《祭得穿衣服》P.K.S.美學文化-臺灣原住民族祭儀與服飾特展

<b>「P. K.S.」為 Pangcah/Amis(阿美族)、Kavalan(噶瑪蘭族)、Sakizaya(撒奇萊雅族)之族群拼音字首縮寫,以三個族群服飾美學為主軸,介紹涵蓋服飾禮儀、族群祭儀及正名脈絡,個別呈現族群差異性與歷史軌跡,並透過教育推廣活動,導正坊間錯誤的文化詮釋。</b>
展覽頁面呈現形式
橫式
策展者
臺南市札哈木會館
臺南市原住民文物館
「版權所有,翻印必究」
展覽封面
cd3f2da18320401df398f95fc548b161
展覽資料
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"musicName": "", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/3ca72baf8908ce973f9f07cf09a8cdd3.jpg?itok=EJKFmOCh", "fileType": "image", "fileCreator": "", "rights": "Aniw.Iku", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "desc": "<b>日據時期南勢阿美女生跳舞時,頭冠配件為頭巾、蝴蝶結飾、額帶、髮簪、人造花、動物羽毛所組合。</b><br><b>後來逐漸改進,以塑膠亮管連綴成一串串的閃動流蘇,以代替pichpich(亮亮的)、mitemitei(一條條的)的日式銀kanzashi,並裝飾精緻的人造花朵,加上金屬和各色人造寶石,多數會增加白色羽毛成扇形的排列,背後以黑色鬆緊帶固定,就成為今常見的南勢阿美族群婦女頭冠的形象。</b>", "title": "頭飾|pataliwcen;cuung", "musicText": "", "musicURL": "" }, "text-co1zwv35rj": { "id": "text-co1zwv35rj", "type": "text", "sortable": true, "musicName": "無", "weight": 8, "desc": "<b>早期南勢阿美族群婦女最初展演活動服飾仍以黑色為主,後因有人反映太過暗沉,才設計出搶眼的紅色舞衣,引起其他部落仿效,在民國五十六年林春瑛成立了花蓮阿美文化村,為首個專門表演阿美歌舞的娛樂場所,隨著時間空間的改變,至今南勢阿美族群女性的­服飾顏色也就隨之出現黑色、紅色及藍色。</b><b>俗稱大花冠或花帽,多數為外觀羽毛材料會蓋住整個頭飾。簡略分成「白色絨毛」及「無白色絨毛」兩款頭冠,大多由</b><b>適婚及已婚女性佩帶</b><b>。常見於族群活動、喜慶祭典與重大場合時所穿著。</b>", "title": "|原識手札|阿美文化村", "musicText": "", "musicURL": "" }, "theme-nri5fngcrh": { "id": "theme-nri5fngcrh", "type": "theme", "sortable": true, "primaryObj": { "oid": "3342a952b5b61f7e1e33f0858ce169b8", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/aadb78d7235ab5fcac0c0aecdf07b1bc.jpg?itok=ufuGukVh", "level": "primary", "title": "祭祀壺|diwas", "desc": "阿美族祭師舉行祭儀時所用之器物,不能做為一般性使用。祭壺為個人使用之器物,傳統習俗上,當使用者過世時,會被當作陪葬物陪葬。上半部及下半部為圓錐形,中間為完整圓球體,左右兩側各有兩個突起並挖有圓洞推測為繫繩使用;中間部位刻有花紋,口及底部則無,口部有部分磨痕,推測為使用痕跡,狀態完整良好。可細分為diwas(屬男性小陶壺)、sibanuhay(屬女性小陶壺);阿美族祭師舉行祭儀時所用之器物,不能做為一般性使用。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/aadb78d7235ab5fcac0c0aecdf07b1bc.jpg?itok=kKNKTWxZ", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/aadb78d7235ab5fcac0c0aecdf07b1bc.jpg?itok=Vjdvi6Y3", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/aadb78d7235ab5fcac0c0aecdf07b1bc.jpg?itok=RCIippEa", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/aadb78d7235ab5fcac0c0aecdf07b1bc.jpg?itok=VA8B3YaN", "mfid": "aadb78d7235ab5fcac0c0aecdf07b1bc", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "臺南市原住民文物館 /\u000b 臺南市政府原住民族事務委員會", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<b>阿美族祭師舉行祭儀時所用之器物,不能做為一般性使用。