민속원 아르케북스 067 역사지식의 시각적 조형   동아시아 박물관의 역사와 전시       저자하세봉   판형|쪽크라운변형 양장 | 376쪽   발행일2016년 8월 10일   ISBN 978-89-285-0940-9 (94380)   가격36,000원   박물관, 역사서술학으로 접근하다 박물관의 역사와 전시에 관한 연구는 박물관이 필요하다는 발상, 역사에 관한 전시에서 기억과 삭제, 선택과 배제, 분류와 배치, 그 자체를 묻는 작업이다. 이런 점에서 이 책은 일종의 역사서술학으로서 역 사학계 외부에서 만들어지는 역사 지식의 또 다른 측면을 드러낸다. 하나의 박물관에 대한 통시적 접근을 지양하고, 제국주의 시대－냉전시대－탈냉전시대로의 시대변화에서 각각의 시대에 대표적으로 조응했던 개별 박물관 다수를 통하여, 역사학계 외부에서 만들어지는 동아시아적 시선과 담론의 또 다른 측면을 캐어낸다. 박물관의 전시는 주제를 구상하여, 실물의 선택, 배열, 장식으로 이루어지는 일종의 역사서술이다. 박물관의 전시에서 역 사지식이 어떻게 빚어지는가. 지식의 조형(Shaping Knowledge)은 지식의 창조와는 다르다. 지식의 조형은 사물들에 차이성이나 동일성을 부여하여 분류함으로서 빚어진 시선과 담론이다. 유물의 전시에서 무엇이 전시되었는가를 따지는 것이 일차적으로 필요한 작업이지만, 무엇이 전시되지 않았는가 하는 점도 문제적이다. 이때 지방사, 국가사, 지역사의 배치와 조합에 대한 질문이 화두의 하나이다. Abstract The visual shaping of historical knowledge: The history of Museum & exhibition in East Asia The exhibition at a museum is a describing history thorough selection of the object, the array, and decoration. The first and foremost goal of this research is how the visual object is turned into and shapes the knowledge of history by examining the history of East Asia museums and their exhibition. The concept of creating knowledge is different to that of shaping it. Creating knowledge means that something is replaced by new theory and philosophy, whereas the shaping knowledge focuses on the differences and similarities of objects and groups objects in order of intentions, and arranges the classified objects systematically, so we can call it a ‘gaze and discourse’ by the order of signifier. The research of the history and display of museums is the process of analyzing the question of why they decided on the necessity of the museum and how a nation recalls or removes, chooses or excludes, classifies or orders objects. This book is intended to reveal another historiography created outside of the academy of history. Fifteen national museums and a private museum in East Asia are analyzed through this study. The first chapter tells about the birth of museums in the capital city of each country. The second chapter focuses on the relationship between politics and museum display. The last chapter deals with the local museum. Throughout this analysis, each period of the birth, development and specialization of the museum is characterized by modernity, politics and locality by corresponding it to the period of imperialism, the cold war and post-cold war. The first chapter studies what kind of elements shapes the knowledge of history at the birth of an East Asia museum. The similarity among museums was the contradictory character of the civilization and tradition. This originated from the institution of museum itself because the museum as a modern institution was transplanted from Europe into East Asia to collect traditional culture. Historical knowledge on display in museums was constituted with combinations of five characters which are nationality, locality, modernity, coloniality, and artistry. No museum can help but have modernity since the museum itself is a modern system. Tokyo Imperial Museum represented nationality in that it tried the building of imperial history which includes colonies. In early times, Tokyo Imperial Museum pursued modernity and artistry, however, it concentrated on artistry over modernity later. It was the Taiwan Governor Museum that extremely represented coloniality, without considering artistry, primary focusing on locality. Government General Museum of Chosun could not be an exception to having features of coloniality, but it also needs to recognize that local artistry was accentuated all over the exhibitions. The National History Museum in Beijing attempted to represent nationality after establishment of the Nanjing government in the mid-1920s and modernity stands out throughout the display and analysis of relics. The locality of Beijing is expressed by the Forbidden City. Unlike the national palace museum, the artistry is a secondary consideration in the National History Museum. Given that coloniality comes from colony in the perspective of politics, this Chinese museum does not have any connection to coloniality. The difference between museums in Japan and China is that the former originated from exposition but the latter one was unrelated. The case of Nantong museum’s