，就像太陽一樣，當桌燈。

WAVES OF CONVERGENCE

verticillatus grass growing in the sun on the east coast rotates radially just like the warm sunlight shining on us. A cidal can lamp.

工藝產品設計

浪草燈

創作者——Kamaro'an 住下來吧 Creators : Kamaro'an

Riyar Light

創作媒材：輪傘草

Media : Verticillatus Grass

生命力旺盛的輪傘草生長於清澈的水梯田，是

Verticillatus grass grows vigorously on clear water terraces,

草蓆是部落家家戶戶的生活必需品，草蓆的編織也

necessity for tribal families in summer, and the weaving of the

海岸阿美的傳統編織材料。夏天躺起來涼涼的輪傘是部落婦女日常技藝。

在 Kamaro'an 與工藝家舒米•如妮的合作中，

我們將傳統的輪傘草編織工藝結合在簡約的金屬框架裡，讓輪傘草編起來比傳統草蓆再快一些，帶動輪傘草產品有系統地開始在部落小量生產。工藝產品設計

and is the traditional weaving material for Pangcah people

in coastal areas. The cool verticillatus grass mat is a daily grassmat is also a daily skill of the tribal women.

In the cooperation between Kamaro’an and craft artist Sumi

Dongi, we combine the traditional verticillatus grass weaving craft in a simple metal frame, thus, the verticillatus grass can be woven faster than the traditional straw mat, and drive

the systematic small-scale production of verticillatus grass products in the tribe.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

瓊麻綠景盆栽掛飾

Sisal Hemp Hanging Ornament of Plant Pot

創作者——王美又

Creators : Wang, Mei-You

創作媒材：瓊麻線、回收玻璃瓶、漂流木

Media : Sisal Hemp Yarn, Recycled Glass Bottles, Floodwood

透過回收再生的玻璃瓶成為綠景掛飾盆器，為了

The recycled glass bottles are used as plant pots for hanging

製品。同時透過回收資源再生，讓生活融入藝術藝術

At the same time, through recycling the resources, it integrates

環境的變化在生活上能提醒人們少用一次性的塑膠融入生活。讓生活環境透過藝術美學來點化生機。

WAVES OF CONVERGENCE

plant ornaments. It reminds people to use less disposable

plastic products in life in response to environmental changes. life and art, thus, revitalizing the living environment through art aesthetics.

工藝產品設計

瓊麻手編側背包

創作者——王美又

Sisal Hemp Hand-Woven Versipacks

Creators : Wang, Mei-You

創作媒材：瓊麻線

Media : Sisal Hemp Yarn

利用天然瓊麻絲作為創作素材，是為了與土地

The purpose of using natural sisal hemp yarn as a creation

甦醒。將天然纖維麻絲透過相繫及手編溫度。來喚

Peninsula. By connecting and hand weaving the natural fiber

做連結。同時也將恆春半島 3、40 年代的綠金產業

醒人們使用一次性塑膠袋對環境的迫害，透過落實在生活中，減少一次性塑膠袋的使用。從日常生活中的，小小行動開始節能減碳愛護地球。也能將藝術融入生活。

工藝產品設計

material is to connect with the land and revive the green gold industr y of the 1930s and 1940s in the Hengchun

yarn, the creator hopes to awaken people’s awareness of

the destructive impact of disposable plastic bags on the environment. We can execute energy saving and carbon

reduction to achieve environmental protection starting from the small matters in our daily activities, such as reducing the

use of disposable plastic bags. Art can also be integrated into life.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

反客為主 Reverse

創作者——呂宗翰

Creators : Lu, Chung-Han

＊工作坊作品 Works

創作媒材：苧麻 Media : Ramie

取苧麻纖維的過程中，苧麻的梗常常是被拋棄

In the process of extracting ramie fiber, ramie’s stems are

相當有意思，何不來做些什麼呢 ? 以工業材料壓克

make something with them? The industrial material of acrylic

不用的。但這些管狀的梗，中空的結構及形態其實

力透明管補足苧麻梗結構上的不足，再以取好的纖維 ( 材料 ) 拿來捆綁，作成乾燥花花器。傳統工藝剩

材與當代工業製品的強烈衝突，形成材料們的對話。平常不用的，就真的沒用了嗎 ? 剩材也可以變主角。

often abandoned; however, these tubular stems with hollow structures and shapes are actually quite interesting. Why not transparent tubes is used to make up for the disadvantages of

the structure of ramie stems, while the good fibers (material) are bundled to make dry flower vases. There is a strong

conflict between the leftover materials of traditional crafts

and contemporary industrial products, which forms a dialogue between the materials. Are the normally unused materials

really useless? The leftover materials can also play the leading role.

WAVES OF CONVERGENCE

工藝產品設計

過程

創作者——呂宗翰

Creators :Lu, Chung-Han

＊工作坊作品 Works

創作媒材：苧麻、棉線、壓克力

Process

Media : Ramie, Cotton Thread, Acrylic

工藝作品的誕生，其製作的過程對於創作者來

The creation process of craft works requires that the creators

留及紀錄過程的美好，以當代材料承載取纖後的原

contemporary materials to carry the raw materials after fiber

說是相當辛苦但同時又美好的一段時光。希望能保料，再以局部編織的帶子進行綑綁，當代材料 ( 壓克力管 ) 與傳統原料 ( 苧麻纖維、棉線編帶 ) 具有承上

起下、傳統與現代碰撞的意念，這個物件承載的是創作者對工藝的念想以及創作的美好時光。

工藝產品設計

have a good memor y. With the intention to keep and

record the good memories of the process, the creator used extraction, and then, bundled it with partly woven tapes. The

contemporary materials (acrylic tubes) and the traditional materials (ramie fiber and cotton thread tape) have the image of the connection between the past and the future, as well as

the collision between the traditional and the modern. This object carries the creator’s thoughts of the craft, and the good memories of creation.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

