摘要
试图从官方背景的博物馆作为一种"现代性"计划的现实切入,重思台北"故宫博物院"宫殿式建筑背后所支撑的"复古主义"思潮之"现代思维"。书写主轴乃以台北故宫博物院的建筑设计与发展历程为经,文化认同变迁为纬,以对二战后国民党政权的"中华正统"文化论述形构空间的表征的分析、讨论宫殿式建筑外表的故宫建筑之文化内涵,继而讨论1990年代以来"新国族工程"与故宫的品牌化之路对"正统"思路的反思与消解,从而凸显台湾不同历史时势所铸造的现代性经验。
The research is structured by the hypothesis of considering the official museum as a part of modernity project, and tries to explore the modern consciousness of an ideology of restoration, which is supported by a “palace” architectural style of the National Palace Museum. The paper will first present the intertwined relationship between architectural design development of the museum and the transitional official cultural identity discourse, then analyze the spatial representation of “Chinese Orthodoxy” cultural discourse provided by the KMT government in post war Taiwan, and then finally show the cultural meanings of a “palace” architectural style. In addition, the paper is extending its field of research to the last two decades where the museum had to face a struggle between different identities statements and the development of the Economy of Culture. Finally, the “Chinese Orthodoxy” is deconstructed, Historical studies of National Palace Museum as a heterotopia is an attempt to provide a reflexive evidence of the multiple modernity experiences in post war Taiwan.
出处
《建筑学报》
北大核心
2014年第9期136-141,共6页
Architectural Journal
关键词
台北故宫博物院
中华文化复兴运动
宫殿式建筑
中华正统
道统说
文化资本
象征经济
Taipei National Palace Museum
Chinese Culturat Renaissance Movement
palace architecture
Chinese orthodoxy
Confucianism＇s mora! legacy
cultural capital
symbolic economy
