具體描述
在舉世聞名的大英博物館中，收藏瞭大約370件早期颱灣文物，其中絕大多數是原住民的物品。這些藏品難得地留存瞭珍貴的過去物質生活訊息，也呼應瞭早期颱灣與西方接觸互動的片段曆史。人類學者鬍傢瑜教授和歐尼基（Niki Alsford）博士特彆精選瞭其中的165件文物，進行入藏曆史脈絡解說和圖像介紹，期盼這些保存在遙遠他方的文化遺産，與颱灣社會重新連結。
透過本書，讀者不僅可以一窺他者目光凝視下颱灣多元文化的精彩和美麗，感受到其中蘊含的文化價值和力量，也能掌握跨文化採集背後復雜交錯的曆史脈絡和動力，進一歩思考文化遺産如何在當代社會活化應用的課題。
透過本書，讀者不僅可以一窺他者目光凝視下颱灣多元文化的精彩和美麗，感受到其中蘊含的文化價值和力量，也能掌握跨文化採集背後復雜交錯的曆史脈絡和動力，進一歩思考文化遺産如何在當代社會活化應用的課題。
異域的凝視與本土的記憶：館藏世界各地非西方藝術品的文化敘事 本書深入探討瞭西方主要博物館中收藏的非西方文化藝術品，尤其聚焦於那些在跨文化交流與權力結構下被“他者化”的物件。研究的重點並非僅僅是藝術品的物質性，更是其在被納入西方知識體係和展示空間後所發生的意義嬗變。我們力圖揭示，當這些源自特定地方性、承載著本土社會、宗教或政治敘事的物品，被置於大英博物館、盧浮宮或大都會博物館的宏大敘事框架中時，其原初的文化語境是如何被重塑、簡化，乃至異化的。 全書結構圍繞“收藏的地理學”與“展示的政治學”兩條主綫展開。 第一部分：收藏的地理學——從原生地到博物館的遷徙史 本部分首先追溯瞭全球化早期及殖民時期，大量非西方藝術品如何離開其原生的社會結構，進入西方機構的收藏體係。我們不采取簡單的“掠奪”論斷，而是細緻考察瞭每種類型文物的獲取路徑：包括外交饋贈、考古探險、宗教傳教以及係統的物質文化采集。 第一章：物質的漂流與知識的錨定。 詳細分析瞭不同地域（如非洲中部、東南亞群島、前哥倫布時期美洲）的儀式性工具、服飾和日常器物，如何被西方人類學、民族誌或藝術史學傢重新分類和命名。例如，探討瞭“部落藝術”（Primitive Art）這一範疇的形成如何服務於西方現代主義對“純粹性”的追求，以及它如何遮蔽瞭物品在原社會中的復雜功能。 第二章：藏品的生命史。 通過對特定館藏的個案研究，追蹤一批文物的生命周期。這些文物在原初社會中可能扮演著宗教媒介、社會地位的象徵或曆史記錄的角色。一旦進入博物館，它們的“生命”被凍結在瞭一個靜止的展示時間軸上。我們考察瞭館藏記錄、購買發票、早期目錄與實物本身的對照，揭示瞭“收藏記錄”這一中介文本如何成為建構文物“身份”的關鍵環節。例如，某件太平洋島嶼的木雕麵具，在原文化中是通靈的載體，但在西方館藏中，它可能僅被標注為“裝飾藝術”或“宗教用品”，其動態的儀式功能被剝奪。 第三章：分類係統的權力博弈。 重點分析瞭西方博物館（特彆是基於十九世紀博物學和民族誌傳統建立的機構）所采用的分類標準——基於地域、材質、製作技術，而非社會功能或信仰體係。這種分類係統如何強化瞭西方中心主義的認知框架，將非西方文化置於一種“他者”的、等待被解讀和理解的客體地位。討論瞭對“工藝品”與“藝術品”的二元劃分如何影響瞭特定文化藝術品的價值評估與展示方式。 第二部分：展示的政治學——空間的重構與意義的重寫 第二部分將焦點轉嚮博物館的內部空間，探討策展實踐如何主動地構建關於“他者”的文化敘事。博物館的展廳不僅僅是物品的存放地，更是進行文化教育和意識形態傳播的場所。 第四章：語境的剝離與展陳的劇場化。 剖析瞭如何在有限的展櫃空間內，對文物的原初語境進行“精簡”和“提煉”。當一件承載瞭復雜神話譜係的物件被孤立地放置在聚光燈下，配以簡潔的英文或法文標簽時，其背後的知識體係和連續性便被中斷。我們分析瞭早期展示中常見的“人類學式陳列”（將不同地域、功能相似的物品並置以進行功能對比）與現代“藝術史式陳列”（強調形式美學和演變脈絡）對同一批文物意義的根本性重寫。 第五章：解說詞的權力：標簽與敘事的衝突。 深入研究瞭博物館牆麵文字、導覽器和圖錄中的描述性語言。這些文本如何構建齣一種看似客觀實則高度選擇性的曆史敘事。著重分析瞭那些模糊、浪漫化或過度簡化的描述，如何掩蓋瞭殖民曆史、文化衝突或文物流失的敏感議題。探討瞭近年來“去殖民化”的努力中，如何嘗試引入多聲部敘事、邀請原文化社群參與敘事構建的嘗試及其麵臨的挑戰。 第六章：空間的互動與觀眾的協商。 考察瞭觀眾在麵對異域物品時的認知過程。觀眾並非被動接受者，而是帶著自身的文化預設與展陳文本進行“協商”。本章通過對不同文化背景觀眾的觀察研究，分析瞭“觀看距離”如何影響理解——是保持一種審美的距離，還是尋求一種文化上的共鳴？探討瞭虛擬技術和互動媒體在多大程度上能彌閤物理空間與文化鴻溝的嘗試。 結論：迴歸與再認識——地方美學的內在邏輯 本書的結論部分將目光重新投嚮被收藏的物品本身，倡導一種“從地方齣發”的美學解讀路徑。我們主張，真正的理解需要超越西方中心的美學標準，去探尋這些物品在其原初社會中被視為“美”或“有效”的內在邏輯和本體論基礎。 我們總結瞭全球博物館界麵臨的倫理睏境：是繼續維護這種跨國收藏的“奇觀”，還是推動復雜的歸還或閤作共管議程？最終，本書旨在為理解跨文化物質交流提供一個批判性的框架，鼓勵對博物館空間及其所承載的曆史進行持續的、去中心化的審視，從而促進對世界文化多樣性更深層次的尊重與認知。這不僅是對過去收藏史的迴顧，更是對未來文化機構角色的前瞻性思考。
著者信息
作者簡介
鬍傢瑜
颱灣大學人類學係教授退休後，現為該係兼任教授。她在英國倫敦大學大學院取得人類學博士學位。多年來從事物質文化、博物館人類學和文化遺産相關教學研究工作，並且長期參與颱灣民族學藏品和原住民物質文化調查研究，以及相關成果的當代應用與活化發展。主要著作包括《賽夏族的物質文化》（1996）、《颱大人類學係伊能藏品研究》（1998）、《道卡斯新港社古文書》（1999）、《針綫下的繽紛―大武壠平埔衣飾與刺綉藏品圖錄》（2014）、《賽夏族》（2015）、《文物、造型與颱灣原住民藝術―颱大人類學博物館宮川次郎藏品研究》（2015）等專書。
Chia-yu Hu is Professor of Anthropology in the Department of Anthropology at National Taiwan University. She acquired her PhD degree from the UCL, University of London. She has engaged in teaching and researching of material culture, museum and heritage issues for a long time. Her main interests are in studying Taiwan ethnological collections and Taiwan indigenous cultures, as well as applying research results for contemporary cultural revitalization. She is the author of Material Cultural of the Saysiyat: Tradition and Transformation (1996), Studies on Ino’s Collection at the Department of Anthropology of National Taiwan University (1998), A Collection of Archival Documents from Taokas Sinkang Village (1999), Treads of Splende: Taivon Pingpu Clothes and Embroidery Collections (2014), The Saysiyat (2015), Artifacts, Forms and Taiwan Indigenous Art: Miyagawa Jiro’s Collection in the Museum of Anthropology at National Taiwan University (2015), etc.
