新博物馆学视野下物的诠释与建构
Interpretation and Construction of Objects from the Perspective of New Museology
杨 秋
Yang Qiu
（国家自然博物馆，北京，100050）
(National Natural History Museum of China, Beijing,100050)
内容提要：新博物馆学意涵的多元整合优势，加强了对博物馆各面向的探讨力度。新博物馆学更多地关注物的功能和目的，对其既定的方式、论证结构与思维方法进行一系列的反观。物的建构是以人为导向的，对人的发现与思考是新博物馆学研究的重要指征，并获得新的发掘和诠释。物的情境等建构在后现代语境中突显出新的文化逻辑与思想语系。博物馆物的媒介作用，在诸多力量与关系的映射中，物进入不同的信息渠道获取更多的意义和价值。通过物人关系的新解读，博物馆物的意义呈现出更多的可能性，这也正是一个值得深入探究和发掘的新议题。
关键词：新博物馆学 物 诠释 建构
Abstract: The pluralistic integration advantage of the new museology strengthens the discussion of various aspects of the museum. New museology pays more attention to the function and purpose of museum objects, and makes a series of reflections on its established way, argumentation structure and thinking method. The discovery and thinking of man are an important indication of new museology, and has been explored and explained. The situational construction of objects highlights the new cultural logic and ideological language system in the postmodern context. In the mapping of power and relationship, museum objects enter different information channels to obtain more information and value. Through a new interpretation of the relationship between objects and people, the significance of museum objects presents more possibilities, which is also a new topic worthy of further exploration and excavation.
Key Words: New museology; objects; interpretation; construction
体验视角下的陈列语言共时性与历时性维度
The Synchronic and Diachronic Dimensions of Exhibition Language
from the Perspective of Experience
张书良
Zhang Shuliang
（上海大学文化遗产与信息管理学院，上海，201900）
(School of Cultural Heritage and Information Management,
Shanghai University, Shanghai, 201900)
内容提要：对展览参观体验的现象学分析显示，陈列语言可以区分出共时性与历时性两个维度，二者在空间、知觉、意识、意义四个层面得到体现，前者通过对展示材料空间关系的营造，使意向性对象的某些关联或属性被观众感知，后者基于前者体现出的意义向度，通过以“事态”带“事件”的方式实现叙事性意义的传达。体验视角打破了既有陈列语言研究的封闭性与孤立性，共时性与历时性及其所处的不同层面赋予了陈列语言整体性的框架与多元化的研究视角。
关键词：陈列语言 体验 共时性 历时性 展览叙事
Abstract: The phenomenological analysis of visiting experience of exhibitions shows that the exhibition language has two dimensions, the synchronic and the diachronic, which exist in four levels of space perception, consciousness and meaning. In the former, certain relationships or attributes of the intentional objects are perceived by the visitors through the construction of the spatial relationship of the exhibited materials. While in the latter, based on the meaning directionality represented by the former, the narrative meaning is conveyed through the way of “points (conditions) to line (events)”. The perspective of experience breaks the closure and isolation of the existing research on exhibition language, while the synchronic and diachronic dimensions and the different four levels give exhibition language a holistic framework and diversified research perspectives.
Key Words: Exhibition language; experience; synchronic; diachronic; exhibition narrative
美国大都会艺术博物馆中国书画展研究（1973—2023）
Research on Chinese Painting and Calligraphy Exhibitions in the Metropolitan
Museum of Art (1973-2023)
李嘉璐
Li Jialu
（四川大学艺术学院，成都，610065）
(Arts College of Sichuan University, Chengdu,610065)
内容提要：美国大都会艺术博物馆作为“亚洲之外最大的中国艺术展区”50年来举办了多场中国书画展，为海外中国艺术研究补充了新内容。围绕大都会博物馆中国书画展的相关研究，不仅丰富了海外中国书画史视觉链，而且考察了中国书画研究在西方的学术坐标。总体看来，作为海外中国艺术展，大都会博物馆以“收藏收藏家”的思路，形成了“百科全书式”的收藏，并以“中国书画展”为载体进行文化诠释，阐释了中国艺术的美学特征、艺术规律以及作品背后的社会文化意义等，是跨时空、跨文化互动与互鉴的重要案例，塑造了海外中国书画的艺术形象。
关键词：美国大都会艺术博物馆 中国书画展 异质性 跨文化研究
Abstract: The Metropolitan Museum of Art, as the largest Chinese art exhibition area outside of Asia, has held numerous Chinese painting and calligraphy exhibitions for 50 years, providing new content for the study of Chinese art overseas. The study of the Metropolitan Museum of Art's exhibition of Chinese painting and calligraphy not only enriches the visual chain of the history of Chinese painting and calligraphy overseas, but also examines the academic coordinates of the study of Chinese painting and calligraphy in the West. Overall, as an overseas Chinese art exhibition, the Metropolitan Museum of Art has formed an “encyclopedic” collection with the mindset of “collecting collectors”, and it used the “Chinese painting and calligraphy exhibition” as a carrier for cultural interpretation, elucidating the aesthetic characteristics, artistic laws, and social and cultural significance behind Chinese art. It is an important case of cross-time and cross-culture interaction and mutual learning, shaping the artistic image of overseas Chinese painting and calligraphy.