display tells us even if the museum was transplanted from Europe into East Asia, when shaping historical knowledge, it was not a mere duplication of Europe but modernized the natural history knowledge in tradition(博物學). The second chapter focuses on politics during the era of cold war. The Chinese cultural renaissance movement(中華文化復興運動) in 1960’-1970’ was one part of shaping the culture of cold war. However, there were a few changes in exhibitions at the three museums because they were there for education for the justification of the Nationalist Party or anticommunist campaign before the Chinese culture renaissance movement. The Taiwan Provincial Museum(省立臺灣博物館) whose main relics come from the Japanese Colonial period mainly displayed the history of nature. The National Museum of History(國立歷史博物館) based on the excavation of mainland China shows Chinese tradition and modern art. The National Palace Museum(故宮博物院) originating from the treasures of the Qing Dynasty has been exhibiting the national treasure of art. So the Taiwan Provincial Museum established itself as national history museum. The National Museum of History established itself as national gallery in addition to Chinese tradition and The National Palace Museum established itself as the Mecca of Chinese art. These meant even with the exhibitions of museums following requests of authorities in front of demanding political power they did not respond immediately. The collection of museums acted as the primary role in the exhibition of museums. In contrast to the museum in Taiwan, the Resist America aid Korea memorial hall(抗美援朝紀念館) is indicated to be directly a museum of politics. The Resist America aid Korea memorial hall was built in 1993, four decades after the end of the Korea war, is a memorial for several hundreds of thousands of victims. The time when the museum was to be built related to domestic politics in China, waiting until the honor of Peng DeHuai(彭德懷) had been restored. He had been the captain general of the “Resist America aid Korea War”. And the museum was needed for reinforcing patriotism instead of socialism propaganda in 1990’. The resist America aid Korea memorial hall is located on the summit of a small mountain where the memorial tower can maximize the height of location. The statue of Peng DeHuai and Mao Zedong placed at the entrance demonstrates the political situation of the figures. The exhibition of the Resist America aid Korea memorial hall primary emphasizes that the Korean War was fighting against the aggression of America and achieving China’s victory. Also, there is no display of the Korean army even they were one of the main enemies of the Chinese. The exhibition of The National Museum of Korean Contemporary History (大韓民國歷史博物館) is a prime example of the political conflict. Even though the cold war was over, the main concept of the exhibition was not free from the perspective of the era of the cold war. Before the construction of the museum, there was an argument between the conservatives and progressives. Both opinions seemed confrontational but the logical grammar was isomorphically similar. Key concepts of Urban History Museums’exhibition mainly focus on the nostalgia, sentimentalism, and romance. These concepts show that the Museum no longer plays the distinct role (“La Distintion”) as the cultural capital but has changed to be a public forum for political conflicts. But It should be pointed out that the key concepts on the exhibition of contemporary history politically induce visitors to the conservative side. Chapter 3 primarily discusses locality of the museum. Kyushu National Museum (九州國立博物館) mainly dealt with Japanese history as a cultural exchange with other countries in Asia. The display of Kyushu National Museum is compound of the local history, national history, and regional history. Kyushu National Museum foreshadows the future of the 21st century museum which is different from that of the 20th century. The exhibition of Kyushu National Museum stays around National history, focusing on the locality of Kyushu and aiming to expand the boundary to Asia. The experts and local citizens all joined forces to establish the Museum. The motif of the exhibition representing “resonance” is designed to give a taste of the perspective