Chinese Name: 沈萬順
Born: November 17, 1950
Place of Birth: Pingtung County (Southern Taiwan)
Did You Know?
In 2022, the Pingtung County Government officially recognized the Paiwan wood carving of Taiwu Township (泰武鄉) as a local traditional craft and designate woodcarver Terore Lailai as a preserver of this piece of cultural heritage.
Terore Lailai, a Paiwan woodcarver, hails from the Puljetji Village (also known as Jiaxing Village in Mandarin) in Taiwu Township, Pingtung County. This place has been renowned as the "Village of Carving" since the Japanese colonial era, with many skilled carvers among the villagers. Their exquisite works were even exported to Japan, and demand remained high even after the Japanese government withdrew from Taiwan. The most popular works were those of the late prominent carver Arucangal Djakudjakuc (1915-1995). He passed his skills down to his second son and most capable assistant, Terore Lailai, who further developed and expanded upon them.
Terore Lailai was mentored in woodcarving by his father from a young age, and they even collaborated on a few pieces. According to Terore Lailai, becoming a woodcarver requires patience and focus, and he learned not only the technical skills from his father but also a serious and meticulous attitude.
Over the years, Terore Lailai has inherited the tribal and familial craft system and contributed to the development of the art form. He possesses deep traditional knowledge of the cultural context and carving traditions of the tribe. With over 50 years of carving experience, his style mainly focuses on intricate three-dimensional woodcarvings, often including large-scale and uniquely painted works. Whether it's large-scale figure works or solid wooden tables and chairs, his creations deeply embody the culture of the Paiwan people, including their symbolic patterns, the social significance of woodcarving products, and a profound social consciousness that connects the tribe’s historical culture, showcasing the characteristics of the Paiwan’s social structure and traditional way of life.
Paiwan nobles decorate their houses and most of their household utensils with carved designs. Motifs used in Paiwan woodcarving are mainly human figures, human heads, snakes and deer. Geometrical patterns, frequently found in border decorations, may be considered as having been evolved from human head and snake designs.
The Paiwan have a hierarchical society divided into nobility and commoners, and woodcarving is a representation of Paiwan social hierarchy and culture. The patterns on woodcarvings often feature the triangular patterns found on the back of the hundred-pace viper, which to the Paiwan symbolizes ancestral spirits, ancestors, and guardian deities of the tribe. The hundred-pace pattern on woodcarvings not only solidifies the sacred status of the nobility but also reinforces the social structure of the Paiwan tribe.
Woodcarving craftsmanship is mainly displayed in the beams and pillars of houses or daily objects, making it an important cultural representative of the Paiwan. From Terore Lailai's work "New Year 2000 (跨年2000)," we can see the artist celebrating the millennium from the perspective of his own culture, using the Paiwan hundred-pace viper and pottery as cultural symbols. Many chiefs and dignitaries widely collect his artworks as their house decoration, and collectors praise his creations for being one of the most traditional Paiwan wood carvings.
Terore Lailai has inherited his father’s skillful craftsmanship and absorbed ancient cultural memories. Following his father's teachings, he uses woodcarving to depict and preserve his people's culture, family stories, and life experiences in tangible forms. He also expands the space for artistic creation and contemporary works, integrating his own culture into modern life. However, he laments that this cultural heritage remains at risk of being lost, as artistic creation, unlike regular jobs, does not yield immediate economic benefits. Moreover, the physical labor involved in carving is more demanding than other art forms such as painting or pottery.
In the face of the severe loss of indigenous culture due to the impact of modern colonization, Terore Lailai remains committed to his ideals and continues to create, unwilling to let the family’s craft be lost. He previously served as an elementary school woodcarving teacher and was selected as one of the main members of a project promoting indigenous art. He has also conducted workshops and courses to teach woodcarving techniques, drawing from years of experience in teaching carving skills, with the hope of awakening a sense of importance in the younger generation of indigenous people towards their ancestral traditional culture.
(Photo credit: Terore Lailai)