| Tables | ||
| 1 | The primary Anthropogonic Amis gods | 14 |
| 2 | Amis origin motifs | 15 |
| 3 | Atayal origin motifs | 19 |
| 4 | Bunun origin motifs | 23 |
| 5 | Paiwan creation motifs | 29 |
| 6 | Paiwan genesis motifs | 39 |
| 7 | Seediq origin motifs | 47 |
| 8 | Truku origin motifs | 50 |
| 9 | Tsou origin motifs | 51 |
| 10 | Yami origin motifs | 54 |
| 11 | Primary Formosan cosmogonic motifs | 61 |
| 12 | Theogonic origins and destinations | 65 |
| 13 | The creation of man through the spoken word | 71 |
| 14 | Man as a product of transformation | 74 |
| 15 | Man as offspring of the gods | 77 |
| 16 | God-human hybrids | 78 |
| 17 | Tattoos, trickery and incest | 80 |
| 18 | Transcendental conception | 83 |
| 19 | Cosmic vessel motifs | 91 |
| 20 | Girl-animal hybrids | 95 |
| 21 | Animal ancestors | 96 |
| 22 | Animals as catalysts and the origin of man | 97 |
| 23 | Stone genesis | 102 |
| 24 | Tree genesis | 103 |
| 25 | Feces genesis | 105 |
| 26 | Chthonic genesis | 107 |
| 27 | Drift origin rituals | 111 |
| 28 | Structural elements of the Kavalan drift origin myths | 115 |
| 29 | Primary Anthropogonic motif distribution by tribe | 127 |
| 30 | Creation en masse | 133 |
| 31 | Wisdom of the “gods” | 143 |
| Figures | ||
| 1 | Anthropogonic epochs within the primeval myth-time chronology | 6 |
| 2 | Taitung aborigines activity center | 8 |
| Shihzih Paiwan origin mosaic and text. Public art display. Medium: tile mosaic | 28 | |
| 4 | Paiwan, the children of the sun. This artistic illustration depicts four beings being transported from the sky to Earth within the “sun.” Outdoor art display. Medium: fresco on carved concrete | 36 |
| 5 | Stone and bamboo origins. This artistic illustration depicts a white-haired goddess with an Amis headdress bringing protoplasts to Earth within a stone and within a stock of bamboo. Outdoor art display. Medium: fresco on concrete | 38 |
| 6 | Sokasokau and Tavatav – the Puyuma protoplasts. Outdoor art display. Medium: fresco on carved concrete | 42 |
| 7 | Rukai two-headed hundred-pace snake bridge. According to Kongadavane oral history, the rivers were formed by a snake. This hundred-pace snake bridge commemorates this origin myth and pays homage to this sacred Rukai totem. Public art display. Medium: concrete | 59 |
| 8 | Rawpurun wood carving. This wood carving of Rawpurun with his characteristic and extremely long penis was recently displayed in the National Museum of Prehistory in Taitung. He is venerated as the first ancestor as it was his corpse that transformed into the ancestors of the Taravasadji Rukai. Medium: wood | 73 |
| 9 | Taitung’s mysterious stone ladders. Stone ladder display at The National Museum of Prehistory (國立臺灣史前文化博物館). Medium: slate | 84 |
| 10 | The protoplasts emerge from eggs. Public art display. Medium: paint on concrete | 86 |
| 11 | Lily and ceramic vessel tomb adornments. A small Christian cross is flanked by comparatively much larger lily flowers and ceramic vessels on this modern Rukai tomb celebrating the enduring importance of these cultural totemic symbols. Medium: painted concrete | 90 |
| 12 | The stone genesis. Outdoor art display. Medium: fresco on carved concrete | 100 |
| 13 | Drift in a box. Outdoor art display. Medium: fresco on carved concrete. The motif of a drift origin is also associated with the vagina dentata motif in Amis, Paiwan and Tao myths which this art display could reference. | 109 |
| 14 | “The Sea Winds” – Formosan drift origin sculpture. Original caption at exhibition reads: “Approximately 6,000 years ago, the makers of the Cord-Marked Pottery Culture set out from the beaches of their homelands, and riding the winds, they sailed off into the vast ocean. By knowing their direction from the stars, they conquered the stormy seas, violently surging beyond imagination, and reached the island so unbelievably far away. How they were able to reach Taiwan unfolded in a great tale illustrating the fearlessness of human beings.” Medium: wood. | 121 |
In: The Formosan Primary Anthropogonic Myths, Genesis, and the Creation of Man
Author:
Valdis Gauss
Valdis Gauss
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Search for other papers by Valdis Gauss in
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