¡@¡@This research aims to find how museums combine marketing strategies with tourism through probing into marketing strategies and experience of the National Palace Museum, and profoundly explore the benefits generated by treating the museums as the tourist destinations. We expect to suggest future feasible marketing strategies for the National Palace Museum through objective examination and function as reference for domestic museums and other related industries. This research is based on qualitative case study and interviews the National Palace Museum, the people in museum circle, chief of the community, tour guides and tourists by face-to-face and telephone interviews. In addition, it includes on-site observation and related documents as the criteria for the study and analysis of this paper. The research framework is divided into three dimensions: internal examination, external relationship and marketing strategies of the museum. There are 14 elements being investigated, including organization, personnel, the collection, exhibition, the building, location, image/brand, strategic alliance and international collaboration, empowerment and cross-industrial cooperation, community, pricing strategy, media and event marketing, internet marketing and digital collections, films and publications etc. The research conclusions are below: In terms of ¡§organization¡¨, the adjustment of the National Palace Museum is still not passed by law. How to respond to external forms and adjust internal organization become extremely critical. With regard to ¡§personnel¡¨, most of the personnel in the National Palace Museum have experienced professional training and they are all qualified; the tour guiding quality is excellent and the facilities are new; they contribute to the promotion of art education. As to ¡§the collection¡¨, it includes over 650,000 Chinese antiques, royal and palace articles and literatures. However, the museum should be prepared for the possible antique dispute in the future; as to ¡§exhibition¡¨, besides the internal exhibitions, the National Palace Museum also actively keeps up with the world; holding special exhibitions is one of the most effective ways to increase domestic visitors; in terms of ¡§the building¡¨, the National Palace Museum is built on eastern traditional building with exotic attraction; after reconstruction, the National Palace Museum increases the square measure of exhibition and boutiques and food shops become spacious; as to ¡§location¡¨, it is far away from downtown and inconvenient in terms of transportation. With regard to the creation of ¡§image/brand¡¨, the National Palace Museum replaces old image with new image by new concept, lively and diverse methods. As to ¡§Strategic Alliance and international collaboration¡¨, it cooperates and exchanges with well-known museums, such as loan and return exhibitions. ¡§Empowerment and cross-industrial cooperation¡¨ is the principal target of present operation. It increases brand authorization which result in soaring growth of authorization sum. Diverse cross-industrial alliance livens the antiques and increases their economic value. With regard to ¡§community¡¨, the residents in the community can visit the National Palace Museum for free. However, the parking problems still discourages the residents. In terms of ¡§pricing strategy¡¨, the prices of the products in the shops seem to be high. It can still develop ordinary price products. With regard to the relationship with media, the National Palace Museum has been holding special exhibitions with media for long term with satisfying results. Among international media, Japanese media exposes the most. In terms of ¡§internet marketing¡¨, WWW design is remarkable with countless awards. It also actively proceeds with ¡§digital collections¡¨. As to ¡§films and publications¡¨, in recent years, it has been devoted to shooting the films and advertising to promote the National Palace Museum. High-quality publications are also awarded which strengthen the overall image of the National Palace Museum. Generally speaking, the most critical three elements of the National Palace Museum marketing are collection, visitor service and brand image. The unfavorable elements include organization mechanism, location and relationship with community.

