流動與超越：太魯閣族工藝家生命史與工藝知識

Flow and Transcend: The Life History and Craft Knowledge of a Truku Artisan

本文以人類學的民族誌研究，結合敘事研究中的生命史研究作為方法，探究與建構太魯閣族工藝家的生命史及其所累積的工藝知識。從人類學對於知識的觀點出發，認為知識是生長的過程，是作為一個人，生而為人，從其內在滋長並回應世界，為做中學，是即興的移動。差異的知識是在不同脈絡之間的移動，知識必須在特定的時間與空間之中，透過身體技藝的逐漸成熟所掌握。在不同脈絡中，人們會持續改良自身的知識。學習與知曉的核心就在於解決問題，工藝由於其作為一個多重特性的類別，具有能力與彈性得以去除與吸納新的準則，問題解決也是工藝製作的核心。對臺灣原住民族人而言，面臨正式教育作為教化與同化的工具、社會快速變遷，織布成為讓人得以留在文化中並保有主體性的選擇。1980年代以來臺灣原住民族運動與文化復振的行動中，中生代的工藝復振者在重新學習文化脈絡下的傳統工藝時，經常試圖跟長輩或祖先做得一樣，或用同樣的方法做，若非終極目的但至少是重要或必經的過程。相較於此，70歲世代的工藝家從小持續織布至今，卻擁有想要超越長輩的欲望與作為。本文分析一位畢生織布的工藝家的工藝學習與製作歷程、其工藝思想，和她經歷不同的學習與知識脈絡，在轉換的過程中以工藝作為一個人安身立命的方式，從內在滋長與回應環境變動，從而所累積的知識，以及這些知識引領她的生命，形成她持續不斷的創新動力、作為和物件。

This is an anthropological ethnography that investigates and constructs the life history of a Truku artisan as well as her accumulated craft knowledge. It combines narrative research and the research of life history as methods. From the perspective of the anthropological study of knowledge, knowledge is a process of growing. A person grows from the inside in the process of education and corresponds to the surrounding world. Knowledge is learning and knowing by doing, and it leads to improvisation and movements of life. In terms of the difference between knowledges, there are not different kinds of knowledge. Rather, knowing is the movement of a person from one context to another. Knowledge grows in certain times and places, along with the gradual development of bodily techniques. People tend to constantly improve their own knowledge in different contexts. It is argued that problem solving lies at the heart of learning and knowing. Crafts not only refer to handmade objects, but are also associated with certain concepts, attitudes, and ways of thinking and practicing. Due to their multiple characteristics, crafts are flexible and able to absorb new qualities and transform. For Taiwanese indigenous people, facing assimilation through formal education and rapid social transformation, weaving becomes a way in which they can stay with their own culture and maintain sovereignty. Since the development of Taiwan’s indigenous movements in the 1980s, through contemporary cultural revitalization practices, some indigenous people have sought to reconnect with their own cultural traditions. Learning crafts becomes a common route by which people consider the future and directions for the development of ethnic cultures. Young people enjoy learning crafts from the elders. More often than not, when people are engaging in cultural revitalization and start to learn traditional crafts in a cultural context, they try to replicate the way in which it was done before. It often serves as an important approach or necessary process, if not an eternal goal. Compared with the younger generation, however, a Truku artisan, Hana, who has been weaving since she was young, keeps weaving in her seventies and tends to do things differently. She has moved between various contexts, both in terms of living and weaving. In the process of her life, she has always been interested in knowing and learning new ways of weaving, and does not hesitate or refuse to change when it is necessary. She does not just repeat what she did or give up easily when she confronts difficulties, but always tries to move forward and go beyond the desires and accomplishments of her elders. It may be due to the fact that she has always accumulated her knowledge based on what she was taught in the context of Truku culture. Starting with the discussion and perspectives on knowledge from anthropology and then the dialogue with an artisan’s craft production, this article shows the knowledge of a Truku artisan who has been weaving throughout her life and understands how such knowledge guides her life. We can see the transformation and continuity of culture in crafts.