本文的研究主題，是以嚴智怡(1882-1935)為首的天津博物院團隊，其規劃、策展、研究等專業能力與文化視野的養成過程。在「實業救國」並「文化救國」的脈絡下，如何逐一建構出包括直隸省商品陳列所、天津博物院、天津市立美術館等在天津北洋新區內的博物館群，並在典藏、展示之外，為城市大眾設計教育推廣活動。本論文將從巴拿馬賽會對嚴智怡的影響為起點，探究世界博覽會與中國博物館興起之間的關係、文物捐贈者與博物館的互動、天津博物院的展示特點等。嚴智怡在參與巴拿馬賽會過程中，實地與日方參展團隊較勁之後體認到的各項挫折，在他回到天津之後，藉由創造常設性的展示場域，尋求解決之道。他擔任直隸商品陳列所所長，推動直隸實業發展；建立天津博物院，以解決中國文明雖有大量累積卻缺乏科學整理的問題；並促成天津市立美術館的成立，以面對中國美術落後日本甚多的困境。本文將特別針對天津博物院的建制歷程，探討二十世紀早期中國第一代博物館專業管理者，如何藉由博物館展示、進行具現代性的、有效率的、可持續衍生的社會關係生產與文化知識生產。

This paper examines Yan Zhiyi’s curatorship during the “museum movement” in the newly developed Beiyang downtown area (北洋新區) in early twentieth century Tianjin. Under the national campaigns of “revitalizing China through industry”( 實業救國) and “guarding our national culture” (文化救國), Yan Zhiyi (嚴智怡, 1882-1935), the Chair of the Industrial Commerce Section of Industry Department of Zhili Province (直隸省實業廳工商科), had directed Zhili Commercial Museum since 1912. He then founded and had curated Tianjin Museum since 1918, as well as laid the foundation for the Tianjin Museum of Fine Arts in 1930. In 1915, Yan led a team to San Francisco for the Panama-Pacific International Exposition. After this major event, Yan and his team traveled to several major cities in the U.S. They visited museums, had conversations with curators, and brought many museum materials and new ideas back to Tianjin. Then, Yan and his colleagues organized a new museum, the Tianjin Museum, based on what they had learned in the U.S. In 1923, the Tianjin Museum was officially opened to the public. All its objects were collected or donated from all over the province. In order to fulfill the objectives of national modernization and sustainable development, Yan curated not only objects exhibited in museums, but also the social connections as well as cultural productions related to these museums.

嚴智怡；巴拿馬賽會；天津博物院

Yan Zhiyi; Panama-Pacific International Exposition; Tianjin Museum