The Exhibition and Interpretation of the Traditional Craft in the Contemporary Museum

• Main Authors: Chung-Yuan Huang, 黃宗源
• Other Authors: 江韶瑩
• Format: Others
• Language: zh-TW
• Published: 2006
• Online Access: http://ndltd.ncl.edu.tw/handle/782w35

碩士 === 國立臺北藝術大學 === 傳統藝術研究所工藝美術組 === 94 === The subject matters and the objects of the traditional craft carry some significance and value from its contextual world. Through certain approaches they are detached from original context and are brought into the field of the museum; as for meeting the exhibit purpose, the attitude and the situation the museum has offered to translate and re-contextualize these objects become the stressed problem consciousness of this paper. Nevertheless, the organism of the traditional craft never dies; it is just experiencing a consecutive process of happening and changing．The museum exhibition is not only a cultural performance but a reflection upon the culture itself the meaning and value of the craft depend on what interpretative strategies for exhibits will be employed on it and how they are practiced; that is, within different disciplines of museum exhibition, on what position should the traditional craft be settled? Or the museum exhibition itself has also affiliated with the coinage of the so-called "tradition craft" and thus has established or reinforced certain socio-axiological system through exhibits. In an attempt this paper aims at organizing and shaping a conception of interpretation for the exhibition of the traditional craft. Firstly, it concerns the museum exhibition and its interpretation toward exhibits; rendering exhibition an interpretative process, it inquires into the phenomena of object interpretation, exhibitionization and representation in exhibits. Next it will turn to re-examine the conception of the traditional craft and its definition from related fields; this is the first encounter stage for museum as an exhibiting and interpreting subject vis-a-vis traditional craft as an interpreted object-whether the museum takes it or not. Furthermore, it regards the various types of representation, ideology and cultural performance in exhibits as a symptom and evaluates how the traditional craft will be constructed in light of different interpretative viewpoints and devices. With two case studies-"Message from the Ainu: Craft and Spirit" from National Museum of Ethnology Osaka, Japan一as example it illustrates how the mechanism of exhibit strategies works upon the shaping of the exhibition concept and How the cultural significance and the value of the museum-nominated traditional craft will be analyzed through the exhibition and moreover, in "Classic Collection for Traditional Arts" from National Center for Traditional Art, from the angle of exhibit planning it discuss how the exhibit strategies are shaped and carried out in a thematic exhibit for a classic collection of traditional crafts. The traditional craft in museum exhibition is always accomplished through the cultural product of human interpretation; imbued with abundant meanings the traditional craft should be granted with certain mission and opinion from museum exhibition. Therefore, basically the museum exhibition is still a cross verification process--facing and caring for the interpretative potentials of the traditional craft.