本文將討論重心從傳統認知的楚文化圈，轉化為楚系文化圈，以「楚系」文化作為理解江漢流域東周文化的關鍵，而非討論楚人所進行的單面向征服。希望能透過此一研究角度的轉換，關照地域文化內部的多元族群，得以分梳政治權力與文化勢力的影響。 　　楚國郢都為楚系文化長期發展的重心，而郢都核心區的範圍，大體可對應為楚國的「王畿」，是以楚王居所與中央官署為中心所形成的區塊。楚國郢都行政體系已有一定規模，然而由地方勢力與封君控制的封邑，以及州的存在，阻礙中央對地方資源的徵調，致使楚王的支配權無法貫徹。 　　除了界定楚系文化核心的空間，本文也循楚人追溯先世之記憶，以楚人早期發展的沮漳之地，探索郢都文化的成形。沮漳河沿岸所見的大型城邑與春秋楚貴族墓群，呈現楚文化早期嘗試創新，卻受限於既有禮制之過程。戰國時期，郢都成為楚系文化繼起之重心，本文整合郢都核心區的貴族（士以上）墓葬資料，並參考楚地所出可資對照的實物，探討高等級墓葬所共享的文化特質。 　　本文前半部份的討論主軸在於楚國政體規畫，釐清楚國權力核心的範圍。然而，楚系文化圈之成立，政治勢力的拓展雖為其主要環節，最終仍著眼於文化圈內的住民能擁有同時性（simultaneity）的文化認知。先秦時期的政治控制與文化接受的關係複雜，兩者發展的進程是否同軌，仍需進一步考察。本文著眼於考古成果，分別探討楚人與楚系文化自郢都循長江的東、西向發展。對於西境的探討，首先整合渝東地區的出土資料，探討巴、楚文化彼此之間的採借與融合形式，以及整體峽區的物質流通。其後，再將討論焦點放於湘西與西陵峽地區，觀察楚人經營「西境」的模式。至於楚人的東向擴張，則有一段從漢東到東國的歷程，本部分討論著重探討江淮地帶的「吳頭楚尾」之地，將從楚人最初的東拓目標──漢水以東地區進行討論，再順長江而下，繼續討論楚國勢力東進至江淮間的過程，以及楚系文化於東國結構之下的發展。 　　戰國末期，楚作為政治實體已趨消亡，但是楚系文化圈生機未斷。楚人「東國」及其延伸的「南楚」領域，仍展現了一定的文化創制動力。此一由湘江、資水流域，經過江漢交會處的武漢，再到長江下游，循長江走向的區塊，在楚國政權亡覆前，憑藉楚系文化而有所整合。直至西漢初年，地方社群的文化表現猶能見其痕跡。當楚系文化不再依憑政治擴張的推動力量，其文化風格之延續，可作為解析早期中國地域文化發展的進一步課題。

Panapanayan 是位於台灣東南海岸的地點，至少有阿美、卑南、排灣及魯凱 等鄰近四族群的祖源傳說與該地有關，文化現象亦有許多相似之處，形成一個可 資觀察的「文化圈」區域。 該文化圈內之文化現象除了具有空間的關聯性之外，亦具有時間深度，其關 聯與互動可以延伸到史前時代，尤以文化圈內之舊香蘭遺址所發掘出土的文物， 有石刀、陶片上吐信蛇紋的應用，與現生族群間沿用之圖紋習慣似乎具有傳承關 係。文化圈內核心區域太麻里、知本部落流傳的生命儀禮中，文身（口傳及文獻 記錄）及使用琉璃珠（佩戴珠飾、陪葬）的習慣，是當地整體生命認知的價值體 系一環，與而舊香蘭遺址亦發現大量之琉璃珠，古今相疊的地緣空間中相似的文 化現象，不免引人注目。 此外，本地區(太麻里部落祖靈屋)發現的吐舌和大塊面雕刻人像，為台灣原 住民木雕圖紋表現習慣中少見的形式，卻與境外南太平洋文化的表現具有類緣的 關係，在在凸顯了本地除具有獨特的藝術表現外，又具有與分佈廣大的南島語族 間文化相連的多元關係。因此，似可以從物質文化中之藝術表現做為媒介觀察整 體社會文化變遷，與人群表達集體情感與識別作用的文化認同現象。 受國家政治現代化政策的影響，本地區百年來沐浴在現代化影響下，傳統生 活與文化產生了很大的變遷，但是在晚近族群運動與強調在地化文化資產發掘的 文化政策影響下，促進了民族風潮與部落主體意識的覺醒，太麻里、知本部落透 過重建palakuwan、恢復祭儀、傳統歌謠及工藝美感經驗的傳承等，紛紛進行文 化復振工作。各部落為尋找歷史記憶，熱絡進行祭儀交流、尋根溯源及跨部落結 盟等活動，使文化圈內人群緊密互動的現象，有促進區域生成共同體的趨勢。 太麻里、知本部落的社會環境，也在全球化和商業化、觀光化影響下變遷， 藝術表現由傳統制式的風格，漸轉化為多樣取向的個人性創作，這種轉變衝擊了 在地文化的傳承，以及部落主體性的維繫，為了凝聚族人共識，有心者於是透過 藝術媒介塑造部落文化特徵，強化為部落象徵，使藝術表現再度成為扮演彰顯族 群（部落）認同的重要功能。 本研究透過物質文化的表現，特別是所謂「藝術」（原始藝術或民族藝術） 的生成與顯現過程，觀察Panapanayan 當地多元視覺藝術要素與歷史傳統、社會 生活祭儀、象徵認同之間的關係，以瞭解藝術表現的脈絡與部落主體意識、民族 認同之間的互動關係。 / Panapanayan is located on the southeast coast of Taiwan. The ancestral origin stories of at least four ethnic groups, including the Amis, Puyuma, Paiwan and Rukai, can be traced back to this place. The many similar cultural phenomena demonstrated by these various groups suggest the formation of a culture circle. The relations between the cultural phenomena within this culture circle are not only based on space, but also on time. The relations and interactions between them can be traced back to prehistoric times. For example, snake tongue patterns seen on artifacts like stone blades and pieces of pottery uncovered at the Jiuxianglan Site are still seen in the patterns used by these ethnic groups to this day. The life-cycle rituals, tattooing (described by the oral tradition and written records) and use of ceremonial glass beads (used for both decretive purposes and buried with the deceased) found in the