位於英國倫敦的泰德美術館（Tate Gallery）旗下之Tate Kids (https://kids.tate.org.uk/) 網站是專門為六至十二歲兒童所設計的虛擬博物館。虛擬博物館不只是一個學習環境，虛擬空間所能展示的聲光、遊戲及互動等效果能讓兒童感受到與眾不同的體驗（Crow & Din, 2009），博物館透過數位科技將原屬於高級文化的藝術作品在如視覺、聽覺等感官刺激的加持之下成為適合兒童學習的內容，並賦予其自主探索、互動以及參與學習的機會。
泰德美術館利用Tate Kids架起了連結藝術與兒童之間的橋樑，本研究將Tate Kids網站視為一博物館展覽文本，並採取質性研究中之論述分析法、文本分析法及質性訪談法等三個方式進行，在資料蒐集與分析的過程援引法國社會學家Pierre Bourdieu對於藝術感知（perception）、品味和階級再生產（reproduction）等理論，以釐清以下三個問題意識：一、文化資本介入虛擬博物館之形式；二、虛擬博物館的兒童藝術教育形式；三、Tate Kids於臺灣兒童藝術教育之實踐。同時審視Tate Kids如何利用數位資源作為推廣兒童藝術教育之工具，以及其在推廣兒童藝術教育與促進藝術民主化的過程中，對不同階級和擁有不同文化與數位資本的兒童之影響。

Tate Kids website (https://kids.tate.org.uk/) is a microsite that subordinates to Tate Gallery in London, UK. Targeting young audience, this virtual museum is designed especially for kids who age from five to twelve years old. According to Crow & Din (2009), the virtual museums are not merely an informal learning environment, the special effects such as the light and sound effect, digital games and interactivity enable kids to construct unique online experiences. Moreover, the museums or galleries itself can harness these technologies with sensory stimulations, and further transform the artworks, which originally represent the high culture, into the forms that are more suitable for kids to learn and play. These enable the kids to explore, interact and participate, which eventually lead to self-fulfillment and empowerment.
Tate Gallery meditates the Tate Kids website as a bridge between arts and kids; on the other hand, it is also an approach to overturn the inequalities of the distribution of cultural resources among different social classes. This paper adapts the qualitative analysis, including discourse analysis, text analysis and qualitative analysis, and attempts to apply Pierre Bourdieu’s concept of culture capital and reproduction theories with a critical examination with Tate Kids website as an online museum exhibition context and its practices in distributing the cultural and digital capital to kids of different social background.

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