中華民國郵票設計中的觀光與臺灣意象

Tourism and Taiwan Image in the Design of Postage Stamps of the Republic of China

黃猷欽(Yu-Chin Huang)

《南藝學報》 5期 (2012/12) Pp. 107-145

https://doi.org/10.29876/ATNNUA.201212.0005

摘要

中華民國自1956年開辦觀光事業以來，郵政總局即配合觀光政策發行各類型主題之郵票，用以宣傳臺灣自然與文化之觀光資源，吸引外國觀光客來臺旅遊。隨著1970年代國際情勢的轉變，郵票在中華民國總體外交策略中，扮演著國際政治宣傳與拓展觀光的重要角色。到了1980年代，一方面由於中共改革開放所造成觀光資源的競爭與挑戰，另一方面則因臺灣經濟高度蓬勃發展促使國內大眾旅遊的興起，影響了郵票設計對國內民眾觀光需求的注意。而從1990年代以來，郵票設計更轉向對臺灣在地文化以及文化活動體驗的重視。本文以郵政總局所發行的郵票為研究對象，分析郵票中的風景、天然與文化物產等主題，探究自1950年以來郵票設計中臺灣意象的轉變。筆者藉由馬坎奈爾對觀光研究所提出之「景點神聖化」與「觀光佈景」中的前臺與後臺論點，將郵票設計中的臺灣意象區分為三個階段，首先是1950-1970年代以大量中國文化符號所營造之中國意象，其次是1980-1990年代逐漸轉向臺灣本地天然與人文景觀之描繪，最後是2000年之後強調體驗動態文化展演之新趨勢。

關鍵字

郵票設計 ； 觀光 ； 景點神聖化 ； 觀光佈景

並列摘要

Since the government of the Republic of China (ROC) started promoting the tourism industry in 1956, the Directorate General of Posts (DGP) has released various kinds of postage stamps in coordination with the tourism policy. Representing natural and cultural tourist attractions o f Taiwan, these tiny images serve to draw foreign tourists to visit this island. Postage stamps played a significant role in international propaganda in the 1970s when the ROC conducted total diplomacy to face a series of diplomatic setbacks. In the 1980s, when the People's Republic of China's Open Door Policy made it a strong competitor in promoting Chinese image and with the rise of domestic massive tourism in Taiwan, the ROC postage stamps gradually placed equal emphasis on the tourism of local people by representing Taiwanese culture and its actual experience.This article tackles the relations between postage stamp design and the official tourism industry since the 1950s by analyzing postage stamp subjects of landscapes, natural products and cultural artifacts. Borrowing from Dean MacCannell's theory of 'sight sacralization' and the front and back regions in 'tourist settings', three stages of representing Taiwan image in the postage stamp design can thus be outlined. Firstly, using multiple Chinese cultural sings to create a Chinese image in the 1950-1970s; secondly, portraying Taiwanese landscape and native culture without referring to Chinese cultural connotation in the 1980-1990s; thirdly, highlighting authentic experience of dynamic cultural activities since the year of 2000.

並列關鍵字

postage stamp design ； tourism ； sight sacralization ； tourist settings