of Asia. In terms of ocean, however, there is no such thing as the exhibition of drifting record(漂海錄), Wako(倭寇). There is no display on the cultural exchange in modern times. The cultural exchanges in modern times have been far more active than pre-modern times. In modern times the culture exchange and conflict were amid extremely unbalancing powers like warfare. The research on the cultural exchange in the historical academy of Japan usually concentrates on pre-modern times rather than modern times, it can be presumed the historical academy of Japan is trying to avoid the culture conflict originating from the unbalanced power between countries. Maybe these research trends are reflected in the exhibition of Kyushu National Museum. Hong Kong has issued identity with respect to “who are we?” since 1908’–Are we Chinese, Hongkonger in China or Hongkonger? However, the memory of past times was named and spoken as a “story”, not “history” in Hong Kong. The permanent exhibition in the Hong Kong Museum of History entitled ‘the story of Hong Kong’ is intentionally fragmented and fluid in terms of identity. Namely, it highlights anti-colonialism on the one hand and modernity on the other hand. The former discourse was based on the documentary and drama of CCTV, the latter one dealt more with poetry, novels, and movies produced in Hong Kong. The key point to remember is that the permanent exhibition of the Hong Kong museum of History entitled “the story of Hong Kong” unintentionally reveals the locality. The microscopic private history, episodes, relic are placed as the fragmented story on the matrix of history. In terms of locality, the Korea National Maritime Museum(國立海洋博物館) in the city of Busan can be compared to the above mentioned museums. The Korea National Maritime Museum aimed to build a comprehensive maritime museum. The main organizers for establishing the museum were local government, central government, and the society of maritime industry but there was no participation from the local community. There were two main issues for the establishment project of the museum. Why did the museum need to be established by the state? Why must the museum be located in the city of Busan? The logic of response was the museum was needed for developing a strong maritime country, and Busan should be the sea capital city. Both reasons are based on the idea of nationality. However, having the museum placed in Busan neglects the importance of locality. Usually, the term “ism” illustrates vivid values and aim of an idea. On the contrary, “-lity” at the museum exhibition like nationality reveals features of knowledge as the result of display. The display selected among collections of cultural assets is intentionally or unintentionally reflected by the trend of politics, ideas, habitus of the period. Historical knowledge is shaped by visual express polysemous “-ity” rather than a singular meaning of “-ism”. The birth and development of Museums in East Asia was a process to institutionalize visual knowledge thorough the real object. That is one of the main reasons for existence of the museum until now. The difference of shaping historical knowledge in contrast to creating historical knowledge arises from how the main media communicate knowledge through visual contents such as photographs, diorama, and the real object. It can be made an interpretation of real object or photographs by seeing it as having multiple meanings and polyphony like visual language in general. 이미지를 클릭하면 더 큰 이미지를 볼 수 있습니다 책머리에 영문목차 서언: 동아시아박물관 연구의 시각과 방법 제1부 박물관의 근대성 도쿄제실東京帝室박물관: 동아시아 박물관의 시발 1. 박람회에서 박물관으로 2. 모델로서의 유럽 박물관 3. 유물수집과 문화재 보호법의 제정 타이완臺灣총독부 박물관: 식민성의 발현 1. 신영토의 치적 홍보 2. 자연표본의 수집 및 전시와 식민성 이왕가 박물관과 조선총독부박물관: 예술의 역사화 1. 미술공예품의 수집과 전시 2. 역사의 과잉 국립역사박물관: 중국의 시도와 부침 1. 베이징과 베이핑: 국립역사박물관의 입지 2. 자금성의 역사박물관 3. 유물의 수집과 전시 소결: 다성적 복합체로서 조형된 역사 지식 난통南通박물원: 박물학적 지식의 근대적 변용 1. 머리말 2. 실물과 시각적 지식의 제도화 3. 수집과 분류의 시대성 4. 인문학적 지식의 분류 5. 박물학의 환골탈태 6. 맺음말 제2부 박물관의 정치성 냉전과 타이완臺灣의 박물관: 냉전문화와 박물관의 소장품 1. 머리말 2. 타이완박물관 3. 역사박물관 4. 고궁박물원 항미원조기념관抗美援朝紀念館: 시기와 장소의 정치성 1. 머리말 2. 전사자의 애도－항미원조열사능원 3. 설립시기와 입지선정 4. 영웅의 신원과 역사서술 5. 맺음말 대한민국역사박물관과 도시박물관: 이념의 지형 1. 머리말 2. 대한민국역사박물관의 전시를 둘러싼 비판 3. 도시박물관의 근현대 전시 4. 노스탤지어, 센티멘털리즘, 로맨스 5. 맺음말 제3부 박물관의 로컬리티 규슈九州국립박물관: 박물관에서 동아시아 역사의 전시 1. 