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研究生: 高玉珍
KAO YU CHEN
論文名稱: 論國際展覽的規劃與轉變-以國立歷史博物館為例
Planning and Developing International Exhibitions: A Case Study of the National Museum of History
指導教授: 黃光男
Huang, Kuang-Nan
學位類別: 博士
Doctor
系所名稱: 美術學系
Department of Fine Arts
論文出版年: 2010
畢業學年度: 98
語文別: 中文
論文頁數: 297
論文種類: 學術論文
相關次數: 點閱:118下載:28
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  • 西元1955年成立的國立歷史博物館建館歷史超過半個世紀,雖然佔有位居博愛特區及植物園優美景致的雙重便利地理優勢,館內收藏也頗有自我特色,但是建築和展示設施不夠新穎,內部展示及公共空間不夠寬敞,在服務品質上無法與新成立的博物館相匹敵。在新館不斷增加的1980到1990年代,若沒有新的經營策略很快就會被大眾所遺忘。
    1997年史博館率先從法國引進「黃金印象-奧賽美術館收藏特展」,結果觀眾熱潮不斷,使得該館在一時之間成為媒體和博物館學界議論的焦點。雖然一般認為從國外引進超級特展可以讓老博物館重拾生機。因而他館競相仿效,史博館也在日後繼續引進其他特展,但其中卻不乏叫好不叫座的特展。例如於2003年由歐洲四大博物館提供的「前進非洲」及2007年初來自尼斯現代與當代美術館的「妮基的異想世界」,可見超級國際特展並非博物館吸引觀眾的萬靈丹。經過十年歲月對國內博物館舉辦國際展的洗滌與淬煉, 2008年史博館舉辦一次眾所期待的來自法國奧塞美術館的「驚艷米勒-田園之美畫展」,這個全世界僅有一站國際特展,吸引台灣觀眾大排長龍,甚至來自亞洲香港、日本等地的觀眾,再次引起博物館界熱烈討論,如何能在展覽品質之外,有關展場設計、展覽動線、燈光照明及觀眾入場人數掌控等相關議題,究竟博物館該如何籌辦一個既能叫好又能叫座的國際特展是許多博物館人關心的議題。

    以下簡述本研究之目的、結論與建議:
    一、 本研究的目的:
    (一)歸納分析台灣博物館從五○年代隨著政治、經濟與社會等所賦予角色對於博物館舉辦國際展覽的方向及使命之影響。
    (二)分析史博館歷任館長在不同時代背景與展覽策略中所主導展覽對博物館發展的影響。
    (三)探討博物館國際展覽的規劃及其對觀眾博物館學習的意義。
    (四)比較不同國際展覽主題的策劃與觀眾互動關係,如何規劃叫好又叫座的展覽。
    二、 結論與建議:
    (一)探討史博館近年的展覽策略、營運方向與決策機制。
    (二)針對歷年特展個別案例進行分析與比較,重點包括籌展背景、作業流程與說明、預期目標與成果、觀眾對展覽反應和意見調查分析、問題發現與討論等議題。
    (三)經過這些年的國際展經驗史博館在未來如何突破過去的模式,提出更永續發展國際展的經營策略 吸引觀眾支持並成為史博館在台灣博物館界獨樹一格的特色。

    It has been more than fifty years since the National Museum of History was established in 1955. It features geographical advantages – located in the Bo-Ai district where Taiwan’s capital is, and surrounded by the beautiful Taipei Botanic Garden. Moreover, it is well-known for its distinctive collection. However, its building and display equipment seems old-fashioned and its space for exhibition and for the public is not commodious either. Due to these drawbacks, the service which the National Museum of National provides as a consequence cannot compare with that offered by other new museums. In the 1980s and the 1990s, new museums were spring up all over Taiwan. Facing this trend, the National Museum of History will be forsaken by the public if it cannot conceive new management policies regarding these new changes in the museum field in Taiwan.