Key Words: Metropolitan Museum of Art; Chinese painting and calligraphy exhibitions; heterogeneity; cross-cultural research
深圳市金石艺术博物馆藏石棺床围屏的底座配置及图像的粉本
The Combination of Screens with Pedestal and the Copy Books about the Stone Funerary Bed in Shenzhen Goldstone Museum of Art
董 睿
Dong Rui
（河南大学，开封，475004）
(Henan University, Kaifeng, 475004)
内容提要：深圳市金石艺术博物馆藏石棺床的四块围屏石板曾在深圳博物馆展出，石板上的线刻画像与安阳出土的东魏谢氏冯僧晖墓石棺床围屏上的画像高度相似：在同时展出的五件石棺床底座正面构件中，一件带有兴和四年（542年）题记的构件，其尺寸与这一组围屏能够完全契合，它们很可能为一套组合。两座石棺床上的图像高度一致说明，北朝的画匠在雕刻石棺床画像时有较为常用的粉本，粉本内容并不完全固定，画匠会根据丧家的需要对画像内容进行适当的调整。
关键词：孝子故事 石棺床 粉本 北朝
Abstract: The four stone panels on the screen of the stone funerary bed currently housed in the Shenzhen Goldstone Museum of Art were previously exhibited in the Shenzhen Museum. The line carved images on the stone panels are highly similar to the screen images of the stone funerary bed of Xie Shi-Feng Senghui's tomb in the Eastern Wei Dynasty, unearthed in Anyang. Among the five front components of the pedestal of the stone funerary beds exhibited simultaneously, one component with an inscription from the fourth year of Xinghe Period (542), whose size perfectly matches this set of screens, and they are likely a combination. The high consistency of the images on these two stone funerary beds indicates that craftsmen in the Northern Dynasties often used copy books to carve stone funerary bed images. The content of the copy books were not completely fixed, and the craftsmen would make appropriate adjustments to the content of the images according to the needs of the bereaved family.
Key Words: Story of dutiful son; stone funerary bed; copy books; the Northern Dynasties
明《梁梦龙恩荣百纪图册》考述
Textual Research on Ming Dynasty Picture Album of Liang Menglong's Life
栾 晔
Luan Ye
（首都博物馆，北京，100045）
(Capital Museum, Beijing, 100045)
内容提要：现收藏于首都博物馆的《梁梦龙恩荣百纪图册》记录了明嘉靖、万历年间梁梦龙自童髫至致仕前的事迹。画作由沈介所绘，从题记中的“家君”“目生平”“今成病”等字眼推断这部分文字极有可能由梁梦龙在晚年亲自书写，五言诗或七言诗则由汤焕所作，年代大致在明万历年间。因保存有嘉靖帝颁赐梁梦龙一家的敕书原文等原始文献，图册是研究梁梦龙的重要资料，具有无可替代的补史、证史作用。图册属于明清“宦迹图”的类型，与生活在同一时期的张瀚、徐显卿等人为像主的图卷一样，均为图文并茂的连环画形式，也可以看出这一时期的时代风格。
关键词：梁梦龙 汤焕 宦迹图
Abstract: Picture Album of Liang Menglong's Life, which is collected in Capital Museum, records the deeds of Liang Menglong from his childhood to the years before his resignation from the official post during the Jiajing and Wanli Period of Ming Dynasty. The paintings were drawn by Shen Jie. Also, with the words of “my father”, “reviewing my life” and “falling ill now” in the inscription of the album, it is highly likely that the text of the inscription was written by Liang Menglong himself in his later years, and the poems with five characters or seven characters to a line were written by Tang Huan, roughly in the Wanli Period of Ming Dynasty. Due to the preservation of original documents such as the original text of the imperial edict granted to Liang Menglong's family by Emperor Jiajing, this picture album is the important information for studying Liang Menglong, and it has an irreplaceable role in supplementing and proving the history. This picture album belongs to the type of “Official Life Album” in Ming and Qing dynasties. Picture Album of Liang Menglong's Life and the picture albums of Zhang Han and Xu Xianqing, who lived in the same period of Liang Menglong, are all in the form of comic books with both excellent pictures and literary compositions. Also, it shows the unique style of that period.
