Wednesday, December 9, 2015

原民撿土槍獵山羌 判刑3年半新聞的想法


2014-11-10 自由時報南部版 (http://news.ltn.com.tw/news/local/paper/828972)
〔記者陳賢義/台東報導〕王姓布農族男子在林班地拾獲土造長槍,未送交警方反而佔為己有獵殺保育野生動物,遭警攔查緝獲;王辯稱具原民身分,撿到土造長槍應無罪,委任辯護律師則強調王有原民身分,扣得槍枝應符合槍砲彈藥刀械管制條例第20條第1項「供作生活工具使用」之自製獵槍;台東地方法院認為,王持有槍枝非其製造,也不屬原民以其文化所允許的方式製造,來源難認與原民文化有何相關,不符構成要件,分罪併罰,應執行3年6月徒刑,科7萬元罰金。
  • 原民獵槍需為自製,且向主管機關登記列管,才能合法持有。 (記者陳賢義攝)
    原民獵槍需為自製,且向主管機關登記列管,才能合法持有。 (記者陳賢義攝)

與原民文化無關

判決書指出,王男是在去年7月於海端鄉一處林班地河床上拾獲土造長槍,明知為他人所有,仍基於侵占犯意非法持有;同年8月間攜槍彈入山獵殺長鬃山羊和山羌等保育動物,被警攔查緝獲。王男到案矢口否認非法持有殺傷力槍枝,辯稱具原民身分,撿到土造長槍應無罪。
台東地院審結認為,扣得槍枝經鑑定,可供擊發口徑12制式霰彈使用,具殺傷力;其次,王在偵訊期間坦承撿獲,足認持有槍枝非其所造,也難認定槍枝「來源」與原民文化有何相關,顯與槍砲彈藥刀械管制條例第20條第1項「自製獵槍」構成要件不符。王男非法持有可發射子彈具有殺傷力槍枝、獵捕保育類野生動物,犯意各別,應予分論併罰。
就此事件,個人有幾點看法,以下就事件中非祭典時期狩獵、使用制式槍械及狩獵保育類動物來討論。

首先就非傳統祭典時期狩獵;說到傳統,原住民狩獵傳統就是為了食其肉、衣其皮、飾其羽,祭典只是行有餘力在特定時節才做的事,沒有平常狩獵和耕種的的豐年,哪來豐年祭?把原住民狩獵時機限定在祭典本來就是毫無根據的大漢人沙文主義的決定。另外;用人的祭典而不是動物的生理週期來定狩獵時機,若是慶典剛好落在某物種生殖高峰期呢?

以使用制式槍械而言;限定原住民只能拿自製土槍狩獵是很主觀的事,美國原住民也是拿現代制式火槍狩獵,他們這樣就不算維護傳統了嗎?只有像演古裝戲一 樣拿著遠古道具才算傳統嗎?照這標準,只有拿木石器狩獵那種石器時代的獵具才可以算維護傳統了?何況野生動物保育法第十八條規定獵捕野生動物,不得以下列方法為之:使用獵槍以外之其他種類槍械。土製槍枝算獵槍嗎?"獵槍"定義是什麼?

其實臺灣原住民族在十七世紀荷據時期槍支引進臺灣後,已發展出使用槍支收穫獵物的智慧和文化,如布農人的槍祭;槍支和原住民族的存活也有重要的關聯,剝奪其槍支的使用權利,往往引起原住民族對外來統治者不惜以死相抗的起義事件;例如1913年起的連串布農抗暴事件,1930年的賽德克霧社事件等。甚至早在日治之前,西方制式槍械早已是台灣原住民狩獵器具之一了,如下圖,許多批評的人的祖先在原住民使用制式槍械的時候都還沒到達台灣呢。

                                                                       泰雅族男子和他的獵槍(美製 Winchester's 1873)黥                                                                                                                                                面代表他至少有一次獵首的經驗 (取自 http://tnews.cc/035/newscon1.asp?number=15582)


另外我們如果了解目前原住民狩獵的方式可以想象,由於日據以來外來統治者收繳了有效率的火槍,設陷阱成為狩獵的主要方式,但吊索或鐵夾卻是效率較低且無法區別獵物種類的收穫方法。所以只能漫山遍野的佈放,通常一個獵人可以放置數百陷阱。這數百陷阱一周也許只逮兩隻山羌,三隻山羊,但獵者可能只查到第一百個陷阱就收獲了兩隻山羊一隻山羌,這獵人就得打道回府,剩下的一隻山羊一隻山羌等獵人再回來時已腐爛不可食,在獵人離開的同時,這數百陷阱又中了新的兩隻山羌,三隻山羊,獵人又忘了有些陷阱的位置,這些被遺忘的陷阱又成了“幽靈”陷阱,捕獲許多跟本不會被收獲者消費的獵物。而不是獵人標的的物種可能就在這種浪費資源的收獲方式下中陷的。