</b>", "musicName": "無", "weight": 9, "musicText": "", "musicURL": "" }, "text-hfeujsnso3": { "id": "text-hfeujsnso3", "type": "text", "sortable": true, "musicName": "無", "weight": 10, "desc": "<b>祭壺為個人使用之器物,傳統習俗上,當使用者過世時,會被當作陪葬物陪葬。上半部及下半部為圓錐形,中間為完整圓球體,左右兩側各有兩個突起並挖有圓洞推測為繫繩使用;中間部位刻有花紋,口及底部則無,口部有部分磨痕,推測為使用痕跡,狀態完整良好。可細分為diwas(屬男性小陶壺)、sibanuhay(屬女性小陶壺);阿美族祭師舉行祭儀時所用之器物,不能做為一般性使用。</b><br><br><b><i>延伸閱讀|</i></b><br><b><a target=\"_blank\" rel=\"nofollow\" href=\"http://210.240.125.35/citing/citing_content.asp?id=2942&amp;keyword=%B2%BD%B3%FD\"><i>http://210.240.125.35/citing/citing_content.asp?id=2942&amp;keyword=%B2%BD%B3%FD</i></a><br></b><a target=\"_blank\" rel=\"nofollow\" href=\"https://www.youtube.com/watch?v=-5GH2bKZOZo\"><b><i>https://www.youtube.com/watch?v=-5GH2bKZOZo</i></b></a><br>", "title": "|原識手札|diwas(祭壺)", "musicText": "", "musicURL": "" }, "imgs-z2rb1q9cfc": { "id": "imgs-z2rb1q9cfc", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "1ff0b126d20c20ad3fd1f2fef6f98b9f", "title": "男子外衣| 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"id": "quote-tzcaw423jr", "type": "quote", "sortable": true, "musicName": "無", "weight": 13, "desc": "<b>服飾皆具有社會地位區別的標誌,在男子的年齡階級制度中,不同的年齡階段會有不同的服飾表現,代表著穿著者的身份與責任。</b>", "musicText": "", "musicURL": "" }, "basic-72vty0814y": { "id": "basic-72vty0814y", "type": "basic", "sortable": true, "primaryObj": { "level": "primary", "oid": "8f97dc11425892c97c23b56a131dc3f1", "title": "男子羽冠|takak", "desc": "羽冠的每個部分都有其代表意義,羽冠高約130公分,冠上一共有14隻羽毛所代表的就是每隔七年的意思,在最中間的、特別長的第八隻羽毛就是成年禮舉辦的年份,代表青年的精神將傳達給Malataw(阿美族的天神馬拉道)。由上而下介紹羽冠、頭冠、耳墜、長羽;此款男子頭是常見於南勢阿美族群,如:Cikasuan(七腳川)、Natauran(娜荳蘭)、Lidaw(里漏)、…等南勢群系統部落。\n常見於族群活動、喜慶祭典與重大場合時所穿著。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/4531e92b50d2af39a45df82280dd365d.jpg?itok=nPlG2Ryo", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/4531e92b50d2af39a45df82280dd365d.jpg?itok=7fPeedMw", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/4531e92b50d2af39a45df82280dd365d.jpg?itok=WF6qar_Y", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/4531e92b50d2af39a45df82280dd365d.jpg?itok=hIS5mFxm", "mfid": "4531e92b50d2af39a45df82280dd365d", "musicURL": "", "musicName": "", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/4531e92b50d2af39a45df82280dd365d.jpg?itok=ajib3ZBO", "fileType": "image", "fileCreator": "", "rights": "Mukuwi.Aniwikukacawtiway", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "男子羽冠|takak", "desc": "<b>由上而下介紹羽冠、頭冠、耳墜、長羽;此款男子頭是常見於南勢阿美族群系統部落。