Key Words: Liang Menglong; Tang Huan; official life album
故宫博物院藏乾隆款画珐琅双叶耳瓶的设计理念与制作工艺研究
Research on Design Concept and Manufacture Technology of the Qianlong Reign Painted Enamel Vase with Two Symmetrical Leaf Shaped Handles from the Palace Museum's Collection
金大朝 刘瀚文
Jin Dazhao Liu Hanwen
（故宫博物院，北京，100009）
(The Palace Museum, Beijing, 100009)
内容提要：本文选取故宫博物院藏一件乾隆款画珐琅百花地开光山水图双叶耳瓶作为研究对象，通过科学检测分析此件珐琅大瓶的原材料成分与制作工艺痕迹，结合文献资料的记录印证推论，开展研究工作。本文主要从珐琅大瓶的制作方式、装饰手法和时代背景等方面进行思考和探讨，通过研究其制作工艺，探究其制作产地以及装饰风格中所呈现的中西文化融合之现象，讨论其特殊的装饰风格和设计理念，并试图归纳总结古代工艺品的制作受到物主喜好、社会风尚、工艺水平、文化与技术交流等因素影响的一般性规律。
关键词：乾隆款画珐琅 制作工艺 文化交流 画珐琅装饰
Abstract: This paper discusses a painted enamel vase, which is from the Palace Museum's collection, with medallion landscape design from Qianlong reign. This research carries out through scientific analysis of the material composition and manufacturing traces of this painted enamel vase, combines with documentary records and inferences. This paper discusses several aspects, including the production method, decoration technique and historical background. By studying its manufacture technology, probing into the phenomenon of the fusion of Chinese and Western culture in its decorative style, it discusses its special design concept of decorative style. This study, at the end, attempts to sum up the general rules that the production of ancient handicrafts is affected by the factors such as owner preference, social fashion, craft level, culture and technology exchange.
Key Words: Painted enamel with Qianlong mark; manufacture technology; cultural communication; decoration design of painted enamel
项目式学习视阈下博物馆研学课程设计的实践与思考
A Practical Study on the Curriculum Design of Museums from the Perspective of Project-based Learning
唐郦薇
Tang Liwei
（南京市博物总馆，南京，210016）
(Nanjing Museum Administration, Nanjing, 210016)
内容提要：项目式学习以学生为中心，打破学科壁垒，重组教学内容，聚焦学生核心素养形成，逐渐成为基础教育深化课程教学改革、落实实践育人要求的重要方向。本文以“回望六朝”系列研学课程为例，探究在项目式学习视阈下开展博物馆研学课程的理论基础和具体路径。
关键词：项目式学习 研学课程 博物馆教育
Abstract: Project-based learning, which is student-centered, breaks down discipline barriers, reorganizes teaching content, and focuses on the formation of students’ core qualities. Nowadays, project-based learning has gradually become an important direction for basic education to deepen course teaching reform and implement the requirements of practical education. Taking Looking Back on the Six Dynasties series of courses as an example, this paper explores the theoretical basis and specific paths of designing museum courses under the perspective of project-based learning.
