過去賽德克族（Seediq）被視為泰雅族（Atayal）的亞族，自民國97年（2008）正名以來，各面向文化特質逐漸被重視與強調。本文嘗試以民國101年（2012）底甫完成文化資產公告的南投縣賽德克族織布工藝與Puniri技法為例，觀察此一傳統工藝之具體特徵、保存概況以及女性在織布活動中自我建構的歷程。所選擇對象為文化資產保存者張貴珠（Bakan Nawi）與張鳳英（Seta Bakan）母女，並上溯至祖母張玉英（Seta Iban）女士，以祖、母、女3位不同世代女性織者的習藝經歷與生命經驗初步進行觀察。文中首先概述傳統織布工藝文化意涵，其次從質材、工具、紋飾織法與衣飾形制等外顯特徵進行描述，再者從3位女性織者對傳統織布的文化記憶與日常生活實踐體驗，了解自我認同與適應狀況，進而提出保存維護建議。

Previously, the Seediq had been classified as a sub-tribe related to Atayal. It was not until 2008that the Seediq were officially recognized as Taiwan's 14th indigenous group, and all aspects oftheir cultural characteristics have since been treasured and highlighted increasingly. In 2012, theNantou County Government announced the Seediq’s traditional weaving handicraft Puniri wouldbe classified as intangible cultural heritage. Human beings, the carriers of cultures, are practitionersof craftsmanship whose endeavors ensure that folk arts continue to be followed and transmitted.Through examining the life experiences and learning processes of three female weavers from different generations within registered preservers’ families, this study aims to observe and portray this craft’spreservation conditions and the self-construction processes during weaving activities. First, this article will summarize the cultural content of traditional weaving. Second, the distinct features presented inthe Seediq weaving products will be stated in accordance with examining the artifacts’ textures, forms and decorative patterns. And conclusively, the findings in observations and analyses of this research are expected to provide recommendations to promote the safeguarding and conservation/preservation of such artifacts in the future.