Abstract

In Taiwan, the Folk Woodcarving development which is rooted among people lives reflects civic cultures and becomes a kind of artistic aspect. With the variation of society status under interlaced cultural connotations, the ”traditional woodcarving” and the ”modern woodcarving” are gradually departed in the contemporary art today. The ”traditional aesthetic value” of Folk Woodcarving is conversed to form the ”modernization”, while traditional woodcarving skills and conceptions are converted into extrinsic formalization of ”modern woodcarving.” The major discourse of contemporary woodcarvings in Taiwan consists of materials, art cross sections, and pursuits of mental consciousness. It is the ”all new pattern” transformed from the ”modern woodcarving” that is still created by the modern ways. Styles of manufacturers may be more vivid, exhibiting the responses of emotion and reflecting the raises of manufacturers' self-esteems. The creators reconstruct their know ledge and traditional beliefs, and then produce works that represent more ”selfness” and ”freedom” by rigorous processes. We can rind different period s and phenotypes of ”historic progress” in the Folk Woodcarving with gradual developments of ideology and time.In this study, we used modern aesthetic theories to recollect the convention and the connotation of modernity on traditional woodcarvings. In addition, the Folk Woodcarving in Taiwan was taken as examples to conduct the research on transformation and convention. We wanted to explore why modern woodcarvings have presented a phenomenon of ”metamorphism?” or why they decreased from traditional factors and how they convened into so-called the ”modern woodcarving?” With analyses and investigations on contemporary woodcarving styles, we categorize d the manifestations and the connotation characteristics of contemporary woodcarvings. Moreover, the ”discourse of modern woodcarvings” in Taiwan was elaborated to witness the diversities and creativities of woodcarvings in Taiwan nowadays.

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