Academic literature on the topic 'Taiwan aboriginal Art'
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Journal articles on the topic "Taiwan aboriginal Art"
Tan, Shzr Ee. "Returning to and from "Innocence": Taiwan Aboriginal Recordings." Journal of American Folklore 121, no. 480 (April 1, 2008): 222. http://dx.doi.org/10.2307/20487599.
Full textShzr Ee Tan. "Returning to and from “Innocence”: Taiwan Aboriginal Recordings." Journal of American Folklore 121, no. 480 (2008): 222–35. http://dx.doi.org/10.1353/jaf.0.0005.
Full textRen, H. "The Displacement and Museum Representation of Aboriginal Cultures in Taiwan." positions: east asia cultures critique 6, no. 2 (September 1, 1998): 323–44. http://dx.doi.org/10.1215/10679847-6-2-323.
Full textChing, L. "Savage Construction and Civility Making: The Musha Incident and Aboriginal Representations in Colonial Taiwan." positions: east asia cultures critique 8, no. 3 (December 1, 2000): 795–818. http://dx.doi.org/10.1215/10679847-8-3-795.
Full textFormoso, Bernard. "Josiane Cauquelin, The Aborigines of Taiwan. The Puyuma: From Headhunting to the Modern World." L'Homme, no. 175-176 (October 15, 2005): 540–42. http://dx.doi.org/10.4000/lhomme.2070.
Full textQuack, Anton. "Cauquelin, Josiane: The Aborigines of Taiwan. The Puyuma: From Headhunting to the Modern World." Anthropos 100, no. 2 (2005): 591–93. http://dx.doi.org/10.5771/0257-9774-2005-2-591.
Full textXie, Philip Feifan. "Book Review: The Aborigines of Taiwan: The Puyuma—from Headhunting to the Modern World." China Information 19, no. 1 (March 2005): 127–29. http://dx.doi.org/10.1177/0920203x0501900108.
Full textHöllmann, Thomas O., Yukiko Bischof-Okubo, and Thomas O. Hollmann. "Übernatürliche Wesen im Glauben der Altvölker Taiwans [Supernatural Beings in the Belief of Formosan Aborigines]." Asian Folklore Studies 50, no. 2 (1991): 373. http://dx.doi.org/10.2307/1178404.
Full textHsu, Chia-Chang, and Chih-Ming Shih. "Representing Cultural Symbols of the Aborigines: A Case Study of Reconstructed Elementary Schools in Taiwan." Journal of Asian Architecture and Building Engineering 9, no. 1 (May 2010): 193–200. http://dx.doi.org/10.3130/jaabe.9.193.
Full textKITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 162, no. 4 (2008): 523–94. http://dx.doi.org/10.1163/22134379-90003665.
Full textDissertations / Theses on the topic "Taiwan aboriginal Art"
Lin, Yu-Ta. "Représentations des aborigènes de Taïwan au musée : entre art et ethnographie dans un contexte post-colonial." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA164/document.
Full textThe representation of the aborigines, whether due to aboriginal artists or based on an outside perspective, is an integral part of the construction of an identity, in particular when the act of creation is conceived as a mode of cultural transmission (in order to find their ancestral spirits). The first step to approaching the works of the aboriginal artists consists of multiplying points of view on the question of the cultural identity (the political dimension of self-affirmation) and the questioning of their intent to be considered an artist. The fact that the aboriginal artist regards himself as an artist, had already been attempted in the non-aboriginal community. However, this position has not been without controversy. After the ethnographical turn (contextual turn into specific identity), the aboriginal artist is obliged to think about his/her status, the way to create and the reason why (s)he would become an artist. The approach chosen by the four artists studied here has not led them to learn anything (act of construction or building of themselves) ; it is rather a question of unlearning, in order to associate with the cultural juxtaposition and the simultaneity of the others in the global and mobile world. Therefore, the artist as an aborigine-traveler causes a short-circuit in the interpretations. In this perspective, each presentation at the museum builds a relationship with the ‘visitor-viewer’ in a temporary or parallel space as it relates to the real space.This research is based at the same time on the analysis of the socio-cultural situation of the four artists (Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man), the aesthetic analysis of their works and the historical analysis of the context of production, diffusion and exhibition of the aboriginal works in general between 1895 and 2017. By relying on a sociocultural and artistic representation, our research is designed to build a strategic vision for the post-colonial studies between art and ethnography. Developing a practice of the qualitative analysis, we wish to focus on three fundamental questions : How were the works of the aboriginal artists represented and « framed » in a control of identity discourse? How does the aboriginal artist consider the traceability of his/her feeling of belonging (like a trackable identity) through his/her representation? How does this representation introduce a short circuit of the cultural interpretations in the different modes of expression, perception, evolution and reception?