Fiber Note

新秀獎

纖維筆記

創作者——吳姿瑩 Creators : Wu, Tzu-Yin

＊工作坊作品 Works

創作媒材：銅、纖維 ( 苧麻、瓊麻 ) Media : Copper, Fiber (Ramie, Sisal Hemp)

我以一組纖維飾品，筆記處理材料的心得：清

I used a group of fiber ornaments to note the experience of

纖維甩打前的片狀薄片編織，可呈現猶如瓷器的透

with flakes before fiber swinging can present the sense of

新的嫩綠來自取纖後沒有洗至白淨的新鮮纖維。以光感。編織重複的動作軌跡，累積成幾何節奏和起

伏肌理。在同樣的位置編織，堆疊線條，若加以疏密變化，可產生油畫筆觸的效果。傳統編織滿足攜帶物品的需求，袋狀是用來搬運物品的重要的形狀。

WAVES OF CONVERGENCE

processing materials: fresh green comes from fresh fiber that has not been washed to white after fiber extraction. Weaving

transparent like porcelain. The repeated movement tracks of weaving accumulate into geometric rhythm and an undulating texture. Weaving and stacking lines at the same position can

produce the function of oil painting strokes if they are changed in density. The needs of carrying goods are met by traditional

weaving into the shape of a bag, which is an important shape for carrying goods.

工藝產品設計

A Day in Life, taste

人氣獎

生活日 , 嚐

創作者——林詣祖 Creators : Lin, Yi-Zu

＊工作坊作品 Works

創作媒材：月桃、瓊麻

Media : Alpinia zerumbet, Sisal Hemp

在經濟發展快速與資訊靈活的年代，為了讓忙

In the era of rapid economic development and flexible

來極大的便利性，無法直接了解大自然流失的情況，

to life; however, such things cannot directly understand the

碌的生活能更有效率，人類開始發明塑料為生活帶自然素材的編物沒落顯示了傳統文化工藝的掙扎，用素材最獨特的優點把月桃與瓊麻重新結合編織，用以珍惜資源與感恩大地的心，不脫離愛地球的生活模式，無論是提出戶外購買食材或者是掛在廚房，讓食材的保存也增加了裝飾的功能。

工藝產品設計

information, in order to make a busy life more efficient, people

have invented plastics that have brought great convenience loss of nature. The decline of weaving with natural materials

shows the struggle of traditional culture crafting. With the most unique advantages of materials, the creator weaves with

shellflowers and sisal hemp to show the spirit of cherishing

resources and gratitude to the land, and living a life with

the love for the earth. It can be carried outside to buy food materials or hung in a kitchen, thus, adding the function of decoration to the preservation of food materials.

2019 TAITUNG CRAFT MATERIAL RENAISSANCE EXHIBITION

桃 , 到生活裏

Alpinia zerumbet in the Life

創作者——林詣祖 Creators : Lin, Yi-Zu

＊工作坊作品 Works

創作媒材：月桃、瓊麻

Media : Alpinia zerumbet, Sisal Hemp

月桃，是族人對生活與大自然的感知，信手拈來

The Alpinia zerumbet is a plant widely seen in tribal areas, and

奇的植物，月桃的編物技法起源於狩獵、漁捕、採集、

Alpinia zerumbet weaving techniques originated from the tribal

的植物。我透過在部落工作認識到的一個很天然又神

食、休憩，來自於族人早期對生活上的所需，因月桃生長到處可見、取之容易，讓月桃在各個族群發展出不同的文化意義，我們曾經從山林裡來，只是忘記了該如何在山裡呼吸，土地在呼喚著，期望著更多人可

以正視它的存在，技法的變化來自於生活上的需要，

讓自然素材的編物應用到我們的日常生活中，提升纖維的層次增加生活的實用性為出發。 78

WAVES OF CONVERGENCE

reflects the tribal people’s wisdom of life and nature. I got to

know this magic natural plant when I worked with the tribe. people’s needs for life in the early period, such as hunting,

fishing, gathering, eating, and resting. Because Alpinia zerumbet

grow everywhere and are easy to get, they have developed various cultural meanings in various ethnic groups. We are

rooted in the mountains and forests, but we have forgotten how

to breathe in the mountains. The land is calling for more people

to face up to its continued existence. Changing techniques come from the needs of life, just as products woven with natural

materials can be applied to our daily life, as we enhance the level of fiber and increase their applicability in life.

工藝產品設計

展覽紀實

Exhibition Review

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國家圖書館出版品預行編目（CIP）資料

凝結的浪：臺東工藝材質復育展 . 二〇一九／

鍾青柏總編輯 .-- 臺東市：東縣府 ,2019.11 面；公分

ISBN 978-986-5419-06-6（平裝） 1. 工藝設計 2. 裝置藝術 3. 作品集

二〇一九臺東工藝材質復育暨年度策展專刊

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指導單位：文化部｜發版單位：臺東縣政府｜發行人：饒慶鈴｜總編輯：鍾青柏｜副編輯：劉俊毅｜策劃小組：王朝瑩、王怡真、王蕙筠、王

怡雯、施怡如｜執行單位：國立臺東大學美術產學中心｜執行編輯：林永發、林昶戎｜研究撰稿：李飛曄｜特約撰稿：汪凱彬｜裝置藝術設置：鄭元東｜平面設計：王柏偉｜展場設計：王柏岳、王柏偉｜影像紀錄：利貞傳播有限公司｜專任助理：劉奕伶｜兼任助理：周夢嬋、朱偲綺｜

凝結的浪 2019臺東工藝材質復育計畫 專刊

凝結的浪 2019臺東工藝材質復育計畫專刊