                                                       幽靈陷阱的犧牲品(取自http://blog.xuite.net/taijigongsi/twblog/113466468-%E7%AB%B9%E6%9E%97%E9%99%B7%E9%98%B1)

但槍獵卻不是這樣,中彈的獵物有較大回收的機率,打到能運回的隻數時(獵人能背負的重量上限),獵人通常就會停止收獲的手段,資源的使用效率就會提高,誤殺、浪費的機會就會減少。

從原住民健康的角度來想,槍獵得的動物比較能在新鮮的狀態下就消費掉,可減少因消費陷阱裡腐爛獵物而暴露於肉毒桿菌中毒的危險;現代獵槍也比較不會有膛炸等土製槍支的危險。而且國內並不生產制式獵槍和彈藥,若能從進口源頭管制好(比如只能由政府統一代購),可限制只能使用無鉛彈藥,減少土槍彈藥鉛子污染食物及環境的問題。

另一方面,以人道的立場來看;現代大口徑後膛槍致命的時效快,可減少動物在陷阱中折磨數日才死亡的無謂痛苦。在美國一般管制的是不能以太小口徑的槍枝狩獵中大型動物,以確保人道結束獵物生命。比如.22口徑一般彈殻子彈就不能拿來獵鹿。

以管理的角度來看,棒子(管制)和蘿蔔(狩獵權)同時呈現,才易達到管理的目標;完全禁止(棒子)狩獵只能給資源管理人員一種“安全的假象”,管理人員反而無法了解資源利用的真相。中國傳說中大禹治水的寓意,應該可以給我們許多啟示。管理使用制式獵槍,而不是禁止,反而能減少獵人自行製作土槍和使用陷阱的誘因進而減少資源浪費的機率。

再來,如果能從禁止轉而朝有效管理的方向走,狩獵的稅收也可幫助自然資源保育管理的經費。負責自然資源保育管理的單位也比較容易掌握資源的動態。

另以資源管理的角度來看;可選擇獵物個體的收獲方式(如槍獵)更可提供獵物族群甚至生態系經營的選項,除物種選擇外,比如只打公鹿(性別選擇),或只打有三叉以上鹿角的公鹿(年齡選擇),也可只打有家豬特徵(如身上的白斑)的野豬(基因型選擇)。

所以管理原住民使用制式槍械狩獵;不只在安全人道上、保育自然資源上都比目前的規定來的合理。在保育臺灣動物資源和維護原住民文化的考量下,停止禁止原住民族狩獵的法規,改以輔導原住民使用現代獵槍,並積極經營管理獵物族群和收獲方法,應是一個所有自然資源和民族文化相關各界需要正視的方向。

因為除生物多樣性外,喪失文明的多樣性也是現代人類同樣嚴重的課題。文化是一種「活」的生活方式,一但一種民族文化或生活方式只能在文化村表演或博物館展示中存在,這個文化就是死了。一百五十年來,許多人誤解達爾文「天擇論」中的“適”者生存為“強“者生存,並進一步引申認為人類文明中較簡單的文化及生產方式為落後、野蠻的文明。在臺灣,”教化“原住民的活動一直不斷,我們已喪失大部份平埔族群,山地族群年輕一輩也漸漸脫離了祖先的土地和生活方式。狩獵是臺灣原住民族的文化中心,我們不但無權去批評改變,更要積極去參與保存。

以本事件牽涉狩獵保育類動物來看;所謂的保育類訂定也是糊塗帳一筆,訂定的標準是啥?當初大部份名單上物種是在沒有長期穩定族群監測方法所得的族群趨勢資料所訂出來的,直到現在;野生動物保育法也沒有明確保育類訂定準則和所有權責人參與的透明過程,在美國列一個瀕絕物種從提出名單,公告徵詢全國意見,公聽會要長達一年以上時間。用這種缺乏科學數字,決策過程封閉的方法所訂的名單來定一個本來就住這的人的罪,不是很誇張嗎?好像一個吃素的人強佔一個漁夫的家,然後制定法律只能用自己使用麻繩編的網在中秋節抓吳郭魚,用尼龍網在端午節抓鯽魚不合法,因為用尼龍網不符傳統,端午節季節不對,而鯽魚很稀少;要把原屋主判罪一樣可笑嗎?沒錯,他合法,但不合義理;跟西班牙征服者把印加帝國皇帝以異端為由處死不是一樣嗎?

