安聖惠（峨冷．魯魯安）〈Ngialibalibade－－致失落的神話〉之陶壺編織形象研究

A Study on the Knitted Pottery Imagery in Eleng Luluan’s Ngialibalibade–To the Lost Myths

屏東縣大武山舊好茶部落的魯凱族公主安聖惠（峨冷‧魯魯安，1968－），生於1968年，創作形式包含編織、軟雕塑、漂流木等複合媒材裝置藝術，不拘於傳統圖紋而以材料語言呈現抒情性，探索生命本質與土地關懷，以及原住民族面對現代生活的狀態。〈Ngialibalibade－致失落的神話〉是安聖惠為2023年《利物浦雙年展》所創作的戶外裝置藝術，亦為臺灣該展中受邀「委託創作」之作品。作品以具有原住民族文化象徵的陶壺作為視覺主體，形式採用編織語彙，表達對傳統文化的種種反思。
本研究針對此作品的陶壺編織形象與內涵進行多面向梳理，首先撰寫安聖惠的創作脈絡及〈Ngialibalibade－致失落的神話〉在《利物浦雙年展》主題催化下的創作背景；再者論及陶壺在魯凱族文化中的重要神話、儀式及工藝傳統，接續整理歷來以陶壺形象作為當代藝術元素的臺灣原住民藝術家及作品；最後則論述作品中陶壺編織的形式語彙及安聖惠以陶壺為媒介的象徵、理念。本研究分析〈Ngialibalibade－致失落的神話〉中陶壺與魯凱傳統文化的連結，及安聖惠穿越時空的失落追索。透過作品的形式和內涵剖析，也與同時代藝術家的同主題作品對照，解釋此陶壺編織裝置所傳達的信念。安聖惠的陶壺以其編織和纖維媒材，感性象徵族群傳統精神的失而復得，陶壺編織如同紀念碑般的歸返姿態慰藉、支持原住民族。

安聖惠(Eleng Luluan, 1968-), a Rukai princess from the Old Haocha Village in Dawu Mountain, Pingtung County, is an artist whose creative practices encompass textile art, soft sculpture, driftwood, and other mixedmedia installations. Her works transcend traditional motifs, utilizing material language to convey lyricism, explore the essence of life and land, and reflect on the conditions of Indigenous peoples in contemporary society. Ngialibalibade–To the Lost Myths is a public installation art created by Eleng for the 2023 Liverpool Biennial. It is also a commissioned work from Taiwan to be invited to this prestigious exhibition. The piece features a ceramic pot, a symbol of Indigenous cultural heritage, as its visual focal point. Employing the artistic language of textile art, the work embodies profound reflections on traditional culture.
This study conducts a multifaceted analysis of the knitted imagery and symbolism of the ceramic pot in Ngialibalibade–To the Lost Myths. First, it examines Eleng’s artistic trajectory and the contextual background of her work within the thematic framework of the Liverpool Biennial. The research then delves into the significance of the ceramic pot in Rukai mythology, rituals, and craftsmanship. Subsequently, it surveys Taiwanese Indigenous artists who have incorporated ceramic pot imagery into contemporary art. Finally, the study discusses the formal language of textile knitting in the artwork, as well as the symbolic meanings and conceptual underpinnings of Eleng’s use of the ceramic pot as a medium.