戰後臺灣文化資產保存法制與氛圍的形塑

本文以時間為主軸，歸納整理戰後臺灣文化資產保存歷程中，幾個影響層面較廣的觀念及政策，並探討其緣由，用以釐清現今所見臺灣文化資產保存法制與氛圍的根源與脈絡。臺灣文化資產保存原有「史蹟名勝天然紀念物保存法」及「古物保存法」兩個源頭，於一九六八年開始推動「古物保存法」修正工作，至一九七八年後改以日本「文化財保護法」為主要參考對象，最終制定成嶄新的「文化資產保存法」。在制定過程中，參考日本「文化財保護法」擴大保存對象，先是增列無形文化資產及藝師，隨後因爆發竹圍紅樹林事件，而順勢納入原先舉棋不定的自然文化景觀。一九八二年「文化資產保存法」施行之後，先是因社區總體營造、鄉土教育的推動及以展演藝術方式作為推廣策略，導致臺灣文化資產保存力道與流向改變，以及風氣急劇提升，其中之社區總體營造師法自日本的造町運動。二十一世紀之後，受到臺灣社會環境、聯合國教科文組織及國際文化紀念物與歷史場所協會，以及英、法、日本等國的文化保存觀念及制度的影響，使得臺灣文化資產保存目標由單純的保存轉變為保存與再利用並重，保存態度由凍結式保存調整至生態式保存，保存對象由物件擴大至保存技術保存者保護，對於「真實性」及「完整性」的思辯，以及對於文化景觀、文化多元性、近代產業文化遺產、有形與無形合併考慮等保存觀念的追求或重視。戰後臺灣文化資產保存法制與氛圍形塑的主要特徵，大體上可以藉用「斷層」，以及三個源自於農藝名詞：「移植」、「移花接木」、「嫁接」的表面字義來掌握其曲折歷程的輪廓，其根源來自於日本、中國、英國、聯合國教科文組織及國際文化紀念物與歷史場所協會的觀念、法規與政策，以及臺灣文化界知識分子及行政人員的思維及作為。

關鍵字

臺灣；戰後；文化史；文化資產保存

並列摘要

In this paper, I adopt the sequence of time as its axis, then generalizes and analyses some selected historical events which influenced the development of Taiwan cultural heritage, by which to explore the derivation and formation mechanism and atmosphere of present Taiwan cultural heritage conservation. Taiwan cultural heritage conservation has two origins of law, in 1968 Taiwan government launched an amendment, in 1978 government referred Japanese ＂Cultural Properties Conservation Act＂ and finally released a new act called ＂Cultural Heritage Conservation Act＂. After 1982, public policies such as Community Empowerment, Local Education, and Promotion by Performing Arts Style, et al. had changed strength and direction of Taiwan Cultural Heritage Conservation. After the beginning of 21th Century, affected by the Taiwan social environment, concepts of UNESCO and ICOMOS, and conservation concepts and mechanism of UK, France, and Japan, the main goal of Taiwan heritage conservation had been transformed from preservation to both preservation and reuse, conservation attitude had been shifted from frozen preservation to ecological preservation, protective substances were expanded from objects to conservative skill and technician. Apart from these, authenticity, integrity, as well as cultural landscape, cultural diversity, industrial cultural heritage, and the combination of tangible and intangible heritage are more and more respected. In general, the characteristics of outline of traces of Taiwan after-war cultural conservation can be understood from the literal meaning of fault, transplant, graft, and implant. These transformations derived from the concepts, laws, or policies of Japan, China, UK, UNESCO, and ICOMOS, as well as the thoughts and conducts of Taiwan intellectuals and cultural officials.