羽冠的每個部分都有其代表意義,高約130公分,冠上一共有14隻羽毛所代表的就是每隔七年的意思,在最中間的、特別長的第八隻羽毛就是成年禮舉辦的年份,代表青年的精神將傳達給Malataw(阿美族的天神馬拉道)。</b><br><b>常見於族群活動、喜慶祭典與重大場合時所穿著。</b>", "musicName": "無", "weight": 14, "secondaryObj": { "oid": "8f97dc11425892c97c23b56a131dc3f1", "level": "secondary", "title": "男子羽冠|takak", "desc": "羽冠的每個部分都有其代表意義,羽冠高約130公分,冠上一共有14隻羽毛所代表的就是每隔七年的意思,在最中間的、特別長的第八隻羽毛就是成年禮舉辦的年份,代表青年的精神將傳達給Malataw(阿美族的天神馬拉道)。由上而下介紹羽冠、頭冠、耳墜、長羽;此款男子頭是常見於南勢阿美族群,如:Cikasuan(七腳川)、Natauran(娜荳蘭)、Lidaw(里漏)、…等南勢群系統部落。\n常見於族群活動、喜慶祭典與重大場合時所穿著。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/d1ce40faaaec6449946be2b2d605bdcf.jpg?itok=FlEcKYNn", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/d1ce40faaaec6449946be2b2d605bdcf.jpg?itok=2R_USeRu", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/d1ce40faaaec6449946be2b2d605bdcf.jpg?itok=itHLE6bF", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/d1ce40faaaec6449946be2b2d605bdcf.jpg?itok=fT_UzSMc", "mfid": "d1ce40faaaec6449946be2b2d605bdcf", "musicURL": "", "musicName": "", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/d1ce40faaaec6449946be2b2d605bdcf.jpg?itok=L5CaVTRV", "fileType": "image", "fileCreator": "", "rights": "Mukuwi.Aniwikukacawtiway", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "musicText": "", "musicURL": "" }, "img-933g6v9vjp": { "id": "img-933g6v9vjp", "type": "img", "sortable": true, "primaryObj": { "oid": "7c533dcc137ed65f523731fe1af2fb02", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/24f2b8ee89bc778c10ff0b86a29932d3.jpg?itok=JJLbGKyu", "level": "primary", "title": "部落領袖或耆老頭飾|lalakan", "desc": "頭飾會戴有頭冠或羽冠的裝飾,各區域的男帽形式、功用與意義都有所不同,但一般來說,部落領袖和長老的頭飾較華麗,大多採用羽毛或動物牙齒為裝飾,以彰顯其領導有方、智慧出眾的功績。目前大量使用人造纖維、塑膠串珠等材質,但仍在羽帽的上以山豬牙、山羌角、羽毛等造型的飾品展現威望。\n常見於族群活動、喜慶祭典與重大場合時所穿著。