Researches of hundred-pace snake's emblazonry in Paiwan tribe

• Main Author: 吳松芳
• Other Authors: 胡澤民教授
• Format: Others
• Online Access: http://ndltd.ncl.edu.tw/handle/77843236997489940549

碩士 === 國立臺灣藝術大學 === 視覺傳達設計學系碩士班 === 96 === Abstract The beginning of this study start from the main approach to the other traditional element of hundred-pace snake’s emblazonry in paiwan tribe, it contains the influence of totem culture and analysis to the expressional form of hundred-pace snake’s emblazonry, select hundred-pace snake’s emblazonry as the transformational factor of diverse development from traditional craft to contemporary art and craft, investigate and analyze the trend of hundred-pace snake’s emblazonry applied to contemporary vision-design. Attempt to explore the traditional approach from modern thinking, by means of 1075 sample materials gathered extensively, apply the principle of elementary construction design, quantify questionnaire by the aid of statistical software, cooperate and interview deeply with the expert for the discussion of qualitative investigation etc, after the systematic arrangemen classification and analysis once again, then obtain the concrete content as follows: Paiwan clansman worship hundred-pace snakes, claim it as descendants of hundred-pace snakes, according to its decoration relative on the surface of craft implements, toexplain hundred-pace snakes as their ancestorworship totem from ancient times, and this style of hundred-pace snake’s emblazonry can also find the similar artistic expression material in every area of the world, obviously all take the deep influence of aboriginal totem culture. Hundred-pace snake’s emblazonry becomes the principle in accordance with it, but divide it for the ten lasses:single snake’s emblazonrysingle snake and head complex emblazonrytwin snakes’ emblazonrytwin snakes and head complex emblazonrysnake and portrait complex emblazonrysnake and pot complex emblazonryplural snakes’emblazonrysolid snakes’ emblazonrysemi-abstract and abstract emblazonrygeometry pattern emblazonry. In the respect of constructive composition, in order to contact using widemost, the geometry pattern emblazonry in order to breed the composition in the generality, by appearing symmetrically and beautifully most in the principle of beautiful form. Now just meet the national cultural policy call forcommunity whole-essential constructionandculture &; creative industry, the contemporary paiwan art worker dare to try the new material to create, devote to the developing of cultural intention industry, therefore present the diverse looks of new media materialandnew intention. The products of art and craft classify in accordance with the patterns of presentation, probably divide it for the four classes:imitation of the ancient styletechnological designartistic creationandvisual communication design. Induct and analyze the three main imagery cognition component of hundred-pace snake’s emblazonry in paiwan tribe to regard as vationappraisement. In accordance with it to compare merit and defect of the artistic works, acquire some good characteristics of the best figured image like as mold-making succinctly and powerfully、colouring vivaciously and outstandingly、line-veining amiably and streamlined, fully represent the fine characteristic and totem image in paiwan tribe, in the meanwhile acquire some bad characteristics of the worst figured image like as mold-making terribly and realistically without esthetic sense、particular colouring absently、line-veining stiffly and soft insufficiently, it's obviously different from the development concerning snake's emblazonry of art in paiwan tribe, the connection is not intense enough to each other. Therefore, hope to utilize the efforts of this study, provide the significant reference and experience for whom devote to the creation and development of aboriginal craft in the future. Key words: Hundred-pace snake's emblazonry、Totem、Composition、Visual communication design、Imagery cognition