日本近代殖民扩张背景下“满蒙”概念的制造——以鸟居龙藏的博物馆调研为视角  

The Creation of the Concept of Manchuria and Mongolia in the Context of Japan’s Modern Colonial Expansion—Torii Ryuzo’s Museum Research as a Perspective

作　　者：刘爽 

机构地区：[1]吉林省社会科学院历史研究所

出　　处：《都市文化研究》2024年第2期301-318,共18页Urban Cultural Studies

基　　金：国家社会科学基金重大项目“近现代日本对‘满蒙’的社会文化调查书写暨文化殖民史料文献的整理研究(1905 1945)”(19ZDA217)的阶段性成果

摘　　要：博物馆在展示特定地域历史文化与自然地理特征的同时,也是国家意识形态的传播场所。20世纪初,日本考古学与人类学家鸟居龙藏对此亦有深刻认识。在鸟居龙藏的“满蒙”调查期间,他详细调研了日俄建立的博物馆并依据馆藏文物划分了文化区域,将远东、“满洲”、内蒙古东部地区、朝鲜半岛及日本相连。其后,鸟居龙藏又参观“满洲国国立博物馆”,该馆通过展品塑造了一种剥离汉族影响的历史叙事,其背后隐藏着“满蒙非中国”式的东北史大纲。此类展览并非是单纯地陈列文物,而是旨在宣扬日本统治的“合理性”与“合法性”,它不仅展示了对该地区文物资源的控制,还表明其掌握了解释过去的权力。Museums,while displaying the historical,cultural and physical features of a region,are also places for the dissemination of ideology,which was also deeply recognized by the Japanese archaeologist and anthropologist Torii Ryuzo in the early 20th century.During his Manchuria and Mongolia investigation,Torii Ryuzo firstly investigated the museums established by Japan and Russia in detail,and divided the cultural regions according to the artifacts in the museums,connecting the Far East,Manchuria and Mongolia,Korea and Japan.Later,he visited the Manchukuo National Museum,where exhibits emphasized a historical thread that stripped away the Han people's influences and hid a northeastern historical outline in the style of the“Manchuriaand Mongolia-Non-China Theory”.Rather than simply displaying artifacts,such exhibitions were designed to promote the“rationality”and“legitimacy”of Japanese rule,demonstrating not only control over the region's cultural resources,but also its power to interpret the past.

关 键 词：鸟居龙藏 博物馆 “满蒙” 知识生产 

分 类 号：K313.4[历史地理—历史学] K25[历史地理—世界史] G265[历史地理—考古学及博物馆学]