在中國近代學術史中，美國考古學者及古物收藏家畢士博(Carl Whiting Bishop, 1881-1942)是個不時被提及的名字，然研究者至今還未對其展開系統考察。本文從畢士博於中國現代史書寫中的各類殘影出發，一方面從田野實作的角度回答畢士博是誰；另一方面，本文也汲取場域理論的視野，說明畢士博的田野實作不僅是為了取得中國的相關資訊，更是自我養成的重要手段。本文的分析顯示，出身於「中國不過為搜奇對象」之「黃金時代」的畢士博，不認為自己只是搜奇者。在當時美國學術界中，論者開始倡議系統地收集與保存中國文物的重要性，以及中國文物實為理解中國文化與文明傳播之線索。注意到這股趨勢，畢士博決意將自身打造為以中國為田野的學術工作者，從而在當時初露頭角的「中國語言及文明」研究占有一席之地。畢士博在累積其經濟、社會與文化資本的努力，以及在自我養成上的實驗，讓他贏得藝術界精英的注意，從而有機會率領史密森研究院自1846年成立以來首次的中國考古探險，開啟其學術生涯及中美關係史的新頁。本文大量運用典藏在賓州大學考古學與人類學博物館、史密森研究院檔案館及弗利爾藝術館的史料，試著以畢士博為窗口，建構一個能兼顧能動性與結構、田野採集及理論建構的敘事，從而為晚近科學史的全球轉向做出貢獻。

In the history of Chinese art and the history of modern Chinese science, Carl Whiting Bishop’s (1881-1942) name frequently appears in a wide range of literature. Yet thus far no scholarly work has examined Bishop’s life and career, nor has his case been used to meet scholars’ rising interest in practices that make the production and circulation of scientific knowledge possible. Beginning with a survey of the ways in which Bishop appears in the existing literature, this essay emphasizes the importance of conducting a practicecentered study of Bishop, while at the same time arguing that the practicecentered approach alone can hardly deal with an academic worker like Bishop, who migrated from one field to another, struggling to acquire the cultural capital to secure a place for himself. Consequently, this essay uses the field theory proposed by French sociologist Pierre Bourdieu (1930-2002), in the hope of avoiding analytical fragmentation or becoming trapped by naïve objectivism. This essay shows that living in an age when China was regarded as a “warehouse” full of curios, Bishop nonetheless did not consider himself a curio collector. Noticing the awareness of protecting and preserving Chinese fine art and cultural heritage in well-managed museums, together with an interest in using artifacts as clues to the origin and evolution of civilizations, Bishop sought to fashion himself as a researcher who used China as a field to explore broader issues both empirically and theoretically. The efforts that Bishop put to accumulate his economic, social, and cultural capital, together with his various experimentations in “self-fashioning,” earned him attention from elites in East Asian art history, a field that was beginning to take shape in the early twentieth century. Bishop quickly got a chance to lead the Smithsonian’s archaeological expedition to China, the first of its kind since the institution’s establishment in 1846, thus turning a new page both for his career and for the history of China-United States relations. Based on primary sources at the University of Pennsylvania Museum of Archaeology and Anthropology, the Smithsonian Institution Archives, and the Freer Gallery of Art, this essay uses Bishop as a guide to unveil China’s place in American academia during the early twentieth century. Also, this essay seeks to develop a narrative that balances structure and agency, fieldwork and theorization, the local and the global, and the like. In so doing, this essay aims at contributing to the growing body of literature on the global history of science.

畢士博；考古學；藝術史；場域理論；田野工作

Carl Whiting Bishop; archaeology; art history; field theory; fieldwork