植物誌轉印術—奇浩的文化記事簿 Ethnoplants Transfer Printing - Cultural Notes of Kihaw

攝影：林律宏 Photographer: Harold Lin 

2025，水泥翻模 30x30x5cm x24, 鐵件（水谷藝術製作）280x175x45cm
Cement 30x30x5cm x24, steel structure( by Waley Art) dimensions variable

平常居住在萬里的排灣族藝術家張恩滿，在日常生活中便時常與北部不同的原住民族社群往來，聯絡感情的同時，也認識彼此的故事與日常。《植物誌轉印術》則是紀念著這些日常交往中隱含著的族群文化與記憶的裝置計劃。該計劃自2024年啟動，回應離散原住民族的文化記憶與文化延續性等議題，此次作品《植物誌轉印術—奇浩的文化記事簿》所聚焦的「奇浩部落」，是在1960年代自花蓮北漂來到基隆八尺門一代屯墾、生活的都市原住民阿美 族人們所凝聚的社區。藝術家以訪查與社區共創的創作過程中，將族人們日常中經常採集的植物來做拓印，在複刻植物美感自然生成的造型裡，並將這 些拓印的結果，組裝放置在每年七月會舉行豐年祭的觀海平台，象徵著聯繫族人與海另一邊的祖靈們之間的文化記憶。（文｜陳晞）

Chang En-Man is a Paiwan artist who lives in Wanli and often visits different indigenous communities in nor thern Taiwan. These daily interactions strengthen emotional bonds and deepen her understanding of their stories and daily lives. Botanical Transfer Artistr y is an installation project that commemorates the cultural heritage and memories embedded in these exchanges. Launched in 2024, the project addresses issues of cultural memory and continuity for diaspora Indigenous communities. This specific work, Botanical Transfer Artistr y — Cultural Field Notes of Kihaw, which focuses on the Kihaw Tribe. The Kihaw Tribe comprises Amis urban Indigenous people who migrated north from Hualien in the 1960s to settle in the Bachimen area of Keelung. Through a creative process involving interviews and community collaboration, Chang uses plants that community members regularly gather for rubbing and imprinting. These imprints reproduce the plants' natural beauty. These imprints are then assembled and placed on the observation deck where the annual harvest festival is held every July. This installation symbolises the cultural memory that connects tribe members with their ancestral spirits across the sea. (Text by CHEN HSI )

蝸牛樂園協奏曲－Santa Fe篇 Snail Paradise Concerto - Chapter of Santa Fe

2025，鋁結構（由雅思敏．諾瓦克製作）400x100x50cm，構樹皮，文獻轉印，刺繡
Aluminium structure ( by Jasmine Novak in Santa Fe) 157.4 × 39.4 × 19.7in, Paper mulberry bark, document transfer, embroidery. Artwork commissioned by NTMFA

源自東非並列為世界百大入侵種的非洲大蝸牛，成為藝術家探索世界的介面；台灣原生種構樹與蝸牛黏液有消解關係，它們分別描繪了物種傳播與人類遷徙的航線，而我在這交錯的網絡裡與吟遊詩人一同漫遊，尋找遺緒者一同協奏序曲，亦或續曲。
The African giant snail, originating from East Africa and ranked among the world’s top 100 invasive species, serves as a medium for the artist to explore the world. Taiwan’s native species paper mulberry and snail mucus have a dissolving relationship, they each depict the routes of species dispersion and human migration. In this intertwined network, I wander with bards, searching for the colonial trauma bearers to play the overture, or perhaps the sequel, together.

從lima到pulima From lima to pulima

2025，礦泥色料於構樹皮，28x785cm
Mineral pigment on paper mulberry bark, 28x785cm
Artwork commissioned by Hong-gah Museum

在南島語系中，「5」這個數字常以 lima 表達。在排灣族語裡「pu」表示「擁有」，pulima 便意指「擁有許多手的人」，引申為「巧手善於工藝之人」，如今更成為「藝術家」的代稱；世界各地遠古壁畫中常見的手印群，彷彿在視覺上與此概念產生了某種呼應。構樹製作的樹皮布，是太平洋南島民族重要的物質文化之一。科學家透過其 DNA 系譜分析，為「南島語系源於台灣」這一跨領域假說提供了有力佐證。在阿美族語中構樹被稱為 lolang，而其字根 lolol 含有「回復、歸還、再造」之意。我們或許難以完全理解與想像遠古南島民族橫跨萬里大洋的遷徙歷程，以樹皮乘載一個探路的旅程，如航行者的古老圖卷，記錄著手的軌跡與意志，引領我們向尚未命名之地前行。

