| Summary: | 碩士 === 國立臺灣師範大學 === 社會教育研究所 === 89 === Museum exhibition, both cultural and aesthetic, is constituted social practices that deploy power and shape knowledge. Accordingly, this study undertakes to investigate the National Museum of History''s 2000 ''Terra Cotta Warriors and Horses of Qin Shi Huang, The First Qin Emperor'' exhibitiion. A multi-method research that includes interviews, participation observation, library research and documentary analysis is set out in an attempt to examine the exhibition making in the cultural, historical and social contexts.
It is evident that confrontations rage inside the professional museum community. For example, exhibition teams including native curators, designers and museum professionals from Mainland China are in ''culture wars'' whether they are in the selection of ''story-centered'' and ''story-centered'' exhibitions, or in the deployment of exhibition elements. Since the visitors decide to experience the ''aura'' of exhibition, museum authority has a privilege in epistemic guidance. Nevertheless, the visitors are host to a multitude of expressive styles. Like a literature, ''Terra Cotta Warriors and Horses of Qin Shi Huang, The First Qin Emperor'' exhibition represents a variety of meanings in which many voices, such as ''great emperor'', ''male'', ''ancient Chinese civilization'', ''motherland'', ''objects in museum'' and ''you are invited'' etc. are created.
The National Museum of History has a tradition in partnering with profit and cultural organizations. Not surprisingly, ''Terra Cotta Warriors and Horses of Qin Shi Huang, The First Qin Emperor'' exhibition incorporates along with entrepreneurs and third sectors, to undertake joint promotion, advertising and marketing campaigns, especially, the United Daily News. As a consequence, the ''blockbuster'' exhibition is becoming more theatrical, more dramatically and more recreational.
The aim professed by contemporary museums is to fit people into the public sphere that whoever they are can equally gain access to. Finally, I suggest that museums have a social obligation to scrutinize self-knowledge and elaborate the semiotic display in the pursuit of intellectual, moral and aesthetic values, rather than compete to attract audiences and glorify to break the records of museum admission.
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