- 期刊
- OpenAccess
博物館溝通與城市行銷－以倫敦國家畫廊經驗之初探
Museum Communication and Urban Marketing A Preliminary Exploration of the National Gallery in London
摘要
博物館與美術館作為重要的文化機構，不僅僅是保存藝術作品的場所，每個時代都以其獨特之姿態賦予不同的詮釋，而交織出博物館與社會變遷之間錯綜複雜的連結。成立於1824年的倫敦國家畫廊（The National Gallery）便是一個典範。該機構自成立以來，已對公眾免費開放200年，儘管其收藏數量僅約2,400件，卻每年吸引超過500萬人潮，成為倫敦城市行銷的標誌之一。不同於歐洲其他皇室博物館的背景與光環，而是由國會修法、撥款、持續採購或接受捐贈，是倫敦城市發展歷程中不可或缺的文化標誌，承載著城市的歷史記憶和文化價值，並與周邊環境共同構成獨特的城市文化景觀。本研究以現象學家胡塞爾在《笛卡爾式的沈思》中提出的「互為主體性」（intersubjectivity）理論為基礎，透過深度訪談七位倫敦國家畫廊的利害關係人、博物館專家及導覽員，並輔以文獻探討的方法，進行深入分析。試圖探討倫敦國家畫廊如何透過展覽溝通之實踐，與特拉法加廣場之間的互為主體性關係，探析其作為城市行銷地標之一的相互影響及意義。研究結果發現，其機構之於社會本質的轉變，針對不同群體的溝通策略，並與民眾、周圍環境互為主體關係，是城市行銷重要的元素。期待透過此研究成果，啟發更多討論，作為拓展臺灣與英國博物館研究範疇的初步嘗試。
並列摘要
Museums and art galleries, as significant cultural institutions, are not merely repositories for artworks. Each era imbues them with unique interpretations, weaving a complex connection between museums and societal change. The National Gallery in London, founded in 1824, exemplifies this. Since its inception 200 years ago, it has been open to the public free of charge. Despite having a relatively modest collection of nearly 2,400 works, it attracts over 5 million visitors annually, making it a cornerstone of London's city marketing efforts. Unlike other European royal museums, the National Gallery was established through parliamentary legislation, funding, and continuous acquisitions or donations. It is an indispensable cultural symbol in London's urban development, bearing the city's historical memory and cultural value, while forming a unique urban cultural landscape with its surrounding environment. This study is based on phenomenologist Edmund Husserl's theory of "intersubjectivity" presented in "Cartesian Meditations." Through in-depth interviews with seven stakeholders, museum experts, and guides at the National Gallery, supplemented by literature review, this research aims to explore how the National Gallery communicates through its exhibitions and the intersubjective relationship it has with Trafalgar Square. The study analyzes the mutual influence and significance of the gallery as an urban marketing landmark. The results reveal the transformation of the institution's social essence, communication strategies targeting different groups, and its intersubjective relationship with the public and surrounding environment as crucial elements of city marketing. This research aspires to inspire further discussion and serve as a preliminary attempt to expand the scope of museum studies in Taiwan and the United Kingdom.