歐尼基（Niki Alsford）
歐尼基博士為英國中央蘭開夏大學語言與國際研究學院、亞洲太平洋研究所副教授，以及韓國國際研究中心主任。他同時也是倫敦大學亞非學院颱灣研究中心的研究員。歐尼基自亞非學院取得東亞現代史博士學位，研究焦點著重於十九世紀晚期至二十世紀初期的颱灣社會史。他近期的著作包括：Transitions to Modernity in Taiwan: The Spirit of 1895 and the Cession of Formosa to Japan (Routledge, 2017)、〈塵封的瑰寶：倫敦大學亞非學院特藏颱灣原住民族檔案〉(2017)、發錶於Paul Woods所編輯的The Shaping of Christianity in China (2017)一書的Torn Between Two Worlds: Rev. Shoki Coe, Domesticity, and the Taiwanese Self-Determination Movement，以及與Bernhard Fuehrer 共同發錶在Translation Studies 1:1 (2017): 137-182期刊中的Carstairs Douglas (1830-1877) and his Chinese-English Dictionary of the Vernacular or Spoken Language of Amoy (1873)。
Dr. Niki Alsford is Reader in Asia Pacific Studies and Director of the International Institute of Korean Studies. He is also Research Associate at the Centre of Taiwan Studies at SOAS, the University in London. He received his PhD in Modern East Asian History from SOAS and his research is grounded on late-nineteenth and early-twentieth century Taiwan social history. His most recent publications include: Transitions to Modernity in Taiwan: The Spirit of 1895 and the Cession of Formosa to Japan (Routledge, 2017); Buried Treasurers: Taiwan Indigenous Peoples’ Archives Held at the School of Oriental & African Studies, the University of London (2017); Torn Between Two Worlds: Rev. Shoki Coe, Domesticity, and the Taiwanese Self-Determination Movement, a chapter in Paul Woods’s The Shaping of Christianity in China (2017); and Carstairs Douglas (1830-1877) and his Chinese-English Dictionary of the Vernacular or Spoken Language of Amoy (1873), which he co-wrote with Bernhard Fuehrer for Translation Studies 1:1 (2017): 137-182.
鬍傢瑜
颱灣大學人類學係教授退休後，現為該係兼任教授。她在英國倫敦大學大學院取得人類學博士學位。多年來從事物質文化、博物館人類學和文化遺産相關教學研究工作，並且長期參與颱灣民族學藏品和原住民物質文化調查研究，以及相關成果的當代應用與活化發展。主要著作包括《賽夏族的物質文化》（1996）、《颱大人類學係伊能藏品研究》（1998）、《道卡斯新港社古文書》（1999）、《針綫下的繽紛―大武壠平埔衣飾與刺綉藏品圖錄》（2014）、《賽夏族》（2015）、《文物、造型與颱灣原住民藝術―颱大人類學博物館宮川次郎藏品研究》（2015）等專書。
Chia-yu Hu is Professor of Anthropology in the Department of Anthropology at National Taiwan University. She acquired her PhD degree from the UCL, University of London. She has engaged in teaching and researching of material culture, museum and heritage issues for a long time. Her main interests are in studying Taiwan ethnological collections and Taiwan indigenous cultures, as well as applying research results for contemporary cultural revitalization. She is the author of Material Cultural of the Saysiyat: Tradition and Transformation (1996), Studies on Ino’s Collection at the Department of Anthropology of National Taiwan University (1998), A Collection of Archival Documents from Taokas Sinkang Village (1999), Treads of Splende: Taivon Pingpu Clothes and Embroidery Collections (2014), The Saysiyat (2015), Artifacts, Forms and Taiwan Indigenous Art: Miyagawa Jiro’s Collection in the Museum of Anthropology at National Taiwan University (2015), etc.
