This chapter examines the cultural and artistic characteristics of Taiwan’s Indigenous peoples, with a focus on the Pan-Atayal group, comprising the Atayal, Seediq, and Truku subgroups. It begins with a historical review of Indigenous classification from 1895 to the present, advocating for a shift from the binary system of “Highland” and “Plains” tribes to a more academically based classification system, grounded in bloodline, language, and cultural typology. The chapter argues that Indigenous art should not be viewed as primitive but as sophisticated cultural expression, evident in ritual practices, crafts, pattern design, color use, architecture, and music. A review of academic literature from Taiwan and Japan highlights the gaps in current research, which primarily relies on museum specimens and lacks a deeper cultural context. Linguistic and migratory analyses are employed to trace the distribution of Pan-Atayal groups, with a particular emphasis on cultural symbols such as facial tattoos and diamond patterns (representing the Eyes of ancestral spirits), which embody ethnic identity. The chapter also details the weaving techniques, the use of natural dyes, loom types, and the symbolic meanings of traditional clothing and geometric designs. It underscores the importance of preserving and understanding Indigenous patterns not only in form but also in cultural essence, especially in modern design applications.