島谷織流合作聯盟成員介紹_獨樹依織 unique tapa/樹皮布創作工作室

作品參考連結（Product references link）：

https://islander.waca.ec/product/detail/1857085

 

你曾想像一張樹皮經過千捶，將它的纖維舒展，粗硬的樹皮也可以變得柔軟嗎？一片樹皮變成一張布，那是屬於南島語族的傳統工藝，樹皮布。

《獨樹依織》是林戎依的樹皮布工藝創作品牌。有別於以往大家對於編織的概念，樹皮布的製作，不是經由將數個不同材料交織在一起，而是將一片樹皮的纖維經由反覆的搥打，將之鬆解、延展，最終變成一張具有韌性的布。

在阿美族的傳統文化中，穿著樹皮衣是一種地位的象徵，有紀錄是在祈雨、或是部落的重要集會時會出現，更甚有文獻指出，穿著樹皮衣打獵，可以在自然環境中掩蓋自己的氣味。林戎依第一次見到樹皮織品，是在巧合下看到部落的頭目帶著樹皮布做成的帽子，那是她在以往從未了解過的工藝，也是在那一次她才發現了原來阿美族部落竟有這樣特別的製作織品技巧。

然而樹皮布的工藝曾經過超過半世紀的斷裂，是由阿美族的幾位耆老重拾捶棍，才將之保留了下來。林戎依在大學期間，便投身製作樹皮布的學習，這一腳踏進去，轉眼就是十二年。

「因為其實樹皮布的製作是很繁複的，它需要很多次的反覆操作。」在捶打、洗滌、延展的過程中，這樣長時間的重複中，林戎依有時也會覺得漫長。

「敲打的過程有時候也會覺得很痛苦，但是看到它曬乾展開的美好樣子，心裡還是覺得非常滿足。」她笑說。經由細密的敲打，把樹皮的纖維慢慢分開，從原本深色、粗糙的樣子，逐漸明亮、柔軟，也像是在和自己的內心對話，將鬱結在心中的情緒，慢慢放下，緊繃的神經展開後，也能透進光線。

「我非常感謝都蘭部落的沈太木頭目，他一直有耐心的教導後輩，本來我以為要跟著耆老學習會是一件極度嚴肅的事情，但他很親切的對待每一個學生。」提及自己的老師，林戎依的聲音驀地低了下來，似在壓抑著內心洶湧的感激之情，有著這樣認真、無私付出的前輩引導，林戎依更將推廣樹皮衣視為己任。

對於林戎依來說，樹皮衣的創作不僅是為了傳承文化，更是自己與族群的連結。「我感覺如果我放棄了這個東西，我會不知道我是誰。」因為熱愛自己的族群文化，林戎依在創作之餘也投注心力在教學上。她會免費到部落的國小中教導阿美族小朋友製作樹皮布，看著孩子們從吵吵鬧鬧到靜下來敲打一片樹皮，她為了想將工藝下去推展出去而始終懸著的心，才在一聲聲結實的撞擊聲中，緩緩落地。

「我很喜歡我的一件大型創作，它叫做〈大地的日記〉。」所謂日記，便是由三百六十五張樹皮布所拼起來的大型作品，每一張不同樣態、顏色的樹皮布，也夾帶了林戎依當日的心情，快樂的、沉重的，都透過樹皮布的纖維，一絲一縷、鮮活地呈現。「現在看到這個作品，身體都還可以記憶起當時的場景。」身體與記憶同樣敏銳，在繁瑣的製作流程中，投注的心力更顯得這項工藝的珍貴。

在島人藝術空間的展售的飾品，是樹皮布結合其他媒材做出來的耳墜，美術背景出生的林戎依運用所學，為樹皮注入各種清亮的色彩，製作成了旅客可以隨身佩帶的一方小小樹皮創作。

在2018年Pulima藝術節的得獎作品〈在我眼中，你是如此的美麗〉，是利用樹皮布拼湊出一個人的輪廓，「我想透過我的作品，讓每個觀看的人知道，每個人都有他獨特的美麗。」不論是心靈或是身體受過創傷，內心自卑、自我懷疑，都沒有關係，每個人都跟樹皮一樣，有著自己獨特的深淺、外貌，那樣獨一無二的美麗，也值得被欣賞和重視。

不斷追求著自身的價值，林戎依面對種種困境卻從沒想過要放棄，經歷過比賽、國際的交流，馬不停蹄的她停下了腳步，選擇回頭擁抱自己、擁抱初心。「材質最美的樣子，就是它本來的樣子。」那是她走出台灣後，在一個泰國的小村子裡意識到的。在那一個古樸的村落，林戎依像是看到了從前的部落，純粹且美好的工藝理所當然地伴隨著日常，那便是她所追求，看見材質最天然的部分，回到生活，與樹一起呼吸，把自己在自然中展開，歷經錘鍊，變得足夠柔軟，成為一塊獨一無二的樹皮布。

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Have you ever imagined a piece of bark undergoing thousands of pounds of pounding, stretching its fibers, and turning rough bark into something soft? That’s the traditional craft of tree bark cloth belonging to the Austronesian-speaking peoples.