歐尼基（Niki Alsford）
歐尼基博士為英國中央蘭開夏大學語言與國際研究學院、亞洲太平洋研究所副教授，以及韓國國際研究中心主任。他同時也是倫敦大學亞非學院颱灣研究中心的研究員。歐尼基自亞非學院取得東亞現代史博士學位，研究焦點著重於十九世紀晚期至二十世紀初期的颱灣社會史。他近期的著作包括：Transitions to Modernity in Taiwan: The Spirit of 1895 and the Cession of Formosa to Japan (Routledge, 2017)、〈塵封的瑰寶：倫敦大學亞非學院特藏颱灣原住民族檔案〉(2017)、發錶於Paul Woods所編輯的The Shaping of Christianity in China (2017)一書的Torn Between Two Worlds: Rev. Shoki Coe, Domesticity, and the Taiwanese Self-Determination Movement，以及與Bernhard Fuehrer 共同發錶在Translation Studies 1:1 (2017): 137-182期刊中的Carstairs Douglas (1830-1877) and his Chinese-English Dictionary of the Vernacular or Spoken Language of Amoy (1873)。
Dr. Niki Alsford is Reader in Asia Pacific Studies and Director of the International Institute of Korean Studies. He is also Research Associate at the Centre of Taiwan Studies at SOAS, the University in London. He received his PhD in Modern East Asian History from SOAS and his research is grounded on late-nineteenth and early-twentieth century Taiwan social history. His most recent publications include: Transitions to Modernity in Taiwan: The Spirit of 1895 and the Cession of Formosa to Japan (Routledge, 2017); Buried Treasurers: Taiwan Indigenous Peoples’ Archives Held at the School of Oriental & African Studies, the University of London (2017); Torn Between Two Worlds: Rev. Shoki Coe, Domesticity, and the Taiwanese Self-Determination Movement, a chapter in Paul Woods’s The Shaping of Christianity in China (2017); and Carstairs Douglas (1830-1877) and his Chinese-English Dictionary of the Vernacular or Spoken Language of Amoy (1873), which he co-wrote with Bernhard Fuehrer for Translation Studies 1:1 (2017): 137-182.
圖書目錄
推薦序 / 吳密察 Foreword / by Mi-cha Wu
編者序 / 鬍傢瑜 Preface / by Chia-yu Hu
圖版目次Table of Image Plates
圖錶目次Table of Figures
凡例 Formats
普世博物館與跨國流動的文物：大英博物館藏颱灣物質文化遺産 / 鬍傢瑜 Universal Museum and Artifacts Crossing Borders: Taiwanese Material Heritage Preserved at the British Museum / by Chia-yu Hu
生命記憶的呼喚：博物館藏品與颱灣原住民族連結之重啓 / 歐尼基
A “Living”Reminder: Reconnecting Museum Collections to Taiwan’s Indigenous Peoples / by Niki Alsford
藏品圖說 / 鬍傢瑜Interpretation of Artifacts / by Chia-yu Hu
I.衣服與織品 Costumes and Textiles
II.服飾配件與首飾 Ornaments and Accessories
III.竹籐草編器 Basketries and Matting Objects
VI.木器與其他生活用具 Wood and Other Daily Objects
附錄Appendix
I.大英博物館颱灣藏品清單 List of the Taiwan Collections at BM
II.參考書目 References
編者序 / 鬍傢瑜 Preface / by Chia-yu Hu
圖版目次Table of Image Plates
圖錶目次Table of Figures
凡例 Formats
普世博物館與跨國流動的文物：大英博物館藏颱灣物質文化遺産 / 鬍傢瑜 Universal Museum and Artifacts Crossing Borders: Taiwanese Material Heritage Preserved at the British Museum / by Chia-yu Hu
生命記憶的呼喚：博物館藏品與颱灣原住民族連結之重啓 / 歐尼基
A “Living”Reminder: Reconnecting Museum Collections to Taiwan’s Indigenous Peoples / by Niki Alsford
藏品圖說 / 鬍傢瑜Interpretation of Artifacts / by Chia-yu Hu
I.衣服與織品 Costumes and Textiles
II.服飾配件與首飾 Ornaments and Accessories
III.竹籐草編器 Basketries and Matting Objects
VI.木器與其他生活用具 Wood and Other Daily Objects
附錄Appendix
I.大英博物館颱灣藏品清單 List of the Taiwan Collections at BM
II.參考書目 References
圖書序言
編序
海外博物館的物質文化遺産與當代源鄉社會
收藏是博物館保存文物的重要步驟，但也是文物脫離原本社會文化脈絡的過程，背後糾纏著復雜的社會關係和多重動力。特彆是跨洋越洲進入海外博物館的收藏，更涉及全球化進程與跨文化採集曆史。自十九世紀中期起，不少颱灣文物也陸續踏上類似的旅程，隨著來颱的西方領事官員、傳教士、探險傢和研究者腳步，逐漸流動到歐美普世性博物館。散佚在海外博物館的這些颱灣物質文化遺産，多年來默默地塵封在異國庫房而很少為大眾所知悉。
其中，舉世聞名的大英博物館（British Museum），就因緣際會地收藏瞭大約370 件早期颱灣文物，其中絕大多數是颱灣原住民文物。綜觀而言，大英博物館的颱灣藏品，主要入藏於十九世紀末期至二十世紀初期，是特殊時代脈絡下外來者與颱灣交會碰撞的結果。雖然文物數量並不算多，物件來源和類型也零星分歧；但這些物件卻難得地留存瞭珍貴的過去物質生活訊息，也呼應瞭颱灣社會與西方接觸互動的片段早期曆史。即使一百多年之後的今天，這些珍貴的海外物質文化遺産，仍是可以建構跨國和跨文化連結的具體媒介，也是可供當代源鄉社會活化應用的重要文化資源。
本書的誕生，曆經非常繁復冗長的海外調查研究、資料數位化和編輯齣版等過程，耗費時間總計超過十年。在這漫長的期間，每一個階段都要感謝許多人的參與、支持和協助。首先是國科會支持數位典藏與數位學習國傢型科技計畫分項下「颱灣民族學藏品資料跨國研究與交流計畫」研究經費，讓我可以在2007年和2008 年，前往大英博物館進行最基本也最重要的文物調查研究工作。跨國研究過程中，要特彆感謝倫敦大學Dr. Michael Rowlands幫忙啓動初期聯絡；以及大英博物館亞洲部Dr. Jane Portal、Dr. Jan Stuart、Dr. Brian Durrans、Dr. Anouska Komlosy和Ms. Imogen Laing等大力協助，纔能完成入庫逐件檢視研究文物。此外，也非常感謝計畫先後任助理們如蘇鬱晴、劉姿蘭、吳昭潔、許湘彩、郭欣諭、張詩雅、徐瑛蓮和吳佳錚等協助文物拍攝、資料整理建檔與圖像處理工作；以及颱灣大學數位人文中心項潔教授、蔡炯民博士和陳怡君小姐協助建置數位資料庫，讓文物數位資料能夠在齣版前先公開上網。
最後，本書能夠完成編輯齣版，要感謝專精於颱灣曆史研究的英國學者歐尼基（Niki Alsford）博士參與擔任共同編輯。他從曆史人類學者的角度，提供不少關於文物採集的重要背景資料。另外，還要感謝颱大齣版中心執行編輯遊紫玲小姐耐心細緻的校正和潤飾，以及美術編輯遊鳳珠小姐精美的編排。
我們在書中精選瞭165件代錶不同類型和族群的文物，進行更詳細的文化曆史脈絡解說和文物圖像對照齣版。透過本書的齣版，希望一方麵能夠讓大傢理解跨文化採集背後復雜交錯的曆史脈絡和動力；另一方麵，也能夠反映他者目光凝視下颱灣多元文化的精彩和美麗，以及其中蘊含的文化價值和力量。期盼這些保存在遙遠他方的珍貴颱灣物質文化遺産，能夠與颱灣社會重新連結，在當代生活中持續開創新的文化生命力。
鬍傢瑜（國立颱灣大學人類學係兼任教授）
Preface
Material Heritage in Overseas Museums and Contemporary Source Communities
