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摘要
本文[1]硏究重點是從視覺符號呈現角度解析原住民雕刻文本，除了探究其藝術本質與美感知覺之真實性，對於原住民藝術世界的理解也提出藝術理論建構之另向詮釋。本文將雕刻圖像視爲一種文本分析對象，以過去文獻所載早期排灣族傳統雕刻的視覺圖式著手，經蒐集整理出百幅圖像以建立基礎視覺文本。本文論點以視覺藝術心理學角度出發兼採完形學派及符號學論點，就選定雕刻圖像進行解析，分析脈絡包括形式表現與內容表現兩個層面，詮釋排灣族傳統圖像的視覺形式、美感內涵、模式，以及在一個「藝術視覺場」的各種作用力和完形之呈現。
註解
- ^ 本文乃根據萬煜瑤（2005）視覺場構成與美感：排灣族雕刻文本解析一文而再行增修，原論文發表宣讀於國立屏東師範學院主辦的藝術教育研究的回顧與展望學術研討會，未出版 ，4／23。
關鍵詞
排灣族雕刻、視覺文本分析、視覺場
Abstract
Among traditional Indigenous arts in Taiwan, carving is both an important and ubiquitous phenomena. Especially for the Paiwan Indigenous people, carving is a prominent feature of cultural and artistic expression, addressing traditional cultural beliefs and spiritual value. Based on the Gestalt theory of visual context, this study analyzes visual construction, patterns, and symbols expressed on the selected Paiwan Indigenous carvings. Through the analytic perspectives on the "Visual field" of the works, the aim of this study is to discuss aesthetic perception and mode of the Indigenous art, with the presupposition which can be discovered embedded in the mechanism of cultural ethos and the authentic nature of art.
Keywords
Paiwan Indigenous carving, analysis on visual context, visual field
註釋
