花樣本：貴州苗族刺繡技藝傳承與地方社會

Embroidered Images: Women's Inheritance of Embroidery Techniques and Local Miao Communities in Guizhou Province

何兆華(Zhao-Hua Ho)

花樣本 ； 施洞 ； 貞豐 ； 苗族 ； 文化傳承 ； 地方社會 ； embroidered images ； Shidong ； Zhenfeng ； Miao ； cultural inheritance ； local community

民俗曲藝

192期（2016 / 06 / 01）

97 - 165

繁體中文

本文透過貴州黔東南州台江縣施洞與黔西南州貞豐苗族服飾之花樣本的民族誌田野調查，討論刺繡技藝如何做為構成社會關係集合的中介，且透過女性對這項物質的傳承，如何形塑女性在社群中的自我認同及角色扮演。同時，花樣本如何做為一種區分社會邊界與社會關係的表徵，以理解歷史變遷下，人群的流動性及適應性。從田野資料中可以看出花樣本的圖紋因為族群遷徙或通婚等社會關係締結的變化而改變，且反映了女性為融入不同社會環境，在自我調適的過程可以選擇被同化或異化。顯示花樣本在地域性、社會性與時間性之間錯綜複雜的交疊關係。本文認為本研究對於深入了解貴州苗族服飾的文化性與社會性，能提供進一步的理解。物質文化研究的難題在於物質本身，很難呈現地方社會的動態表徵。然而，人類學在理解物質性與社會互動之間的關係，已有長足的進展。施洞與貞豐民族誌的資料，不但顯示社會化與文明化的過程中，物質與語言二者交互的關係，更進一步地說明物質傳承的知識，並不一定是技術的後果，更可以有言說參與的空間。透過服裝的物質性，以及苗人運用語言做為動能的現象，恰好展現施洞文化企圖建立我群的具體文化表徵。

The study of material culture faces the challenges inherent in the characteristics of materiality itself, making it tricky to use material objects to show dynamic change in local communities. However, anthropological understandings of the relationship between materiality and social interaction have made significant progress in recent years. This examination of ethnographic data on Miao material culture not only shows the processes of socialization and civilization, it further illustrates that the inheritance of material knowledge is not necessarily a consequence of technology, but also involves the participation of language. This paper is an ethnographic study of the traditional embroidered images of Shidong Miao and Zhenfeng Miao societies in Guizhou Province. I argue that these images are a means of shaping Miao cultural identity and generating social boundaries. Through examining the changes of embroidered images among Shidong and Zhenfeng Miao through time, I show that both the indigenous people of Shidong and immigrants of Zhenfeng learned how to use embroidery to negotiate Miao identities in different social and historical contexts. The study aims to answer the question of how embroidered images and embroidery techniques become the collective medium to construct relations within Miao society. Additionally, it examines how Miao people use clothes as cultural heritage to transform their cultural ideal and as a way for women to claim their own social identity. Lastly, I explore how embroidered images become a social representation to distinguish social boundaries and define social relationships. By examining three different cases, this paper reveals diverse aspects of how women faced social and historical changes through embroidered images and clothing. The first case is that of Huang Laozhao, a Han girl who was compelled to become a Shidong Miao kidnappers wife. By adopting Shidong Miao weaving and clothes-making techniques, she found a way to fuse daughters into local society. The second case is that of Shi Tsaomei who was a Shidong Miao girl who married a Han man in Rongjiang County. For political reasons, she was forced to give up her Shidong Miao dress and pretend to be Han in order to negotiate with local society in Rongjiang County. The third case explores the stories of Zhenfeng Miao people who emigrated from Taijiang and Huangping Counties in southwestern Guizhou during the late Qing dynasty, escaping war and in search of agriculture land. Among them, women from gid eb (＂people from the riverside,＂ referring to Shidong) intermarried with gid bil men (＂people from the mountain＂). The embroidered images and clothes made by these women fused the traditions of both communities. From the viewpoint of Zhenfeng, gid eb people were assimilated into gid bil society, allowing for a flow of women which provided for successful social reproduction.

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