「鏡花水月」－西方鏡像裡的中國花

A Fantasized China through the Met's Looking Glass

張禎庭(Chen-Ting Chang)

《博物館學季刊》 30卷2期 (2016/04) Pp. 93-101+103

https://doi.org/10.6686/MuseQ.201604_30(2).0004

摘要

紐約大都會博物館於2015 年春季舉辦「中國：鏡花水月」特展，展出140 餘件以中國美學和文化為設計靈感的高級時裝。本文透過分析該檔展覽的主題選擇及影像再現等展示手法，指出「鏡花水月」的神話性展示建構巧妙地將展覽去政治化；即使策展人強調展覽試圖跳脫東方主義的框架，然而，在西方／大都會的窺視之下，「中國」是一個充滿異域風情的美好國度，而這樣的詮釋，正是一種東方主義的再現。

關鍵字

展示 ； 再現 ； 東方主義 ； 去政治化

並列摘要

In this article, the author examines the 2015 spring exhibition of the Metropolitan Museum of Art, entitled ＂China: Through the Looking Glass＂. This exhibition featured more than 140 examples of haute couture displayed alongside Chinese art. Analyses were conducted of the exhibition's gallery themes, use of filmic representations, and mise-en-scènes. The curator noted that the objective of this exhibition is ＂to recast Orientalism in a more positive light, as an exchange of ideas and an honored source of influence.＂ This author argues that while the exhibited high fashion may have fulfilled this objective, the exhibition itself was a depoliticized attempt to showcase a fantasized and mythicized China. Sugarcoated in Oriental aesthetics, the People's Republic of China was presented as an exotic wonderland. China, in the West's, or at least in the Met's, voyeuristic eye, appeared purely decorative, sensual, and feminine. This xenophilic interpretation can be considered an example of the reemergence of Orientalism.

並列關鍵字

exhibition ； representation ； Orientalism ； de-politicization

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