    As far as holding international exhibitions in Taiwan, the National Museum of History is the pioneer. It held the exhibition L’Âge d’or de l’impressionnisme - Chefs-d’oeuvre du Musée d’Orsay (The Golden Age of Impressionism – Masterpieces of Musée d’Orsay) in 1997, featuring a large number of precious paintings from the Musée d’Orsay. This exhibition was successful, drawing a large audience and thus thrust the National Museum of History into the limelight in the mass media, in the museum field and in the related discussions. In the wake of this successful exhibition, other old museums in Taiwan eagerly modeled themselves after the National Museum of History, managing to hold superb and special international exhibitions in order to rejuvenate their old-fashioned images. The National Museum of History has also continuously held this kind of special exhibitions thereafter. Several of these special exhibitions were not popular, although they were highly acclaimed, such as the 2003 exhibition Visions d’Afrique (Visions of Africa), displaying African artifacts from the Musée Dapper, the Musée Royal de l’Afrique Centrale (Tervuren), the Museum of Ethnology (Vienna) and Private Collection; and the 2007 exhibition The World and Fantasy of Niki de Saint Phalle, introducing Niki’s works from the Museum of Modern and Contemporary Art in Nice. Visions d’Afrique and The World and Fantasy of Niki de Saint Phalle demonstrated the fact that a superb and special international exhibition was not always a cure-all for boosting museum visitors. Nevertheless, the National Museum of History, based on the rich experience and the tough training obtained in the past decade, has become the leading expert for holding international exhibitions in Taiwan, and it successfully held the long-awaited exhibition Millet and His Time: Masterpieces from the Musée d’Orsay in 2008. Taipei was the only site for this highly acclaimed international exhibition. It drew a large audience from not only Taiwan, but also Hong Kong and Japan. Moreover, it heated the discussions in the museum field regarding such issues as exhibition quality, display design, visiting path, exhibition lighting and audience control, etc. The successful exhibitions of the National Museum of History led museum staff and experts to think about the issue as to how to organize an international exhibition combining huge commercial success and high artistic quality.

    Below will briefly state the purpose, the conclusion and the suggestions of this thesis:
    I. Research Purpose:
    1. This thesis will summarize and analyze the changing pattern of the role of a museum in Taiwan in the past fifty years, how this reflected the changes in Taiwan’s politics, economics and societies in the past few fifty years and how this influenced the directions and the aims of international exhibitions in the National Museum of History.
    2. This thesis will analyze the effects exerted by each director with different management policies on the development of the National Museum of History in different times.
    3. This thesis will investigate the planning and the organizing of international exhibitions at the National Museum of History and the educational significance of these exhibitions to museum visitors.
    4. This thesis will compare the organizing and the strategizing between different international exhibitions, and will also examine the interaction between these exhibitions and their audience, through which this thesis is going to tell readers how to organize an exhibition combining huge commercial success and high artistic quality both.

    II. Conclusion and Suggestions:
    1. This thesis aims to investigate the exhibition strategies, the managing directions and the decision-making mechanism of the National Museum of History in the recent years.
    2. This thesis will conduct a comparative analysis of the special exhibitions held by the National Museum of History over the years, providing a detailed report on their organizing contexts, procedures, aims, results, audience feedback, opinions, and related problems and issues arisen in these exhibitions.
    3. How can the National Museum of History learn from the rich experience accumulated in the past international exhibitions; how can it further break through those conventional modes of exhibition and conceive a set of management policies which will help the National Museum of History to develop continuously, to boost visitors, and to become more distinctive in the museum field in Taiwan.

    第一章 緒論 …………………………………………………………………1 第一節 研究背景與動機 ……………………………………………………2 第二節 研究目的與範圍 ……………………………………………………5 第三節 研究方法 ……………………………………………………………7 第四節 研究架構 ……………………………………………………………9 第五節 文獻探討 ……………………………………………………………11 第二章 史博館舉辦展覽的歷史與轉變 …………………………………30 第一節 創建期(1955 – 1968年)展覽主要取向 ……………………30 第二節 發展期 (1969 – 1985年)的展覽政治傾向 …………………40 第三節 轉型期(1986 – 1994年)的多元化展覽 ……………………71 第四節 現代化時期(1995 – 2001年) 的展覽功能轉化 ……………84 第三章 史博館與國際展覽 ………………………………………………104 第一節 國際展覽對博物館意義 ……………………………………………104 第二節 國際展覽與行銷策略 ………………………………………………113 第三節 史博館發展國際展覽的意義 ………………………………………122 第四章 史博館國際特展-以「驚豔米勒-田園之美」為例…………134 第一節 1997年「黃金印象-奧賽美術館收藏特展」 …………………134 第二節 「驚豔米勒-田園之美」 ………………………………………146 第三節 入場售票服務與參觀人數控管等展覽面向 ……………………166 第五章  結論與建議 …………………………………………………………179 參考書目 …………………………………………………………………………189 附件一:國立歷史博物館歷任館長年度展覽總表(1956 – 2009年)……200 附件二:「黃金印象」展覽合約書 …………………………………………287 附件三:「驚艷米勒—田園之美畫展」展覽計畫書 ………………………291

