從「達魯岸」到美術館—台灣原住民族創作者自我完成與自我技術之研究

From "Daluhan Studio" to the Galary: Self-Achievement and Self-Discipline of an Aboriginal Artist in Taiwan

潘小雪(Yuki Sheau-Shei Pan)

《台灣原住民族研究季刊》 1卷3期 (2008/09) Pp. 29-58

https://doi.org/10.29910/TJIS.200809.0002

摘要

本篇論文企圖探討台灣原住民當代藝術的起源與發展，過程中發現原住民族藝術創作者從部落生活走向藝術創作的歷程，其實正好就是個人自覺之路，也是族群主體自覺之路。因為人在自我完成的過程中，必定發展一套自我技術，而藝術是自我技術最綜合、最完整、最究竟的一種方法，在藝術創作的活動中一次完成自然／世界、自我／他人、知識／技術、尊嚴／卑微、意義／無意義……等存在的二律背反之課題。是故，藝術創作之於原住民族，是超越其他方法論而達到民族尊嚴與存在價值的最佳途徑，這種存在溯源的方式所發展出來的藝術風格，表情清晰有力，形式極為動人。從「達魯岸」到美術館，意即從生存的現場，是生活也是具有無限可能的空間開始，發展到工作室、創作、分享、展示，直到被客觀世界所肯定的美術館，這趟歷程已在台灣各部落此起彼落地發生了。過去，原住民創作者展出作品時，常被模糊成集體的「山地文物展」、「傳統工藝展」，但是在美術館的展覽中，它是純粹的、有名有姓的藝術家，是人人讚賞的創造者。藝術創作是一次又一次的自覺，這過程必須進入一個循環，從大地、生活、創造、產生意義，意義被美術館保存、也被遮蔽了，因此，要離開美術館，再回到大地，回到與它原初接觸的那個地方，回到藝術發生的場域。這循環是活躍的，在我看來，創作者要洞察這個循環才能保持創作的自覺與活躍，這也是本篇論文最後所要關注的。

關鍵字

自我完成 ； 自我技術 ； 意義／無意義 ； 二律背反 ； 達魯岸

並列摘要

This thesis is meant to explore the origin and development of aboriginal art currently in Taiwan. Coincidentally, the process of an aboriginal artist developing from a tribal life to an artistic career corresponds to that of his self-awareness from growing in humility as a member in an aboriginal tribe to achieving dignity as a person in modern society. That is because an artist inevitably must try to learn self-discipline in the process of his self-development, while art is the most synthetic, thorough, and effective method to discipline oneself as well as achieve the meaning of one's existence. In artistic activities, nothing is more blatant than the contradictions between nature and the world, self and others, knowledge and technology, dignity and humility, sense and non-sense Therefore, an aboriginal artist's creativity is the best means to achieve his tribal dignity and the value of his being as a person. This style of art developed by virtue of tracing back to its origin stands out most clearly in expression as well as in forms.Developing from ”Daluhan Studio” to the gallery means transforming scenes of one's existence, that is, the beginning of a new life and an unlimited possibility. What was initially a crude studio in a tribal region now has been developed into a widely-acclaimed gallery, where an artist's works are displayed, appreciated, and adored. This legend took place throughout the tribes in Taiwan. What was vaguely and collectively called ”Aboriginal Handwork” or ”Conventional Handicraft” assumes a new meaning when an aboriginal artist boldly reveals his own style and identity, which justifiably deserve his recognition and admiration from the public.Artistic creativity must repeatedly lead to a sense of renewal, which process functions like a cycle. That is, a sense of art is created from the earth and actual life and then preserved in the gallery and thus hidden too. The only way to renew the sense is to come back to the earth and actual life, where an artist was initially inspired and art activities took place. This cycle is active. In my opinion, an artist has to be aware of this cycle all the time, or he will lose his own potentials and sensitivity sooner or later. This is what my thesis focuses on.

並列關鍵字

self-achievement ； self-discipline ； sense/non-sense ； contradictions ； Daluhan

參考文獻

孫大川編(1993)。台灣原住民族漢語文學選集。中和:印刻。

Hofstadter, Albert(ed.),Kuhns, Richard.(ed.)(1976).Philosophies of Art and Beauty: Selected Readings in Aesthetics from Plato to Heidegger.Chicago:University of Chicago Press.