Collecting is an essential step that a museum preserves cultural relics, but it is also a process that cultural relics detach from their original source communities. The process of collecting is often entangled with complex social relations and multiple power agencies. Especially, objects which had been collected across oceans and preserved in the overseas museums usually involved in the process of globalization and cross-cultural collecting. Many Taiwanese objects have also embarked on similar journeys and have been transported to the major museums in Europe and America since the middle of the nineteenth century. Following the footsteps of Western consular officials, missionaries, explorers and researchers who visited Taiwan, these Taiwanese relics, scattered abroad, usually have been concealed quietly in museum vaults over decades without public awareness. Among them, the British Museum (BM) has preserved 370 pieces of Taiwanese artifacts, most of which are indigenous artifacts.
Generally speaking, these Taiwanese artifacts were mainly acquired in the late nineteenth century and the early twentieth century, under the special encounters between the West and Taiwan. The number of these Taiwanese objects might not be abundant; the sources of them are not clearly recorded. But, many of these objects not only have retained precious messages of the early material life in Taiwan, but also echoed interactive history between the Taiwanese society and the West. Even after more than a hundred years, these artifacts in the overseas museums can still act as the concrete medium for constructing transnational and cross-cultural linkages; they can also be applied as important cultural resources for revitalizing contemporary communities.
The birth of this book has been through very lengthy processes. Different stages of works, such as conducting overseas investigation, organizing and digitizing data of objects, as well as compiling and editing the book, have spent more than 10 years in total. During the long period, I am extremely grateful that many people participated, supported and assisted at each stage. First, the Council of National Science and Technology had funded my research project of “Digitization and International Information Exchange on Taiwanese Ethnological Collections in Overseas Museums” from 2007 to 2008 under the “National Digital Collection and Digital Learning Program”. With the project funding, I could travel to the British Museum and conduct the most essential and important works on examining their Taiwanese artifacts in those two years. In the process of conducting overseas investigation, my thanks are given to Prof. Michael Rowlands at the University College London who helped me to get initial contact with the BM. Besides, without the support and help of Dr. Jane Portal, Dr. Jan Stuart, Dr. Brian Durrans, Dr. Anouska Komlosy, and Ms. Imogen Laing of the Asia Department at the BM, I could not finish studying and researching the Taiwan collections at BM. In addition, I am grateful to all project assistants during these years, such as Yu-ching Su, Tzulan Liu, Chao-chieh Wu, Shiang-cai Shu, Hsin-yu Guo, Shih-ya Chang, Ying-lien Shu and Chia-cheng Wu for their work in taking photos, organizing and keying data, as well as processing images of the objects. I would also like to give special thanks to Professor Jieh Hsiang, Dr. Chiung-ming Tsai and Ms. Yi-chun Chen of the Digital Humanities Center at the National Taiwan University who helped to build an on-line digital database and let the Taiwanese artifacts preserved at the BM available for the public access before publication.
Finally, this book cannot be accomplished without the help of the co-editor, Dr. Niki Alsford, who is an expert of Taiwanese history. From the perspective of a historical anthropologist, he provided important background information on the collecting histories. In addition, I thank the executive editor of the NTU Press, Ms. Tzu-ling Yu, for her patient correction and meticulous polishing, as well as the artistic designer, Ms. Fong-ju Yu, for her exquisite design. We have selected 165 pieces of objects with different types and from different cultural groups presented in this book. For each object, we have made cultural-historical interpretation and displayed object photo for reference. Through the publication of this book, on the one hand, we tend to let people understand the complex contexts and agencies behind cross-cultural collecting. On the other hand, we tend to reflect the local aesthetics as well as the grateful values of cultural diversities in Taiwan. It is hoped that the material heritage of Taiwan preserved in overseas museums can be linked to the Taiwanese society again and continue to create cultural vitality in the contemporary life of the source communities.
