羅浮宮竊案後接連失竊，歐洲小型博物館提高戒備

作者：吉賽爾達・瓦尼奧尼（Giselda Vagnoni）、加布里埃爾・史塔加特（Gabriel Stargardter）、哈維・韋斯特・拉臘納加（Javi West Larrañaga）與潔米瑪・丹漢（Jemima Denham）By Giselda Vagnoni, Gabriel Stargardter, Javi West Larrañaga and Jemima Denham

義大利帕馬，10月31日（路透社）——3月22日晚間，兩名戴著頭燈的男子從一扇被強行打開的窗戶爬進帕馬附近的馬尼亞尼羅卡基金會（Fondazione Magnani Rocca）博物館，從容地把塞尚、雷諾瓦和馬諦斯的藝術品從牆上取下。PARMA, Italy, Oct 31 (Reuters) - Two men wearing head torches climbed through a forced-open window at the Fondazione Magnani Rocca museum near Parma on the night of March 22 and calmly lifted artworks by Cézanne, Renoir and Matisse from the walls.

不到3分鐘，他們就把估值約900萬歐元（1000萬美元）的作品交給一名同夥並逃離。博物館正門處，第四名男子在警報響起時噴灑滅火器，分散管理員注意力。Within three minutes, they had passed the works, valued at about €9 million ($10 million), to an accomplice and fled. At the museum's main gate, a fourth man discharged a fire extinguisher when the alarm sounded, distracting the custodian.

「可能出錯的地方，全都出錯了，」經營這座博物館的私人基金會館長史蒂法諾・羅菲（Stefano Roffi）說。"Whatever could go wrong, did," said Stefano Roffi, director of the private foundation that runs the museum.

這起突襲式竊案，是去年巴黎羅浮宮失竊案後，法國、義大利和西班牙一連串博物館竊案之一，也引發外界憂心，犯罪分子愈來愈把目標鎖定在資源較少、難以保護珍貴館藏的小型機構。The raid was one of a string of museum thefts in France, Italy and Spain since last year's heist at the Louvre in Paris, raising concerns that criminals are increasingly targeting smaller institutions with fewer resources to protect valuable collections.

「這就是我們看到的『羅浮宮效應』，」常駐巴塞隆納、專門研究文化遺產犯罪的研究員馬克・巴爾塞爾斯（Marc Balcells）說。「如果羅浮宮都這麼容易被搶，想像一下鄉間或小城鎮裡一座小博物館會如何。」"This is where we see the 'Louvre effect'," said Marc Balcells, a Barcelona-based researcher specialising in crimes against cultural heritage. "If the Louvre was so easy to rob, just imagine a tiny museum in a rural area or a smaller town."

8月，安東內洛・達・梅西納（Antonello da Messina）的作品從他位於西西里家鄉的一座博物館消失；隔月，兩幅雷諾瓦作品在法國蔚藍海岸的濱海卡涅遭竊。Works by Antonello da Messina vanished from a museum in his Sicilian hometown in August, while two Renoirs were stolen from Cagnes-sur-Mer on the French Riviera the following month.

在西班牙，竊賊從巴達霍斯和阿爾瓦塞特的博物館偷走數百枚歷史悠久的金幣，並在阿利坎特附近的比列納竊走一批青銅時代寶藏。In Spain, thieves stole hundreds of historic gold coins from museums in Badajoz and Albacete and made off with a Bronze Age treasure in Villena, near Alicante.

法國文化部2024年的一項調查發現，只有四分之一的文化機構有緊急應變和風險預防計畫，近半數缺乏影像監控。A 2024 survey by France's Culture Ministry found only one in four cultural institutions had an emergency and risk-prevention plan, while nearly half lacked video surveillance.

警報響起時，誰來查？WHO CHECKS WHEN THE ALARM GOES OFF?

法國國會5月的一份報告指出，博物館缺乏足夠資源和準備，無法妥善保護藝術品與文物。A French parliamentary report in May said museums lacked the resources and preparation to adequately protect artworks and artefacts.

在義大利，這項挑戰因該國文化遺產分散在數百個城鎮和機構而更加嚴峻，這是數世紀分裂統治留下的遺緒。In Italy, the challenge is amplified by the way the country's cultural heritage is spread across hundreds of towns and institutions, a legacy of centuries of fragmented rule.

「這也是我們制度與眾不同之處：作品留在它們被創作出來的地方，」國際博物館協會（International Council of Museums）義大利委員會主席安東內拉・皮納（Antonella Pinna）說。「但我們需要讓犯罪分子更難得逞。」"That is also what makes our system distinctive: works remain in the places where they were created,” said Antonella Pinna, president of the Italian committee of the International Council of Museums. "But we need to make life harder for criminals."