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/24f2b8ee89bc778c10ff0b86a29932d3.jpg?itok=OnU1a2qa", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/24f2b8ee89bc778c10ff0b86a29932d3.jpg?itok=0EMkl5Lo", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/24f2b8ee89bc778c10ff0b86a29932d3.jpg?itok=R61Tvtnv", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/24f2b8ee89bc778c10ff0b86a29932d3.jpg?itok=CPNcEjKR", "mfid": "24f2b8ee89bc778c10ff0b86a29932d3", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "瑪曜工作室", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "部落領袖或耆老頭飾|lalakan", "desc": "<span><b>一般來說,部落領袖和長老的頭飾較華麗,大多採用羽毛或動物牙齒為裝飾,以彰顯其領導有方、智慧出眾的功績。目前大量使用人造纖維、塑膠串珠等材質,但仍在羽帽的上以山豬牙、山羌角、羽毛等造型的飾品展現威望。</b><br></span><b>常見於族群活動、喜慶祭典與重大場合時所穿著。</b>", "musicName": "無", "weight": 15, "musicText": "", "musicURL": "" }, "text-jbitq3y5kp": { "id": "text-jbitq3y5kp", "type": "text", "sortable": true, "musicName": "無", "weight": 16, "desc": "<b>在具有年齡階級阿美族社會中,男子的帽子與服飾皆具有社會地位區別的標誌,頭飾會戴有頭冠或羽冠的裝飾,各區域的男帽形式、功用與意義都有所不同,不同的年齡階段會有不同的服飾呈現穿著,代表著穿著者的身份與責任。</b><br><br><b><i>延伸閱讀|</i></b><br><a target=\"_blank\" rel=\"nofollow\" href=\"https://www.poja.com.tw/news/life/2015-08-12/8019.html\"><b><i>https://www.poja.com.tw/news/life/2015-08-12/8019.html</i></b></a><br><a target=\"_blank\" rel=\"nofollow\" href=\"https://www.youtube.com/watch?v=SaW98Aw885Q\"><b><i>https://www.youtube.com/watch?v=SaW98Aw885Q</i></b></a><br>", "title": "|原識手札|阿美族男子服飾與頭飾", "musicText": "", "musicURL": "" }, "theme-es86ebhtpt": { "id": "theme-es86ebhtpt", "type": "theme", "sortable": true, "primaryObj": { "oid": "dc0ed2f7d3241a14e7e293da12687267", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/8d69d47750844eff9f7e8226f46226d4.jpg?itok=g0-Ga_h-", "level": "primary", "title": "PKS掛軸", "desc": "", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/8d69d47750844eff9f7e8226f46226d4.jpg?itok=G8W-9ZEF", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/8d69d47750844eff9f7e8226f46226d4.jpg?itok=QrGz4Q4k", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/8d69d47750844eff9f7e8226f46226d4.jpg?itok=QZLGElzV", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/8d69d47750844eff9f7e8226f46226d4.jpg?itok=PYcwVG6-", "mfid": "8d69d47750844eff9f7e8226f46226d4", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "臺南市札哈木會館 /\u000b 臺南市政府原住民族事務委員會", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-02.png?itok=fGKM5I0r", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false }, "title": "請輸入頁面標題", "desc": "<b>噶瑪蘭族(Kavalan)自稱為Kebalan,意思是住在平原上的人,自認有別於居住山林地區的泰雅族。