現代美術學報 6
Journal of Taipei Fine Arts Museum 6


Observations of the Wakening and Ambivalence of Taiwan Aboriginal Creation Consciousness in the 90's from Gi.Lahatze’s Process of Creation








In the 90's Taiwan aboriginal cultural revival phenomenon, many aboriginals are not only becoming devoted into art creation and returning to their own tribes, but also playing the important role of revealing their cultural deep inside as the subject of the their own culture. However, after the short honeymoon periods of art creation, many artists began to be stuck in the quandary of the deficiency of the knowledge of their own culture, or in the quandary of being unable to express completely in their creation because of the decline or breakup of their tribes, or even stuck in the re-production of the stereotypes. Some even became agonized about not able to return to their own tribes because they cannot deal with the social and cultural problems in the tribes, and the difference of life attitudes in between.

Among the concerned issues about the identification of the contemporary Taiwan aboriginal arts in the 90's, GiLahatze's wood carving art has been questioned as not one of the aboriginal arts and has aroused a wide discussion. While a lot of discussions lead to defining and identifying the contemporary Taiwan aboriginal art, one commonly recognized aboriginal art idea has been constantly influencing the creation of Taiwan aboriginal art. This kind of aboriginal art influenced by and served for the colonial aestheticism, acculturation through tourism, and political multi-cultural symbol needs, has commonly become the bridge between the old and new aboriginal cultures in the 90's.

This thesis tries to explore the consciousness of the 90's Taiwan aboriginal art, which faces the cultural poverty and the conflict under the legitimacy of emphasis on cultural heritage and subject awakening, from GiLahatze's process of creation, from looking for, clarifying, judging, breakaway, into the commonly recognized aboriginal art. It also tries to find out how he transcends his limitation of being an aboriginal, and began to pioneer himself, the consciousness of Taiwan aboriginal art creation, and expressing ways, and how he became one of the representatives while discussing about the issue of the contemporary Taiwan aboriginal art.


Gi.Lahatze, Aboriginal art, Creation Consciousness, cultural heritage.