Die Hauptresultate dieser Arbeit uber das Hautleistensystem der Planta von 208(_??_106, _??_102) Banran-Bewohner im Landkreise Tschoshu1assen sich wie folgt zusammenfassen.
I) Figurae tactiles auf dem Grosszehenballen; A(47.8±2.44), B(6.7±1.23), AB (0.2±0.20), C(0.0), W(39.0±2.39), O(6.3±1.19)
II) Figurae tactiles auf der Metatarsophalangealgegend ; 1) Triradius metatarsophalangealis;-(55.5±2.44), d(39.0±2.39) dd(5.3±1.10), ddd(0.2±0.20), 2) Reprasentierende Kombinationsformeln der Leistenbilder in der Metatarsophalangealgegend; OOO(55.5±2.44), O∪O(31.3±2.27), ∪O O (5.3±1.10), 3) Haufigkeit der Figur O unter drei Metatarsophalangealregionen;O₃(55.5 ±2.44), O₂(38.7±2.39), O₁(5.5±1.12), O₀(0.2±0.20) 4) Figurae tactiles in der ersten Metatarsophalangealregion;O(93.3±1.23), ∪(6.3±1.19), ∩(0.0), W(0.5±0.35) 5) Figurae tactiles in der zweiten Metatarsophalangealregion;O(63.0±2.37), ∪(36.8±2.36), ∩(0.2±0.20), W(0.0) 6) Figurae tactiles in der dritten Metatarsophalangealregion;O(93.3±1.23), ∪(6.7±1.23), ∩(0.0), W(0.0) 7) Figurae tactiles in alien drei Metatarsophalangealregionen; O(83.2±1.06), ∪(16.6±1.05), ∩(0.1±0.09), W(0.2±0.13)
III) Figurae tactiles auf dem Fibularwulst; Sinus(16.6±1.82), Vortex(0.0)
IV) Figurae tactiles auf der Grosszehenbeere; a(13.4±1.70), t(4.0±0.98), f(58.5±2.46), w(24.1±2.13)

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Pottery making is still practised among the Yami tribe, Botel Tobago, although the artifact has been abandoned at one time or another by the other tribes of the Formosan mainland. According to the economical calender of the Yami, it is done in the month of 'Paruptogun', or September, and restricted to the men who manufacture such earthen ware as the Puraranum (water-jar), Wanga (boilingpot), Waga (earthen bowl), etc.
The plastic clay, which is decomposed andesite or agglomerate that prevalent n the island, is obtained from certain points along the valley, and upon being brought to the village, is first passed between the fingers in order to eliminate the small rock's fragments and grits, and kneaded well without adding any sand. As soon as the Yami has finished gathering the clay, the fuel which had been left in the mountains to dry is transported to the sand beach, where it is again dried in the sun.
The Yami mould the clay into a well-shaped pot with great ingenuity without employing the potter's wheel. A lump of the prepared clay is shaped with the hands into the form of a cylinder, the round base of which is laid on a leaf of the Raon grass (Alocasia macrorrhiza SCHOTT) and placed upon a board. The worker next pats the pot from the outside with the Paparo (patting club) in one hand, and supporting that part of the spot which is being patted from the inside with a flat stone in the other hand, thus building up the rough shape by gradually thinning and expanding the clay. The roughly made pot is moreover beaten out into shape with the Pipikpik (patting battledore) in one hand and a flat stone in the other. When the pot has acquired the desired shape, the outside is scraped with the Tatari or bamboo stick. The pot is left to dry in the wind, but out of the sun for about three days. The firing place is a cleaned space of ground on the sea-shore, a fine day with little or no wind being chosen. The fuel, which is cut up into lengths of a meter or so, is piled up in the form of a square block on the ground, and the pots are placed on it with their bottoms resting on the fuel laid side by side. More fuel is then added above and around the sides of the pots, and then being fired on the top of the fuel. Pots are baked two or three hours after the fuel is fired. The moulding of the clay and the firing of the pottery require great skill, with the result that the pot is often broken. Consequently, many taboos are observed among the potters in the pottery making season.
Explanation of Textfigures.
1. Diagrammatic sketch showing the manner of holding the flat, circular stone from the inside of the pot.
2. Pipikpik or patting battledore (Left) and Paparo or patting club. (Right).
3. Ipamarun-so-waga with section.
4. Pasasakuvan-so-waga or mould used for making the Waga or earthen bowl.
5. Moulding the clay into a cylinder.
6. Adjusting the shape of the pot with the Pipikpik or patting battledore.
7. Placing the pots in a depression in the piled fuel preparatory to firing.

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