衝突與共作─博物館「木乃伊柯象」的返鄉與展示

Conflicts and Co-working─ the Returning and Exhibiting of “Ko Hsiang”

李金賢(Chin-Hsien Lee)

指導教授 ： 王嵩山

國立臺北藝術大學/文化資源學院學術論文/博物館研究所碩士班/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00067

摘要

文物歸還的議題在上個世紀逐漸發酵，並且有著正反兩派歧異的討論。1990年美國通過《原住民墓葬保護與歸還法（The Native American Graves Protection and Repatriation Act, NAGPRA）》，以立法的形式確立了文物歸還的原則與理念；而2002年的《寰宇博物館聯合聲明（Declaration on the Importance and Value of Universal Museums）》則以守護人類遺產為訴求，傳達博物館替全人類蒐藏為己任的價值。近年來文物歸還的議題有了別於的法律層面的思考，博物館開始不再侷限於對物的關懷，同時也協助傳統與文化習俗的保存，甚至藉由博物館物件與源出社群的重新對話，扮演新的角色，透過建立互動關係反映出多樣化的知識傳遞與交流，並且透過展覽產生對於文化的更多想像。
本研究以國立臺灣博物館人類遺骸藏品「木乃伊柯象」為個案研究，首先以文獻回顧方式，呈現自2009年來柯象研究的光譜，回顧柯象的社會生命及在各視野下的脈絡。並透過人類遺骸以及文物歸還的案例，歸納在文物歸還的潮流下所面對的問題及原因，藉由不同文化對於物件的認識，從理念的不同與價值觀之間的抵觸，尤其當面對宗教聖物與人類遺骸時，博物館如何透過文化的理解去定義蒐藏與歸還。而本研究則從柯象被源出社群關注後，進行歸還的議題討論。檢視臺博館與源出社群大埤鄉北極殿的信眾在面對爭議時所產生的協商、策略與觀點。
文物返鄉的過程中，臺博館與北極殿的關係從緊張到合作；以及從館方主辦的特展「死亡只是另一個開始：臺灣木乃伊柯象傳奇特展」和北極殿信眾所成立的「柯象木乃伊文物館」兩個展示的發展，皆在文物歸還範疇下，呈現不同的文化脈絡中博物館與源出社群分別的詮釋。尤其對於北極殿所呈現柯象信仰的場域，與其自身的社會風俗與節慶有關，卻同時也受到博物館展示的影響與規範。
本研究認為，文物歸還的意義並非完全執著於所有權之爭，而是在衝突與合作間博物館與源出社群如何達成平衡成為夥伴關係，產生互惠的共作觀點。柯象的文物歸還議題仍現在進行式地發生著，但共作的過程可以促使雙方在過程中激盪出更多不同面向的思考。

關鍵字

柯象 ； 文物歸還 ； 國立臺灣博物館 ； 大埤鄉北極殿

並列摘要

The diverse issues of repatriation could be divided into two main arguments in last century. 《The Native American Graves Protection and Repatriation Act, NAGPRA》 was passed in the U.S. in 1990, which supports the idea of repatriation legality. On the contrary, 《Declaration on the Importance and Value of Universal Museums》 emphasizes the responsibility of protecting human cultural heritage of museum. In these days, the discussions of repatriation no longer focus on its legality. Museum not only cares about cultural objects, but also supports the preservation of tradition and cultural customs. Furthermore, museum now plays a new role as a connection between objects and the source community, through the establishment of the interactive relationship reflecting the diversity of knowledge transfer and exchange, and evoking more cultural imaginations through exhibitions.
This study uses "Ko Hsiang"– a dried corpse from 1879– from the National Taiwan Museum(NTM)’s collection as a case study to present the research spectrum and social contexts of Ko Hsiang from 2009 to nowadays. Besides, this study generalizes the strategies, arguments, negotiations and communications between museum, NTM and its source community, Dapi, based on the issue of repatriation. Then, through comparing with other related case studies, this study summarizes the issue under cultural relic repatriation, showing how museums today deal with issues of acquirement and repatriation on account of cultural understanding and controversy.
During the process of loaning "Ko Hsiang" for the opening of "Ko Hsiang Museum", the relationship of NTM and Dapi community had transferred from tension to cooperation. By comparing these two exhibitions: " Death is Just Another Beginning: Legend of the Taiwanese Mummy: Ko Hsiang" in NTM, and " Ko Hsiang Museum " which funded by believers of Beiji Temple of Dapi, this study analyzes different interpretations and exhibit strategies from different cultural contexts, especially for the later one, which was influenced by its social customs and related festivals, but also by museum’s conservation concerns and idea of exhibition.
To conclude, this study suggests that the significance of repatriation is not entirely focused on the ownership, but also on the mutual-benefit cooperation between museum and source community. The issue of Ko Hsiang repatriation may still on debating, but it is extremely meaningful to observe different thoughts raised by the cooperation between museum and source community.

並列關鍵字

Ko Hsiang ； repatriation ； National Taiwan Museum ； Beiji Temple of Dapi

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