哈古木雕最容易被忽略的一句話，藏在縣府供稿的開頭：過去，青年會所裡燒的是漂流木，溫暖了族人相聚的夜晚。同一種木頭，先是火，後來是雕像。材料沒換，換的是誰拿著刀。
一塊木頭，從四面看
1943年出生的哈古（Haku，漢名陳文生），是台東市卑南族建和部落（Kasavakan）第69代頭目。工藝中心的說明裡，創作形式有一個關鍵轉折：跳出傳統圖騰框架，離開平面雕刻，走向立體圓雕。
浮雕與圓雕的差別，一般的說法是：浮雕附在一個底面上，從正面看；圓雕四面獨立，觀者可以繞著走一圈，從每個角度看都要是完整的形。工藝中心的說明只寫到這個轉折，沒有描述哈古實際怎麼下刀、怎麼選木頭。可以確定的是材料：縣府供稿說，青年會所過去燒的就是漂流木，河水磨過的木頭，後來在他手裡變成了人像。
報導提到的是「人物神情、肢體動作與生活場景」。這幾樣東西放進木頭裡，雕的就不是符號，是部落裡某個人站著、蹲著、抬頭的樣子。從這裡看，木雕保存的是日常，而且不只是儀式。
一件作品，一個年份
要在哈古的名單裡指定一件作品，最穩的是《頭目的尊嚴》。縣府稿記載，1991年以這件作品在臺北雄獅畫廊辦了首次個展。名稱本身已經交代立場：頭目這個身分，被當成一件值得雕、值得看的東西。
時間線很短，也很清楚。1984年的一場原住民文物展，起了以木雕記錄文化的念頭；1985年自學動刀；1994年成立「哈古木雕工作室」；1998年推動「建和木雕藝術村」，讓木雕走到部落街角。縣府稿裡記了他一句話：「雕刻不是為了藝術，而是為了文化。」
兩個獎，兩個日期，別混在一起
這則消息有兩個日期，屬於兩個不同的榮譽。文化部在今年5月8日公告登錄「卑南族tu’tu’木雕」為重要傳統工藝，並認定哈古為「重要傳統工藝保存者（人間國寶）」。這是一件事。
第20屆國家工藝成就獎是另一件事，而且說法有出入：中央社10月20日的採訪稿，寫的是國立台灣工藝研究發展中心當天發布新聞稿，說25名資深從業者經推薦或自薦參選，歷經2階段審查，9名審查委員一致推舉哈古；縣府稿和自由時報則寫10月21日工藝中心公告。兩份說法差一天，講的是同一件事：哈古在2026年10月獲頒第20屆國家工藝成就獎。縣府另記載，縣府於24日派文化處處長送紅榜致賀。首位獲此獎的原住民族工藝師，這點兩份稿件一致。
木頭裡的神話與祭儀
木雕裡有神話、祖靈信仰與傳統祭儀。報導寫的是這些內容「融入作品」；至於祖靈圖像在木頭上是什麼意思，脈絡在部落裡，要聽族人自己講。
藝術村做到什麼程度，目前的報導沒有學員人數、遊客數字或收入統計，縣府供稿的描述是木雕「走進部落街角與公共生活」。能確定的，是部落街角現在看得到木雕。
這篇文章沒有哈古作品的照片。想在導覽、展示或出版裡使用他的作品影像，要先向作者與部落取得授權。
— 曾柏宇
參考來源：https://news.ltn.com.tw/news/life/breakingnews/5618710、https://www.cna.com.tw/postwrite/chi/447967、https://www.cna.com.tw/news/acul/202610200304.aspx
Haku’s Driftwood: Carving a Village Into the Round
The most telling line in the Taitung County release on Haku’s woodcarving sits right at the top: once, the youth hall burned driftwood to warm the gatherings of the Kasavakan community. The same kind of wood first made fire, then made figures. The material stayed the same. The hand holding the blade changed.
A block of wood seen from every side
Haku (Chen Wensheng in Chinese) was born in 1943 and is the 69th chief of the Puyuma community of Kasavakan in Taitung City. According to the National Taiwan Craft Research and Development Institute, his key shift was to step outside the traditional totem framework and away from flat relief toward full-round carving.
The usual distinction is simple. Relief is attached to a background and is read from the front; a figure in the round stands free, so a viewer can walk around it and the form has to hold from every angle (see the encyclopedia entry on sculpture in the round). The craft institute’s note records only that shift; it does not describe how Haku actually cuts or chooses his wood. What is certain is the material: the county release says the youth hall once burned driftwood, river-worn timber that later became figures in his hands.
Reports describe the work as carrying people’s expressions, bodily movement and scenes of daily life. That is a record of someone standing, crouching or looking up in the community, not only a record of ritual.
One work, a handful of years
If one named piece has to anchor the story, The Dignity of the Chief (《頭目的尊嚴》) is the safest choice. The county release says Haku used it for his first solo exhibition at Lion Art Gallery (雄獅畫廊) in Taipei in 1991. The title alone states a position: the chief’s role is treated as something worth carving and worth looking at.
The timeline is short. A 1984 exhibition of Indigenous artifacts prompted the idea of recording culture in wood; he began self-taught in 1985; the Haku Woodcarving Studio opened in 1994; the Jianhe Woodcarving Art Village was promoted in 1998 to bring carving into the community’s street corners. The county release quotes him as saying carving is “not for art, but for culture” (「雕刻不是為了藝術，而是為了文化」).
Two honors, two dates, kept apart
There are two dates here, and they belong to two different honors. On May 8 this year the Ministry of Culture registered “Puyuma tu’tu’ woodcarving” as an important traditional craft and recognized Haku as a preserver, the “Living National Treasure” designation. That is one event, per the Liberty Times report.
The 20th National Craft Achievement Award is a separate matter, and the sources differ slightly. The CNA report dated October 20 says the craft institute issued its press release that day: 25 senior practitioners were nominated or applied, went through two review stages, and nine reviewers unanimously chose Haku. The county release and the Liberty Times place the institute’s announcement on October 21. The two accounts differ by a day but describe the same event: Haku received the 20th National Craft Achievement Award in October 2026. The county adds that its culture bureau chief delivered a congratulatory red banner on the 24th. Both agree he is the first Indigenous craftsperson to win the award.
Myth and ceremony in the wood
His carvings take in myths, ancestral belief and traditional ceremony. The reports say these themes are worked into the pieces; what the ancestral imagery means on the wood belongs to the community’s own context, and it is theirs to tell.
How far the art village has gone is harder to measure. The reports give no student numbers, no visitor counts and no income figures; the county release describes carving as having moved into street corners and public life. What can be said is that the carvings are now part of the village’s streets.
No photographs of Haku’s work accompany this piece. Anyone planning to use images of his work in a tour, exhibit or publication has to secure permission from the artist and the community first.
— 曾柏宇
延伸閱讀
https://justfly.idv.tw/s/ZzvmQEd