本文主要從博物館人類學的角度,探討台灣原住民相關展示的發展變化,並由此探索標本採集、人類學知識生產、和展示再現的複雜互動過程。文中將台灣原住民展示大致分為五個不同階段,分析各階段代表性博物館或類博物館機構展示特性和動力的差異。首先,是早期外來者好奇觀異的零星呈現,以及19世紀中葉以後「好奇心陳列室」(cabinet of curiosities)的出現。1895年日本取得臺灣之後,人類學者展開實地踏查、族群分類和大規模標本採集行動,形成了科學性展示的參楚。同時,原住民展示逐漸成為殖民統治者運用的管道,對比呈現原始和文明進化發展的概念。1930年代以後,學術取向的展示,逐漸在人類學研究機構中定型,例如台北帝國大學『土俗人種學講座』設置的標本陳列室,以及台灣光復後中央研究院設立的民族學研究所標本陳列室等,這些展示大都與學術研究密切結合。1980年代起,隨著台灣的經濟發展和政治鬆綁,原住民文化展示在多種不同型態的博物館或文化村內成為熱門主題;最近10年間,大量成立的部落文物館或文化館,更成為政經資源競爭和自我意識建構的場所。本文透過檢視不同階段原住民展示的發展變化,試圖進一步思考文化展示再現的意義,以及其中反映的社會脈絡和權力關係。
This paper aims to explore the historical transformation on exhibiting Taiwan indigenous peoples. The complicate entangled processes between collecting ethnographic specimens, producing anthropological knowledge, and making representations of others are examined based on museum anthropological perspectives. Five major exhibitionary periods are analyzed according to differences of representational settings and driving forces: (1) the period of showing indigenous peoples as vague others and spectaculars; (2) the period of presenting indigenous peoples as systematically classified groups; (3) the period of exhibiting indigenous peoples as metaphors of the colonized savages in contrast to the civilized colonizers; (4) the period of displaying indigenous peoples as preserved cultural units for academic research; (5) the period of developing divergent representational venues and fields for presenting and showing self. Through comparative analysis of the material images, socialpolitical interactions and cultural premises on exhibiting indigenous peoples in Taiwan, the meaning of objectification, cultural representation and power relation behind the exhibitions could be understood more thoroughly in context.