A Study of Kulele-Ruladen’ creation of Paiwan Tribe

• Main Authors: Kuei-fen Lo, 羅貴芬
• Other Authors: Tsann-Rong KAO
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/66249776161432038671

碩士 === 國立成功大學 === 藝術研究所 === 97 === Ruladen seldom used his mother tongue because he studied modern art out of his hometown. He returned to the tribe to engage in the specialized creation with his unfamiliar mother tongue and artistic academic background. His creations present the disappearing memory and go back to the source of traditional culture, relating to the identity or query and so on. It has transmitted the expectation for his own tribe and social concern, expressing the new-generation artists, dilemma between tradition and modernity. Ruladen’s creation includes the mosaic beads painting, painting, sculpture and other creative types. The mosaic beads paintings are a category of Taiwan Cultural and Creative Industries, the liquidity and good market response to its main economic source of income. And the subject matter and content of painting, while the old tribal or ethnic-specific totem symbols, legends targeted expression of the memory of his thoughts on life. Three-dimensional sculpture, is a special favorite of Ruladen’s creative practices, but also bet up to the spirit of his creation of major concern to the ethnic event. Other types of creative diversity, it shows the richness of the subject and the media without restriction. Ruladen reinterprets the traditional totem in order to express the creative idea which goes beyond the stereotype. His works are different from others Paiwan artists’ self-questioning works. Ruladen, with his artistic creations paying much attention to esthetics, is active both in the Aboriginal and the Hans art circles. Bases on his concepts of an “artist” or “aboriginal artist”, Ruladen also shows the art without the consciousness of racial identification and the national boundary.