從淡水八景變遷探討淡水文化景觀保存與經營

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doi:10.6840/cycu201600261

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从淡水八景变迁探讨淡水文化景观保存与经营

The preservation and management of cultural landscape in Tamsui: From the study of changes in Tamsui’s "Eight Icon Views"

萧文杰 , 博士　　导师：堀込宪二　　

繁体中文 DOI： 10.6840/cycu201600261

文化景观；八景；文化传播；艺术地理学；淡水； cultural landscape；eight icon views；eight views；eight scenes；cultural communication；Geography and Art；Tamsui

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摘要 │ 参考文献 (363) │ 国际计量

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“Eight Icon Views” is a distinctive feature of Asian culture. Literature on the subject can be found in all areas once under the influence of Xiao-Xiang culture. The cultural concept first appeared in the poems and paintings of renowned literati before gradually becoming a cultural convention. Migration of the population, as well as cultural changes, resulted in differentiated texts regarding the “Eight Icon Views”.
This cultural concept has also been used to evaluate actual landscapes, thereby truly becoming “associative cultural landscapes”.
Tamsui’s “Eight Icon Views” stems from concepts of both the Xiao-Xiang culture of Hunan Province and Japanese aesthetic theory. Aesthetics aside, Qing rulers, the Japanese occupancy, and the Republic of China’s regime in Taiwan after 1945 all furthered their political agendas through the evaluation and selection of “Eight Icon Views”.
Local experience and elevation in the value of aesthetics can be observed through changes in the “Eight Icon Views” of each passing era, thus formulating a cultural and artistic significance which has the potential of becoming an important part of urban consciousness. Conservation and management of cultural assets are incorporated into the realm of daily life, so that the “perception” of a landscape becomes an important cultural asset.
The contents of this study begins with a description of the evolution of “Eight Icon Views” from multiple angles, such as that of scholars and artists, then returns to landscapes that are interlocked with the activities of daily life so as to discuss the artistic traits of the “Eight Icon Views” as well as the conservation and management of local cultural landscapes.
This research is divided into six chapters.
Chapter One (Introduction): This chapter prescribes the research purpose of the study, which is to explore the possibility of aesthetic perception becoming the basis of urban conservation and management by through discussions of cultural transformations and the associative aesthetic qualities of the “Eight Icon Views”.
Chapter Two (The Significance of Propagating the Concept of “Eight Icon Views” in terms of Cultural Assets): This chapter describes the birth and development of the “Eight Icon Views” culture through the understanding of the characteristics and significance of “Eight Icon Views”, and further analyzes the “Eight Icon Views” through the scope of modern “cultural assets” both tangible and non-tangible.
Chapter three contains a genius loci analysis of Taiwan’s “Eight Icon Views” during the Qing Dynasty rule, with the aim of finding distinguishing features of Taiwan through a study of the establishment and transformation of “Eight Icon Views” within the scope of the Qing Dynasty Taiwan Prefecture.
Chapter four focuses on developments in Tamsui’s cultural landscapes under the influence of the “Eight Icon Views” culture prior to the tenth year of Tongzhi (1871), because the concept of “Eight Icon Views” that passed into Tamsui from Xiao-Xiang took shape during the reign of Emperor Tongzhi. This chapter also elaborates on the naming, boundaries, and overview of the poetic space of Tamsui, also referred to as Huwei.
Chapter Five contains an analysis of the formation of “Tamsui’s cultural landscape” from the perspectives of contemporary art and the world heritage system. In this chapter, the impact that Western culture exerted upon Tamsui’s Pudin area after the Treaty of Tientsin in 1858 serves as the basis of discussion, as well as the “New Eight Icon Views” influenced by the Meiji Restoration that spread to Taiwan during the Japanese colonial period. In this chapter, aesthetics is identified as an important factor in the formation Tamsui’s cultural landscape, which is the reason why the associative cultural landscapes of Tamsui will also be discussed in terms of Japanese aesthetic thought and methodologies.
Chapter Six, the conclusion, describes Tamsui’s current situation, and investigates how art can play a part in conserving the culture of an ever-changing Tamsui. Through a retrospective view of Tamsui’s history and how the “Eight Icon Views” has evolved, new concepts and ideas regarding the conservation and management of both Tamsui and Taiwan’s cultural landscapes may be engendered.

参考文献 ( 363 ) 〈TOP〉

Arnold Berleant着，刘悦笛译（2007）。《环境与艺术：环境美学的多维视角》。中国四川重庆：重庆出版社。
连结：
Rolf-Peter Wille着，叶绿娜译（2011）。《福尔摩沙的虚构与真实》。台北市：玉山社。
连结：
台湾银行经济硏究编着(1956)。《淡水厅志》。台北市 :台湾银行经济硏究。
连结：
萧琼瑞(2006)。《怀乡与认同─台湾方志八景图研究》。台北市：典藏出版社。
连结：
吴毓琪(2006)。《康熙时期台湾宦游诗之研究》。国立成功大学中国文学系博士论文，台南。
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使用DOI作为永久连结

引用含有DOI的文献

DOI可强化引用精确性、增强学术圈连结，并给予使用者跨平台的良好使用经验，目前在全世界已有超过五千万个对象申请DOI。 如想对DOI的使用与概念有进一步了解，请参考 （ ） 。

DOI可强化引用精确性、增强学术圈连结，并给予使用者跨平台的良好使用经验，目前在全世界已有超过五千万个对象申请DOI。如想对DOI的使用与概念有进一步了解，请参考（）。