傳說噶瑪蘭族人最早由南方島嶼,途經地名為Sanasai的地方後遷入臺灣,落腳於蘭陽平原,十九世紀初開始遷居到花蓮臺東海岸。噶瑪蘭族早期在蘭陽平原共有30 多個部落,十八世紀末漢人開始進入蘭陽平原;十九世紀清朝設立行政區「噶瑪蘭廳」,並以「加留餘埔」制度保障部落土地。不過,社會與生態環境的改變,仍讓不少噶瑪蘭族人從蘭陽平原,乘船南渡到達花蓮平原落腳,形成以加禮宛社為核心的大、小六個部落。</b>", "musicName": "無", "weight": 17, "musicText": "", "musicURL": "" }, "text-4zr80x7jv6": { "id": "text-4zr80x7jv6", "type": "text", "sortable": true, "musicName": "無", "weight": 18, "desc": "<b>「加留制」也稱「加留餘埔」制,皆為清政府為保障噶瑪蘭族人土地權益,所採取的一種特別的土地政策,其性質類似「原住民保留地」。18世紀末,漢人拓墾勢力迅速進入蘭陽平原,清廷將噶瑪蘭納入版圖後,面臨漢移民強大勢力與生計深受威脅的事實。為保障噶瑪蘭族人土地權益,清廷官府遂於溪北(蘭陽溪北)推行「加留餘埔」制,據《宜蘭縣志》載 :「噶瑪蘭廳通判翟凎慮及熟番將來生計,親赴各地,劃分漢人與熟番之境界,大社周圍加留餘埔2里,小社周圍加留餘埔1里,獎勵熟番親自開墾耕作……」。即由官府先丈量荒埔,劃出無主土地,分授給漢民開墾,再針對噶瑪蘭村社,圈定村社界線,往外劃出大社周邊2里、小社1里的土地,並栽插樹木為界,作為「加留餘埔」。而溪北地區早在噶瑪蘭納入清廷版圖前,因「西勢(即溪北)民墾已定」,「墾熟田園2,444甲,漢人已占地而未墾荒埔有2,069甲,總面積達4,513甲」。為彌補噶瑪蘭族人的損失,清廷官府復於嘉慶17年(1812年)劃定烏石港口到蘭陽溪口長約30餘里,寬約1、2里不等的海岸沙丘,為不許漢人越界入墾的「西勢番業」,即「加留沙埔」。</b><br>", "title": "|原識手札|「加留餘埔」", "musicText": "", "musicURL": "" }, "text-94u21kctjh": { "id": "text-94u21kctjh", "type": "text", "sortable": true, "musicName": "無", "weight": 19, "desc": "<div><b>然而,這樣的保護政策卻無法改變噶瑪蘭族人土地流失、遠走他鄉的命運。雖然加留餘埔乃「獎勵『熟番』親自開墾耕作」,或只有在村社人少,不敷耕種時才由村社決定出贌或招佃,但實則官府介入,代為招佃;久之,漢佃逐漸成為實質的田主。而溪南地區「加留沙埔」,也未能避免界線不明與漢人混耕的情況。事實上,無論自願或強制,噶瑪蘭族人終究只能在「形式上」保有土地。咸豐年間(1850年代),加留餘埔政策已經鬆動,咸豐3年(1853年),噶瑪蘭族人生存空間遭受空前的擠壓,以加禮宛社人為主體的噶瑪蘭族,開始大量往花蓮遷徙。</b></div><div><b>「加留制」雖為清政府為保障噶瑪蘭族人土地權益所設,但同時亦顧及漢人拓墾的需求與進度,其過程中噶瑪蘭人被明確納入清朝行政體系及官方戶口,傳統土地與生活空間經丈量後,形成明確的範圍與社界,卻失去主體與土地依存的關係。</b><br><br><b><i>台灣原住民歷史語言文化大辭典</i></b><br><a target=\"_blank\" rel=\"nofollow\" href=\"http://210.240.125.35/citing/citing_content.asp?id=3233&amp;keyword=%A5%5B%AFd%A8%EE\"><b><i>http://210.240.125.35/citing/citing_content.asp?id=3233&amp;keyword=%A5%5B%AFd%A8%EE</i></b></a></div>", "musicText": "", "musicURL": "" }, "imgs-9j3gnqxoav": { "id": "imgs-9j3gnqxoav", "type": "imgs", "sortable": true, "multiObjs": [ { "oid": "c89250b6a52689c1889502f9159652a7", "title": "藤帽|kubu na pusa", "desc": "用竹/藤編織而成立體三角形的帽子。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/216f7ba509775d080511b3d513bd893e.jpg?itok=cjHkmfyG", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/216f7ba509775d080511b3d513bd893e.jpg?itok=-wjjcBs-", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/216f7ba509775d080511b3d513bd893e.jpg?itok=Th9g0rNx", "background": 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"musicName": "無", "weight": 26, "desc": "噶瑪蘭族是目前臺灣原住民族群中,唯一仍使用香蕉絲編織的民族,其處理工序為共八個製作步驟:&nbsp;<b><i>收割香蕉樹→剝取瓣膜→刮絲→日曬→分線→接線→整經→紡織</i></b>等程序<i>,最後才能拿來編織。