藝術之門：藝術博物館中的藝術史形貌

The Gate of Art: A Study of Shaping History in Art Museums

楊育睿(Yu-Jui Yang)

藝術博物館 ； 藝術史 ； 公共性 ； 知識規訓 ； 藝術感知 ； art museum ； art history ； publicity ； art principle ； sense experience

藝術論文集刊

20&21期（2013 / 10 / 01）

167 - 188

繁體中文

由於藝術博物館長期以來受益於對藝術史與藝術理論的研究，其展示呈現出充滿規則與秩序性的藝術世界。在此世界觀中，觀者獲得了一種歷史的認同感，然而一種潛在的力量也正在發生，它在我們對藝術作品加以理解之前，便已如實支配著我們觀看、描述與詮釋的方式。知識在某些情況下也有可能是一種障礙。Michel Foucault（1969）便曾提醒道我們的觀念如何的被論術結構的力量所制約，本研究的核心問題將關注藝術史於博物館中再現的型態，並進一步探討藝術經驗在博物館的藝術史建構中所遭遇的改變。筆者將以19世紀歐洲藝術博物館發展為例，指出近代藝術博物館構述文本的傾向，透過文本的分析，探討藝術史資源與藝術機構之間的關係，闡述博物館中的現代藝術史規訓對藝術經驗的影響。最終，本研究期望回到藝術史論述工具的本質，試析知識規訓對藝術感知的窒礙，思考藝術博物館中的個體如何運作感知能力，完成超越文本的觀看。

Due to art museums have benefited from scholars with interest in art theories and art histories, the meanings we experienced from these institutions carried reassuring references by connected with these academic resources. We feel ordered and comfortable under these history principles, at the same time, a potential discipline dominate the way of seeing, narrating and interpreting before we understand it.Sometimes, knowledge could be a kind of obstruction. Michel Foucault (1969) reminded us how our perception are fettered by the force of construction. The language of discussions in museums will probably substitute the original form of our basic perspective procedures. By this way, we analyze art in museums as an interpretation of art history rather than the representation through artists' penetrative eyes. Therefore, an art museum is expected as a knowledge producer or a disseminator more than a role of leading enlightenment through human's sensation.History always keeps her transition. Through the analysis of the text, this research will point out the art historians from different periods of history held different attitudes and perspectives when they focus on the art works, and elaborate how art museums integrate the diversity of representations into an overall concept. An exploration on patterns of history interpreting in art museums reminded us to introspect to the influence of discourses when we undergo an esthetic experience. By a more microcosmic view on the modem museums which were established in the nineteen-century Europe, this essay on art museum s concern will discuss the effect of a principle-overprotected conception of art history in art museums.

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