合理利用野生動物資源,也可以抑制對商業性農產這種對環境有負面衝擊的生產方式(土地開發,化肥,農藥,機械,運輸,儲藏,展示)的依賴。美國許多鄉間的人家每年收穫的獵物足抵得上全年的肉用量,所以不用購買畜肉。這對減少牲畜甲烷,含氮廢物排放也有許多幫助。

美國在20世紀初到現在對野生動物的經營管理雖不完美,但基本上資源的現狀是比積極管理前好太多了;以白尾鹿為例,二十世紀初,白尾鹿也是面臨過渡狩獵,族群瀕危的地步。管理手段除積極的棲地營造,鹿隻移動(這點有許多負面衝擊,目前有許多檢討)最主要是停止商業性收獲,個人收獲主要以季節和收獲量來管理,除少數地區外,禁止狩獵從不是復育的手段。雖然收獲一直進行,但目前美國大部分的州都有鹿口過剩的問題。可見適當,符合當地生態特色及獵物族群動態的資源利用方式對資源的永續性是無妨害的。

這十幾年來,國際保育界已了解到,用外來移植的方式並不能達到在地保育的目標;我們這些“文明人”應該停止“教化”“野蠻”的原住民怎麼保育他們賴以為生的資源,並建立外來者和在地人的對話、合作關係,利用在地居民的傳統智慧結合客觀的科學知識以永續利用這些資源。

我們不能強制所有原住民個人都要選擇成為獵人,但我們更不能剝奪他們選擇祖先生活方式的權利;若要他們留在族群固有的領地,不成為都市的遊民,邊緣人;伐木,種菜和合理的收獲獵物,這三種山區的生產方式,那種生產方式對資源的永續性較高呢?那種生產方式最符合原住民文化呢?

附錄 野生動物保育法 第三條

     本法用辭定義如下:

        野生動物:係指一般狀況下,應生存於棲息環境下之哺乳類、鳥類、爬蟲類、兩棲類、魚類、昆蟲及其他種類之動物。

       族群量:係指在特定時間及空間,同種野生動物存在之數量。

       瀕臨絕種野生動物:係指族群量降至危險標準,其生存已面臨危機之野生動物。

       珍貴稀有野生動物:係指各地特有或族群量稀少之野生動物。

       其他應予保育之野生動物:係指族群量雖未達稀有程度,但其生存已面臨危機之野生動物。

甚麼是族群量危險標準?甚麼是族群量稀少?生存已面臨危機的要素是甚麼呢?台灣那幾個物種有長期穩定族群監測方法所得的族群變動資料呢?以這些籠統的文字為依據所列的保育名單來構人入罪不是很荒唐嗎?我在臉書討論這議題時,很多人跟我說現在國內制定保育物種已引進IUCN的規範,所以是很科學很合理了,而且也有公告所以也不是封閉的決策過程。我想這是很大的進步,值得鼓勵的方向。不過;我還是有一些建議;IUCN保育物種名單列名的規範是一個軟體,光有軟體而沒有資料,是無法運作的。而資料是什麼?就是可以拿來客觀比較物種族群在特定時空範圍內變動的資料,國內大部份物種還是缺乏這種品質的資料,沒有好資料來編列保育名單;真正需要介入保育的物種可能無法得到足夠公私各方資源保育,而本來可以適當管理而得以永續利用的物種卻不能使用。變成一事無成。而修正「保育類野生動物名錄」公告通常並未詳述修正的原因,而且只有十四天回應期(file:///C:/Users/Huisheng%20Chen/Downloads/%C3%80%C3%8B%C2%B0e%C2%A1u%C2%ABO%C2%A8-%C3%83%C3%BE%C2%B3%C2%A5%C2%A5%C3%8D%C2%B0%C3%8A%C2%AA%C2%AB%C2%A6W%C2%BF%C3%BD%C2%A1v-%C3%97%C2%A5%C2%BF%C2%AF%C3%B3%C2%AE%C3%97%C2%A4%C2%BD%C2%A7i.pdf),怎能得到有足夠深度的回應?決策過程還是一樣粗糙封閉,是有很大改善空間。

Thursday, November 5, 2015

搜山圖 Painting of searching the mountain




"Painting of searching the mountain" (搜山图) descripts the folklore of Erlang (二郎神 demigod of the second son) arresting monsters living in the mountains. This story is widely circulated as folklore and recorded in many literary works. Many version of the story has been painted, the earliest was painted by Northern Song Dynasty painter Yi Gao (高益); "painting of searching ghosts and spirits in the mountains". Due to the popularity among royal families, the story was painted many times during the Ming and Qing dynasties.

