박물관에서 동아시아 역사의 전시― 九州국립박물관의 경우 ―

Abstract

This thesis aims to grasp how the history of East Asia is displayed in Kyushu National Museum. Kyushu National Museum, which opened in 2005, established “Understand Japanese culture from the point of Asian view” as its basic vision. This is the only museum that adapted Asian history as its subject. I will take on a new approach on understanding the display of the Kyushu National Museum. I will look into the relationship between Japanese history research and the developing process of Japanese museums, as well as historic research, and displays by analyzing the standards of local, national and regional history. The formation period of national history in the late 19thcenturymatchesImperialmuseum’serection.Havinganewrecognitionoflocalhistoryaround1960’sisoverlappedwiththemuseumfoundationboomin1970’s.Regional history was raised in the early 1990’s, which included the coming out of Kyunshu National Museum and built the Asian historical view. Kyushu National Museum was named “Cultural Exchange Exhibition” instead of “Permanent Exhibition”. In the Cultural Exchange Exhibition room, there were five classifications by era, comprising of the main exhibition room and eleven related rooms. The exhibition of local history represents Kyushu located in the frontier to accept and spread foreign culture in the history of Japan. Though an exhibition of national history holds few display items, the state of it is quite high. This tells us a process, a connection with different cultures leading to Japan’s imitation causing its originality. Exhibitions in the regional history are East Asian cultural properties, giving an opportunity to compare Japan’s. The exhibition of “Ding-dong, bell dium” attracts attention. This display expresses the interaction through musical instruments. It is an expressive concept that cultural interactions are resonance, because it gives a new perspective. A good amount of study in maritime history is a remarkable feature in the Japanese academic world. But there are no exhibitions about Sea Road, such as drifting records and Wako, despite of an ultimate theme, “Sea Road, Asian Route”. Some people have doubts about the slogan, “We (Kyushians) are the one. “ But it is hard to look for a regional diversity in the Main Exhibition room, except for one special exhibition. Also, it seems that local historians did not intervene in museum exhibitions. Kyushu National Museum did not include any Imjin War or Imperialism exhibitions. War is the most extreme form of cultural exchange. In spite of “cultural exchange”, there is no war in the display. I doubt the relation which the research trend of marine history by the Japanese academic world is mainly focused on the pre-modern one.