從帝國櫥窗到南島觀點：東京國立博物館的臺灣原住民展示

Transformation and Reinterpretation: The Aboriginal Taiwanese Exhibit at the Tokyo National Museum

蔡承豪(Cheng-Hao Tsai)

《博物館與文化》 17期 (2019/06) Pp. 31-69

摘要

博物館透過空間安排，保存了各式記憶，並搜集各樣有形或無形的自然及文化遺產，再藉由典藏、展示與教育活動予以鋪陳、轉化及呈現。然而，看似中性的社會教育機構，在特定時空環境下卻曾是見證國家擴張的收藏室，也是知識宰制的重要據點，若干蒐藏與展示實蘊含了殖民的權力關係。而國立博物館往往作為國家文化呈現的指標象徵，在日本，東京國立博物館即扮演如此代表性角色。在東博的典藏當中，富含來自皇室、臺灣總督府、公私機構及各藏家所捐贈的臺灣原住民文物，質量在該國皆位居前茅，並有公開陳列。其展示係隨著國家政治氛圍的轉變、博物館內部體系的更迭，以及各時期原住民文物的充實，而隨之變遷。在博物館草創初期，文物採外借予日本各地的博覽會，以充作日軍海外揚威及呈顯異國風貌的景況。至博物館正式成立，則作為常設展的項目之一，被設定為「外地」風俗，與蝦夷、琉球等地文物共置一室，置於日本與外國文化展廳之間，透露出當時的政治視角。惟因1923年關東大地震帶來的館舍損失，加以第二次世界大戰後政治氛圍的轉變，臺灣原住民文物不再作為常設項目。但藉由1968年東洋館的新設，又再開啟公開展陳，近年更以「アジアの民族文化」為題，於南島語族的子單元內展出達悟、排灣等族文物。透過新的契機，臺灣原住民文物得以從帝國的展示櫥窗，重新轉換為南島觀點出發的展示。透過探查東博展示觀點的流變，應可讓我們省思如何更積極去面對及呈現臺灣原住民多元的歷史。

關鍵字

帝室博物館 ； 臺灣原住民 ； 展示 ； 殖民統治 ； 解殖

並列摘要

Museums use the spatial arrangement of exhibits that collect various kinds of tangible and intangible natural and cultural heritage in order to preserve historical memory. Through collections, exhibitions, and educational events, museums present, elucidate, and transform such heritage. However, what may at first glance appear to be a neutral educational institution is in fact a collection bearing witness to national expansion in a specific socio-temporal context, and is also a form of epistemological domination-the process of building and exhibiting a museum collection does indeed implicate a colonizer-colonized power relation. National museums are often used as symbols of national culture, and the Tokyo National Museum (TNM) plays an integral role in Japan. The TNM has opened up to the public its first-rate collection of Taiwanese aboriginal artefacts donated by the Imperial Household, the Governor's Office of Taiwan, public and private institutions, and various collectors. This exhibit has evolved along with changes in the Japanese political climate, successive TNM administrations, and the gradual accumulation of additional exhibits. When the TNM was first created, it would lend exhibits to exhibitions across Japan in an effort to reflect Japan's military might overseas and bring out a taste for the exotic. With the TNM's official opening, the Taiwanese aboriginal exhibit was made part of its ＂Customs from Elsewhere＂ permanent exhibition, along with exhibits on the Ainu and the Ryukyuan peoples, and placed in a room between the Japanese and Foreign Cultures exhibition halls, an indication of the political perspective of the time. With the damage to the main building in the Great Kantō Earthquake of 1923 and the change in the political climate after the Second World War, Taiwanese aboriginal cultural relics were no longer included among the permanent exhibits. However, with the opening of the Tōyōkan (Asian Gallery) in 1968, they were returned to public exhibition, and in recent years a Cultures of Asian Peoples section was set up in the Austronesian display, including the Tao and Paiwan peoples of Taiwan. This was also an opportunity to remove the Taiwanese aboriginal artefacts from the framework of empire and reposition them in the Austronesian context. By exploring the evolution of the TNM's perspectives, we can reflect on how we ourselves can more proactively recognize and represent the diverse history of Taiwan's aborigines.

並列關鍵字

Imperial Museum ； Taiwanese aborigines ； exhibit ； colonial rule ； decolonization