villages of Taimali and Zhiben, which are at the center of this culture circle, represent local values and beliefs about life and death. Many glass beads were also uncovered at the Jiuxianglan Site. The number of similar cultural phenomena occurring within this region from ancient times to present day is truly striking. In addition, the tongue-like patterns and large carvings of human figures found in this region (at the ancestral shrine in Taimali) have rarely been seen among the wood-carving patterns of Taiwan’s aboriginal people. However, these patterns are related to those found within Austronesian culture outside Taiwan. This finding further highlights the uniqueness of the artistic expressions found in this area and points to diverse ties with the widespread Austronesian peoples. As a result, the artistic expressions found within the material culture in this area can be used to trace social and cultural change. These artistic expressions can also help us to better understand collective emotions and cultural identities. With the emergence of modern national politics, the traditional life and culture of this region have been strongly influenced by the onslaught of modernization. However, the rise of the ethnic movement in Taiwan and the emphasis on cultural heritage within political policy has inspired a new awakening of tribal consciousness. By rebuilding Palakuwan and restoring traditional rituals, songs and artistic aesthetics, the people in Taimali and Zhiben have begun to engage in the process of cultural restoration. To rediscover their historical memory, various villages have worked together by exchanging rituals, tracing their roots and creating alliances. The close interactions between people living within the culture circle have led to the formation of community within this region. The social environment in Taimali and Zhiben has also been influenced by globalization, commercialization and tourism. Artistic expression has graduallyshifted from a structured traditional style to more diverse forms of individualized production. This transformation has greatly affected the transmission of local culture, as well as the maintenance of tribal subjectivity. In order to promote consensus among tribal members, concerned individuals have used the media to shape cultural characteristics and strengthen tribal symbols. As a result, artistic expression once again is playing an important role in shaping ethnic (tribal) identity. By exploring material culture, in particular the process of producing and displaying “art” (primitive art or ethnic art), this study investigates the relations between the diverse artistic elements, historical tradition, social rituals and symbolic identity in Panapanayan. The purpose of this study is to further understand the interaction between artistic expression, tribal subjective consciousness and ethnic identity.