Key Words: Project-based learning; inquiry learning; museum education
博物馆美育活动设计与实践探索——以上海博物馆缂丝《莲塘乳鸭图》为例
Practice and Exploration of Museum Aesthetic Education: Taking the Kesi Silk Tapestry Ducklings on a Lotus Pond of Shanghai Museum as an Example
曹媛 胡筠
Cao Yuan Hu Yun
（上海博物馆，上海，200003）
(Shanghai Museum, Shanghai, 200003)
内容提要：美育是博物馆教育的重要组成部分，对于艺术类博物馆而言，更是重中之重。本文主要以上海博物馆缂丝《莲塘乳鸭图》为例，探讨博物馆如何挖掘文物内涵来进行审美教育。博物馆实践从普及审美知识、提升审美能力两方面出发策划实施美育活动，以达到拓展观众审美趣味的目标，助力于提升全民审美素养。这是博物馆教育项目中以美育为方向的一次全面实践探索，希望对博物馆美育起到一点启发意义。
关键词：美育 博物馆 教育活动 艺术教育 艺术审美
Abstract: Aesthetic education is an important part of the museum education, especially for art museums. This paper mainly takes a Kesi silk tapestry Ducklings on a lotus pond of Shanghai Museum as an example to explore how to use fine arts for aesthetic education. The museum practice aesthetic education activities from the two aspects of popularizing aesthetic knowledge and improving aesthetic ability, so as to achieve the goal of expanding the audience's aesthetic taste and helping to improve the aesthetic attainment of the whole people. This is an all-round practical exploration in the direction of aesthetic education in the museum education project, hoping to play a role in enlightening the museum aesthetic education.
Key Words: Aesthetic education; museum; educational activities; art education; aesthetic for fine arts
博物馆短视频创作中的阐释理念与实践——以故宫博物院“抖来云逛馆”项目为例
The Theory and Practice of Interpretation in the Creation of Museum Short Videos: A Case Study of “Visiting the Museum on Douyin” of the Palace Museum
姜倩倩
Jiang Qianqian
（故宫博物院，北京，100009）
(The Palace Museum, Beijing, 100009)
内容提要：博物馆承担着阐释藏品价值的职能，而做好阐释的关键是建立观众与藏品信息的关联。短视频是博物馆在新媒体时代履行阐释职能的有效途径。故宫博物院“抖来云逛馆”系列短视频项目在主题策划、内容编创和形式表达方面均从观众角度出发，做好阐释，拉近观众与藏品的距离，激发观众对中华优秀传统文化的热爱，增强文化自信。
关键词：博物馆 短视频 阐释 “抖来云逛馆”
Abstract: Museums have a responsibility to interpret the value of their collection, and the key to a good interpretation is to establish the relevance of visitors to the collection information. Short videos are an effective way for museums to perform their interpretive functions in the new media era. The Palace Museum's project “Visiting the Museum on Douyin”, a series of short videos, takes interpretation into consideration in terms of theme planning, content creation and formal expression, to narrow the distance between visitors and collections, stimulate visitors’ love for fine traditional Chinese culture and enhance their cultural confidence.
Key Words: Museum; short video; interpretation; “Visiting the Museum on Douyin”
作为“现代宏观叙事”的博物馆
——评苏珊·皮尔斯《博物馆、实物和藏品：文化研究》
(1993)
Museum Acting as Modern Macro-Narrative: Review of Susan M. Pearce's
Museums, Objects, and Collections: A Cultural Study (1993)
罗兰舟
Luo Lanzhou
（复旦大学文物与博物馆学系，上海，200433）
(Department of Cultural Heritage and Museology, Fudan University, Shanghai, 200433)
内容提要：英国学者苏珊·皮尔斯是博物馆学研究的代表人物之一。她的代表作《博物馆、实物和藏品：文化研究》阐述了博物馆作为“现代宏观叙事”的研究视角。她区分了收藏家在特定的社会思潮中对实物的选择、博物馆在挑选实物入藏时对社会思潮的反馈，以及博物馆运用符号化的语言塑造了观众对“客观事实”和“永恒真理”的认知。将博物馆作为叙事本身，而不是优化叙事的手段，打开了将博物馆置于其所处的社会文化语境中进行综合考量的研究空间。皮尔斯的研究可以启发我国开展博物馆学基础研究。
关键词：苏珊·皮尔斯 《博物馆、实物和藏品：文化研究》 博物馆学理论
Abstract: British scholar Susan M. Pearce is one of the representatives of museology research. Her masterpiece Museums, Objects and Collections: A Cultural Study elaborates the research perspective of museums acting as “modern macro-narrative”. She distinguishes between collectors’ selection of objects in specific social trends, museums’ reflections on the social trends when selecting objects for collection, and museums’ use of symbolic language to shape the visitors understandings of “objective facts” and “eternal truths”. Viewing museums as narratives, rather than as means of optimizing narratives, opens up the research space to examine museums in their complex social and cultural contexts. Pearce's research can inspire Chinese scholars to carry out basic research on museology.
Key Words: Susan M. Pearce; Museums, Objects, and Collections: A Cultural Study; museology theory