推薦序
十九世紀中葉以後，因為清國與西洋國傢締結開港通商條約的關係，陸續有西洋外交官、傳教士、商人、旅行傢、學者來到颱灣。他們基於不同的理由，對於颱灣這個島嶼上的居民（特彆是民族學上不同於來自中國之移民的颱灣原住民）、地理、動物、植物等各方麵投注瞭關心。二十世紀前夕，颱灣成為日本帝國的殖民地，此時的日本正在引進西洋的諸種學問，日本的學者因而適時地獲得瞭一個異民族的研究對象與田野地，殖民政府則基於統治異民族殖民地的現實需要，也對颱灣進行研究。因此，可以說西洋人、日本人於這時候對颱灣進行瞭可稱為近代意義的第一波研究和田野調查。
十九世紀中葉以後大約半個世紀，西洋人、日本人對於颱灣所進行的研究與田野調查，其成果雖然不免有所偏見，也常止於浮麵印象，但他們對於這個島嶼的調查與研究，較諸管治這個島嶼已經超過二百年的中國官員多數偏嚮行政、治安事相的文獻，卻也對颱灣之現實社會麵貌有更為具體、生動的描寫。尤其，他們對於颱灣原住民之物質文化的興趣，更是過去以文字描述為主的清國官員所難以望其項背的。
颱灣大學人類學係鬍傢瑜教授長年緻力於颱灣原住民物質文化研究，她不但將日本殖民地時代颱北帝國大學土俗人種學講座陸續收集的文物整理編目齣版成圖錄，讓外界可以瞭解颱大的文物收藏，還以這些文物為媒介，實質地協助颱灣原住民進行文化復振運動。2000年以後，她還係統性地調查瞭歐美各大博物館的颱灣藏品，並與這些博物館簽訂協定建置成網站，讓不少原來祕藏於博物館庫房中的颱灣文物終於得以麵世。此次，她進一步與英國學人歐尼基博士閤作將大英博物館收藏的颱灣文物，編輯成圖錄齣版。透過此圖錄，讀者不隻可以瞭解大英博物館這個世界知名的博物館中的颱灣收藏，也可以透過收錄於圖錄中兩位編著者的文章，瞭解這批颱灣文物在大約一百年前入藏博物館的經緯，讀取到颱灣文化與世界的邂逅，和颱灣曆史的另一個側麵，乃為之序。
吳密察（國史館館長）
Foreword
In the middle of the nineteenth century, due to the opening trade treaty signed between the Qing China and Western countries, Western diplomats, missionaries, businessmen, travelers and scholars started to come to Taiwan. For multiple reasons, they had an interest in the island̓s inhabitants (in particular the indigenous peoples of Taiwan, who differed from the Chinese immigrants), its geography, animals, plants and so on. On the eve of the twentieth century, Taiwan became a colony of the Japanese Empire. At the same time, Japan was introducing all kinds of Western knowledge; thus, the newly acquired colony-Taiwan became the perfect field for Japanese scholars to do ethnological research and investigation. For the needs of colonial rule, the Japanese government had to study Taiwan. Therefore, it can be said that Westerners and Japanese have carried out the first wave of modern investigation and fieldwork on Taiwan in history.
After about half a century since the nineteenth century, though the results of the research and fieldwork conducted by Westerners and Japanese on Taiwan were still often inevitably biased and ended in generalized impressions, their research and description of the Taiwan island has been more specific and vivid than the majority of Qing officials who had governed the island for more than 200 years. In particular, their interests in the material culture of Taiwan Indigenous Peoples were incomparable with that blurry writings made by the officials of the Qing Dynasty. Prof. Chia-yu Hu at the National Taiwan University has long been devoted to the study of material cultural on Taiwan indigenous peoples. She not only published catalogues of artifacts collected by the Institution of Ethnology of Taihoku Imperial University in the Japanese period to enhance the public’s understanding on the indigenous cultural relics, she has also actively assisted indigenous communities utilizing collected materials to promote cultural revitalization. In addition, since 2001, she started systemic investigations on the Taiwanese collections preserved in the major museums in Europe and America. The results have been accomplished and shown on a website with agreements of the preserved museums, so that the information of Taiwanese artifacts in the overseas museums could be accessed by the Taiwanese people. This time, she further cooperates with the British scholar, Dr. Niki Alsford to publish a catalogue of the Taiwan collections held at the British Museum. Through this book, readers will admirably get an opportunity to appreciate the precious Taiwanese artifacts preserved at the world-famous British Museum. Besides, people will be able to understand the historical encounters between Taiwan and the outside world, which is another side of Taiwanese history, form the editors’ introductions and interpretations on the Taiwanese cultural relics moved into the British Museum about 100 years ago.
海外博物館的物質文化遺産與當代源鄉社會
收藏是博物館保存文物的重要步驟，但也是文物脫離原本社會文化脈絡的過程，背後糾纏著復雜的社會關係和多重動力。特彆是跨洋越洲進入海外博物館的收藏，更涉及全球化進程與跨文化採集曆史。自十九世紀中期起，不少颱灣文物也陸續踏上類似的旅程，隨著來颱的西方領事官員、傳教士、探險傢和研究者腳步，逐漸流動到歐美普世性博物館。散佚在海外博物館的這些颱灣物質文化遺産，多年來默默地塵封在異國庫房而很少為大眾所知悉。
其中，舉世聞名的大英博物館（British Museum），就因緣際會地收藏瞭大約370 件早期颱灣文物，其中絕大多數是颱灣原住民文物。綜觀而言，大英博物館的颱灣藏品，主要入藏於十九世紀末期至二十世紀初期，是特殊時代脈絡下外來者與颱灣交會碰撞的結果。雖然文物數量並不算多，物件來源和類型也零星分歧；但這些物件卻難得地留存瞭珍貴的過去物質生活訊息，也呼應瞭颱灣社會與西方接觸互動的片段早期曆史。即使一百多年之後的今天，這些珍貴的海外物質文化遺産，仍是可以建構跨國和跨文化連結的具體媒介，也是可供當代源鄉社會活化應用的重要文化資源。
本書的誕生，曆經非常繁復冗長的海外調查研究、資料數位化和編輯齣版等過程，耗費時間總計超過十年。在這漫長的期間，每一個階段都要感謝許多人的參與、支持和協助。首先是國科會支持數位典藏與數位學習國傢型科技計畫分項下「颱灣民族學藏品資料跨國研究與交流計畫」研究經費，讓我可以在2007年和2008 年，前往大英博物館進行最基本也最重要的文物調查研究工作。跨國研究過程中，要特彆感謝倫敦大學Dr. Michael Rowlands幫忙啓動初期聯絡；以及大英博物館亞洲部Dr. Jane Portal、Dr. Jan Stuart、Dr. Brian Durrans、Dr. Anouska Komlosy和Ms. Imogen Laing等大力協助，纔能完成入庫逐件檢視研究文物。此外，也非常感謝計畫先後任助理們如蘇鬱晴、劉姿蘭、吳昭潔、許湘彩、郭欣諭、張詩雅、徐瑛蓮和吳佳錚等協助文物拍攝、資料整理建檔與圖像處理工作；以及颱灣大學數位人文中心項潔教授、蔡炯民博士和陳怡君小姐協助建置數位資料庫，讓文物數位資料能夠在齣版前先公開上網。
最後，本書能夠完成編輯齣版，要感謝專精於颱灣曆史研究的英國學者歐尼基（Niki Alsford）博士參與擔任共同編輯。他從曆史人類學者的角度，提供不少關於文物採集的重要背景資料。另外，還要感謝颱大齣版中心執行編輯遊紫玲小姐耐心細緻的校正和潤飾，以及美術編輯遊鳳珠小姐精美的編排。
我們在書中精選瞭165件代錶不同類型和族群的文物，進行更詳細的文化曆史脈絡解說和文物圖像對照齣版。透過本書的齣版，希望一方麵能夠讓大傢理解跨文化採集背後復雜交錯的曆史脈絡和動力；另一方麵，也能夠反映他者目光凝視下颱灣多元文化的精彩和美麗，以及其中蘊含的文化價值和力量。期盼這些保存在遙遠他方的珍貴颱灣物質文化遺産，能夠與颱灣社會重新連結，在當代生活中持續開創新的文化生命力。
