在海事日，讀海洋事
在海事日，讀海洋事
2020/06/24
2023/05/10
2020世界海事日<br>#船<br>#海盜<br>#媽祖信仰<br><br>開放博物館．品日╳選物<br>
展覽頁面呈現形式
橫式
故事地圖
差一步就登頂的海上之王：蔡牽
策展者
中央研究院數位文化中心
王怡文
展覽封面
96634d87a18fbe5dd48a37d9d3f4656c
展覽資料
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"title": "各司其職的戰船",
"desc": " \n\n春秋戰國時期，戰爭頻仍，對於打仗用船需求大增，從此開始發展出各式各樣性能各異的戰船，有的武力值高、有的噸位大、有的輕巧機動性高，編制與今日海軍艦隊類似。<br>"
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"desc": "<div>\n\n<span>隨鄭和三次下西洋的翻譯官馬歡（1380―1460）花費35年完成的《瀛涯勝覽》（1451年定稿）中，特別提及出使的船隊：「寶船六十三隻，大者長四十四丈四尺，闊一十八丈，中者長三十七丈闊一十五丈。」換算成現行尺寸，最大的寶船長約151公尺，寬約61公尺，此一尺寸放在700多年前的明代，可說是龐然大物。今日學者按考古及船體力學探究，對於寶船是否如文字所述般地如此巨大抱持疑問。無論如何，寶船為明代初期最壯觀的船隊，無庸置疑。<u></u></span></div>",
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"desc": "<div>\n\n你可以想像嗎？19世紀時，中國製船隻幾乎可以環遊世界了。耆英號（Keying），一艘原航行於廣州與南洋間運茶的商船，在1846年靜靜默默地駛離了香港，開始了它的環球之旅。它往東繞過了好望角，到過紐約、波士頓，花了兩年多的時間抵達終點英國倫敦，成為中國帆船史上的第一艘橫跨大西洋的中式帆船。</div>"
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"desc": "圖題〈萬里海防圖說〉墨書於圖冊封面，全圖冊為兩幅長卷圖繪纂輯而成。前卷為明代〈萬里海防圖〉的摹本，以十九幅圖摺裝；後卷為明膠州靈山衛指揮使談九疇著，清張謙宜撰《膠萊河辯議圖說匯輯》，分切三十幅疊裝。後人將兩圖卷彙集，並補圖題。\n〈萬里海防圖〉涵蓋的地理範圍，右起廣東欽州、瓊州，沿海岸線向北延伸，止於遼東義州鴨綠江。全圖主要描繪明代沿海海疆域的島嶼港口、府、州、縣城形勢，特別著重在海防的衛、所、寨及關隘各據點的分佈；說明本圖的目的在於軍事上使用。圖中未注圖例，但所引各項資料顯示自有規則，也成了閱讀本圖的基本資訊：「府」用灰色方塊表示、「州」以紅色長方塊表示、「縣」以紅色圓圈標示、「衛」用黃色方塊、「所」以灰邊長方框，配合旁邊的旗杆、旗幟、「巡檢司」、「寨」用旗杆、旗幟標示、其他尚有「府、衛」、「州、衛」或「縣、千戶所」同治所，亦各有標示。其次，傳統的沿海疆域輿圖，很難顧慮到實際的方位；因為海疆崎嶇，若呈直線「一」字展開，地圖的方位便隨圖展開而變化。但全幅構圖基本以海在圖上方，下方為陸地；說明本圖以陸地望向海洋的防守功能。\n研判本圖的繪製時代，大致以圖中若干衛、所及縣制行政區的建置為准。嘉靖三年（1524）析潮陽、海豐二縣地置「惠來縣」，圖中已現：是以本圖繪製不早於是年；而嘉靖五年（1526）由廣州府附郭南海縣及高要縣地析出的三水縣，未見於圖中。或為繪成本圖最晚之年代。〈膠萊河辯議圖說匯輯〉（明）談九疇著，（清）張謙宜撰；圖、說並存，全圖分切三十幅疊裝，全圖不考慮實際方位；涵蓋範圍右起山東昌邑縣北海口，左止於膠州陳村閘。主要描繪地形、水源、橋樑與閘口的分佈情況。\n圖卷前附談九疇〈序〉，謂：「元膠萊河在今膠州、平度州，高密縣、昌邑縣、掖縣之間，南起靈山海口，北抵山三山島，長三百七十五裏。《膠州志》以為元人鑿此避登州成山之險。自明至清凡漕運梗塞，必議海運；議海運，必議修膠萊河。」談〈序〉主要申論行海運之利而罷漕運之議。全圖冊共分九段，各附圖說。清雍正三年（1725），張謙宜輯匯再補錄了明代潘季馴《河防一覽》有關罷膠萊河工程疏議。\n談九疇（生卒不詳）為明代膠州靈山衛指揮使，明萬曆二十九年（1601）繪製此圖。清康熙四十四年，談九疇後人姻親關係的張謙宜重新摹繪，匯輯成帙。張謙宜（1650–1733，名張莊，字稚松）撰跋詳述圖輯編繪始末。\n本圖可與國立故宮博物院藏〈浙江福建沿海海防圖〉（平圖020869）、〈海圖〉（平圖020865）相對應研究。",
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"desc": "明代海盜問題以「嘉靖大倭寇」最為嚴重，嘉靖大倭寇自嘉靖三十一年（1552）起延續了五年，至嘉靖三十六年（1557）平定。由於嘉靖大倭寇期間倭寇除擾亂浙江、福建沿海地區，更趁江南地區海防疲弱之際，沿江入侵，受害範圍遍及江南。<br><br>當時留下有大量的海戰詩詞，內容可區分為戰士視角及百姓視角。戰士視角的海戰詩詞多強調戰爭內容、英雄塑造等，而百姓視角看到的更多是海盜的燒殺擄掠等戰爭慘況。",