該協會曾與義大利文化部和義大利憲兵隊合作，制定2015年發布的博物館安全準則，但皮納說，光靠科技還不夠。The council worked with Italy's Culture Ministry and the Carabinieri on museum security guidelines published in 2015, but Pinna said technology alone was not enough.

她說：「如果警報響了，就必須有人確定它有被查明。」"If an alarm goes off, someone has to make sure it is checked," she said.

在托斯卡尼城鎮聖塞波爾克羅一條狹窄街道上，市立博物館展出文藝復興大師皮耶羅・德拉・弗朗切斯卡（Piero della Francesca）的4件作品；他於15世紀出生在距此僅幾步之遙的地方。In a narrow street in the Tuscan town of Sansepolcro, the civic museum displays four works by Renaissance master Piero della Francesca, born just steps away in the 15th century.

文化委員法蘭雀絲卡・梅爾卡蒂（Francesca Mercati）告訴路透社，羅浮宮失竊案「深深影響了我們，因為文化遺產是聖塞波爾克羅身分認同的核心。那是我們的靈魂」。The Louvre theft "affected us deeply because cultural heritage is central to Sansepolcro's identity. It is our soul," culture councillor Francesca Mercati told Reuters.

羅浮宮遭劫後，義大利憲兵隊文化遺產保護部門的警官建議增設更多攝影機、延長監視器影像保存期限，並加強對包袋和厚重衣物的管控。After the Louvre raid, officers from the Carabinieri's cultural heritage protection unit recommended more cameras, longer retention of CCTV footage and tighter controls on bags and bulky clothing.

「我們立即執行了這些建議，」梅爾卡蒂說。"We immediately implemented those recommendations," Mercati said.

龐大的網絡有待保護A VAST NETWORK TO PROTECT

這項挑戰的規模令人卻步。The scale of the challenge is daunting.

根據義大利國家統計局（ISTAT），義大利有超過4400座博物館及類似機構。西班牙約有1500座博物館，法國則有超過1200個獲官方「法國博物館」（Musees de France）認定的機構，另有數百個規模較小的收藏單位。Italy has more than 4,400 museums and similar institutions, according to national statistics agency ISTAT. Spain has about 1,500 museums, while France has more than 1,200 institutions carrying the official "Musees de France" designation, alongside hundreds of smaller collections.

要保護如此龐大的網絡，對仰賴地方資金的小型機構而言尤其困難。Protecting such a broad network is particularly difficult for smaller institutions that depend on local funding.

常駐巴黎、為文化機構提供安全顧問服務的佛羅倫絲・安貝爾（Florence Imbert）說，法國85%的小型博物館由財務資源有限的地方政府經營。Florence Imbert, a Paris-based security consultant for cultural institutions, said 85% of small French museums were run by local authorities with limited financial resources.

她說：「預算是打贏這場仗的關鍵。」"The budget is key to winning the war," she said.

法國文化部7月宣布一項33點安全計畫，未來3年將為地方博物館投入3000萬歐元。France's Culture Ministry announced a 33-point security plan in July, backed by €30 million over three years for local museums.

近期數據顯示，相關疑慮並非沒有根據。義大利憲兵隊藝術品小組記錄到2025年義大利博物館和藝廊發生17起竊案，高於前一年的14起。Recent figures suggest concern is warranted. The Carabinieri art squad recorded 17 thefts from Italian museums and galleries in 2025, up from 14 a year earlier.

歐洲刑警組織（Europol）在8月一份報告中表示，博物館竊案正變得更具強制性，並愈來愈聚焦於貴金屬、寶石及其他高價值文物。Europol said in an August report that museum thefts were becoming more forceful and increasingly focused on precious metals, gemstones and other high-value artefacts.

想快速變現？A FAST BUCK?

不同於可以拆解或熔掉的黃金與珠寶，一幅知名畫作很難迅速換成現金。Unlike gold or jewellery, which can be broken up or melted down, a well-known painting is difficult to turn into quick cash.

皮納說，像雷諾瓦這類名作很少能公開出售。相較之下，失竊藝術品更可能被藏起來、在索取贖金時作為籌碼，或私下出售。Celebrated works such as those by Renoir can rarely be sold openly, Pinna said. Instead, stolen art is more likely to be hidden, used as leverage in ransom attempts or offered privately.