This "Painting of searching the mountain" was painted at the end Song or beginning of the Yuan dynasty by an anonymous artist. When compare to other painting of the same subject, this is just part of the original paint, because the main character- Erlang is not presented, but the artistic achievement presented in this painting surpasses other versions.

In the painting; Magic god figures triumphantly searched the mountains for monsters. The monsters were presented in various forms of wild beasts like tiger, bear, hog, monkeys, foxes, goats, deer, rabbits, lizards, snakes and the like, and some monsters were in the form of a woman. They were flushed out of their hidings and desperately trying to escape, or hide in the cave to avoid arrest. The divine law enforcements carried weapons and employed trained birds of prey and sight hounds to capture the monsters just like a hunting party. Traditionally, Erlang is a positive character in folklores, but the god figures depicted in this painting were vicious and wearing the Mongolian style helmets, while the facial expressions of those monsters were peaceful and kind or suffering. I wonder if the artist was intentionally doing this as a satire of those invading Mongol soldiers and the oppressed people in the mortal world.
The hunting birds employed included a Mountain Hawk Eagle (the one on the fist) and a Golden Eagle (the one grapping the monster in woman form).

This picture is currently in the collection of Beijing Palace Museum.



《搜山圖》卷呈現民間傳說二郎神搜山降魔的故事,所以也稱為《二郎神搜山圖》。二郎神的故事在民間廣泛流傳,也在許多文學作品中提及。最早有北宋畫家高益畫的《鬼神搜山圖》,明、清兩代,也不斷有傳本流傳。
此卷《搜山圖》是南宋末或元初佚名畫家之作。與同一題材的各種不同版本比較,其中缺少主神二郎神的部分,因此推測是個殘本,,但是其繪畫技巧卻高出其它各本。圖中神兵神將們耀武揚威地搜索山林中各種魔怪。魔怪們均是各種野獸變的,有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及樹精木魅等。這些妖怪,或是原形,或化為女子,他們都在神將們追逐下,倉惶逃命,或藏匿山洞,或拒絕受擒。而那些神將們則手持刀槍劍戟、縱鷹放犬,前堵後截,使妖怪無處逃身。本來,二郎神是作為正面人物來歌頌的,然而看了此卷之後,卻得到了一個相反的印象。那些神兵神將,一個個凶神惡煞,穿戴胡服,而那些妖怪們卻面目和善穿戴漢服,不知作者是有意還是無意,使觀者自然地就會聯想到,當時北方胡人南侵,對老百姓的欺壓情形。
本圖使用猛禽有角鷹和雕(金雕)。現藏北京故宮博物院。

Wednesday, September 30, 2015

Where falconry still flourishes: Mongolians with sporting birds near Peking

National Geographic Magazine published the photo on page 346 of their 1909 March issue (Vol. 13). The images were taken Ca.1900 by H. G. Ponting, a photographer working for the H.C. White Stereoview Company of Vermont, USA.

Under the NGO photo it says: In Northern China the sport of falconry is still very popular, and it is a common sight to see men walking out into the country with their pets perched on a stick held in the hand, to give them exercise and airing. Our photograph shows two Mongolians on their way to Peking with a number of young falcons for sale.


Besides this NGO photo, Ponting actually took another set of 3D photo for stereo-viewing (the second photo without a boy between the two traders).



Tuesday, September 29, 2015

胡瓌 出獵圖

Khitan "Out Hunting", Wudai (Five generation period五代, prior to the founding of Liao遼, 907-979 AD) - by Hu, Gui (五代 胡瓌 出獵圖)

The Kitan were a nomadic Mongolic people, originally from Mongolia and Manchuria (the northeastern region of modern-day China) from the 4th century. During the peak of their dominate,the Liao Dynasty (916-1125 AD.), they controlled a vast area north of, and including parts of northern China; but have left few relics that have survived until today, after the fall of Liao Dynasty in 1125.

