萬煜瑤。〈物質性、符號與美感所在：陶壺世界的感知詮釋〉。《民俗曲藝》176 (2012.6): 15-65。
Abstract
從世紀交界以來對人類文化的探索，具跨領域質性的研究取向備受學界所關注。例如視覺文化研究以快速崛起之姿，從相異於物質化觀點重新解析場域間物象的意義與作用。然而，視覺性質並非純然且完全獨立，而是與其它感官作用互滲，在複合媒介和物質基礎下，文化經驗得以穿越時間與空間，形塑成知識與美感。有鑑於此，過去以視覺本身為主的視覺研究，開始逐漸擴及較應用式的現象學或感覺為範疇，從較寬廣的感官或媒介，來理解人們如何在各種物質媒介當中去體驗空間、時間、以及所生活的世界。
本文以排灣族傳統陶壺為研究對象，分析在文化運作下的相關感知經驗和價值，研究路徑包括三方面：第一，從視覺分析路徑，探討在陶土和壺型的圖像媒介下，其符號的物質性、視覺性、及符號內部空間；第二，藉由神話文本脈絡，分析陶壺在過去想像世界當中如何作為象徵原型，以及所反映的物與人、空間界線之關係；第三，透過當代創作者的實踐路徑，針對原住民製陶者在製陶創作過程的自我體驗及自述，從知覺分析及現象學角度，檢視其文化經驗、美感知覺和自我建構。基於前述研究脈絡，本文探討陶壺作為傳統族群文化符碼是如何在文化下被具體認知、展現、經驗，同時又超越其物質性等議題，除了理解原住民文化物件與人的存在空間互為主體性的鍊結，也試圖詮釋物質文化的感知境界及美感所在。
Material forms and objects have the capability to affect the way people think of time and space in order to interpret their existence. With aims to analyze perceptual experience and value of the ancient pottery of the Paiwan culture, there are three major research perspectives of this study: first, visual perspective, to analyze visualization and internals of ceramics and pottery as materialized symbols; second, textual perspective, to interpret the symbolic prototype of ancient pottery as related to human beings, objects, and the interspaces of the world; third, perspective of practicality and art creation, to discuss cultural experience, and aesthetic perception of contemporary Indigenous artists through narrative analysis and observations of pottery making. Accordingly, this study addresses issues as how ancient pottery in the Paiwan culture was culturally encoded, interpreted, practiced, and experienced sensationally beyond materialization as cultural objects related to human existence. Moreover, this study offers a new way of interpretation and appreciation of Indigenous aesthetics and cultural locus.
Also in Journal of Chinese Ritual, Theatre and Folklore:
萬煜瑤。〈排灣族藝術圖像中「人」的形體與意象分析：從神話與雕刻談起〉。《民俗曲藝》161 (2008.9): 135-84。
Wan Yuh-yao. “Form and Image of Human in Paiwan Art Patterns: From Myths and Carvings.” Journal of Chinese Ritual, Theatre and Folklore 161 (2008.9): 135-84.