Lin, Chia Hsun. "The relationship of racial identity, psychological adjustment, and social capital, and their effects on academic outcomes of Taiwanese aboriginal five-year junior college students." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6083/.
Full textWang, Yu Hsin, and n/a. "Learning from the past, providing for our future : an exploration of traditional Paiwanese craft as inspiration for contemporary ceramics." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20070205.101252.
Full textCheng, Hsiu Jung, and 鄭秀蓉. "Study on Dress Art of Aboriginal in Taiwan." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/02226766603252695943.
Full text中國文化大學
美術學系碩士在職專班
102
Colorful costumes decoration of aborigines people in the mountain areas in Taiwan always attract people's eyes. The formation of distinctive clothing and decorations come from the unique cultural background of this people, it is an important part of spiritual civilization of human beings. This thesis is divided into six parts, the first chapter is an introduction, we talked about the motives, purpose, research methods, and research scope of this study. In chapter two, we have an overview of the history and origins of aboriginal costumes, their historical changes, how this factor influence the artistic development of clothes and decoration of aboriginal people. In chapter three, we introduce the classification of clothing styles and the kind of textile lines, and compare the different totems and embroidery. In chapter four, we study the clothing accessories used in different ritual ceremonies, and study the performance of the aesthetic and decorative style. In chapter five, we investigate how the aboriginal clothing decorations come into our modern life, We also discuss how to initiate the aboriginal new style dress to push into the area of international industry production. To promote outstanding cultural heritage and the development of costume arts is one of our duties. We have full confident that through the joint efforts of our community, the aboriginal dress art will one day get toward a broader future. Keywords： Clothing Culture, Totem Art, Deco Style
Chang, Pei-Wen, and 張裴雯. "The Study of Curating Contemporary Taiwan Aboriginal Art." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/97197734786561528933.
Full text國立東華大學
民族藝術研究所
97
The current Taiwan aboriginal artist tend to incorporate their culture into their creations; ones examine recent designs by Taiwan aboriginal artists, the contents of their creations have changed from traditional hand crafts to more contemporary designs, and the basis of creation has shifted from ancestor worshiping and ceremonial culture. Thus, by study these aboriginal art works, can observations be made to identify the design style of these Taiwan aboriginal artists? This thesis mimics those Taiwan aboriginal artists and from their perspective to focus on topics of aborigine contemporary art, to address important information that an exhibitor may need, and suggest exhibition methods in hopes to bring out aborigine contemporary art through proper exhibition to entertain the spectators. Furthermore, besides centering on the styles of contemporary aboriginal artists in the thesis, the other major focus is to learn to use specific locality creation combine with outdoor space to help create the working environment, then to understand exhibitor’s method of showing his or her art works. To put into practice the experimental exhibition, first need to set the topic for contemporary aboriginal art in public areas of the city, submit an exhibition proposal to the local governing body and modern art related administrative offices in hope through public discussion to understand the obstacles in applying for funding while examine how Hualien county government offices put emphasis on aboriginal art. This will help appreciate holding a successful exhibition process and evaluate differences between theory and actual practice. The end of this thesis consists of discussions and future topic that was not covered in this project, and questions found from the simulation process with suggestions and feedbacks for future study.
HSIA, TUNG-CHIEH, and 夏同頡. "Taiwan aboriginal traditional culture 3D Art painting - Description of Xia,Tong-Jie Art Creation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/9s3fcu.
