身為一位蘭嶼達悟族作家，近年來，夏曼•藍波安的寫作企圖，卻已隱然超越了自然書寫或是原住民文學等諸範疇，而淬煉出屬於他一己的鮮明寫作模式，亦即屬於他個人的思維、美學和豐富的空問感受。故本文嘗試由「海底獨夫」、「望海、出海、潛海」以及「游牧浪人」三個層面，討論夏曼的海洋書寫，指出海洋不但是達悟族人生活中不可或缺的重要場域，對於夏曼個人而言，更是在傳統與現代的衝突之下，一高度象徵化、隱喻化，充滿了生機，但也充滿黑暗、癲狂、野蠻、死亡的特殊空問，甚至成為他個人洗滌自我、昇華內在靈魂的救贖之地，並由此反映出蘭嶼一地處在傳統與現代的夾縫之中，認同分歧而矛盾的現實，故海洋提供了一脫離「雙重束縛」的空問，而開啟了一無垠的烏托邦。

As a Lan-yu Da-wu writer, Rapongan Syaman's writing is far beyond the ecology or minority literature these years. He has established his own vivid writing character which is formed by personal thought, esthetics and plenty senses of space. Therefore this research is trying to analyze Rapongan Syaman's ocean writing through next three viewpoints: a lonely man under water; seeing, sailing and diving in the ocean; a floating pilgrim. I will elucidate the ocean is not only a necessary living place to Rapongan Syaman which as a Da-wu people, but also a highly symbolic and metaphorical place in spirit. It is a special heterotopias which is full of shadows, madness, salvage, death but viability. Rapongan Syaman's Ocean Writing reflects the hardness to unite identification in Lan-yu because of inner contradiction between the traditional and modern world. Therefore the ocean becomes an escape from a double-bind society and opens a boundless utopia in his works.