鬍傢瑜（國立颱灣大學人類學係兼任教授）
Preface
Material Heritage in Overseas Museums and Contemporary Source Communities
Collecting is an essential step that a museum preserves cultural relics, but it is also a process that cultural relics detach from their original source communities. The process of collecting is often entangled with complex social relations and multiple power agencies. Especially, objects which had been collected across oceans and preserved in the overseas museums usually involved in the process of globalization and cross-cultural collecting. Many Taiwanese objects have also embarked on similar journeys and have been transported to the major museums in Europe and America since the middle of the nineteenth century. Following the footsteps of Western consular officials, missionaries, explorers and researchers who visited Taiwan, these Taiwanese relics, scattered abroad, usually have been concealed quietly in museum vaults over decades without public awareness. Among them, the British Museum (BM) has preserved 370 pieces of Taiwanese artifacts, most of which are indigenous artifacts.
Generally speaking, these Taiwanese artifacts were mainly acquired in the late nineteenth century and the early twentieth century, under the special encounters between the West and Taiwan. The number of these Taiwanese objects might not be abundant; the sources of them are not clearly recorded. But, many of these objects not only have retained precious messages of the early material life in Taiwan, but also echoed interactive history between the Taiwanese society and the West. Even after more than a hundred years, these artifacts in the overseas museums can still act as the concrete medium for constructing transnational and cross-cultural linkages; they can also be applied as important cultural resources for revitalizing contemporary communities.
The birth of this book has been through very lengthy processes. Different stages of works, such as conducting overseas investigation, organizing and digitizing data of objects, as well as compiling and editing the book, have spent more than 10 years in total. During the long period, I am extremely grateful that many people participated, supported and assisted at each stage. First, the Council of National Science and Technology had funded my research project of “Digitization and International Information Exchange on Taiwanese Ethnological Collections in Overseas Museums” from 2007 to 2008 under the “National Digital Collection and Digital Learning Program”. With the project funding, I could travel to the British Museum and conduct the most essential and important works on examining their Taiwanese artifacts in those two years. In the process of conducting overseas investigation, my thanks are given to Prof. Michael Rowlands at the University College London who helped me to get initial contact with the BM. Besides, without the support and help of Dr. Jane Portal, Dr. Jan Stuart, Dr. Brian Durrans, Dr. Anouska Komlosy, and Ms. Imogen Laing of the Asia Department at the BM, I could not finish studying and researching the Taiwan collections at BM. In addition, I am grateful to all project assistants during these years, such as Yu-ching Su, Tzulan Liu, Chao-chieh Wu, Shiang-cai Shu, Hsin-yu Guo, Shih-ya Chang, Ying-lien Shu and Chia-cheng Wu for their work in taking photos, organizing and keying data, as well as processing images of the objects. I would also like to give special thanks to Professor Jieh Hsiang, Dr. Chiung-ming Tsai and Ms. Yi-chun Chen of the Digital Humanities Center at the National Taiwan University who helped to build an on-line digital database and let the Taiwanese artifacts preserved at the BM available for the public access before publication.
Finally, this book cannot be accomplished without the help of the co-editor, Dr. Niki Alsford, who is an expert of Taiwanese history. From the perspective of a historical anthropologist, he provided important background information on the collecting histories. In addition, I thank the executive editor of the NTU Press, Ms. Tzu-ling Yu, for her patient correction and meticulous polishing, as well as the artistic designer, Ms. Fong-ju Yu, for her exquisite design. We have selected 165 pieces of objects with different types and from different cultural groups presented in this book. For each object, we have made cultural-historical interpretation and displayed object photo for reference. Through the publication of this book, on the one hand, we tend to let people understand the complex contexts and agencies behind cross-cultural collecting. On the other hand, we tend to reflect the local aesthetics as well as the grateful values of cultural diversities in Taiwan. It is hoped that the material heritage of Taiwan preserved in overseas museums can be linked to the Taiwanese society again and continue to create cultural vitality in the contemporary life of the source communities.
