在虛幻與現實之間：台灣原住民人像雕刻中的去殖民想像

Abstract

The 1990s saw two major "retro" movements in the forms taken by the woodcarving of Taiwan's indigenous people. The first was a revival of the carving of representations of the ancestral spirits among woodcarvers of the Paiwan Tribe, coupled with the emergence of "pan-Paiwan aesthetics"; the second was a growing emphasis on presenting "ideal" indigenous people in art. What these two trends shared was a focus on recreating the glory of the ancestors. However, the influence of colonialism could still be detected in the two movements. The positioning of the art of woodcarving during this period was characterized by an oversimplified, imprecise equating of creative woodcarving with cultural transmission. Over time, the idea that "woodcarving = cultural transmission" came to be taken as a given.

Faced with this almost universal approval of woodcarving as a phenomenon that represented an aboriginal cultural renaissance and artistic revival, the challenge is to identify those aspects of modem indigenous woodcarving that are autonomous to the indigenous peoples themselves, while recognizing the traps and snares that have been created by the influence of colonialist aesthetics and of the de-colonial imagination. Only when this has been achieved will indigenous woodcarving be able to develop without losing its way, and to become self-aware.