利用香蕉絲為原料之編織工藝呈現噶瑪蘭族人重要的傳統部落生活以及精巧的工藝技術,在文化上具高度的區辨性。 香蕉絲織布專屬於女性的工作。香蕉布會因自然色澤,呈現出濃淡鄉間的顏色。目前新社部落仍能織出的香蕉布織紋,除了簡單的十字交叉紋,亦能漸漸復織傳統複雜的圖紋。<br><br></i><i><b>噶瑪蘭族(Kebalan/Kavalan)智慧創作</b></i><i><b>&nbsp;</b></i><i><b>公告日期:2018-11-22</b></i><br><i><b>證書號數:噶FI000024</b></i><br><i><b>智慧創作名稱:ni tenunan tu benina(香蕉絲織布工藝)</b></i><br><i><b>智慧創作種類:編織、民俗技藝</b></i><br><i><a target=\"_blank\" rel=\"nofollow\" href=\"https://www.titic.cip.gov.tw/order?order_id=179\"><b>https://www.titic.cip.gov.tw/order?order_id=179</b></a></i>", "musicText": "", "musicURL": "" }, "theme-p0z810kcdi": { "id": "theme-p0z810kcdi", "type": "theme", "sortable": true, "primaryObj": { "oid": "dc0ed2f7d3241a14e7e293da12687267", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/15aa16f4937baee33cf509308d42e8e3.jpg?itok=IzbCgQ1n", "level": 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"<b>傳說中,撒奇萊雅族祖先由海外遷入東部後落腳花蓮平原...</b>", "musicName": "無", "weight": 27, "musicText": "", "musicURL": "" }, "quote-r7vawx77xw": { "id": "quote-r7vawx77xw", "type": "quote", "sortable": true, "musicName": "無", "weight": 28, "desc": "在十七世紀荷蘭、西班牙的紀錄中,根據荷蘭歷史文獻記載,在西元1630 年時期,撒奇萊雅族就掌握了奇萊平原(現今花蓮市)多數的資源,成為當時代表台灣原住民族與荷蘭人互動交易,並提供荷蘭採金團生活資源。西元1878年之前,撒奇萊雅人在奇萊平原掌握的部落腹地包含了整個大花蓮市、新城鄉及部分的秀林鄉。隨著清廷「開山撫番」政策推動,使清廷注意到後山番地的經營。", "musicText": "", "musicURL": "" }, "quote-0ub5i6nvgs": { "id": "quote-0ub5i6nvgs", "type": "quote", "sortable": true, "musicName": "無", "weight": 29, "desc": "光緒元年(西元1875年),大清帝國的統治正式進入後山;光緒四年(西元 1878 年)三、四月間,清人向噶瑪蘭人購買土產時過於欺壓及凌辱當地婦女情事,加禮宛的噶瑪蘭人聯合撒奇萊雅族人共同抗清,清軍最後以火攻攻陷達固部灣部落的刺竹圍籬,為了避免滅族,部落領袖們在商議後開門投降,結束此次戰役,史稱「加禮宛事件/達固部灣戰役」。" }, "text-cr47agbpo1": { "id": "text-cr47agbpo1", "type": "text", "sortable": true, "musicName": "無", "weight": 30, "title": "因火而滅,也因火重生的撒奇萊雅族|", "desc": "<div><b>戰爭結束後,部落領袖Kumud Pazik 及其妻 Icep Kanasaw 被清兵處以凌遲處死。清兵為了殺雞儆猴,叫附近的南勢阿美族人前來觀看,也因此讓撒奇萊雅族人決定隱匿身分避禍。清軍統領吳光亮擔心加禮宛的噶瑪蘭人與撒奇萊雅族人日後東山再起,強制遷社。撒奇萊雅族人遭遷社後,大多被附近的阿美族人同化,只有少數族人在公開場合仍以撒奇萊雅族語交談,並且在每年八月底、九月初,當刺竹尾端彎下時舉行豐年祭。大部分的族人不敢承認自己是撒奇萊雅族人,但阿美族人卻分得很清楚,每每以「Sakiraya」稱呼。本次戰爭造成撒奇萊雅族人傷亡、部落遷居、語言與文化隱匿一世紀之久,深刻衝擊撒奇萊雅族人的傳統文化。撒奇萊雅人受到加禮宛事件的影響後,族人流散、遷徙並沉寂隱匿一世紀,期間因為多居住在阿美族部落中,與阿美族互動密切,逐漸模糊原有的主體文化。