博物館展示與知識形塑－以「兵馬俑－秦文化特展」為例

Museum Exhibition and the Shaping of Knowledge: A Study of 'Terra Cotta Warriors and Horses of Qin Shi Huang, The First Qin Emperor'

陳加雯(Chia-wen Chen)

指導教授 ： 陳雪雲

國立臺灣師範大學/教育學院/社會教育學系/碩士(2000年)

摘要

博物館展示規劃歷程涉及符號系統的操弄，而這些符號系統的選擇，不但牽動知識形塑，背後亦潛藏博物館專業對知識/權力的操控。本研究選取國立歷史博物館展出的「兵馬俑—秦文化特展」為研究個案，交叉檢證「展場觀察紀錄」、「訪談逐字稿」、「文件」和「導覽錄音」等資料，企圖檢證國內博物館現象最特出的「超級特展」，所影射的知識與權力的關係。
根據研究發現，展場裡符號系統的串連與排除，所呈現的是設計師與館員之間專業的角力。展示品在專業慣性詮釋下，被置入歷史的書寫，用以展現「秦」的政治性、軍事性、科學性等文化面。深究展示符號系統呈現的意涵，暗示物質文化論述的肯定，揭示觀眾與博物館專業古今詮釋權之差異，並隱含大中華文化認同。觀眾則在選擇踏入展場之際，一方面淪為博物館專業規訓的對象，另一方面受到展場空間與自身的文化資本影響，體現跳脫專業想像的參觀經驗。擴大探討博物館展示與媒體、企業、基金會結合的辦展模式，以及展場中讓渡更多的販賣空間等現象，引發了文化商品化與通俗化的疑慮。論述整個博物館專業與觀眾之間的間隙，在納入更多的文化中介者和更複雜的專業技術之後，並沒有縮小的趨勢。「超級特展」所帶來的不僅只是表面的人潮喧鬧景象，更是博物館立於多元社會中，如何在操作知識產製權力之際，做到照顧多元觀眾需求的深層議題。

關鍵字

博物館 ； 展示 ； 知識 ； 兵馬俑

並列摘要

Museum exhibition, both cultural and aesthetic, is constituted social practices that deploy power and shape knowledge. Accordingly, this study undertakes to investigate the National Museum of History's 2000 'Terra Cotta Warriors and Horses of Qin Shi Huang, The First Qin Emperor' exhibitiion. A multi-method research that includes interviews, participation observation, library research and documentary analysis is set out in an attempt to examine the exhibition making in the cultural, historical and social contexts.
It is evident that confrontations rage inside the professional museum community. For example, exhibition teams including native curators, designers and museum professionals from Mainland China are in 'culture wars' whether they are in the selection of 'story-centered' and 'story-centered' exhibitions, or in the deployment of exhibition elements. Since the visitors decide to experience the 'aura' of exhibition, museum authority has a privilege in epistemic guidance. Nevertheless, the visitors are host to a multitude of expressive styles. Like a literature, 'Terra Cotta Warriors and Horses of Qin Shi Huang, The First Qin Emperor' exhibition represents a variety of meanings in which many voices, such as 'great emperor', 'male', 'ancient Chinese civilization', 'motherland', 'objects in museum' and 'you are invited' etc. are created.
The National Museum of History has a tradition in partnering with profit and cultural organizations. Not surprisingly, 'Terra Cotta Warriors and Horses of Qin Shi Huang, The First Qin Emperor' exhibition incorporates along with entrepreneurs and third sectors, to undertake joint promotion, advertising and marketing campaigns, especially, the United Daily News. As a consequence, the 'blockbuster' exhibition is becoming more theatrical, more dramatically and more recreational.
The aim professed by contemporary museums is to fit people into the public sphere that whoever they are can equally gain access to. Finally, I suggest that museums have a social obligation to scrutinize self-knowledge and elaborate the semiotic display in the pursuit of intellectual, moral and aesthetic values, rather than compete to attract audiences and glorify to break the records of museum admission.

並列關鍵字

museum ； exhibition ； knowledge ； Terra Cotta Warriors and Horses

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