地方性的想像：國立故宮博物院南部院區文化治理與空間政治研究

Abstract

臺灣政治民主化進程與故宮南院從構想、籌建、營運逾20年的時間緊密連結。本研究以文化治理與空間政治其「地方性的想像」概念切入，探討定位、建築、十二生肖獸首、園區BOT及國寶館五個事件。採用歷史研究法，分析《聯合報》電子報、《自由時報》電子報及相關的《立法院公報》，目的在於探討故宮南院其文化治理各階段之發展歷程、空間政治的特定現象及不同群體對其地方性的想像及差異因素。 研究分析結果，故宮南院其想像的地方性環繞在區域平衡、歷史觀點、地方發展、政黨意識、亞洲文化意象、國族認同、利益分配、民主政治展開。而故宮南院其地方性的想像則奠基於1987年解嚴的社會條件、故宮南院「亞洲」範疇相較故宮北院「中華」範疇富含想像空間與國際級博物館分館及地方博物館兩者角色的衝突。另外，將此五個事件歸結在兩個主軸下探討，分別是：發展主義下的區域平衡爭議以及國族主義下的中華及本土認同拉鋸。The evolution of democracy in Taiwan has been closely connected to the planning, construction, and operating phases of the Southern Branch of the National Palace Museum over the past 20 years. This study employed cultural governance and the locality imagination of politics of space to discuss the positioning, construction, the twelve bronze zodiac statues, the build–operate–transfer projects, and the National Treasure Hall. The researchers adopted the historical research method and analyzed the e-newspapers of the United Daily News and Liberty Times and relevant hard copies of The Legislative Yuan Gazette. The researchers also examined the development phases of cultural governance, specific phenomena of politics of space, and differential factors influencing the locality imagination of various visitor groups to the Southern Branch of the National Palace Museum. Analysis results revealed that the locality imagination of the museum was based on regional balance, historical viewpoints, local development, party consciousness, Asian cultural image, national identity, profit distribution, and democratic politics. The locality imagination of the museum was based on the social background of 1987, during the period when martial law was lifted. The exhibition scope of the museum (which is focused on the “Asia” theme) exhibited a greater space for imagination than the Northern Branch of the National Palace Museum (which is focused on the “Chinese” theme). Furthermore, the Southern Branch exhibited stronger conflicts between its role as an international branch museum and a regional museum. This paper also discusses the positioning, construction, the twelve zodiac animals statues, the build–operate–transfer projects of the museum, and the National Treasure Hall according to two main themes: disputes regarding regional balance under development theory and the conflict between the Chinese identity and localized identity under nationalism.