玉山守護者‧布農族生活紀事— 紀朝順繪畫創作研究

Abstract

台灣是個多元文化的社會，其中原住民文化更是饒富特色，充滿多彩多姿的不同風貌。本研究旨在針對生活於玉山周圍的高山民族—布農族的傳統祭儀、生活樣貌、藝術文化等，以油畫創作的方式呈現，肯定原住民傳統文化價值並轉化為現代藝術創作的泉源。創作方向以布農族傳統生活中的祭儀與狩獵兩部分為根據，透過研究者的觀察、體悟與建構，紀錄下研究者對布農文化的敬意與感悟，也呈現出布農文化的力與美。 以台灣原住民為創作研究題材的繪畫作品已有日漸增多的趨勢，其中亦不乏精采之作，但以布農族為主要的繪畫創作研究，則相對的稀少。本創作內容分為兩系列：一、「生活祭儀系列」：以布農族生活中的祭典儀式、文化活動為主題，傳達布農族的生活面貌、生命哲理與人和自然共存的和諧關係。二、「狩獵紀事系列」：布農族是善於狩獵的民族，本系列以狩獵過程中的儀式為發想，捕捉布農族漸已消逝的狩獵文化，喚起布農族人的記憶與觀者的省思。創作上應用線條與色彩以分割、變形、交錯、融合等方式解構及建構畫面，呈現出畫面的延續性與律動感，在造形和線條上，結合原始藝術思維，予以簡化，注重畫面色彩與形體的平面布局，讓畫面更顯聚焦性。 筆者因服務於布農族部落，親身體驗布農文化，希望透過藝術創作的方式，傳達布農族珍貴的人文文化特色，進而抒發布農文化所面臨的困境，使生活在台灣這片土地上的不同族群能夠認識與重視這即將隱沒的文化資產，共同珍惜多元文化之美，希冀其文化能綿延傳承下去。

Taiwan is a multicultural society; the aboriginal culture of it even boasts the multiple and colorful features. Thus, the purpose of the M.A. thesis seeks to affirm the Bunun aboriginal traditional value, and transforms the origin of modern art with a focus on the tribes near Yushan (such as the traditional rituals, the everyday life, and art culture) via the oil painting works. There are two threads in the thesis: ritual and hunting. Through the observation, understanding and construction, the researcher pays his respect and awareness to the Bunun culture, and attempts to present the Bunun culture’s power and beauty. There is a trend for Taiwanese aboriginal paintings, and a great number of fine works of art appear after this trend. However, the oil paintings thematically revolving around the Bunun culture are relatively few. The works of the thesis are divided into two series: (1) everyday ritual series: thematically around the ceremonial rituals and cultural activities in Bunun culture, this series portrays the Bunun people’s life, life philosophy, and the harmony between humans and nature; (2) hunting records series: this series, inspired by the ceremonies of hunting, seeks to grasp the Bunun hunting culture in decline in an attempt to bring the awareness of the Bunun people’s collective memory and observer’s reflection. The works employ lines and colors to deconstruct and construct the pictures through the means of separation, deformation, crisscrossing, and integration, hoping to present the continuum and rhythm of the pictures. As the design and lines are concerned, the works combine primitive art thoughts to simplify the works, and then focus on the graphic disposition of color and formation, highlighting the graph of them. Serving in Bunun tribe himself, the researcher experiences its culture, and expects to convey its humanistic aspect in an effort to express the predicament that the Bunun culture is currently confronted with. Thus, the series of my oil paintings on the Bunun culture aims to call forth the attention and accentuation on this cultural asset in decline among heterogeneous groups of people living together on the land of Taiwan, hoping that people on this island will not only cherish the beauty of multiculturalism but carry the torch of the Bunun culture.