京都大学 / 0048 / 新制・課程博士 / 博士(工学) / 甲第20698号 / 工博第4395号 / 新制||工||1683(附属図書館) / 京都大学大学院工学研究科建築学専攻 / (主査)教授 竹山 聖, 教授 山岸 常人, 准教授 田路 貴浩, 教授 三浦 研 / 学位規則第4条第1項該当 / Doctor of Philosophy (Engineering) / Kyoto University / DFAM

本論文希望透過研究故宮博物院於1961年前往美國進行的「中國古藝術品展覽」，解釋今天故宮的特殊角色與定位。除了期望說明故宮代表中華文化的論述如何形成與建立，同時也解釋故宮如何透過展覽的陳列與解說，來呈現國家與國族的形象與想像。通過研究故宮發展、故宮藏品與國家政權之間的互動，對於文化藝術與權力之間的關係作更深刻的思考。 今天故宮不僅被視為中華文化的象徵，甚至將故宮藏品當成「國寶」。但是如果我們嘗試分析故宮藏品，不難發現這些文物僅是中國皇室收藏的珍奇異品。不過最近幾年，由於台灣社會、政治的變遷，故宮的獨尊地位開始受到挑戰。現任故宮院長杜正勝就質疑前任院長秦孝儀塑造故宮為華夏民族博物館的作法，否定台北故宮和北京故宮有前、後繼承的關係；並主張台北故宮的典藏政策不需要依循「國寶」的脈絡。由於這樣的質疑與轉變，使得故宮在中國文化上所代表的正統與典範地位，以及故宮和國家、政權之間的關係得以被重新思考。 今天，我們之所以認為博物館能夠傳達國族或文化的概念，主要正是因為博物館將收藏的文物「有意識」的重新加以排列展示，因而得以將國家、文化的發展脈絡，具體的呈現在人們眼前。國家對於藝術品的保存與展示，逐漸變成定義一個國家、文化傳統的重要媒介。展覽不僅呈現文化遺產，還進一步將國家發展歷史「展示」出來，經由重新脈絡化來宣揚國族與文化。例如日本過去經常藉由博覽會與展覽貶抑中國，並積極塑造日本成為「亞洲藝術遺產的守護者」。而故宮對外展覽，其實正是開始爭取中國對外形象的塑造以及發言權，甚至彰顯中國在東方藝術與文化上的重要地位。 因此本論文以1961年故宮前往美國五大城市舉行為期近一年的「中國古藝術品展覽」為例，探討故宮如何透過展覽的展示與解說，塑造中國國族的歷史與想像，同時建立中國藝術的「經典」，因此影響了西方對於中國藝術的論述與評價。這場展覽是中華民國政府播遷到台灣之後，國家級文物首次大規模的出國展覽。不僅由創辦《時代》（Time）、《財星》（Fortune）、《生活》（Life）等刊物的媒體鉅子亨利魯斯提出邀請，並出任贊助人。同時，中、美兩國元首擔任名譽倡導人，展覽期間更是備受官方與學術界的矚目。但此時世界局勢不穩，似乎沒有必要大張旗鼓安排故宮文物前往美國展覽。另一方面，由於中華民國與中華人民共和國政府互相爭奪正統，雙方都透過外交與司法途徑互相角力，爭取中國的代表權。如果中共借題發揮，這批參展文物極有可能被中華人民共和國政府收回，因此故宮赴外展覽的動作，格外引人矚目。 故宮博物院從建館以來，受限於經費及政治因素，對於收藏文物展示的時間並不長，研究工作也無從展開，只能偏重於清點工作。可是為了赴外展覽，必須編寫展覽目錄，勢必集合學者著手檢討文物的真假、年代與作者。也因為要對外展現「中國」，而必須對文物重新編排、解釋。因此，故宮赴外展覽確實是一個討論與觀察中國近代國族建構論述形成的特殊視角。故宮如何對外呈現、宣揚「中國」文化與藝術，其實正是具體展現故宮如何形塑與建構「中國」國族與文化的論述與想像。尤其是在前文所述的特殊歷史時空下，究竟展覽中呈現出怎樣的「中國」圖像，應該是一個相當值得探討的議題。因此，這個深受各方重視，又在敏感時機出國的展覽，如何選擇足以代表中國藝術與文化的作品，並以怎樣的方式展示，標示出民族國家框架下定義的中國，便是本研究試圖探討的議題。 本文希望強調故宮赴外展覽往往和國族形象的建構以及文化外交有密切的關係，因為展覽的特殊目的，因此影響了故宮在文化與藝術上的意義。也就是說，故宮今天獨特的地位和赴外展覽中的國族論述以及審美的展示方式有密切關係，而也正是因為故宮的特殊背景，賦予這些藏品更深的民族、國家意涵。 / The National Palace Museum has generally been considered as representing the culture of China and, for many years, the collection of the National Palace Museum was considered representative of traditional Chinese art. It has also been used by the Nationalist government in Taiwan as a symbol of legitimacy for the Republic of China. However, the society and politics of Taiwan have changed recently leading to an introspection for the foregoing opinions. The current director of the National Palace Museum, Tu Cheng-sheng, has questioned the transformation of the institution from the prototype of an imperial museum into a national art museum. Because attitudes about nations and cultures have changed, we can rethink why and how the National Palace Museum took on its role as representation of Chinese culture and the significance of its role in the history of modern China. Museums are important in shaping knowledge, in defining identities, and in representing culture. Since the late eighteenth-century in Europe, the modern museum has been a powerful apparatus for supporting the idea of the nation-state by exhibiting culture. Many recent studies on the establishment of the Louvre and other European national museums have demonstrated how these museums and their collection represent culture and establish canons through exhibitions. But in the past research, there has not been much discussion about how the National Palace Museum practices representation of culture through the images of art works displayed or exhibited in the museum. In 1961 The Chinese Art Treasures exhibition toured five major cities, Washington D.C., New York, Boston, Chicago and San Francisco. This exhibition of works from the National Palace Museum was organized on the invitation of the United States government for the purpose