 

“Dutsuayb” is Lin Rong-Yi’s brand of tree bark cloth craftsmanship. Unlike conventional weaving concepts, tree bark cloth production involves repeatedly pounding the fibers of a single piece of bark until they loosen and extend, ultimately transforming it into a resilient fabric.

 

In the traditional culture of the Amis people, wearing tree bark clothing symbolizes status. Historical records indicate its use during rain rituals or significant tribal gatherings, and there are even documents suggesting that wearing tree bark clothes while hunting can mask one’s scent in natural environments. Lin Rong-Yi’s first encounter with tree bark textiles was coincidental, seeing tribal leaders wearing hats made from tree bark cloth—a craft she had never previously encountered, realizing the unique textile-making skills of the Amis tribe.

 

However, the craft of tree bark cloth experienced over half a century of interruption until several elderly Amis individuals revived it with their pestles. Lin Rong-Yi began learning tree bark cloth production during her university years, which has since turned into twelve years of dedication.

 

“The production of tree bark cloth is quite intricate, requiring numerous repetitive operations,” Lin Rong-Yi explains. During the process of pounding, washing, and stretching, the long periods of repetition sometimes make her feel the process is endless.

 

“At times, the pounding process can be painful, but seeing its beautiful appearance as it dries in the sun brings me immense satisfaction,” she laughs. Through meticulous pounding, the fibers of the bark gradually separate, transforming from its original dark, rough appearance to a brighter, softer texture, akin to a dialogue with her own emotions, slowly releasing inner turmoil, and allowing tense nerves to relax under the penetrating light.

 

“I am deeply grateful to Chief Shen Taimu of the Dolan tribe, who patiently taught the younger generation. Originally, I thought learning from elders would be a very serious matter, but he treated each student with kindness,” Lin Rong-Yi’s voice lowers, suppressing the surge of gratitude in her heart for such earnest, selfless guidance. It is this mentorship that compels Lin Rong-Yi to view the promotion of tree bark clothing as her duty.

 

For Lin Rong-Yi, creating tree bark clothing is not just about cultural preservation but also about her connection to her ethnic group. “If I were to give up this, I wouldn’t know who I am,” she reflects. Driven by her love for her ethnic culture, alongside her creative work, Lin Rong-Yi also invests effort in teaching. She freely visits elementary schools in tribal communities to teach Amis children how to make tree bark cloth. Watching children transition from noisy to focused pounding of a piece of bark, she carries a lingering concern about passing on this craft, each solid impact gradually easing her heart.

 

“I particularly cherish a large-scale creation of mine called ‘The Diary of the Earth.’ The term ‘diary’ refers to a large work pieced together from 365 tree bark cloths, each reflecting my mood of the day, whether joyous or heavy, vividly expressed through the fibers of the tree bark,” she reminisces. Her body and memory remain keen, recalling scenes from the creation process, highlighting the preciousness of this craft amidst its intricate production flow.

 

At Island Art Space’s exhibitions, accessories made by combining tree bark cloth with other materials, such as earrings, showcase Lin Rong-Yi’s artistic background. Utilizing her skills, she injects various bright colors into tree bark cloth, creating small, wearable creations for travelers.

 

Her award-winning piece at the 2018 Pulima Art Festival, “In My Eyes, You Are So Beautiful,” utilized tree bark cloth to piece together the silhouette of a person. “Through my artwork, I want every viewer to know that each person possesses their unique beauty,” she declares. Regardless of emotional or physical scars, inner insecurities, every individual, much like tree bark, possesses their unique depth and appearance, their singular beauty deserving of admiration and respect.

 

Continuously pursuing her own value, Lin Rong-Yi has faced various challenges but never contemplated giving up. After competitions and international exchanges, she halted her relentless pace, choosing instead to return, embrace herself, and reconnect with her original intentions. “The most beautiful form of material is its natural state,” she realized during her time in a small village in Thailand after leaving Taiwan. In that quaint village, Lin Rong-Yi felt as if she had glimpsed her tribe from the past, where the pure and beautiful craftsmanship naturally accompanied daily life—an ideal she strives for, seeing the most natural aspects of materials, returning to life, breathing with the trees, becoming sufficiently soft after enduring hammering, and becoming a unique piece of tree bark cloth.