台灣原住民當代藝術之初探：以視覺與造形藝術為例
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2013
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藝術是社會的產物，台灣原住民藝術的發展，必然受到台灣整體時代環境的影響。日本殖民至光復後，原住民原始社會受劇烈衝擊，祭儀信仰、習俗制度逐漸崩解，根基於原始信仰的物質及非物質文化發生嚴重的質變，打破傳統形制的自主性創作逐漸形成。日據時代的前輩藝術家們，歷經原始藝術逐漸瓦解的年代，他們最接近原始藝術的精神，卻也是逐步走出原始藝術，延伸傳統典範者，成為獨立的藝術創作，展現自我意識的最佳例子。然而即使如此，原住民藝術自原始藝術轉變為現代藝術的過程相當緩慢，直至80年代末走上街頭的原住民運動以及90年代初原住民正名，現代意識的思潮才開始影響原住民青年。在自由風氣與多元文化氛圍的90年代，正值青壯年的原住民藝術工作者，回歸家鄉投入創作，其中少數人反思原住民藝術的困境，或苦於新風格的突破，使得原住民藝術發展新的局面，並影響至今的藝術發展。本研究從藝術場域開始論述，劃分前輩、中生代及新生代藝術群，探討創作風格的生成，最終至藝術家的精神世界，謹提出三個結論：
第一、在政策、藝術活動、藝術評論三大推力相互影響下，建構出藝術場的外部輪廓，也促成藝術家群聚、觀摩與交流，累積各世代藝術群的創作經驗，在實踐現代藝術的過程中，平行發展出多元的面貌；同時，因時間的推進，累積藝術環境的發展史。
第二、原住民藝術從傳統典範孕育而生，隨著時間遞嬗而轉變，「時間」成為重要的潛在因素，世代藝術家群歷經傳承與凝聚，並時逢90年代政策與藝術活動的推力下，才得以產生一連串的創作變革。從「原始精神」到「擬仿傳統」，再逐漸反思回歸原始自然的「質樸風格」風格；而正當「擬仿傳統」、「質樸」風格興起之際，繼起另一股「後傳統表述」。
第三、總結各個世代藝術群的審美意識，以及為實踐「以族群為使命 / 大我實現」、「環境倫理」的審美理想。這獨特的審美理想是創作者本身的審美個性，以及台灣社會審美意識、部落社會審美意識相互結合的結果，使得藝術家透過一連串的方法與過程，創造出崇高或優美的藝術形象，以體現自己時代的審美理想。
關鍵詞：原住民藝術、藝術場、典範、後傳統、審美理想
The preliminary study on contemporary Taiwan indigenous art: visual and plastic arts as a case Abstract Art is a reflection on society. The development of Taiwan indigenous art is heavily influenced by the era and state that Taiwan is in. From the Japanese colonial era to post-World War II, the Taiwan indigenous society experienced huge impacts that ceremonial rituals, religions, social customs and traditions all seemed to experience collapses. The huge changes in the material and non-material aspects of culture led to the forming of autonomous creativity that broke away from the tradition. The elderly artists, active during the era of Japanese colonial rule, experienced the gradual collapse of tradition at the time. They were the closest link to the origin of tribal art but at the same time they demonstrated the diversion from the primitive art while extending the root tradition, which generated a sense of independence and self-consciousness. Despite all these developments, the change of indigenous art from primitive to modern is considered slow. Modernism did not take place to influence the new generation until the indigenous demonstration toward the end of 1980s and the indigenous name reinstall movement in the early 1990s. During the 1990s when freedom and multiculturalism were more active, many young indigenous artisans returned to their root to do what they really enjoyed. They emphasized on the rethinking of the closed culture issues to seek new breakthrough that created new dimensions with lasting effects on the art development. This research starts from the definition of art fields, categorizing artists into three groups of elderly, middle-aged, and new generation. We look into the inspiration of their creativity, the spirituality they represent, and produce the three conclusions below: First, with the influences coming from policies, art activities, and critiques, art forum is outlined to encourage the gathering, demonstration, and interaction of fellow artists. In accumulating the vast experience of artists from various generations, modern art displays its multifaceted appearance. The development of the art environment is accumulated as the time goes by. Second, indigenous art is based on tradition, with “time” being a latent variable causing the transformation. With the pass-down and accumulation of experience from artists of various generations, and the activation of policy and activity, comes a series of creativity. From “Original spirit” to “tradition mimicking”, the trend then returns to “simplicity”. While “tradition mimicking” and “simplicity” styles are going on, “post-tradition” raises. Third, the aesthetic value from various generations display collectivism which calls for the priority of group goals over individual goals, and the environment ethics, both represent aesthetic ideal. This ideal is the combined product of the aesthetic value held by the artists, and the interaction between the aesthetic senses of local Taiwanese and indigenous tribal society. Artists use a series of methods and progresses to create what they believe is the original aesthetic ideal. Keywords: Indigenous Art, Artistic Field, Paradigm, Post-Tradition, Aesthetic Ideal
The preliminary study on contemporary Taiwan indigenous art: visual and plastic arts as a case Abstract Art is a reflection on society. The development of Taiwan indigenous art is heavily influenced by the era and state that Taiwan is in. From the Japanese colonial era to post-World War II, the Taiwan indigenous society experienced huge impacts that ceremonial rituals, religions, social customs and traditions all seemed to experience collapses. The huge changes in the material and non-material aspects of culture led to the forming of autonomous creativity that broke away from the tradition. The elderly artists, active during the era of Japanese colonial rule, experienced the gradual collapse of tradition at the time. They were the closest link to the origin of tribal art but at the same time they demonstrated the diversion from the primitive art while extending the root tradition, which generated a sense of independence and self-consciousness. Despite all these developments, the change of indigenous art from primitive to modern is considered slow. Modernism did not take place to influence the new generation until the indigenous demonstration toward the end of 1980s and the indigenous name reinstall movement in the early 1990s. During the 1990s when freedom and multiculturalism were more active, many young indigenous artisans returned to their root to do what they really enjoyed. They emphasized on the rethinking of the closed culture issues to seek new breakthrough that created new dimensions with lasting effects on the art development. This research starts from the definition of art fields, categorizing artists into three groups of elderly, middle-aged, and new generation. We look into the inspiration of their creativity, the spirituality they represent, and produce the three conclusions below: First, with the influences coming from policies, art activities, and critiques, art forum is outlined to encourage the gathering, demonstration, and interaction of fellow artists. In accumulating the vast experience of artists from various generations, modern art displays its multifaceted appearance. The development of the art environment is accumulated as the time goes by. Second, indigenous art is based on tradition, with “time” being a latent variable causing the transformation. With the pass-down and accumulation of experience from artists of various generations, and the activation of policy and activity, comes a series of creativity. From “Original spirit” to “tradition mimicking”, the trend then returns to “simplicity”. While “tradition mimicking” and “simplicity” styles are going on, “post-tradition” raises. Third, the aesthetic value from various generations display collectivism which calls for the priority of group goals over individual goals, and the environment ethics, both represent aesthetic ideal. This ideal is the combined product of the aesthetic value held by the artists, and the interaction between the aesthetic senses of local Taiwanese and indigenous tribal society. Artists use a series of methods and progresses to create what they believe is the original aesthetic ideal. Keywords: Indigenous Art, Artistic Field, Paradigm, Post-Tradition, Aesthetic Ideal
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Keywords
原住民藝術, 藝術場, 典範, 後傳統, 審美理想, Indigenous Art, Artistic Field, Paradigm, Post-Tradition, Aesthetic Ideal