國立中央博物院籌備處史（1933-1949）

Abstract

國立中央博物院籌備處（以下簡稱央博）是國民政府時期於南京設立的第一所中國大型綜合博物館，下設「人文」、「自然」、「工藝」三館。其宗旨是提倡科學研究並輔助公眾教育。這是中國第一間綜合型博物館，涵蓋人文科學（傳統文物、考古學、民族學、人類學等）、自然科學（地質學、動物學、植物學等）及工藝技術（傳統民間手工藝與西方最新科技工業）。

央博的籌建歷經蔡元培的倡議、朱家驊的推動，以及首任籌備處主任傅斯年和第二任籌備主任李濟的努力而完成。初建時，央博完成了何遂繪園古物購藏案、接收古物陳列所文物，並舉辦了現代博物館建築競圖競賽。由梁思成擔任建築委員會專門委員，主持競圖規章、參與評審及選定優勝方案，最終由徐敬直獲勝。中國營造學社也參與其中，將當時中國古建築史的研究成果融入設計中，形成了以“遼宋”式建築為標竿的央博建築。

在軟體部分，1936年，央博與中研院合組四川民族與動植物考察團，由馬長壽進行凉山羅彝考察。七七事變後，央博隨文物南遷至西南方，在艱困的環境中完成了許多文化事業，包括凉山羅彝民族考察、雲南滄洱文化考古、四川彭山崖墓考古、漢代車制研究、貴州苗族工藝考察、大理麼些族民族考察及四川民間手工業調查等工作。這些活動旨在輔助公眾教育，展示文物並進行研究。在困難環境中，央博舉辦展覽，使大眾了解新興科學（考古學、民族學），並清楚傳遞博物館工作的重要性和文物的歷史意義與價值。

抗戰勝利後，央博代表政府接收敵偽藏品及各界轉交的文物，如毛公鼎、司母戊鼎等。1948年，央博舉辦了兩個重要展覽，包括與國立中央圖書館在台北的聯展，及與北平故宮博物院合作的兩院聯展，均獲得好評及大量參觀人潮。隨著國共內戰再起，央博理事會決議挑選精品赴台灣，1948年12月至1949年2月分三批運抵台灣，並併入中央博物圖書院館聯合管理處（簡稱聯管處）。留在南京的中央博物院則於1950年正式改為南京博物院，這是中國近代史上存在17年的博物院。

本研究採用文獻分析法與口述歷史，以現存檔案管理局藏民國時期央博公文書為主。探討央博在面對中國近代－中國與西方、傳統與現代、中央與地方、文化與政治、博物與研究等多方面現代性挑戰。此外，本文亦嘗試回應西方中國近代思想史學家列文森（Joseph Levenson）的觀點：「中國知識份子，情感上依戀過去傳統，但在理智上擁抱西方。」這是否意味著中國將文物木乃伊化，放置博物館中保存傳統，但與現代無關？透過央博的文化事業，我們可以回應列文森二分法的謬誤，並展示央博在「傳統的現代化」與「外來的中國化」博物館事業中的角色，如何將文化精神持續傳承到下一代。

The Preparatory Office of the National Central Museum (hereinafter referred to as Central Museum) was the first large comprehensive museum established in Nanjing during the National Government period. It consists of three sections: "Humanities," "Natural Sciences," and "Crafts." Its mission is to promote scientific research and support public education. This is China's first comprehensive museum, covering humanities (traditional artifacts, archaeology, ethnology, anthropology, etc.), natural sciences (geology, zoology, botany, etc.), and craft technology (traditional folk crafts and the latest Western technology and industry). The establishment of the Central Museum went through the advocacy of Cai Yuanpei（蔡元培）, the promotion by Zhu Jiahua（朱家驊）, and the efforts of the first director of the preparatory office, Fu Ssu-nien（傅斯年）, and the second director, Li Ji（李濟）. Upon its initial establishment, the Central Museum completed the He Sui（何遂） antiquities acquisition case, received artifacts from the Institute for Exhibiting Antiquities（古物陳列所）, and held a modern museum architecture competition. Liang Sicheng（梁思成） served as a special committee member of the museum's architectural committee, overseeing competition regulations, participating in evaluations, and selecting the winning design, which was ultimately won by Su Gin Djih（徐敬直）. The Society for Research in Chinese Architecture（中國營造學社） also participated, integrating contemporary research findings on Chinese ancient architecture into the design, setting the benchmark with "Liao-Song" style architecture for the museum. In terms of software, in 1936, the Central Museum and the Academia Sinica jointly formed the Sichuan Ethnic and Biological Survey Team, with Ma Changshou conducting the Liangshan Yi investigation. After the Marco Polo Bridge Incident, the Central Museum relocated its artifacts to the southwest, completing numerous cultural projects under difficult conditions. These included the Liangshan Yi ethnic survey, Yunnan Dali culture archaeology, Sichuan Pengshan cliff tomb archaeology, Han dynasty vehicle research, Guizhou Miao craftsmanship survey, Dali Nakhi ethnic survey, and Sichuan folk handicrafts investigation. These activities aimed to support public education, display artifacts, and conduct research. Despite the challenging environment, the Central Museum held exhibitions to help the public understand emerging sciences (archaeology, ethnology) and clearly convey the importance of museum work and the historical significance and value of artifacts. After the victory of the Anti-Japanese War, the Central Museum, on behalf of the government, received enemy and puppet regime artifacts and various transferred artifacts, such as the Mao Gong Ding and Si Mu Wu Ding. In 1948, the Central Museum held two significant exhibitions: a joint exhibition with the National Central Library in Taipei, and a joint exhibition with the Peiping Palace Museum, both of which received widespread acclaim and attracted large crowds. With the resurgence of the Chinese Civil War, the museum's board decided to select and transport premium artifacts to Taiwan. From December 1948 to February 1949, they were transported in three batches to Taiwan and merged into the Joint Management Office of the Central Museum and Library (hereinafter referred to as the Joint Management Office). The Central Museum in Nanjing was officially renamed the Nanjing Museum in 1950, existing for 17 years in China's modern history. This study adopts a document analysis method and oral history, primarily based on existing documents from the National Archives of the Republic of China. It explores the Central Museum's responses to the modern challenges faced by China, including East and West, tradition and modernity, central and local, culture and politics, and museums and research. Additionally, this paper attempts to respond to the perspective of Western scholar of Chinese modern intellectual history, Levenson, who suggested that "Chinese intellectuals are emotionally attached to past traditions but intellectually embrace the West." Does this imply that China mummifies artifacts, placing them in museums to preserve tradition, but irrelevant to the present? Through the cultural undertakings of the Central Museum, we can address the fallacy of Levenson's dichotomy and demonstrate how the museum's endeavors in "modernizing tradition" and "sinicizing foreign elements" continue to pass on cultural spirit to future generations.