藝術創作作為文化實踐：臺灣排灣族藝術家伊誕·巴瓦瓦隆之研究

臺灣原住民族藝術或稱南島藝術，有其文化底蘊根源與藝術價值，並多數植基在創作者強烈的文化認同上，在臺灣藝術史中，是一值得探究卻未必已獲得普遍重視的領域。本論文研究動機在於研究者希冀結合藝術行政實務經驗的反身性思考與學理專業，對臺灣排灣族藝術家伊誕·巴瓦瓦隆「紋砌刻畫」創作圖像、臺灣原住民族藝術與臺灣藝術史的生態發展有所梳理與掌握。　　本研究分為六章，首先在臺灣原住民族藝術、排灣族藝術、南島語族作一回顧；其次本論文研究對象排灣族藝術家伊誕·巴瓦瓦隆，從「紋砌刻畫」之材料、技法、形式，並以跨時性、主題性等面向進行圖像內涵分析。綜觀「紋砌刻畫」的藝術創作作為文化實踐的路徑，其具有高度的哲學性、敘事性、生態性、普世性等特色，而伊誕˙巴瓦瓦隆從文化工作者、藝術創作者、策展人的發展光譜及於藝術場域的表現實為難得。綜上所述，應於臺灣藝術史上具被書寫的價值。再者梳理臺灣原住民族藝術當代發展的外部視野與內部機制，除探討原住民族委員會扶植機制與參與藝博會情形與效益外，並梳理臺灣原住民族視覺藝術在臺灣藝術史上，從日本殖民時期為被觀看的題材、戰後付之闕如、至2000年後書寫情形漸增，於當今文化政策「重建臺灣藝術史」應更有開拓機會。　　研究發現，伊誕·巴瓦瓦隆是難得兼具多元創作媒材掌握能力、懷抱文化復振想望、透過高度自律與個人努力進行藝術創作與文化實踐的藝術家，經二十餘年的積累，在原民會文發中心扶植下而漸能跳脫挹注體制而自立於當代藝術場域，未來有望在區域原住民族藝術史深耕藝術創作與文化復振的企圖，亦為臺灣當代藝術及全球人類世趨向及解殖浪潮下仍持續有所發展的藝術家。

關鍵字

伊誕·巴瓦瓦隆；紋砌刻畫；排灣族藝術；臺灣藝術史；臺灣原住民族

並列摘要

Abstract The indigenous arts of Taiwan, also known as the Austronesian arts, has its unique cultural legacy and artistic significance, and is rooted in a strong cultural identity as expressed by the artists.It is a field in the Taiwanese Art History which deserves further study than the limited attention it has received.The motivation for my research is to combine a critical reflection on my practical experiences in art management and academic studies to analyze the images of Vecik Painting by Etan Pavavalung and contextualize it in the indigenous arts and the development of Taiwanese Art History. The thesis includes six chapters. It begins with a retrospective introduction of the Taiwanese indigenous arts, Paiwan arts, and Austronesian peoples,followed by a thorough study of the works by the Paiwan artist Etan Pavavalung, from the materials, techniques, and forms adopted in his Vecik Painting to an iconographic analysis based on its subjects, intertemporality, and other related aspects.It offers a comprehensive view on how Vecik Painting becomes a cultural approach for its highly philosophical, narrative, ecological, and universal nature.The multiple roles Etan Pavavalung has taken throughout his artistic career, including a culture worker, artist, and curator, and his contribution to the Taiwanese arts are unparalleled and of great value to be explored in the Taiwanese Art History, as it should be.The later chapters further contextualize the contemporary development of Taiwanese indigenous arts by looking into its external vision and internal mechanism,not only focusing on examples such as the institutionalized sponsorship by the Council of Indigenous Peoples Cultural Development Center and the art fairs experiences and effects, but also temporalizing the indigenous visual arts in the Taiwanese Art History as it moves from the gazed object during the Japanese Occupation, an omission in the post-war era, to an renewed interest in critical writing since 2000. Now under the current cultural policy to “Reconstructing Taiwanese Art History,” it is a field of infinite possibilities to be explored by researchers, scholars, and critics. As the study shows, Etan Pavavalung is an distinguished artist versatile in diverse artistic media and aspired to revitalize indigenous cultures.The more than two decades of artistic and cultural practices, cultivated with his self-discipline and hard work, have made him independent from the much-benefitted sponsorship by the Council of Indigenous Peoples Cultural Development Center and stand firm in contemporary arts.Delving into the regional indigenous art history with his creative works and culture-revitalizing attempt, Etan is believed to have more to offer to Taiwan’s contemporary art scenes under the trends of decolonialization and global anthropocène.