即使作品被尋回，博物館仍可能面臨與調查、追索行動和升級安全措施相關的重大成本。Even when works are recovered, museums can face significant costs linked to investigations, recovery efforts and upgraded security.

近期竊案也重新引發保險相關辯論。The recent thefts have also reignited debate about insurance.

保險經紀商Howden Specialty的私人財富與美術品保險專家菲利波・格里尼-馬拉爾迪（Filippo Guerrini-Maraldi）說，西歐多數主要國立博物館仰賴政府補償機制，而非商業保險，但有些機構已開始重新評估風險。Most major state-backed museums in Western Europe rely on government indemnity schemes rather than commercial cover, but some institutions have begun reassessing the risks, said Filippo Guerrini-Maraldi, a private wealth and fine art insurance specialist at broker Howden Specialty.

他說：「而且說真的，這是我40年職涯中第一次看到藝術品失竊如今變成更重大的、重大的風險。它過去一直是次要風險。」"And for the first time, really, in my 40-year career, I've seen art theft now becoming more of a major, major risk. It was always the minor risk," he said.

保險公司也正轉向科技。美術品核保人迪什尼・馬亨德蘭（Dishni Mahendran）表示，Beazley正在探索如何運用AI分析監視器影像，以辨識博物館和藝廊中的可疑行為，協助安全人員更早發現威脅。Insurers are also turning to technology. Beazley is exploring how AI can be used to analyse CCTV footage to identify suspicious behaviour in museums and galleries, helping security staff spot threats sooner, said fine art underwriter Dishni Mahendran.

安全與參觀便利的取捨SECURITY VS ACCESS

對博物館館長和文化官員而言，挑戰在於如何加強安全，同時不讓館藏與在地社群隔絕，也不削弱參觀體驗。For museum directors and cultural officials, the challenge is how to tighten security without cutting collections off from local communities or diminishing the visitor experience.

「歸根究柢，博物館必須維持容易進入，」安貝爾說。「人們應該能夠入館，而不必通過50道安全檢查。」"Ultimately, museums must remain easy to access," Imbert said. "People should be able to enter without having to pass through 50 security checks."

比利時非洲博物館（Africa Museum）的文物保存員朱利安・沃爾佩（Julien Volper）說，特別脆弱的珍寶應只在有充分安全措施時才展出。Julien Volper, a conservator at Belgium's Africa Museum, said particularly vulnerable treasures should only be displayed when adequate security measures are in place.

他說：「我不是說那就是最終解方，但這似乎比展出複製品更好。」「我們又不是在迪士尼樂園。」"I'm not saying that's the ultimate solution, but it seems better than displaying replicas," he said. "We're not at Disneyland."

8月，義大利憲兵隊在一間公寓裡一個被藏起來的紙箱中，尋回從帕馬博物館失竊的3件藝術品。5名摩爾多瓦籍人士因涉案被逮捕。In August, the Carabinieri recovered the three artworks stolen from the Parma museum from a cardboard box hidden in an apartment. Five Moldovan nationals were arrested in connection with the theft.

調查人員表示，監聽內容顯示，嫌疑人曾試圖在東歐和俄羅斯尋找買家，但未成功。Investigators said wiretaps indicated the suspects had unsuccessfully tried to find buyers in Eastern Europe and Russia.

這些作品後來已回到博物館，羅菲稱之為一場「返家派對」。The works have since returned to the museum in what Roffi called a "homecoming party".

他說：「這起竊案在義大利和海外引發大量聲援。」這座博物館如今由當地起司業聯盟出資，設有全天候警衛。"The theft triggered an outpouring of solidarity in Italy and abroad," he said. The museum now has round-the-clock guards funded by a local cheese consortium.

「它不只是被視為一起針對博物館的竊案，而是對藝術作為共同文化遺產的攻擊。」"It was seen not simply as a theft from a museum, but as an attack on art as a shared cultural heritage."

（吉賽爾達・瓦尼奧尼羅馬報導；加布里埃爾・Startgardter巴黎報導；哈維・韋斯特・拉臘納加格但斯克報導；潔米瑪・丹漢倫敦報導；亞歷克斯・弗雷澤帕馬補充報導；巴特・比瑟曼斯布魯塞爾補充報導；吉賽爾達・瓦尼奧尼撰稿；羅絲・羅素編輯）(Reporting by Giselda Vagnoni in Rome, Gabriel Startgardter in Paris, Javi West Larrañaga in Gdansk, Jemima Denham in London; Additional reporting by Alex Fraser in Parma; Bart Biesemans in Brussels; Writing by Giselda Vagnoni; Editing by Ros Russell)