早在1871年，即日本明治4年，京都地方人士便於西本願寺舉辦了明治時代的首次博覽會。會後，常設組織「京都博覽會社」成立，具半官半民性質，並於1872年舉辦第一回正式會事，會場為西本願寺、知恩院、建仁寺。雖然京都博覽會標舉「開拓新知，輔國富強」的目的，並未特別提出推動佛教文化之意圖，然而，因實質上有諸多古寺提出展覽品，並於初期以寺域作為會場，使得此會成為佛寺文物被新觀眾群觀覽的場域。在觀覽脈絡轉變之情境下，即使佛寺文物仍存於原來的空間，文化意義卻產生了巨大的變化。京都佛寺與所屬文物，原本的意義範疇存於信徒的宗教目的與本地文化圈的賞鑑傳統中，然因時代巨變，無論是新觀眾的加入，或是舊觀眾參與角度的改變，物件在知識體系中的定位迥然不同。特別值得注意的是，京都博覽會主辦單位有意吸引外國觀者，並擬定多種具體措施。觀察這些來自不同文化圈新觀眾的參與過程，更可見到寺院古物於新時代中意義轉變的軌跡。本研究不以京都博覽會正式標舉之目標為限，而是仔細考察實際舉辦的細節。這些實質狀況，有助於辨析此類非以推動「美術」或「佛教文化」為主旨的新式活動，於定型化的文物編纂活動出現之前，如何促進古代文物被納入現代知識系統。

As early as 1871, in the fourth year of the Meiji era, local residents of Kyoto held the first exposition of the Meiji period at Nishi Hongan-ji. Following the event, a permanent organization called the "Kyoto Exposition Society" was established, which had a semi-official nature, and in 1872, it held its first official exhibition at venues including Nishi Hongan-ji, Chion-in, and Kennin-ji. Although the Kyoto Exposition promoted the goal of "exploring new knowledge to strengthen the nation," it did not specifically aim to promote Buddhist culture. However, due to the substantial involvement of ancient temples providing exhibits and the use of temple grounds as venues in the early stages, the exposition became a platform for temple artifacts to be viewed by new audiences. In the context of shifting modes of viewing, even though the temple artifacts remained in their original spaces, their cultural significance underwent a tremendous transformation. The Kyoto temples and their artifacts, originally embedded in the religious practices of devotees and the aesthetic traditions of the local cultural sphere, found their positions within the knowledge systems drastically altered. These shifts included the inclusion of new audiences and changes in the perspectives of existing ones. It is particularly noteworthy that the organizers of the Kyoto Exposition intentionally sought to attract foreign viewers and devised various specific measures for this purpose. Observing the participation of these new audiences from diverse cultural backgrounds reveals the trajectory of how the meanings of temple artifacts evolved in the modern era. This study does not limit itself to the official goals set by the Kyoto Exposition, but rather carefully examines the details of the actual events. These substantive conditions help to elucidate how such new activities, which did not primarily aim to promote "fine arts" or "Buddhist culture," facilitated the incorporation of ancient artifacts into modern knowledge systems before the emergence of standardized artifact compilation activities.

京都博覽會;西本願寺;建仁寺;知恩院;東西文化交流

Kyoto Exposition; Nishi Hongan-ji; Kennin-ji; Chion-in; East-West cultural exchange