Full text中國科技大學
視覺傳達設計系
105
3D Art painting started in the 1980s in Europe after people started to show more interest to live art. From the first US festival in 1986 to the present day, street painting has grown exponentially . Currently there are between 50 and 100 street painting festivals in the US each year. In addition to this there are a growing number of festivals worldwide, particularly in Europe, Mexico and Australia. In 3D art painting the artist likely performs on the street and on building's walls, the three-dimensional effect is amazing. The painting seems so real that it brings the viewer into the painting, and it feels like the work is interacting with the viewer.This artistic expression is generally referred to as 3D Street Art, or 3D illusion artworks and 3d Trompe-L'oeil and 3D Art painting which is a 2D artwork drawn on the street itself giving the Viewer a 3D optical illusion from a certain perspective. After the 1990s, 3D Art painting flourished in the world, many 3D painting artists from different countries inspired the local artists in other countries. And since it's very convenient to spread informations nowadays ,3D Art painting quickly became a new trend of street art at the beginning of this century. This trend does not only beautify the environment in which we live ;but also attract tourists attention, in a unique way. I am very passionate and dedicated to create a 3D art painting, to show the characteristics of the Taiwan Aboriginal traditional painting and calligraphy. 3D Art painting began to be popular in Taiwan in 2010, and many Taiwanese artists researched the technique and published some works. However, most of the work was still in the imitation stage, lacking of local characteristics and links with Taiwan's local culture. So the creation will be Taiwan's local traditional culture as a creative theme. I started to draw the first 3D painting in 2013, and had the Taiwan Aboriginal mythology as theme for that performance; which became Taiwan's first native of 3D artistic creation. Taiwan Aboriginal people have a rich variety of cultural characteristics of the South Island. Each Indigenous group of people have their own ,unique culture. And each of the traditional culture also have a place on behalf of the table of historical development, symbolizing ancestors handed down the wisdom and spirit, which are really important in the development of Taiwan's art. My work is based on the rituals and myths of the traditional culture of the Taiwan Aboriginal people, combining the work with the actual landscapes and presenting the Bunun flood myths on the campus of the Bunun tribe with 3D Art painting. This way the children of the tribe will experience the fun part of 3D Art painting, and understand the myth of the ancestors of the transmission of moral meaning. So the creation is also educational, and through the 3D Art painting will be able to extend Taiwan's aboriginal traditional culture throughout the world. Keywords: 3D Art painting, 3D Street Art, 3d Trompe I'oeil, Taiwan, Aboriginal, Traditional Culture, Myth
Lu, Han-Ting, and 盧函庭. "The Influence of Taiwan Aboriginal Culture in Performing Art Curriculum upon Students’ Ethnic Attitudes." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/18020984963166228942.
Full text國立臺北藝術大學
藝術與人文教育研究所
104
The purpose of this study is to design a Taiwan aboriginal culture to the theme of performing art curriculum materials and teaching experiments to understand the curriculum to change the students to aboriginal groups stereotype, the acceptance of aboriginal whether it will affect the relationship and interaction, and a review of its applicability. In addition to know the change of student after teaching experiment, researcher attempts to find the change of their ethnic attitudes by quantitative analysis and propose concrete suggestions from the result. Participants were seventh grades in junior high school. The experimental curriculum had lasted for ten classes within 10 weeks. The experimental tools were ” Taiwan Aboriginal Culture in performing art curriculum” and “the ethnic attitudes scale. ” One-way analysis of compare means (t-test) was used to analyze the pretest-post test score in ethnic attitudes scale and researchers can analyzed the result of the teaching deeply by reading qualitative data(students’ study feedback and access information). Summarizes the main findings are as follows: 1.As a part of Curriculum and Instruction was informed that：(1).The experimental programs are very popular with students definitely love. Like grounds contains a wealth of curriculum content, students of other cultures to promote respect and tolerance. (2)A wide range of teaching strategies for different groups of students to expand learning opportunities. 2.Experimental Study of Curriculum and Instruction effects showed a positive development of positive, including to enhance the students for the Taiwan aboriginal cultural awareness to help students to recognize and change negative groups of Taiwan aboriginal the image of a friendly attitude of willingness to accept Taiwan aboriginal groups, and took the initiative to develop good good relations between ethnic groups. 3.The differences among the students’ ethnic attitude toward Taiwan Aboriginal according to different background variables. Based on the above conclusions, the researcher made the following suggestions. 1.For schools: National secondary schools should actively promote the groups of Taiwan aboriginals Multicultural Curriculum. 2.For teachers: (1).Teacher education should be incorporated into the teaching profession to enhance multicultural education and skills. (2).Team works in the promotion of good interaction between groups. 3.For the curriculum design and implementation: (1).Teaching should be ample time for reflection and to deepen the degree of self-reflection. (2).The design of curriculum must be used in a variety of teaching strategies, so that the rich multicultural study. 4.For future studies: survey the different attributes of students, add the different cultural connotations, and make the multilevel scale of ethnic attitude.