of instilling cultural understanding. At the same time, the exhibition was organized with a clear political agenda—to counter the threat from the Communist government who wanted to take back the collection. This paper will discuss how the exhibition The Chinese Art Treasures was used to define the Republic of China’s national sovereignty and to represent Chinese culture. The exhibition was held during the period when the conflict between the Republic of China under the Nationalist (the KMT) and the People's Republic of China over political legitimacy was the most heated and tense. This paper hopes to illustrate how the KMT employed the exhibition to proclaim the Republic of China’s firm stance in its claim of sovereignty over China and to demonstrate how the exhibition solidified the National Palace Museum’s role as the representation of the five thousand-year cultural legacy of China.

因應資訊科技帶動政府再造的趨勢，國立故宮博物院（以下簡稱故宮）在推行各國家型數位政策的過程中，有許多亮眼的數位化成果，對應過去的傳統形象和經營模式也有很大的改變，然而目前卻鮮少有研究去探討故宮這樣一個傳統機關進行轉型的過程。因此，本研究擬以組織變革為探討的理論基礎，運用質性研究方法，探討近年來故宮的組織變革，以及瞭解資訊科技在故宮變革中的角色，來瞭解故宮近年來何以有這麼多的數位發展成果，以及對故宮造成了哪些影響，綜合故宮近年來的變革發展。 　　本研究藉由深度訪談與次級資料整理，針對研究問題提出下述結論，並提出組織變革理論與實務上的建議。 一、促使故宮變革的趨力可分成組織外部的國家典藏計畫資源的挹注，以及組織內部因應領導者決策、組織法規的修訂以及發展上的侷限，造成故宮必須改變現況的變革需要，並在變革過程中受到資源、組織結構與成員三方面的阻力。 二、資訊科技並非直接促使故宮變革的趨力，但在故宮的變革過程中也扮演了推波助瀾的重要角色。具體而言，資訊科技不只是協助故宮落實變革的工具，也是讓故宮在組織法規上不符需要的問題被關注的契機，更是故宮在發展上的新途徑。 三、資訊科技對故宮的影響，不僅可對應於電子化政府的發展願景，對內部管理、組織結構、組織成員、與民眾的溝通，以及服務流程等方面產生影響，也擴散了故宮的行銷，擴展了故宮的發展範疇。 / Following the trend of applying Information Technology to Reinvent Government, National Palace Museum (NPM) produces remarkable digitalized asset through carrying out National Digital Archives Program. In addition, NPM gets distinct from the previous stereotype and also runs a modified business model; however, the shifting process is rarely explored. This research focuses on the transformation process of the most traditional institution based on Organization Change theory. The author adopts qualitative approach to investigate the organization change of NPM in order to know what the impact on NPM is, what the role Information Technology plays in the evolution and to know why NPM is able to bring in the abundant digital asset, apart from summarizing the recent changes of NPM. 　　The author attains the following conclusions and proposes suggestions on the organization change in both the theoretical and the practical aspects, after conducting in-depth interviews and researching secondary materials. First, the driving force which transforms NPM can be categorized into two kinds. Outside NPM, there is a sustained funding from National Digital Archives Program. Inside NPM, the transformation necessity results from the limitation of the legal regulations, the policies of the leaders and the development confinement. NPM confronts problems from resources scarcity, organization structure and members’ resistance in the evolving process. 　　Second, although Information Technology is not the direct driving force, it plays a critical stimulus factor to the evolution of NPM. Generally speaking, Information Technology, not simply a tool, reveals the problems of out-of-date legal regulations but also an innovative way of development. 　　Third, the lessons of Information Technology impact on NPM can be served as a reference of e-Government vision. It not only influences the internal management, the organization structure, the participant members, the communication with the public and the serving process, but also spreads the marketing and expands the scope of NPM.