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    黃光男,《新世紀的博物館營運》(臺北:史博館,2002)。
    黃光男,《博物館能量》(台北:藝術家出版社,2003)。
    楊國樞,《社會教育的理念》(台北:師大書苑,1987)。
    漢寶德,〈現代美術館〉,《化外的靈手》(台北:遠景出版社,1977),頁69-79。
    漢寶德,《博物館管理》(台北:田園城市文化,2000)。
    漢寶德,《展示規劃:理論與實務》(台北:田園城市文化,2000)。
    劉和義譯,〈博物館教育的一些基本原則和課題〉,《博物館學季刊》,1卷3期,頁9-16。
    劉怡芳,〈藝文活動行銷傳播策略之研究─以報社贊助大型展覽為例〉,國立台灣師範大學大眾傳播研究所碩士論文,2000。
    劉婉珍,《美術館教育理念與實務》(台北:南天書局,2002)。
    劉婉珍,〈美術館的展覽教育-無聲的對話與溝通〉,《博物館學季刊》,11卷1期,頁63-70。
    劉婉珍,〈美術館教育的特質與發展〉,《博物館學季刊》,11卷4期,頁55-62。
    劉婉珍,《博物館就是劇場》(台北:藝術家,2007)。
    潘美君,〈博物館整合行銷傳播之探討-國立自然科學博物館與國立歷史博物館之特展比較研究〉,台南藝術學院博物館學研究所碩士論文,2000。
    鄭麗萍,〈高雄市立美術館展覽行銷之研究─一個全球∕地方化觀點〉,國立台灣師範大學社會教育研究所碩士論文,2000。
    藝術家編輯群,〈策展人在台灣〉,《藝術家》,第269期(2006),頁156-161。
    藝術家編輯群,〈21世紀的藝術策畫〉,《藝術家》,第374期(2006),頁208-213。

    英文參考書目:

