圖像生命史考察：以臺博館藏潘敦畫像為中心

The Research of Image Life History：Center on the Collection of Pan Dun Portraits in National Taiwan Museum

潘薏卉(Yi-Hui Pan)

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.2013.00071

摘要

二幅以臺灣平埔巴宰族岸裡社人為主角的清朝畫像──《敦仔衣冠盛粧圖》與《敦仔行樂圖》，圖像形式不僅極具漢文化思惟，更成為日治時期臺灣總督府博物館的蒐藏，被用以呈現「歸化熟番」的典範。
　　本研究將以其為研究媒介，應用歷史文本一貫的線性時間脈絡為框架，蒐集此類型繪畫所蘊含之特殊圖像意義，再進一步參照文字資料之紀錄，嘗試理解畫面的故事，更藉由廣泛搜羅的各種史料、文本，進行歸納、比較與綜合等解讀，對照其他岸裡社潘家同類型畫作，試圖於此過程中建構當時的情境與意識，並探究該家族面對外來文化之影響所變動、調適的態度與經驗。
　　再者，作為「文化物證」之博物館蒐藏，不單是社會文化體系之內涵的外在表徵，同時也承載了由不同時間、不同空間的人類、記憶與社會文化縱橫交錯而成的歷史。透過博物館展示呈現詮釋者對於二幅畫軸的想像與認識，進一步探討物件所反映的多元文化理解與動態歷史過程，形塑物件、人、博物館互動交流的三方對話，並以岸裡社潘家後裔之身分，反思當代博物館強調多元觀點、多元意義的體現，是否足以激發「論壇」的溝通特質，實踐博物館存在的價值。

關鍵字

潘敦仔 ； 蒐藏研究 ； 博物館詮釋 ； 平埔展示

並列摘要

Two Qing Dynasty portraits of the Pingpu Pazeh tribe Lahodobool people, “Dun Zai in Formal Attire Portrait” and “Dun Zai in Leisure Activity” showing strong Han culture and logic in their images became the collections of the Taiwan Office of the Governor-general Museum during the Japanese colonial period to showcase the paradigm of the “naturalization of the familiar savages.”
This research will use these drawings as research media with the use of a linear-time framework often used in historical texts. The research will collect special image meanings in this type of drawings and try to understand the stories in the images by referencing them to records of text materials. Interpretations such as induction, comparison and integration are done after extensive collection of all kinds of historical data and text. By referencing them with other same types of drawings of the Lahodobool Pan clan, during the process the research tries to reconstruct the situation and awareness at the time and discusses how the clan was influenced by foreign culture, their changes, experience and attitudes in their adaption.
Moreover, as “cultural material evidence,” museum collections are not only the external characterization of the connotations of the socio-cultural system, they also carry the history formed by the crisscrossing of people, memory and social culture of different times and spaces. Through museum exhibition, the interpreter’s imagination and knowledge of the two drawings are showcased, it also enables further discussions of multi-cultural understanding and dynamic historical process the object reflects, and forms a tripartite dialogue among the object, people and the museum. In addition, as an offspring of the Lahodobool Pan clan, the research reflects on if the embodiment of multiple perspectives and multiple meanings modern museums emphasize on is enough to stimulate the communication characteristic of a “forum” in order to fulfill the museum’s value of existence.

並列關鍵字

Pan Dun-Zai ； collecting study ； museum interpretation ； Pingpu exhibition

參考文獻

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