</b></div>", "musicText": "", "musicURL": "" }, "text-bbj11xknsb": { "id": "text-bbj11xknsb", "type": "text", "sortable": true, "musicName": "無", "weight": 31, "desc": "<b>二十世紀部落邁入日本殖民統治時期,人類學者將撒奇萊雅族的社會文化特質,視為阿美族文化的一部分。二十世紀末期,撒奇萊雅人由歷史脈絡中理出文化特質,除了表現在民族服裝與火神祭典當中,並推動民族自覺的文化運動。民國96 年(2007)成為官方公告承認的原住民族。撒奇萊雅族人以花蓮平原為主要分布地點,之後因「達固部灣事件」政權轉移而使社會環境急遽改變,除在花蓮平原中移動外,也在花東縱谷、海岸等地建立部落。目前撒奇萊雅族人數較多的花蓮縣市部落,有新城北埔(Hupu’)、花蓮市國福里(Kasyusyuan)、國福社區(Cupu’)、美崙(Pazik)、撒固兒(Sakul)、瑞穗馬立雲(Maibul)、壽豐月眉(’Apalu)、鳳林山興(Cilakayan)、壽豐水璉(Ciwidian)與豐濱磯崎(Kaluluan)等為主。</b>", "musicText": "", "musicURL": "" }, "imgs-dkrwne5ojl": { "id": "imgs-dkrwne5ojl", "type": "imgs", "sortable": true, "multiObjs": [ { 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"1878年在奇萊平原上的戰役事件,迫使撒奇萊雅族隱身於阿美族,直到2007年元月17日正名為臺灣原住民族第十三族。Palamal火神祭典前,會在男子年齡階級位階找比較高的長老,依序排出主祭、輔祭,不是選出來的。主祭要請示最長者可不可以開始進行祭典。同意了之後,會再詢問輔祭,同意了祭典才會開始;在男子年齡階級系統中,地位最大的那一個人就是主祭,因火神祭是族群祭典,就要找族群地位最大的當主祭。", "thumbURI": "https://openmuseum.tw/files/muse_portal/muse_styles/square_thumbnail_100/mcode/23423e626ba74e7174c5e4d6037469b0.jpg?itok=7iybpovE", "thumbMediumURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_medium/mcode/23423e626ba74e7174c5e4d6037469b0.jpg?itok=-D_4X7hE", "thumbBigURI": "https://openmuseum.tw/files/muse_portal/muse_styles/thumbnail_big/mcode/23423e626ba74e7174c5e4d6037469b0.jpg?itok=pibTYSZL", "background": "https://openmuseum.tw/files/muse_portal/muse_styles/w1920/mcode/23423e626ba74e7174c5e4d6037469b0.jpg?itok=UnnGfLgA", "mfid": "23423e626ba74e7174c5e4d6037469b0", "musicURL": "", "musicName": "", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/23423e626ba74e7174c5e4d6037469b0.jpg?itok=u1B0cXP1", "fileType": "image", "fileCreator": "", "rights": "湛賞文化藝術工作室/吳秀梅Siku Sawmah 團隊", "rightsLogo": "https://openmuseum.tw/files/muse_portal/styles/square_thumbnail_100/public/default_rights/memder_non-05.png?itok=0rVBS4da", "fileLicence": "著作權利所有-可用於本站提供的服務", "fileDisableLink": "0", "fileOversize": false, "level": "primary" }, "title": "部落領袖族服| u zikuc nu anangan", "desc": "<b>撒奇萊雅族服飾主要使用的四大色系為:深咖啡色、\n土金色、暗紅色與藏青色。土金色為主色,部落領袖也代表族群的生命、能量、土地,是部落的根本。此件為撒奇萊雅族2008年正名期間所製作服飾版型,土金色象徵土地、權力。</b>", "musicText": "", "musicURL": "" }, "quote-n83zxa6lig": { "id": "quote-n83zxa6lig", "type": "quote", "sortable": true, "musicName": "無", "weight": 33, "desc": "Palamal(火神祭)是撒奇萊雅族特有的祭典,起源追溯自1990年身為達固部灣戰役受難者第三代的帝瓦伊.