    America Association of Museums, Museums for a New Century: a Report of the Commission on Museums for a New Century (Washington, D.C.: American Association of Museums, 1984).
    America Association of Museums, The Audience in Exhibition Development (Washington, D. C.: America Association of Museums, 1992).
    America Association of Museums, Exhibition Planning and Management: Reprints from Name's Recent and Recommended (Washington, D. C.: American Association of
    Museums, 1992).
    America Association of Museums, Excellence and Equity: Education and the Public Dimension of Museums (Washington, D. C.: American Association of Museums,1992).
    Betty Davidson, New Dimensions for Traditional Dioramas: Multisensory Additions for Access, Interest and Learning (Boston: Museum of Science, 1991).
    Betty Edwards, ”Creativity,” lecture presented at the annual meeting of the Western Museums Conference, Los Angeles, California, September 1986.
    Carolyn P. Blackmon, Teresa K. LaMaster, Lisa C. Roberts, and Beverly Serrell, Open Conversations: Strategies for Professional Development in Museums (Chicago: Field Museum of Natural History, 1988).
    Christopher Alexander et al., A Pattern Language: Towns, Buildings, Construction (New York: Oxford University Press, 1997).
    Daniel Grant, ”Do Museum Labels Turn Art Into Illustration?” The Wall Street Journal, 26 January 1984, p. 24.
    Dave Bryan and James F. Englehardt, ”Interactive Exhibit Controls,” Exhibit Builder, vol. 6, no. 1 (1988), pp. 50-53.
    David Burstein and Frank Stasiowski, Project Management for the Design Professional (New York: Whitney Library of Design, 1982).
    David Finn, How to Visit a Museum (New York: Harry N. Abrams, 1985).
    David I. Greenglass, and David S. Abbey, ”An Analysis of Visitors’ Response to Objects in a Traveling Exhibition,” Curator, vol. 24, no. 3 (1981), pp. 181-188.
    Deborah P. Benton, ”International Interaction in Museum,” Ph. D. Dissertation (Columbia University Teacher’s College, 1979).
    Edward Allen, How Buildings Work: the Natural Order of Architecture (London: Oxford University Press,1980).
    Elaine Heumann Gurian, ”Museum Learning and the Casual Visitor: What Are the Limits?” paper presented at the Seminar of the International Laboratory for Visitor Studies, University of Toronto, Toronto, November 1987.
    Elliot W. Eisner, and Stephen M. Dobbs, ”Silent Pedagogy: How Museum Help Visitors Get in Touch with Exhibitions,” Curator, vol. 33, no. 3 (1990), pp. 217-235.
    Elsa Feher & Karen Rice, ”Development of Scientific Concepts through the Use of Interactive Exhibit in a Museum,” Curator, vol. 28, no. 1 (1985), pp. 35-46.
    Eudene Bermann, ”Margaret Mead and the Hall of Pacific Peoples,” Curator, vol. 28, no. 4 (1985), pp. 259-270.
    Faber Birren, Color, Form and Space (New York: Van Nostrand Reinhold, 1961).
    Francis Cachia, ”Communication and the Museum: An Interview with Dr. Hansgerd Heflenkemper, Director of the Romisch-Germanisches Museum, Cologne,” Museum 141, vol. 36, no. 1 (1984), pp. 8-13.
    G. Ellis Burcaw, Introduction to Museum Work (Nashville, TN: The American Association for State and Local History, 1983).
    Gaston Bacherlard, The Poetics of Space (Boston: Beacon Press, 1979).
    Howard Gardner, “Designing Exhibitions for Multiple Frames of Mind,” lecture presented at the American Association of Museums Annual Meeting, Pittsburgh, Pennsylvania, June 1988.
    Huagh Aldersey-Williams, ”Painting it Green by the Numbers,” ID Magazine, vol. 40, no.1 (1993), p. 84.
    James L. Adams, The Care and Feeding of Ideas: A Guide to Encouraging Creativity Reading (MA: Addison-Wesley Publishing Company, 1986).
    James L. Adams, Conceptual Blockbusting: A Guide to Better Ideas (MA:Addison-Wessley Publishing Company,1990).
    Jean Cuisenier, ”Exhibiting Meaningfully-The Semantics of Display in Agricultural Museums,” Museum 143, vol. 36, no. 3 (1984), pp. 130-137.
    Jean Jacques Andre, ”Exhibit Planning: A Stranger in Our Midst, Parts 1 and 2,” Lecture Presented at the American Association of Museums Annual Meeting, New York City, June 1986.
    Jeanette McCarthy Gallagher, and Laurie Dien eds., ”Children’s Museums,” Children’s Environments Quarterly, vol. 4, no. 1 (1987), pp. 1-62.
    Jeffery Birch, ”A Museum for All Seasons,” Museum News, vol. 60, no. 4 (1982), pp. 25-28.
    Jo Blatti ed., Past Meets Present: Essays about Historic Interpretation and Public Audiences (Washington, D. C.: Smithsonian Institution Press, 1987).
    Joan Cash, ”Spinning Toward the Future: The Museum on Laser Videodisk,” Museum News, vol. 63, no. 6 (1985), pp. 19-35.
    John Allwood, Great Exhibitions: London, New York, Paris, Philadelphia, 1851-1900 (London: Studio Vista, 1977).
    John Dewey, Arts as Experience (New York: Capricorn Books, 1934, Reprint, 1958).
