| Summary: | 碩士 === 國立臺灣藝術大學 === 造形藝術研究所 === 95 === Abstract
This thesis is focused on the woodcarving figures on the eave-beams of Paiwan and Rukai noble families, collected by Formosa Aboriginal Culture Village. The study will be presented in five parts. Part 1: Introduction will present my motivation, objective, and the methodology of this study. In the second part, the aboriginal research context from the Tsing Dynasty to Japanese colonization period, then to KMT government before the martial law ended. In part 3, I’ll narrow down to present Paiwan and Rukai’s social cultural studies, living environments, the cultural impact of state machinery to their social structures, and to their artistic expressions of figures. In the forth part, I’ll explore the function and psychological meaning of these figures. Will use the collection of Formosa Aboriginal Culture Village to explain the meaning of each figure, its metaphor, status in traditional society, and its application in everyday life. The part five is the conclusion.
The social structure of Paiwan and Rukai is based on the relationship between landowners and tenant-peasants. Together with the tribe legends, many figures were created and showed on the eave-beams and main house pillars (祖靈柱), then applied on all kinds of living wares and costumes.
The forms of these figures were quite simple drawing lines in pre-historical time. When entered the history era with contact of civilization and the use of iron, they learned the expression of three-dimension and started to do sculptures and embossment. These were in fact some sort of primitive or aboriginal art, borrowed to distinguish the differences of social status and decorations.
After 1980, influenced by the democratization of the society and advocacy of aborigines' human right, the aristocracy is replaced by the bureaucracy; worship of antecedent and traditional taboos are changed by religions from external world; development of transportation make tribes much easily reached by foreign civilization and material life which then dilute the self-identification and their tradition heritage. Likewise, the new social modality “popularizes” these images to icons and adornments of the tribe, then become exotic crafts and merchandised in the tourist market. The traditional social identifications eventually turn into a new culture industry nowadays.
Key words: eave-beam, plastic arts, figure, Paiwan group
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