Tzeng, Par-seh, and 曾琶瑟. "The Reserach On Taiwan''s Aborigines of Icon Art." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/49670276033337020133.
Full textBooks on the topic "Taiwan aboriginal Art"
Taiwan yuan zhu min yi shi wen hua: Chuan tong, yi yi, tu shuo = Culture of clothing among Taiwan aborigines : tradition, meaning, images. Taibei Shi: Nan tian shu ju you xian gong si, 1998.
Find full textShaoren, Xu, ed. Taiwan chuan tong gong yi zhi mei. Taizhong Shi: Chen xing chu ban you xian gong si, 2002.
Find full textLihua, Zhuang, and Lin Yi'e, eds. Fei yue de zi min: Taiwan yuan zhu min yi shu te zhan xi lie huo dong = Heritage of dancer : the series of art exhibition of Taiwan aboriginal. Taibei Shi: Guo li Taiwan yi shu jiao yu guan, 2001.
Find full textLi, Shali. Paiwan zu de yi shi wen hua. Taibei Shi: Zi li wan bao she wen hua chu ban bu, 1993.
Find full textLiu, Max Chiwai. Taiwan yuan zhu min wen hua yi shu. 8th ed. Taibei Shi: Xiong shi tu shu gu fen you xian kong si, 1999.
Find full textXie, Linxi. Taiwan yuan zhu min gong yi jiang shi zhuan ji. Jiayi Shi: Guo li Jiayi da xue yuan zhu min sheng chan li pei xun zhong xin, 2003.
Find full textGuo li Taiwan shi qian wen hua bo wu guan. Yuan zhu min zhi pin ji shi pin tu lu: Guo li Taiwan shi qian wen hua bo wu guan cang pin = Textile and ornaments of the aboriginal people in Taiwan, collections of National Museum of Prehistory. Taidong Shi: Guo li Taiwan shi qian wen hua bo wu guan, 2001.
Find full textGuo li Taiwan shi qian wen hua bo wu guan. Chu ban pin bian ji wei yuan hui, ed. Tailuge zu ren de zhi shi yu zhi yi: Hualian Shuiyuan bu luo jia cang zhi pin diao cha bao gao = Mseusa, mneghuway knkla kndsan rudan Truku. Taidong Shi: Guo li Taiwan shi qian wen hua bo wu guan, 2019.
Find full textXian de shi xing: Yi ju chang fu zhuang she ji wei jie, xun zhao Taiwan yuan zhu min bian zhi gong yi de ling lei mei xue. Taibei Shi: Guo li Taibei yi shu da xue, 2009.
Find full textGao sha chun qiu: Taiwan yuan zhu min zhi wen hua yi shu. Taibei Shi: Li hong chu ban she, 1996.
Find full textBook chapters on the topic "Taiwan aboriginal Art"
Denton, Kirk A. "Taiwan, China, and the National Imaginary." In The Landscape of Historical Memory, 26–47. Hong Kong University Press, 2021. http://dx.doi.org/10.5790/hongkong/9789888528578.003.0002.
Full textDenton, Kirk A. "Aboriginal Museums and the Construction of a Taiwanese Identity." In The Landscape of Historical Memory, 177–96. Hong Kong University Press, 2021. http://dx.doi.org/10.5790/hongkong/9789888528578.003.0009.
Full textHiebert, Daniel. "Cosmopolitanism at the Local Level: The Development of Transnational Neighbourhoods." In Conceiving Cosmopolitanism, 209–24. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780199252275.003.0013.
Full textConference papers on the topic "Taiwan aboriginal Art"
Cherevko, Marina. "ETHNOGRAPHIC ALBUM OF QING DYNASTY HUANG QING ZHI GONG TU (IMAGES OF TRIBUTARIES OF THE RULING QING DYNASTY) AS A VALUABLE SOURCE OF INFORMATION ON TAIWANESE INDIGENOUS PEOPLES." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.19.
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