Within the Austronesian language family, the number “five” is often expressed as lima. In the Paiwan language, “pu” signifies “to possess”; thus pulima denotes “one possessing many hands”, extending to mean “a person skilled in craftsmanship”, it has evolved into a synonym for “artist” now. The clusters of handprints frequently found in ancient rock art worldwide seem to visually resonate with this very concept. Bark cloth woven from paper mulberry constitutes a vital material culture among Pacific Austronesian peoples. Through DNA genealogical analysis, scientists have provided compelling evidence supporting the interdisciplinary hypothesis that ‘the Austronesian languages originated in Taiwan.’ In the Amis language, paper mulberry is termed lolang, its root lolol carrying connotations of ‘restoration, return, and rebirth.’ We may struggle to fully comprehend or imagine the ancient Austronesian peoples' transoceanic migrations spanning vast seas. Using bark as a vessel for a pioneering journey, like an ancient navigator's scroll, it records the traces and will of hands, guiding us towards unnamed lands yet to be discovered.

植物誌轉印術－九曲走讀計劃 Ethnoplants Transfer Printing- Brewing and reading tour of Urban Indigenous people's

2025，石膏拓印 15x15x4.5cm x11，計畫文本，釀酒植物盆栽一批
Plaster casts 15.5x15.5x4.5cm x11, project's text, Potted plants
Art project commissioned by SOLID ART

「九曲」為酒麴的同音字，去想像字面的畫面似在山海基隆城市的曲折小徑或山坡民宅旁遊歷。釀酒需要酒麴來製作，而成品族人對外又隱晦的稱之為糯米汽水。延續MUNUS讀書會的計畫，以釀酒工作坊的形式展開，跟隨著基隆原住民社區的阿美族人尋找生活圈周遭適合做酒麴的民族植物，進而透過認識這些植物背後的文化來開啟對話。

Building upon the MUNUS reading group initiative, this project takes the form of a brewing workshop. Participants will join members of the Amis tribe from Keelung's indigenous communities in identifying suitable indigenous plants for making koji within their local environment. This exploration of the cultural significance behind these plants will serve as a catalyst for dialogue.

笆札筏的大洪水 The Great Deluge: Oral History from Pacavalj

2025，單頻道彩色影片18分57秒，展出與委託製作於 如果我們的語言是……
Video 18" 57', artwork commissioned by "Sounds of Babe"

1935 年小川尚義、淺井惠倫以萬國發音記號、日語標注的合著《原語による高砂族傳說集（原語實錄臺灣高砂族傳說集）》，其中一篇採集自 Pacavalj（現台東大武鄉大鳥村）的傳說；講述一對兄妹在遭遇大洪水滅村之後努力存活下來並以亂倫婚姻來延續後代，從近親生產出殘缺的子孫，慢慢到幾世代後漸漸形成一個正常人類的聚落，也是部落的起源。這個敘事採集我的故鄉，後代在2011年為此故事製作繪本，並重新以自己的排灣族語講述這個故事。對於上述諸多語言翻轉的狀態感到有趣，我特地拜訪一群研究南島語的朋友為我解讀《原語による高砂族傳說集》，也近一步探究他們如何將被判定為死語的西拉雅語，如何透過參考《諸羅縣志》（1717）或對照《新港語馬太福音》（1888）去解碼及復活發音系統。

In 1935, OGAWA Naoyoshi and ASAI Erin published ‘A Collection of Formosan Aboriginal Folktales in the Original Language’, employing the International Phonetic Alphabet (IPA) alongside Japanese annotations. One tale recorded from the Pacavalj tribe (present-day Daniao, Dawu Township, Taitung County). It recounts how a brother and sister survived after their village was destroyed by a great flood. They sustained their lineage through an incestuous union, producing deformed offspring from this close kinship. Over several generations, these descendants gradually evolved into a community of normal humans, marking the tribe's origin. This narrative was collected in my homeland. Later generations produced a picture book based on this story in 2011, retelling it in their own Paiwan language.

Intrigued by these linguistic transformations, I sought out scholars specialising in Austronesian languages to decipher ‘A Collection of Formosan Aboriginal Folktales in the Original Language.’ This led me to explore how they decoded and revived the pronunciation system of Siraya—a language deemed extinct—by referencing the ‘Zhuluo County Annals (1717)’ and cross-referencing with "The Gospel of St. Matthew in Formosan, Sinkang Dialect) (1888) to decode and revive its phonetic system.