By Chia-yu Hu
推薦序
十九世紀中葉以後，因為清國與西洋國傢締結開港通商條約的關係，陸續有西洋外交官、傳教士、商人、旅行傢、學者來到颱灣。他們基於不同的理由，對於颱灣這個島嶼上的居民（特彆是民族學上不同於來自中國之移民的颱灣原住民）、地理、動物、植物等各方麵投注瞭關心。二十世紀前夕，颱灣成為日本帝國的殖民地，此時的日本正在引進西洋的諸種學問，日本的學者因而適時地獲得瞭一個異民族的研究對象與田野地，殖民政府則基於統治異民族殖民地的現實需要，也對颱灣進行研究。因此，可以說西洋人、日本人於這時候對颱灣進行瞭可稱為近代意義的第一波研究和田野調查。
十九世紀中葉以後大約半個世紀，西洋人、日本人對於颱灣所進行的研究與田野調查，其成果雖然不免有所偏見，也常止於浮麵印象，但他們對於這個島嶼的調查與研究，較諸管治這個島嶼已經超過二百年的中國官員多數偏嚮行政、治安事相的文獻，卻也對颱灣之現實社會麵貌有更為具體、生動的描寫。尤其，他們對於颱灣原住民之物質文化的興趣，更是過去以文字描述為主的清國官員所難以望其項背的。
颱灣大學人類學係鬍傢瑜教授長年緻力於颱灣原住民物質文化研究，她不但將日本殖民地時代颱北帝國大學土俗人種學講座陸續收集的文物整理編目齣版成圖錄，讓外界可以瞭解颱大的文物收藏，還以這些文物為媒介，實質地協助颱灣原住民進行文化復振運動。2000年以後，她還係統性地調查瞭歐美各大博物館的颱灣藏品，並與這些博物館簽訂協定建置成網站，讓不少原來祕藏於博物館庫房中的颱灣文物終於得以麵世。此次，她進一步與英國學人歐尼基博士閤作將大英博物館收藏的颱灣文物，編輯成圖錄齣版。透過此圖錄，讀者不隻可以瞭解大英博物館這個世界知名的博物館中的颱灣收藏，也可以透過收錄於圖錄中兩位編著者的文章，瞭解這批颱灣文物在大約一百年前入藏博物館的經緯，讀取到颱灣文化與世界的邂逅，和颱灣曆史的另一個側麵，乃為之序。
吳密察（國史館館長）
Foreword
In the middle of the nineteenth century, due to the opening trade treaty signed between the Qing China and Western countries, Western diplomats, missionaries, businessmen, travelers and scholars started to come to Taiwan. For multiple reasons, they had an interest in the island̓s inhabitants (in particular the indigenous peoples of Taiwan, who differed from the Chinese immigrants), its geography, animals, plants and so on. On the eve of the twentieth century, Taiwan became a colony of the Japanese Empire. At the same time, Japan was introducing all kinds of Western knowledge; thus, the newly acquired colony-Taiwan became the perfect field for Japanese scholars to do ethnological research and investigation. For the needs of colonial rule, the Japanese government had to study Taiwan. Therefore, it can be said that Westerners and Japanese have carried out the first wave of modern investigation and fieldwork on Taiwan in history.
After about half a century since the nineteenth century, though the results of the research and fieldwork conducted by Westerners and Japanese on Taiwan were still often inevitably biased and ended in generalized impressions, their research and description of the Taiwan island has been more specific and vivid than the majority of Qing officials who had governed the island for more than 200 years. In particular, their interests in the material culture of Taiwan Indigenous Peoples were incomparable with that blurry writings made by the officials of the Qing Dynasty. Prof. Chia-yu Hu at the National Taiwan University has long been devoted to the study of material cultural on Taiwan indigenous peoples. She not only published catalogues of artifacts collected by the Institution of Ethnology of Taihoku Imperial University in the Japanese period to enhance the public’s understanding on the indigenous cultural relics, she has also actively assisted indigenous communities utilizing collected materials to promote cultural revitalization. In addition, since 2001, she started systemic investigations on the Taiwanese collections preserved in the major museums in Europe and America. The results have been accomplished and shown on a website with agreements of the preserved museums, so that the information of Taiwanese artifacts in the overseas museums could be accessed by the Taiwanese people. This time, she further cooperates with the British scholar, Dr. Niki Alsford to publish a catalogue of the Taiwan collections held at the British Museum. Through this book, readers will admirably get an opportunity to appreciate the precious Taiwanese artifacts preserved at the world-famous British Museum. Besides, people will be able to understand the historical encounters between Taiwan and the outside world, which is another side of Taiwanese history, form the editors’ introductions and interpretations on the Taiwanese cultural relics moved into the British Museum about 100 years ago.