The few paintings of 9-10 century AD. Khitan artist: Hu, Gui (胡瓌) preserved some aspects of Khitan culture that has been lost in history.

In this painting; four mounted falconers with three saker falcons (maybe center one was a Gyr--Hai Qin 海青) and a golden eagle were presented. The brown saker on the left was hooded, and the hood was typical Arabian/Dutch three-piece construction without the tuft. All hunting birds were held on gloved right hands. Holding hawks on right hands are only seen in Asian falconers, except Japan. Maybe practicing falconry together is a time of peace for the mainland Asian falconers as we can see from the picture that they weren't armed (except their short utility knives), while Japanese falconers needed to free their right hands to draw their long Katana sword when needed. Using glove or gauntlet was very common in ancient Chinese paintings, but never seen being used in recent Chinese falconers.

Based on historic record, falconry was the Khitan's favorite sport and Gyrs were the most wanted hunting bird, since swan was their most prized game. According to history account, the Khitan tax heavily on the Manchurian Jurchen for Gyrfalcons, which caused the revolt of the Jurchen tribe and the collapse of Liao Dynasty. The last Khitan state of Kara Khitai finally destroyed by the Mongol in 1218.

This painting is currently in the collection of National Palace Museum in Taiwan (http://painting.npm.gov.tw/npm_public/System/ShowImage.jsp).




元世祖出獵圖

劉貫道(約活動於十三世紀後半期),生卒年不詳,大概在元世祖至元年間(一二六四-一二九四)在世。河北人,字仲賢,善畫。至元十六年稱旨,補御衣局使。所畫道釋、人物,全宗法晉、唐。畫山水宗李成、郭熙,佳處逼真。花竹鳥獸,亦能集合諸家之長,成為當時畫壇的高手。 此畫作於西元一二八0年,屬於大幅作品,畫北方沙漠地帶,一片黃沙坡地,景色單調。在沙丘無垠的遠方,正有一列駱駝馱隊橫越。近處人騎數眾,或張弓射雁;或手架獵鷹;或繩攜獵豹,皆為馬上行獵之狀。其中騎著黑馬、身穿白裘的,應為元世祖,與世祖並駕的婦女,似為帝后,其餘八人,應是侍從,其中尚有中亞黑奴兩名。 圖中人物、馬騎無論衣著、裝備皆刻畫精細,表情神態自然生動,而世祖的面容,更與本院所藏<元歷代帝后像>冊中的元世祖半身像相似,足證兩圖的寫實。雖然劉貫道的畫作傳世甚少,但由此軸中人物的傳神,可明劉氏善畫的美名,非憑空得。圖中侍從舉白松鶻及黑松鶻(或是兔鶻)各一架,特別的是;白海青戴的是現代所謂的荷蘭式鷹帽。另一侍從馬背後有一獵豹,地上另有一細犬。
本圖現藏台北故宮博物院 



Liu Kuan-tao, a native of present day Hopeh province, was a celebrated court painter of the early Yuan Dynasty. His figure paintings were in the style of the early Chin and T'ang masters, while his landscapes followed the styles of Li Ch'eng and Kuo Hsi. His animal and bird-and-flower paintings combined the virtues of the old masters to become famous at the time.

Appearing against a backdrop of northern steppes and desert is a scene of figures on horseback. The one sitting on a dark horse and wearing a white fur coat is most likely the famous Mongol emperor Kublai Khan with his empress next to him. They are accompanied by a host of servants and officials; the one to the left is about to shoot an arrow at one of the geese in the sky above. The figure wearing blue has a dutch-style hooded white gyrfalcon (海東青hai-dong-qing, or 松鶻 song-gu) and the one wearing green has a saker (兔鶻tu-gu) or dark gyrfalcon on their right gloved hand, and a trained Asiatic cheetah sits on the back of the horse in front. we can also see a sight hound on the right, maybe a central Asian Tazy breed. Two dark-skinned figures are perhaps from south Asia or Africa. In the background, a camel caravan proceeds slowly behind a sandy slope, adding a touch of life to the barren scenery. Every aspect of this work has been rendered with exceptional detail. Appearing quite realistic, even the representation of Kublai Khan in this painting corresponds quite closely to his imperial portrait in the Museum collection. Though few of Liu Kuan-tao's paintings have survived, this work serves as testimony to his fame in Yuan court art. The artist's signature and the date (1280) appear in the lower left.
This painting is a collection of Taipei 國立故宮博物院 National Palace Museum