本稿依據2019年12次的訪談整理而成，受訪者陳利友妹（Lavaus Aluguyan，1943－）為排灣族工藝家，其母系為太麻里加拉班（Qaljapan）頭目家族，父系是利里武（Lilevu）貴族家族。她從1950年八歲習得排灣族刺繡至今，實務經驗超過六十年。1963年到1986年隨夫往返台東和高雄工作，這段經驗亦為她日後返鄉創業，累積了技術資本和都市視野。陳女士的刺繡工藝作品揉和傳統與新創，2021年接受文化部「無形文化資產保存者」（「人間國寶」）殊榮。本稿以保存原住民族女性文化保存者、工藝家生命史的角度，記錄其部落記憶、刺繡技藝養成和創作理念。陳女士的部落記憶涵蓋時間，從本人上溯到外曾祖父母至少四個世代，橫跨清領後期、日治時期到1970年代；空間以太麻里鄉大王村及周邊部落為主；記憶形式除了口述之外，亦以刺繡作品呈現。她的部落記憶，是東排灣族的文化記憶之一，本文將她最深刻的記憶場所及故事，整理成這份口述稿，總計十三節。從戰火中的出生談起，環繞母系頭目家族生活、父親平民家庭的文化體驗、部落記憶、與日本學者的田野接觸，以迄中年以後對文化傳承的使命感。同時，記錄她如何習得傳統刺繡、縈繞於心的排灣族故事、少女時學洋裁的收穫、中年返鄉後以刺繡文創商品及大件繡畫走出人生低谷的過程，最後則為作品內涵介紹。

This paper is based on the 12 interviews with Lavaus Aluguyan (1943-) in 2019. Lavaus Aluguyan is a Paiwan artist, whose maternal family is a Qaljapan chief family in Taimali and paternal family a Lilevu noble family. Having acquired Paiwan embroidery skills since she was eight in 1950, she has more than 60 years of experience in embroidery. From 1963 to 1986, she commuted between Taitung and Kaohsiung to work with her husband. This experience accumulated her technology capital and urban vision when she returned to her hometown and started a business later on. Lavaus Aluguyan’s embroidery works are blended with tradition and innovation. In 2021, she won the distinctive honor of’’intangible cultural heritage preserver’’by the Ministry of Culture (Living Human Treasure). Under the perspective of preserving indigenous female cultures and the artist’s life history, this paper records her tribal memories, cultivation of embroidery skills, and her artist statements. Her tribal memories cover at least four generations, from herself to her great grandparents, from the late Qing Dynasty, Japanese Colonial Period to the 1970s. The space of her focus includes Dawang Village, Taimali and the tribes in the surroundings. Besides oral accounts, Lavaus Aluguyan also presents her memories through embroidery works. Her tribal memory is one of the cultural memories of East Paiwan. This paper organizes the places of her most profound memories and stories into an oral account of 13 sections, starting from her birth during the war, her life in the maternal chief family, cultural experience in her father’s plebeian family, tribal memory, field contact with Japanese scholars, to her sense of mission to cultural heritage after her middle age. Also, this paper records how she acquired traditional embroidery skills, lingering stories of Paiwan, what she had gained when learning tailoring during the adolescence, her rising from rock bottom of her life through the embroidery cultural and creative products and large embroidery paintings after she returned to her hometown at her middle age, and finally the introduction of her works.