[ 摘要 ]

本文主要探討日治時期人類學者如何運用知識的力量以及政治武力去宰制原住民族。而這些原住民影像的「呈現」，是日治時期對原住民族的科學詮釋。這些資料在將近一世紀之後，成為珍貴的原住民族史料，而台灣人藝術家黃土水第一次入選日本帝展的作品【蕃童】更是從這些資料中得到創作的基礎資料。

不過，掌握詮釋權的一方做出結論，原住民形象也為之定形。透過圖像，呈現了無法造假的真實。但這些圖像，真的就是原住民族的真實面貌嗎？或者說，透過這些圖像，我們真能看到當時的原住民族嗎？另一方面，被殖民的台灣內部開始出現反抗意識，而當這種反抗意識是經由形塑台灣文化來表達時，本文認為：黃土水的【蕃童】可說是這種反抗意識下的一個產物。

黃土水因為想要做出「台灣特有的」東西，因此想到以原住民為主題，但是【蕃童】並不是蕃童，而黃土水在完成【蕃童】之後，並未繼續發展原住民形象或是台灣人形象這個主題，反而開始以台灣特色的動物為主要題材，水牛系列成為最能代表黃土水一生創作精神的作品；這樣的事實，反映了什麼樣的意義？原住民因為【蕃童】的出現，一度成為歷史的主角，但對照其之後依舊幽微的歷史處境，似乎又不盡如此。黃土水深受日本教育影響，但他同時也在反抗意識下，創作【蕃童】。從時代的脈絡去看【蕃童】這件作品，能清楚對比整個日治時期在文化霸權作用下，原住民容顏的呈現與再現，也更能理解【蕃童】的歷史意義。

[ 英文摘要 ]

There are four chapters in this thesis. Introduction, the first chapter, describes the aims of this thesis and the methodology being used, as well as a literature review.

The second chapter "Empire''s Eyes and Taiwan''s Heart" mainly discusses how anthropologists used their knowledge power, political supremacy and military advantage to rule the aboriginals. The "presentation" of the aboriginal’s image is a scientific interpretation of them during the Japanese Colonial Period. Almost one century passed, these data have become valuable historical materials of aboriginals. Conclusions have been made by those who have the power to interpret these data; hence the images of aboriginals were determined. It seems that unfakeable truths were represented through these images. However, on the one hand, are these images the real appearance of the aboriginals? On the other hand, inside the colonial Taiwan, antagonism towards the Japan Empire, which was expressed through the shaping of Taiwanese culture, arose. This article claims that Huang Tushui’s Fantung is a consequence of this antagonism.

The third chapter “Cultures and Memories” describes that it was during the Japanese Colonial Period that the ideology and inner construction of “Taiwanese” were started to grow, although Taiwanese’s attempts to form the culture and their imaginary ideals to construct a nation were immature. Had the aboriginals, who had ever thought of their own nations but were facing the ruling of Japan, brought up resistance and self-awareness? Because of his attempts to create something “peculiar to Taiwan”, Huang chose aboriginals as his topic. Huang did not carry on the topics of aboriginals or Taiwanese after Fantung, but of animals that characterize Taiwan. The buffalo series becomes his masterpiece of his life. To what extent does this fact refer? Was Huang’s discontinuity of authoring the aboriginal and Taiwanese topics because Fantung was a short-lived means to attract judges, or a result of his Taiwanese ideology? The appearance of Fantung made the aboriginals once became the main character in history. However, this does not seem to be totally true when compared with their dim and gray circumstances.

The chapter four Conclusion sums up the discussion of all chapters mentioned above and a conclusion is made.