撒耘校長,在農兵橋下辦理百年來首次的撒奇萊雅族祭祖大典。帝瓦伊.撒耘校長溘逝後,族人齊心推動正名大業,並於 2006 年復辦。<br>", "musicText": "", "musicURL": "" }, "text-30vb3i3326": { "id": "text-30vb3i3326", "type": "text", "sortable": true, "musicName": "無", "weight": 34, "title": "|原識手札|Palamal(火神祭)火神祭", "desc": "<b>Palamal由三大祭典合併而成,分別是秋季舉辦祭祀祖靈的Talatu as(祖靈祭)與舉喪、除喪有關的Pipalamalan(火祭)以及1878 年「達固部灣戰役」族殤紀念。 在傳統文化內涵上,Palamal的程序乃以祖靈祭為主要架構,意義上則以Pipalamalan為主,而達固部灣戰役歷史情境的鮮明表現 則在凝聚族人之民族意識。Palamal「以傳統祭典形式」及「嚴謹程序」為原則之共識,為當代撒奇萊雅族人凝聚與強化的集體記憶,成為獨特又鮮明的祭典。在2006年於花蓮復辦後,便維持每年舉行一次祭儀。 2015年旅居桃園的族人首次在花蓮以外的縣市辦理Palamal,對移居都會地區的撒奇萊雅族人來說,舉辦Palamal</b><span><b>是凝聚族人之間的情感,也讓年輕世代有機會參與祭典。<br></b><br></span><b><i>證書號數:奇HG000077</i></b><br><b><i>智慧創作名稱:Palamal撒奇萊雅族火神祭</i></b><br><b><i>智慧創作種類:宗教祭儀</i></b><br><span><b><i>公告日期:2021-04-26</i></b><br></span><b><i>撒奇萊雅族智慧創作</i></b><span><br><a target=\"_blank\" rel=\"nofollow\" href=\"https://www.titic.cip.gov.tw/order?order_id=1133\"><b><i>https://www.titic.cip.gov.tw/order?order_id=1133</i></b></a></span>", "musicText": "", "musicURL": "" }, "img-cdcxajxdod": { "id": "img-cdcxajxdod", "type": "img", "sortable": true, "primaryObj": { "oid": "b1ce5cf7bbdd4e9d8bc9b9922b76f249", "fileType": "image", "fileURI": 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公告日期:2021-04-26</i></b></div><div><b><i>證書號數:奇HG000077</i></b><br></div><div><b><i>智慧創作名稱:撒奇萊雅族男女服飾含配件</i></b></div><div><b><i>智慧創作種類:圖案、服飾</i></b></div><div><a target=\"_blank\" rel=\"nofollow\" href=\"https://www.titic.cip.gov.tw/order?order_id=1131\"><b><i>https://www.titic.cip.gov.tw/order?order_id=1131</i></b></a><b><i>&nbsp;</i></b><br></div><div><b><i>證書號數:奇HG000078</i></b></div><div><b><i>智慧創作名稱:撒奇萊雅族的圖騰與抗洪戰汛傳說</i></b></div><div><b><i>智慧創作種類:圖案、其他文化成果表達</i></b></div><div><a target=\"_blank\" rel=\"nofollow\" href=\"https://www.titic.cip.gov.tw/order?order_id=1132\"><b><i>https://www.titic.cip.gov.tw/order?order_id=1132</i></b></a></div>", "title": "|原識手札|", "musicText": "", "musicURL": "" }, "theme-nwwkg7uzw8": { "id": "theme-nwwkg7uzw8", "type": "theme", "sortable": true, "primaryObj": { "oid": "dc0ed2f7d3241a14e7e293da12687267", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/75637861fdddeef7213070a19f6c5701.jpg?itok=uFmySHQe", 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臺南市札哈木會館臺南市原住民文物館「版權所有,翻印必究」