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"title": "主宰海上商路的倭寇",
"desc": "中國對外貿易頻繁，諸如南洋（今東南亞一帶）、日本、韓國等地，都是中國海外貿易對象。龐大的利益，容易吸引眾人目光，人人都有發財夢，人人都想分杯羹。以倭寇問題最為嚴重的明朝為例，民間一直受海禁政策所限，臺面上不能對外貿易，私底下的走私行為依舊屢見不鮮。目前所知的明朝知名倭寇不少就是以走私維生，壟斷龐大獲利。明謝杰在《虔台倭纂》寫到：「寇與商同是人也。市通則寇轉而為商，市禁則商轉而為寇。始之禁，禁商。後之禁，禁寇。」"
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"title": "話／畫題化的倭寇",
"desc": "倭寇雖是明代一大外患，但親身經歷者為少數。眾多倭亂中，「嘉靖大倭寇」由於受害範圍廣，留存文獻相對多。然，這些文獻「真實」者少。嘉靖大倭寇期間，「倭寇」是一種恐懼的象徵，過去沒有遇過倭寇的江南人幾乎是「聞倭色變」。此一時期相關文獻雖多，在資訊傳遞不易且過於封閉得訊息圈影響下，內容可能淪於過於誇張，以訛傳訛，不論是倭寇的形象（是否為中國人）、人數及武力值等，都是一變再變。\n\n \n<br><br>但等到胡宗憲等人平定倭亂、一切恢復日常時，「倭寇」又再度成為傳說中的名詞。另外，「倭寇」也成為藝文活動的一環，成為江南蘇州片繪畫主題之一。以\n\n〈倭寇圖卷〉（東京大學史料編纂所藏）及〈抗倭圖卷〉（中國國家博物館藏）為例，兩者構圖相似，應是明代戰勳圖像發展下的產物，皆為江南的蘇州片，製作的源頭可能都與胡宗憲平倭有關。曾經讓人聞風喪膽的倭寇，最終成為商業資本風氣下的主題之一。"
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"desc": "嘉義太保之名，竟和清代海盜有關？"
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"desc": "王得祿（1770-1842），嘉義人，武生出身，是清代臺灣籍最高武將。他一生主要的對手就是當時赫赫有名的大海盜蔡牽。\n\n \n\n<br><br>王得祿因追緝蔡牽有功，歷經嘉慶、道光朝，從賞封二等子爵到追封伯爵，而後又從太子少保追贈太子太師銜，嘉義太保之名因而得來。",
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"title": "海事與媽祖",
"desc": "有人說祂是知水性、善喻舟的女筮，死後成神，更有人覺得祂是龍女，祂的傳說常以海島、海上為背景，成為人們再熟悉不過的海上守護神。祂，就是媽祖。",
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"desc": "媽祖，是身處臺灣的你我，習以為常的神明。其實不只是臺灣，只要是東亞華人文化圈中，就少不了媽祖的身影。\n\n \n<br><br>目前與媽祖相關的文獻資料，以《天妃顯聖錄》最為重要。《天妃顯聖錄》由明人林俞堯編纂，記載了媽祖的身世，也清楚載明了媽祖封誥及相關神蹟。\n\n \n\n \n\n<br><br>林俞堯福建莆田人，萬曆年間進士，官拜禮部尚書。後因魏忠賢之故，去職返鄉，《天妃顯聖錄》是在其返鄉後費時編纂而成。《天妃顯聖錄》在清代仍有持續有增補。"
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"desc": "這是一具船形埴輪也就是陶俑，是一種用來裝飾權貴者或大王的墳墓也就是古墳的素燒土製品。在其主體左右分別豎有被稱為舷側板的板狀牆壁。舷側板的船頭和船尾以二根橫置板材加以固定。其上部結構完善，並非僅僅是掏空木材而成的簡單做法，因此想必不論是風平浪靜的灣內還是波濤洶湧的外海都能乘船出航吧。\n\n您覺得這艘船是如何前進的呢？船上沒有張掛船帆的帆柱，更沒有發動機，因此是靠人力劃槳前進。我們可以看到，船兩側分別帶有六個、共計十二個突起，這就是為了劃槳所設的軸承。每個人雙手持一根槳向後劃動，因此軸承是向著與前進方向的船頭相反一側傾斜。這艘船或許並非是真的需要十二個人劃動，只是一種用軸承之多來表現船體之大的象徵性手法。乍一看其造型簡潔，但在簡單化的同時也充分表現出了當時的船體結構。人們認為，像這樣的船形埴輪不僅表現了當時日本與海外的交流，也代表了死者的魂魄之旅。",
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"title": "誌謝",
"desc": "請輸入誌謝內容",
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