    Joseph F. Coates, ”The Future and Museums,” Museum News, vol. 62, no. 6 (1984), pp. 40-45.
    Kent C. Bloomer & Charles W. Moore, Body, Memory, and Architecture (New Haven, CT: Yale University Press, 1977).
    Linda Draper ed., The Visitor and the Museum (Berkeley: University of California, 1977).
    Lynn D. Dierking, John J. Koran, Jr. Jeffrey Lehman, Mary Lou Koran, and Edward Munyer, ” Recessing in Exhibit Design as a Device for Directing Attention,” Curator, vol. 27, no. 3 (1984), pp. 238-248.
    Margaret Hall, On Display: A Design Grammar for Museum Exhibitions (London: Lund Humphries, 1987).
    Marlene Chambers, ”Is Anyone Out There?” Museum News, vol. 62, no. 5 (1984), pp. 47-54.
    Marilyn S. Cohen, Gary H. Winkel, Richard Olsen, and Fred Wheeler, ”Orientation in a Museum: An Experimental Study,” Curator, vol. 20, no. 2 (1977), pp. 85-97.
    Michael Belcher, Exhibitions in Museums (London: University Press, 1991).
    Michael Brawne, The New Museum Architecture and Display (New York: Frederick A. Praeger, 1965).
    Michael Brawne, The Museum Interior: Temporary and Permanent Display Techniques (New York: Architectural Book Publishing Company, 1982).
    Michael M. Ames, Cannibal Tours and Glass Boxes: the Anthropology of Museums (Vancouver: UBC Press, 1992).
    Mick B. Alt & Shaw K. M., ”Characteristics Ideal Museum Exhibits,” British Journal of Psychology, no. 75 (1984), pp. 25-36.
    Milton Bloch, ”Labels, Legends and Legibility,” Museum News, vol. 47, no. 3 (1979), pp. 13-17.
    Minda Borun, Babara Flexer, Alice Casey, and Lynn Baun, Measuring the Immeasurable: A Pilot Study of Museum Effectiveness (Philadelphia: The Franklin Institute Science Museum, 1977).
    Minda Borun, Planets and Pulleys: Studies of Class Visits to Science Museums (Washington, D. C. Association of Science-Technology Centers, 1983).
    Misha Black, Exhibition Design (London: Architecture Press, 1951).
    N. S. Bronimefle & B. Harris, ”Part 1. Museum Lighting,” Museums Journal, no. 61 (1961), pp. 169-177.
    N. S. Bronimefle & B. Harris, “Part 2. Artificial Light and Museum Display,” Museums Journal, no. 61 (1962), pp. 259-267.
    N. S. Bronimefle & B. Harris, “Part 3. Aspects of the Effects of Light on Deterioration,” Museums Journal, no. 62 (1962), pp. 337-346.
    Neil Kotler & Philip Kotler, Museum Strategy and Marketing: Designing Missions Building Audiences Generating Revenue and Resources (San Francisco: Jossey-Bass Publishers, 1998).
    Peter Ames, ”A Challenge to Modern Museum Management: Reconciling Mission and Market,” Museum Studies Journal, vol. 3, no. 2 (1988), pp. 10-14.
    Peter Van Mensch, Language of Exhibitions (Amsterdam: Reiwardt Academy, 1991).
    Raymond Bruman & the Staff of the Exploratorium, Exploratorium Cookbook Ⅰ (San Francisco: Exploratorium, 1975).
    Raymond Bruman & Ron Hipschman, Exploratorium Cookbook Ⅱ (San Francisco: Exploratorium, 1987).
    Rudolf Arnheim, Art and Visual Perception: a Psychology of the Creative Eye (Berkeley: University of California Press, 1971).
    Rudolf Arnheim, The Dynamics of Architectural Form: Based on the 1975 Mary Duke Biddle Lectures at the Cooper Union (Berkeley: University of California Press, 1977).
    Rudolf Arnheim, The Power of the Center: A Study of Composition in the Visual Arts (Berkeley: University of California Press, 1982).
    Rudolf Arnheim, Visual Thinking (Berkley: University of California Press, 1971).
    Sheldon Annis, ”The Museum as Staging Ground for Symbolic Action,” Museum 151, vol. 38, no. 3 (1986), pp. 168-170.
    Stephen Bitgood, ”Understanding the Public’s Attitude Toward and Behavior in Museums, Parks, and Zoos,” Jacksonville State University Technical Report, no. 87-30 (Jacksonville, AL: Jackson State University, Psychology Institute, 1987).
    Stephen Bitgood & Danald Patterson, ”The Effects of Gallery Changes on Visitor Reading and Object Viewing Time,” Environment and Behavior (Forthcoming).
    Stephen Bitgood, Grant Nichols, Donald Patterson, and Michael Pierce, ”Lighting Up: Visitor Reactions to Illumination Level in Cave Exhibit,” Jacksonville State University Technical Report, no. 86-15 (Jacksonville, AL: Jacksonville State University, 1986).
    Steven A. Griggs, ”Formative Evaluation of Exhibits at the British Museum (Natural History),” Curator, vol. 24, no. 3 (1981), pp. 189-201.
    SuZanne DeBorhegyi, ”Museum Brainstorming: A Creative Approach to Exhibit Planning,” Curator, vol. 21, no. 3 (1978), pp. 217-224.
    Toni Gardner, ”Learning from Listening: Museums Improve Their Effectiveness through Visitor Studies,” Museum News, vol. 64, no. 3 (1986), pp. 40-44.
    Valerie Beer, ”Great Expectations: Do Museums Know What Visitors Are Doing?” Curator (1987), pp. 206-215.

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