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  • 學位論文

博物館振興、蒐藏與藝術品交易的公權力運作關係 ---文化商機及美感行銷角度的探討

The relationship of public political power between museum revival, collection and artwork trade– Research on cultural business and aesthetic marketing strategies

指導教授 : 江炯聰

摘要


本研究從藝術品蒐藏、交易為切入點,論及藝術品供需市場的主要影響者美術館及其背後支持者政府的公權力運作關係。回溯近二十年文化藝術相關法規和稅制的發展,討論其起源與各階段中社會環境的關係,以釐清其轉變的脈絡。討論重點亦將著重於文化服務與美感行銷的性質及影響,並與國美館所處封館整建使命互相呼應及辨證。在談及古物分級及其行政管理作為時,則以故宮為案例,從其經過及性質的特殊,加以說明藝術品、博物館與國家政策在當今社會教育和國際交流中的關係。在本研究中,藝術品的蒐藏、保存與運用的方式和藝術品的交易與持有被視為產業的正常運作機制。但是交易的重點不在於帳面獲利,而在於現有潛在市場的呈現,以及文化商情、美感經驗的建立與傳銷。 本研究期間自2001年9月1日至2004年12月31日止,有感於「美」是元素和元素之間的關係;是人與人之間的共同記憶;更是自然環境與人文環境的巧妙契合。同時,體認到「藝術品」已由傳統「物件」,逐步擴大為文化「事件」;「博物館」也由以「物」為中心,進展到以「人」為中心。身為文化人,對台灣未來在世界體中的文化定位,以及博物館以自我美術史專業為出發點,轉變成以消費觀眾為主體的趨向,多所討論並獲得結論如下: (一)台灣地區藝術家作品直接列入「國寶」。 (二)以「智慧財產」健康心態看待藝術品。 (三)擴大公共藝術(品)需求,帶動藝術品交易市場之繁榮。 (四)強化「亞太藝術品交易中心」地位,厚植國家文化資產。 (五)加強「文化基本法」立法基礎,釐清文化藝術發展方向。 最近,文建會已有升格為「文化及觀光部」之決議,宜著手蒐集相關商情,擴大公權力關照幅度,建立可大可久、前膽性內涵與行銷機制。值此,社會轉型進步、休閒意識抬頭、文化藝術進階之際,期盼這些研究發現和結論,對未來相關決策或學術研究能有所助益。

並列摘要


This research started to be a study of artworks collection and trade, and led to the discussion of how museum, the principle agent in the art market, and its main contributor, government’s public power influence the art market. In reviewing the development of regulations and tax system concerning culture and arts in the last 20 years, I wish to expose the relationship between their developments, their origins including the social environment, in order to clarify their evolution. The main point of this research centers on the nature and the influence of cultural services and aesthetic marketing, which also reflects National Taiwan Museum of Fine Arts’ mission for its renovation. Concerning antiques’ classification and its administrative management operation, I took National Palace Museum as an example. From this museum’s specific development and nature, the current social education and international exchanges were the background explaining the relationship between artworks, museums and national policies. During my research, I realized that the method of artworks’ collection, preservation and application, trade and possession of works of art have been considered as common operational mechanism in the industry. However, the importance of art trade is not about making a profit, but rather to present a current potential market, as well as to establish and to promote network marketing for cultural business information and aesthetics experiences. This research has been conducted from the 1st September 2001 to the 31st December 2004, with the concern of “beauty” as the link between various elements, the common memory of people, even the harmony between natural and human environment. During this period of time, I experienced that “artwork” expanded their traditional role as “objects” into cultural “events”; as well as “museum” evolved from centering “objects” to “people”. Being working in the cultural field, I stressed on these two topics: Taiwan cultural identification in global community and the trend of museums shifting their roles from focusing on their own collections to satisfying the visitors’ demand. Then, I obtained the following recommendations: 1. Catalog Taiwan regional artists’ works as “National Treasures”. 2. Hold a healthy mentality towards the works of art as “Intellectual Property”. 3. Extend the demand for showing works of art in public places, which in turns will bring prosperity to the artwork trading market. 4. Establish a real status for an “Asia-Pacific trading center for art”, leading to the profound construction of cultural and artistic assets. 5. Reinforce the legal basis for a “Culture basic law”, clarifying the orientation of cultural and artistic development. Lately, the Council for Cultural Affaires had a draft for elevating to “Ministry of Culture and Tourism”, it should start to collect cultural business information, enlarge the attention spectrum of public power, and establish a long term marketing mechanism with prospective contents. Today, the society is evolving fast, people are more and more conscious of leisure activities and cultural and artistic activities are progressing. I sincerely hope the conclusion and suggestions of this research would be useful for the establishment of related policies or academic research in the future.

參考文獻


尤煌傑、潘小雪著,《美學》,台北:空大,1998。
王嵩山,「數位博物館的基本形式」,《博物館學季刊》,第16卷第3期,2002。
朱惠芬、黃佳敏編,《2004國巨科技藝術國際學術研討會》,台北:國巨文教基金會、台北藝術大學,2004。
李美蓉,《視覺藝術概論》,台北:雄獅,1993。
呂理政,《地球是個博物館》,台北:稻香,1996。

被引用紀錄


王芳慈(2014)。台中國立臺灣美術館之都市空間文化形式探討〔碩士論文,中原大學〕。華藝線上圖書館。https://doi.org/10.6840/cycu201400867
王萱雅(2009)。文化藝術租稅政策與憲法───「課稅禁區」與「租稅優惠」之建制〔碩士論文,國立臺灣大學〕。華藝線上圖書館。https://doi.org/10.6342/NTU.2009.03345

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