머리말 2. 국가사, 지방사, 지역사와 박물관 3. 문화교류전시실－“바다의 길, 아시아의 통로” 4. 부재와 결락 5. 맺음말 홍콩역사박물관의 상설전: 전시와 담론 사이의 로컬리티 1. 서언 2. 홍콩사의 시작과 전통시대 3. 에스닉 전시와 아편전쟁 이후 4. 50년대 이후 5. 맺음말 국립해양박물관: 건립과정에 대한 비판적 검토 1. 머리말 2. 설립의 경과와 주체 3. ‘국립’과 부산 유치의 논리 4. 전시의 주제와 기획 5. 맺음말 결론: 역사지식의 시각적 조형 Abstract 도판출처 참고문헌 찾아보기 Introduction: The viewpoint and method to study the museum in East Asia PART 1. The modernity of museums－The birth of museums in the imperial period Chapter 1. Tokyo Imperial Museum(東京帝室博物館): Beginning of the Museum in East Asia 1. From the exposition to the museum 2. The European museum as role model 3. Collecting relics and establishment of the cultural property preservation law Chapter 2. The Taiwan Governor Museum(臺灣總督府博物館): Representation of coloniality 1. The publicity of the new territory and government achievements 2. Display, colonialism and collection of specimens Chapter 3. Yi Wang Ga museum(李王家博物館) and The Government General Museum of Chosun(朝鮮總督府博物館): Historicized artistry 1. Collecting and displaying of artistic handicrafts 2. The overheated history Chapter 4. The National History Museum(國立歷史博物館) : Attempt to build national museum in China and checkered past 1. Beijing(北京) and Beiping(北平): The location of The National History Museum 2. The National History Museum in the Forbidden City 3. Collection and displaying of relics Semi-conclusion: Multi-component historical knowledge Chapter 5. Nantong Museum(南通博物苑):Modernizing the natural history knowledge in tradition(博物學) 1. Genuine article and institutionalize visual knowledge 2. The spirit of the age in collection and classification 3. The classification of the humanity knowledge 4. Transform the natural history knowledge in tradition PART 2. Politics of Museums－The culture of cold war and the museum Chapter 1. The cold war and the museum in Taiwan: The culture of cold war and the collection of the museum 1. Taiwan Provincial Museum(省立臺灣博物館) 2. The National Museum of History(國立歷史博物館) 3. The National Palace Museum(故宮博物院) Chapter 2. Resist America Aid Korea Memorial Hall(抗美援朝紀念館): Politics of timing and location 1. Prayer for the souls of fallen soldiers－Resist America and aiding Korea memorial martyr’s cemetery(抗美援朝烈士陵园) 2. The time of establishment and choice of location 3. Exonerating the hero and description of the history Chapter 3. The National Museum of Korean Contemporary History(大韓民國歷史博物館) and Urban History Museums: Topography of ideology 1. The dispute over the display in the National Museum of Korean Contemporary History 2. Displaying of modern history in Urban History Museums 3. Nostalgia, Sentimentalism, Romanticism PART 3. Locality in Museums－Antagonism between the state and locality－ Chapter 1. Kyushu National Museum(九州國立博物館): Exhibition of East Asian History in the Museum 1. National history, local history, regional history in the museum 2. Cultural Exchange Exhibition-“Sea Road, Asian Route” 3. Absence and disproportion Chapter 2. Permanent Exhibition in Hong Kong Museum of History 1. From prehistoric Hong Kong to imperial era 2. Displaying ethnic Hong Kong and after the Opium Wars 3. After the modern metropolis period Chapter 3. The Korea National Maritime Museum(國立海洋博物館) : Critical approach to the project of establishment 1. Who took the initiative to establish the Maritime Museum 2. The Logic of establishing and locating the National Museum in Busan 3. The theme and plan of display Conclusion: The visual shaping of historical knowledge ABSTRACT 하세봉 河世鳳 Ha, Sae Bong 부산대학교 사학과에서 「1910~30년대 上海3대기업사 연구」(1994)로 박사 학위를 취득했다. 부산대, 동의대, 부경대 등에서 강사 혹은 연구원으로 활동했고 현재 한국해양대학교 동아시아학과에 재직하고 있다. 東京大學 東洋文化硏究所 외국인연구원, 臺灣 中央硏究院 臺灣史硏究所, 上海社會科學院, National Maritime Museum(영국), 中山大學 亞太硏究所, 復旦大學 歷史地理硏究所 등에서 방문학자로 연구를 수행한 바 있다. 10여 년 동안 중국근대 경제사를 연구하다가, ‘동아시아’라는 시각으로 중국 근현대사에서 동아시아 근현대사로 연구영역을 확장했다. “동아시아”라는 관점에서 무역, 광고, 박람회, 박물관을 소재로 연구하는 한편, 한국을 비롯한 동아시아 학계에서 생산되는 역사학 지식의 존재방식에 대하여 고 민하고 있다. 주요저서로 『동아시아 역사학의 생산과 유통』(2001)과 공저로 『東亞漢文化圈與中國關系』(2005), 『日本の植民地支配の實態と過去の淸算』(2010), 『海洋, 港口城市, 腹地』(2014) 등이 있다. 역서로 金觀濤 저, 『중국사의 시 스템이론적 분석』(1995), Warren I. Cohen 저, 『미국은 동아시아를 어떻게 바라보는가』(2003, 공역), 濱下武志 저, 『홍콩』(1997, 공역) 등이 있다. 논문으로 「解讀“申報”廣告: 1905~1919年」(2002), 「식민지 이미지의 형성과 멘 탈리티」(2005), 「국가의 계몽과 유혹」(2007), “Taiwan and its Self-Images”(2007), 「解讀中國海洋史硏究」(2016) 등 다수 있다. 이메일 ha29sb@daum.net