從淡水八景變遷探討淡水文化景觀保存與經營

The preservation and management of cultural landscape in Tamsui: From the study of changes in Tamsui’s "Eight Icon Views"

蕭文杰(Wen-Chieh Hsiao)

指導教授 ： 堀込憲二

中原大學/設計學院/設計學博士學位學程/博士(2016年)

https://doi.org/10.6840/cycu201600261

摘要

東方文化當中，「八景」是十分特殊的案例，許多受了「瀟湘文化」傳播影響的區域都有相近的文本流傳，這個文化思想最初是出現在名人詩詞繪畫當中，後來逐漸形成集體共識，並藉由人的移動與文化變遷，產生了不同的文本。
這個文化思想也用來評選實際的美景，成為真正的「聯想性文化景觀」。
隨著時代變遷，臺灣淡水的「八景」分別繼承了源自湖南瀟湘與日本的「八景」思想，除了美學之外，清領、日治與1945年之後的中華民國政府皆藉由「八景」的評選，推展其背後的目的。
觀察八景的變遷，發現過程當中可以產生了「美」的價值與地緣經驗，這個文化、藝術價值有機會成為一個重要的城市意識，使文化資產保存與經營進入到生活的世界，是把對景觀的「感知」，視為一種重要的文化資產。
因此本研究從描述「八景」演變，用文人、藝術家、…等多元角度，回到生活互動的風景，藉此探討八景藝術及地域文化景點保存與經營。
研究共區分六章：
第一章（緒論）：提出研究動機，藉由「八景」聯想性的藝術特色，與文化不斷變動的特性，思考能否藉由美感經驗的論述，成為城市保存或經營的基礎。
第二章「八景」意識的傳播在文化資產的意義:描述「八景」的文化起源與歷代變化，瞭解「八景」的特色與場所意義，並由現代有形、無形「文化資產」角度分析「八景」。
第三章談論清治時期臺灣的「八景」場所精神分析，藉由清治時期臺灣的八景產生與流變，尋找清代臺灣府八景文化景觀當中，屬於臺灣的場所特色。
第四章將研究鎖定在清同治十年之前淡水的八景文化景觀形塑，因為受瀟湘流傳的淡水八景思想在清朝同治年間定型，分布於廣義與狹義的淡水地區。此章節也說明淡水與滬尾的名稱、範圍、詩意空間履歷。
第五章近代藝術視角與世界遺產機制下的「淡水文化景觀」: 時間軸界定在1858年「天津條約」後洋人文化對淡水埔頂地景的衝擊；以及日治時期明治維新思想傳遞下的日本「新八景」傳播。在這個章節中，「藝術」是「淡水文化景觀」構成的重要因子，因此也藉由「名所觀」與「名所繪」提出藝術思想下的淡水聯想性文化景觀。
第六章結論，描述淡水現況，思考變動下的「淡水」該如何規劃及藝術介入文化保育的可能，由淡水經驗、八景變遷經驗提出對淡水當地及我國文化景點保存與經營提出新的概念的想法。

關鍵字

文化景觀；八景；文化傳播；藝術地理學；淡水

並列摘要

“Eight Icon Views” is a distinctive feature of Asian culture. Literature on the subject can be found in all areas once under the influence of Xiao-Xiang culture. The cultural concept first appeared in the poems and paintings of renowned literati before gradually becoming a cultural convention. Migration of the population, as well as cultural changes, resulted in differentiated texts regarding the “Eight Icon Views”.
This cultural concept has also been used to evaluate actual landscapes, thereby truly becoming “associative cultural landscapes”.
Tamsui’s “Eight Icon Views” stems from concepts of both the Xiao-Xiang culture of Hunan Province and Japanese aesthetic theory. Aesthetics aside, Qing rulers, the Japanese occupancy, and the Republic of China’s regime in Taiwan after 1945 all furthered their political agendas through the evaluation and selection of “Eight Icon Views”.
Local experience and elevation in the value of aesthetics can be observed through changes in the “Eight Icon Views” of each passing era, thus formulating a cultural and artistic significance which has the potential of becoming an important part of urban consciousness. Conservation and management of cultural assets are incorporated into the realm of daily life, so that the “perception” of a landscape becomes an important cultural asset.
The contents of this study begins with a description of the evolution of “Eight Icon Views” from multiple angles, such as that of scholars and artists, then returns to landscapes that are interlocked with the activities of daily life so as to discuss the artistic traits of the “Eight Icon Views” as well as the conservation and management of local cultural landscapes.
This research is divided into six chapters.
Chapter One (Introduction): This chapter prescribes the research purpose of the study, which is to explore the possibility of aesthetic perception becoming the basis of urban conservation and management by through discussions of cultural transformations and the associative aesthetic qualities of the “Eight Icon Views”.
Chapter Two (The Significance of Propagating the Concept of “Eight Icon Views” in terms of Cultural Assets): This chapter describes the birth and development of the “Eight Icon Views” culture through the understanding of the characteristics and significance of “Eight Icon Views”, and further analyzes the “Eight Icon Views” through the scope of modern “cultural assets” both tangible and non-tangible.
Chapter three contains a genius loci analysis of Taiwan’s “Eight Icon Views” during the Qing Dynasty rule, with the aim of finding distinguishing features of Taiwan through a study of the establishment and transformation of “Eight Icon Views” within the scope of the Qing Dynasty Taiwan Prefecture.
Chapter four focuses on developments in Tamsui’s cultural landscapes under the influence of the “Eight Icon Views” culture prior to the tenth year of Tongzhi (1871), because the concept of “Eight Icon Views” that passed into Tamsui from Xiao-Xiang took shape during the reign of Emperor Tongzhi. This chapter also elaborates on the naming, boundaries, and overview of the poetic space of Tamsui, also referred to as Huwei.
Chapter Five contains an analysis of the formation of “Tamsui’s cultural landscape” from the perspectives of contemporary art and the world heritage system. In this chapter, the impact that Western culture exerted upon Tamsui’s Pudin area after the Treaty of Tientsin in 1858 serves as the basis of discussion, as well as the “New Eight Icon Views” influenced by the Meiji Restoration that spread to Taiwan during the Japanese colonial period. In this chapter, aesthetics is identified as an important factor in the formation Tamsui’s cultural landscape, which is the reason why the associative cultural landscapes of Tamsui will also be discussed in terms of Japanese aesthetic thought and methodologies.
Chapter Six, the conclusion, describes Tamsui’s current situation, and investigates how art can play a part in conserving the culture of an ever-changing Tamsui. Through a retrospective view of Tamsui’s history and how the “Eight Icon Views” has evolved, new concepts and ideas regarding the conservation and management of both Tamsui and Taiwan’s cultural landscapes may be engendered.

並列關鍵字

cultural landscape；eight icon views；eight views；eight scenes；cultural communication；Geography and Art；Tamsui

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