By Mi-cha Wu
圖書試讀
用戶評價
评分
讀完《他者視綫下的地方美感：大英博物館藏颱灣文物》，我最大的感受是，這本書提供瞭一個非常獨特的審視颱灣文化的方式——透過“他者”的眼睛。這種視角，雖然可能帶來一些意想不到的發現，但同時也讓我對“地方美感”的定義産生瞭更多的疑問。書中對大英博物館收藏的颱灣文物進行瞭細緻的梳理和分析，但這些分析往往是圍繞著“大英帝國如何看待和理解這些文物”來展開的。我感覺，很多時候，我們看到的“地方美感”，是被“他者”的價值體係和知識框架所重塑的。 書中關於一些史前陶器和金屬器物的描述，雖然技術上很詳實，但我卻從中讀齣瞭一種“考古學式的”的解讀，而非“生活美學式的”的欣賞。這些器物在史前颱灣人的生活中，可能扮演著至關重要的角色，其美感也與他們的日常實踐和信仰緊密相連。然而，當它們被陳列在大英博物館，並被冠以“齣土於某某地”的標簽時，它們所承載的“地方美感”似乎就被簡化為一種“曆史證據”或“文化樣本”。我希望書中能夠更深入地挖掘，這些文物在颱灣本土社會中所經曆的演變和流傳，以及颱灣人民自身對它們的審美判斷。這種“他者”的凝視，在一定程度上，可能讓我們看到瞭颱灣美學的某些側麵，但同時也可能讓我們忽略瞭，那些更貼近土地、更貼近人民的、真正意義上的“地方美感”。
评分“這本《他者視綫下的地方美感：大英博物館藏颱灣文物》與其說是對颱灣地方美感的探討，不如說是對殖民主義及其遺留問題的深刻反思。書中對大英博物館藏品的選擇和解讀，與其說是在呈現颱灣的美，不如說是在揭示“他者”——在這裏是大英帝國——如何看待和定義“異域”文化。我尤其被那些本應承載著颱灣本土工藝和審美情趣的器物，在博物館的陳列和說明中，被剝離瞭原有的語境，披上瞭西方考古學、民族誌研究的標簽，甚至被用作論證大英帝國“文明開化”的例證，這種視角下的“地方美感”無疑是扭麯的、被置換的。 我反復咀嚼那些關於陶瓷、木雕、織物的描述，總感覺隔靴搔癢。作者試圖從這些“他者”的眼中挖掘齣颱灣的獨特韻味，但這種“挖掘”本身就帶著一種侵入性。當一件承載著先民智慧和生活氣息的祭祀器皿，被擺放在冰冷的玻璃櫃中，旁邊配著幾行用西方語言書寫的、試圖解釋其“原始”或“異域”特徵的文字時，我所感受到的，與其說是美感，不如說是一種文化上的失落和壓抑。書中對這些文物的曆史溯源和工藝分析，雖然詳實，但總繞不開一個核心問題：這些物品，在被大英博物館收藏之前，它們自身的美學價值是如何被颱灣人民所理解和珍視的？而收藏行為，又在多大程度上改變瞭這些物品的生命軌跡和其所代錶的美學意義？我甚至開始思考，這本書所探討的“地方美感”，是否存在於“他者”的凝視之中，而並非真正根植於颱灣本土的土壤？這種“藉由他人之眼看自己”的敘事模式，總讓我感到一種無力感，仿佛颱灣的美，必須通過他者的認可和解讀，纔能獲得某種閤法性。
评分《他者視綫下的地方美感：大英博物館藏颱灣文物》這本書，在我看來，更像是一場關於“觀看”與“被觀看”的深度對話。作者選擇以大英博物館作為切入點，為我們呈現瞭一種由外部視角投射在颱灣文化之上的“美感”。然而，這種“美感”並非渾然天成，而是經過瞭“他者”的篩選、解讀和重塑。我特彆關注書中對一些具象化物件的分析，例如那些精美的玉器和陶器。作者通過梳理大英博物館的收藏記錄和相關研究資料，試圖解讀這些物件在西方學術語境中的意義。但這種解讀，我總覺得帶有一種“被殖民者”的無奈感。 當我看到一件原本可能承載著某種宗教信仰或社群記憶的器物，在書中被描述為“象徵著東方異域情調”或“具有某種原始藝術價值”時，我感受到的並非純粹的美，而是一種文化上的不適。這種“地方美感”的建立，似乎是以犧牲其本土性為代價的。書中對工藝細節的描繪固然細緻，但往往圍繞著“如何被西方人理解”來展開，而非“在颱灣本土是如何被欣賞”。我開始思考，當一件文物離開瞭其原生的文化環境，被置於一個陌生的博物館中，它的“地方美感”是否還能以原初的麵貌存在？這種“他者”的目光，究竟是在幫助我們認識颱灣的美，還是在不知不覺中，將颱灣的美“西化”瞭？我渴望書中能夠提供更多從颱灣本土視角齣發的解讀，去還原這些文物在颱灣曆史和文化中的真實地位，而不是僅僅停留在“他者”如何看待的層麵。
评分讀罷《他者視綫下的地方美感：大英博物館藏颱灣文物》，我內心湧起一股難以言說的復雜情緒。書中以大英博物館所藏的颱灣文物為引子，試圖勾勒齣一種“他者”視角下的颱灣地方美感。然而，我卻在這“他者”的凝視中，看到瞭更多關於權力、曆史和文化挪用的痕跡。那些精美的器物，在博物館的展櫃中，仿佛脫離瞭其原本生長的土壤，被賦予瞭新的意義，甚至被納入瞭殖民者的知識體係。我印象最深刻的是關於一些原住民服飾的描述，書中洋洋灑灑地分析瞭其色彩、紋樣，甚至將其與某種“野性”或“神秘”的東方主義想象聯係起來。但這番解讀，在我看來，恰恰是對颱灣本土文化的一種過度解讀和簡化，模糊瞭其背後深厚的社會、宗教和生活內涵。 當我試圖從書中找到那些真正觸動人心的、發自颱灣本土的美學錶達時，卻發現它們常常被淹沒在對“西方學術界如何看待”的論述之中。這種“他者”視角的引入，雖然提供瞭理解這些文物的一種可能性，但也不可避免地帶來瞭某種程度的偏差和異化。我開始質疑，一個被置於異域博物館中的文物，其“地方美感”是否還能完整地呈現？它的原始語境、它的使用者、它在當地社群中的意義，是否因為被“他者”所收藏和研究，而不可挽迴地發生瞭改變？我更希望看到的是，這本書能夠更深入地探討，這些文物在颱灣本土曆史中的流傳和演變，以及颱灣人民自身如何定義和傳承他們的美學。目前的呈現方式，讓我感覺像是透過一層層濾鏡去看待颱灣的美，總覺得少瞭些真實和鮮活。
评分《他者視綫下的地方美感：大英博物館藏颱灣文物》這本書，為我打開瞭一個審視颱灣文化的新維度。它通過聚焦大英博物館中的颱灣文物，以一種“他者”的視角，來解讀颱灣的“地方美感”。這種方式，無疑提供瞭一種非傳統的解讀路徑，但也讓我對“美感”的來源和傳遞方式産生瞭深刻的思考。書中對一係列文物的描述，包括但不限於紡織品、石器、骨器等，都試圖從西方學術的視角齣發，去分析它們的工藝、材質、以及可能存在的象徵意義。然而，我感覺這種解讀，在很大程度上，是將颱灣的文化元素“翻譯”成瞭西方人能夠理解的語言。 當我閱讀到關於某些原住民部落的傳統服飾的描述時，書中詳細列舉瞭其製作材料和工藝，但其所賦予的“美學意義”，卻常常與“異域風情”、“原始藝術”等概念掛鈎。這種論述，讓我覺得，我們看到的“地方美感”，很大程度上是被“他者”的審美趣味和文化框架所框定的。我更想瞭解的是，在颱灣本土，這些服飾是如何被穿著、被珍視，以及它們在當地社區的社會和精神生活中扮演著怎樣的角色。這種“他者”的審視，固然能讓我們看到一些寶貴的曆史遺存，但同時也可能讓我們忽略瞭，那些真正根植於颱灣土地、由颱灣人民世代相傳的、鮮活的“地方美感”。我希望這本書能夠提供更多從颱灣本土齣發的解讀，去還原這些文物在颱灣曆史中的真實地位。
相關圖書
本站所有內容均為互聯網搜尋引擎提供的公開搜索信息，本站不存儲任何數據與內容，任何內容與數據均與本站無關，如有需要請聯繫相關搜索引擎包括但不限於百度，google,bing,sogou 等
© 2025 ttbooks.qciss.net All Rights Reserved. 小特书站 版權所有