莫內花園藝術觀光：景點建構與旅遊實踐分析

Abstract

莫內花園（Claude Monet’s Garden）為知名印象派藝術家克勞德・莫內（Claude Monet）的故居、藝術品以及創作靈感來源地，位於巴黎西北方的吉維尼小鎮（Giverny），如今為法國諾曼第大區最受歡迎的觀光景點之一，每年吸引世界各地超過五十萬觀光客前來朝聖，不論是藝術愛好者或是對於花園有所想像的民眾，都被此地吸引。因此本研究將從兩個面向切入，首先從景點層面分析，探討莫內花園建構出的多重凝視、文藝觀光景點的矛盾性以及導覽中介，而後討論觀光客的行為，了解具備不同文化資本的觀光客獲得了哪些體驗，以及多層次的景點能夠激發觀光客哪些文化消費與實踐方式。本研究以多重研究方法進行，首先從文宣、報導和相關書籍取得研究資料，分析常見的旅遊網站以及莫內花園發行的實體和電子導覽手冊，以釐清個案的景點建構以及導覽中介。使用半結構式訪談24位不同國籍的觀光客，包括法國、比利時、西班牙、德國、英國、澳洲、美國、中國和臺灣，期望透過訪談交流了解觀光客的觀點與旅遊實踐方式。最後則是研究者於2019年7月中，透過數次的造訪，觀察景點的經營運作以及觀光客們的參與互動模式。研究結果如下，透過資料分析發現莫內花園為莫內以自然為媒介，展現個人創作風格與理念的場所，可視為獨特的烏托邦，進而形成地方迷思，並透過藝文場館中的作品展示，建構強烈的視覺標誌物，促進觀光行為。經由田野觀察法得知兩個現象。第一，導覽中介的規劃與實際使用情況有所落差，完善的內容無法發揮最大效益。第二，景點標誌物在觀光推廣與旅遊實踐中不斷地被強調，更加強化了圖像循環現象。從訪談分析則發現，此個案因不同文化資本的觀光客湧入以及真實性呈現的落差，產生凝視上的衝突，因而凸顯了藝術與觀光間的矛盾。Claude Monet’s Garden, located in the small town Giverny northwest to Paris, is the residence of the artist and the source of the inspiration for his works of art and creativity. It is one of the most popular tourist spots in Normandy, France, appealing to more than half a million visitors from all over the world who are either art lovers or have fantasies about the Garden. This study explored the Garden via two perspectives. The first one is from the perspective of scenic spots. It aimed to explore the multiple gazes, paradox in art tourism and guide mediation constructed in the Garden. The second perspective is from opinions and behavior of the visitors. It was hoped to better understand perceptions of visitors of different cultural capitals and how multi-layer scenic spots stimulate visitors to consume and practice.This study employed multi approaches to collect data. Firstly, the researcher collected and analyzed reports and articles from related magazines, books, poplar travel websites and official pamphlets and electronic tour guide issued by Monet’s Garden. By analyzing all these data, the research came to clarify the destination making and guide mediation of the Garden. Besides, a semi-structural interview was conducted to the 24 visitors from different countries to the Garden. They were from France, Belgium, Spain, Germany, the United Kingdom, Australia, China and Taiwan. It was hoped to gain a better understanding of visitors’ perspectives and how they planned, arranged and implemented they visit to the Garden. Finally, the researcher paid several visits to the Garden in person in mid-July, 2019 to gain first-hand experience of touring the site and observe the operation of the institute and how visitors are engaged and interacting during their visit.The results of the study are as follows. Analysis of documents including printed materials and websites reveals that Monet’s Garden is a venue where Monet manifested his personal style and ideology with the nature as a medium and that it can be regarded as a unique Utopia, which gradually became a place-myth. It was also found that with exhibitions in the gallery in the Garden, a visually-intense landmark was constructed, which has stimulated tourism. From the researcher’s field trip to the Garden, two observations were made. First, there is a gap between the planning of guide mediation and the actual utilization of it. The comprehensive content of the guide mediation was not made the most advantage of. Second, off-site markers have been repeatedly highlighted in tourism promotion and traveling practice, which has reinforced the phenomenon of image cycling. Analysis of the interviews revealed that with visitors of different cultural capitals surging and an authenticity gap, Monet’s Garden has created a gaze clash, which highlighted the paradox between art and tourism.