兩岸博物館佛教文化展示之比較研究：以法門寺博物館與佛光山佛陀紀念館為例=A Comparative Study on the Exhibition of Buddhist Culture in Cross Strait Museums: A Case Study of Famen Temple Museum and Fo Guang Shan Buddha Museum
博物館=Museum; 佛教文化=Buddhist Culture; 展示=Exhibition; 法門寺博物館=Famen Temple Museum; 佛光山佛陀紀念館=Fo Guang Shan Buddha Museum
摘要
博物館作為一個多功能的文化載體,以第三部門之姿橫跨於海峽兩岸作為溝通的橋樑,記錄著 「屬於地方的文化記憶。博物館的展示讓當地佛教文化得以理性敘述與推廣,以兩岸博物館展示的角 「度切入討論兩岸佛教文化,分析兩岸在數十年分治之後,佛教文化是否有不同的發展。本研究目的: 1. 探討兩岸博物館在佛教文化展示上的特色與異同。 2. 針對兩岸佛教文化博物館案例,分析其呈現之佛教文化特點之異同,暨其發揮博物館功效 「以傳達理念價值之比較。 探討中國與臺灣佛教文化博物館的歷史與現況,將博物館區分為歷史涵義與文化推廣形式博物 「館,分析文化類博物館本質及運作的影響。展示方面以瞭解佛教文化博物館在展示上的類別,定義 佛教文化展示的特殊性,將佛教文化展示區分為有形文化展示與無形文化展示,統整佛教文化之展 示方式。選定個案「法門寺博物館」與「佛光山佛陀紀念館」進行了解與分析,依據規劃與設立、 「展示主題與意涵、佛教理念與傳達為比較標準,從理念至實質性的佛教文化展示,探討兩座博物館 在佛教文化展示方面的呈現。 本研究得到下述結論:綜合法門寺博物館與佛光山佛陀紀念館佛教文化展示之比較,法門寺以 文物及其歷史價值為主,構建出展示整體;佛陀紀念館以佛教推廣理念為主,藉由展示讓參觀者與 「其理念得到共鳴,肯定人間佛教於當代社會的價值。兩者展示內容與規模在佛教文化博物館中都是 「極具價值,更難能可貴的是並不專一研究僅屬於自身文化,廣納不同區域的文化概念,創造出兼容 並蓄的佛教文化展示氛圍,讓佛教文化得以在此藉由博物館功能獲得蒐藏、研究、展示、教育的功能。 Museums as multi-functional cultural carriers become bridges between countries across the strait and record their own cultural memories in the gesture of third sectors. The display of the museum allows the local Buddhist culture to be rationally narrated and promoted in front of the public and thus makes the possibility for the discussion of developments in many perspectives of Buddhist culture after decades of the political division between both sides across the strait. The main purpose of this paper is to discuss these two dimensions:
1. Explore the characteristics of the display of Buddhist culture in museums from both sides and their similarities and differences.
2. Analyze the cases of Buddhist culture museums across the strait to detect the similarities and differences between them and the effect of museum's characteristics conveying the main value of concept in display.
This paper explores the history and current situation of the museums of Buddhist Culture in China and Taiwan, discriminates cultural propaganda museums from historical ones, and analyzes the nature and operation of these cultural-function museums. In order to realize the significance and unique characteristics of Buddhist culture museums in their displays, they are divided into tangible and intangible ones for discussions, intending to perform the embodiment of the display of Buddhist culture. The author selected the Famen Temple Museum and Fo Guang Shan Buddha Museum as cases for analyzing. The discussion is based on the planning of theme establishments and conveyance of the concept of Buddhism culture and these two subjects are also taken as comparison standards between two cases in the meantime. The discussion will contain both conceptual and substantive ways in the displays of Buddhist culture. This study draws the following conclusions: Based on the comparison of Buddhism Culture Exhibitions between Famen Temple Museum and Fo Guang Shan Buddha Museum, the former is built with cultural relics and its historical value; the later mainly promotes the concept of Buddhist by showing the visitors their ideas and expecting to receive validation of their belief from the public. These two cases are both valuable for their contents and scales in Buddhist culture museums. Besides, they absorb different cultural concepts from other regions to create a compatible Buddhist culture atmosphere in the display and help the Buddhist culture to develop various functions such as collections, researches, exhibitions, and educations.