藝術博物館將其珍貴典藏進行跨國界的借展，已成為近年來無論國內外藝術博物館的年度盛事。然而，綜觀國內外相關文獻，多半集中在辦展經驗的陳述，較少剖析國際借展對藝術博物館本身任務所帶來的衝擊。而由於國際借展的跨國性質，並不僅是單純的藏品交流而已，事實上更廣泛牽涉到其它因素，有時因為借出入雙方的外交關係、認知差異、利益考量、法令限制及政治敏感等問題，而使展出前的交涉作業，經過多方的折衝協調，才圓滿達成任務。 有鑑於上述觀察，本研究乃嘗試結合藝術博物館國際借展的實務面與內涵面，期望以宏觀的角度，開拓更寬廣的研究視野。首先，探討國際借展的功能與角色，並瞭解影響國際借展的因素、國際間有關國際借展的發展現況，以及著名個案所衍生的議題；其次，歸納國際借展規畫與管理的原則，包括借展計畫、合約訂定、保險與司法扣押豁免的保障、借展品安全維護、包裝與運送、借展品處理與運用、經費與贊助事宜。在研究對象方面，採用文獻分析法、訪談法、個案研究法及歷史研究法，彙整國立故宮博物院歷年參與國際借展之緣起、籌備經過、作業情形及當中所發生的特殊事件，分析其政策、經營模式與效益。 最後，針對現今國內藝術博物館舉辦國際借展時所面臨的重要課題，提出八項建議：(一)修正國內相關法令與體制的缺失；(二) 解決區域性藝術資源分配不均之問題；(三) 真正落實國際間館際的交流；(四) 加強館藏文物的展示技術與教育內涵；(五) 塑造展覽評論的藝文空間；(六) 培養與訓練專業人才；(七) 設立國際藝術文化交流諮詢機構；(八) 提供借展品更完善的保障措施。

本研究將從法律及管理觀點，分析博物館文物典藏品影像檔案的法律性質，介紹大英博物館及法國羅浮宮的藏品影像授權商品業務的經營經驗，並以國立故宮博物院為例，說明博物館數位文物圖檔授權對於文化創意產業所發展發揮之效益，也透過廠商訪談獲得對於其現行授權業務營運之意見。本研究最後也對於現行典藏機構之藏品影像管理及授權業務提出幾點建議：針對不當使用行為主張法律上權利予以制止、創設特別權利保護資料庫、權利管理電子資訊及防盜拷措施保護條款之準用、積極開發潛在智慧財產，以獲得法律保護、公正、公開、公平地經營藏品影像授權業務、鬆綁或彈性適用法令程序，設計多元且適合的商業模式、平等、互惠、雙贏的合作條件、創造衍生著作、創造附加價值、確認藏品影像品質並因應不同用途進行標準化、及透過網路、集中管理典藏產出之影像檔案等建議。 / Technology of Digitalization has improved the enforcement of National Digital Archives Program. The outcomes of NDAP bridged the conserving authorities and the industries and inspired their commercial interactions. Domestic conserving authorities, which are usually museums or galleries, should promote and manage the outcomes in a positive way for the industries to make use of. This paper explains the legal protection, especially intellectual property laws, of the image of the painting, calligraphy, antique or other historical artwork. The experiences of operating commercial business of the British Museum and the Louvre Museum are introduced. Then, this paper takes National Palace Museum as an example, to investigate its commercial business related to the licensing of artworks images, and to gather the opinions from its cooperating enterprises. In the end, the paper submits several suggestions on legal and managing point of view about the operation of art images to the conserving authorities.