博物馆双向沟通模式—一种强化博物馆观众学习效果的尝试
The Two-way Communication Model of Museum: An Attempt to Strengthen the Learning
Effect of Audience
王立铎
Wang Liduo
（北京大学考古文博学院，北京，100871 ）
(School of Archaeology and Museology, Peking University, Beijing, 100871)

内容提要: 随着社会的发展，博物馆已经发生了巨大的变化，从“以物为中心”转变为“以人为本”，从博物馆教育转化为博物馆学习。博物馆学习实际上是观众与博物馆双方沟通与信息传播的过程，博物馆将信息通过展览等方式传递给观众。在这一过程中，信息发出者与接受者的沟通交流变得十分重要。所以，传统单向博物馆信息灌输的模式会面临观众兴趣不高、学习效果差等诸多问题。博物馆需要建立一个双向沟通的系统，平等地与观众沟通，形成一种开放的、沟通的良好合作关系，以支持博物馆学习。如今，观众的角色和作用已经发生了巨大的变化。博物馆观众并非是传统意义上单纯的信息接收者，观众是博物馆的主动参与者与创造者，是有着新需求的知识构建者和主动学习者，也是博物馆重要的信息来源之一。
关键词: 博物馆学习 博物馆观众 双向沟通 信息传播
Abstract: With the development of the society, great changes have taken place in the museum, from "content-centered" into "people-oriented", from museum education into museum learning. Museum learning, in fact, is the two-way process of communication and information dissemination between the museums and their audiences, during which the information is transmitted to the audience via exhibition. In this process, itis fairly important to keep communicating between the information senders and receivers. Thus, the tradition alone-way model of infusing information from museum will face some problems such as the low level of audiences' interest as well as poor learning effect. Museum need to create a two-way communicational system and to communicate with audience equally, forming an open and communicational relationship, in order to support the museum learning and to achieve educational effect. Nowadays, the role and effect of audiences have changed greatly. The audience of museum are not the simple receivers of information, but the active participants and creators, who are not only the knowledge builders and active learners with new demand, but also one of the significant sources of information for museums.
Key Words: Museum learning; museum audience; two-way communication; information dissemination.

教育学、传播学视角下的展览研究与设计——兼论科技博物馆展览设计创新的方向与思路
Exhibition Research and Design from the Perspective of Education and Communication:
On the Direction and Thinking of the Exhibition Design
Innovation of Science and Technology Museum
朱幼文
Zhu Youwen
（中国科技馆，北京，100012）
(China science and technology museum, Beijing, 100012)

内容提要: 提高展览设计水平和创新，是我国科技博物馆界的经常性话题，并为此采取了一系列措施，但效果尚不明显。经调查和研究发现，在教育已成为博物馆首要功能之今日，展览作为博物馆教育/传播的最重要载体和形式，却很少运用教育学、传播学的理论及方法进行研究和指导设计，这可能是导致展览设计创新方向不明、效果不佳的重要原因之一。本文尝试从教育学、传播学的视角研究分析展览展品的展示目标、信息内涵和特征，并以此为依据探讨展览策划、展示内容设计、展示方式设计的创新方向和基本思路。
关键词: 科技博物馆 展览 教育学/传播学 研究视角 设计思路
Abstract: The improvement of exhibition design level and innovation is a constant topic in China's science and technology museum, and has taken a series of measures, but the effect is not obvious. After investigation and research, we found that education has become the premier function of museums today, and the exhibition is the most important carrier and form of education/transmission of the museum. However, the theory and method of education and communication are seldom used to study and guide the design, which may be one of the important reasons for the lack of direction and poor effect of the exhibition design innovation. This paper attempts to study and analyze the exhibition objective, information connotation and characteristics of exhibition and exhibits from the perspective of education and communication. In this way, we will discuss the innovation direction and basic ideas of exhibition planning, content design and presentation design.
Key Words: Science and technology museum; exhibition; education/communication; research perspective; design ideas

张樾丞与同古堂——兼论鲁迅藏印
Zhang Yuecheng and Tonggutang: Research of Lu Xun's Seal Collection
张娟
Zhang Juan
（北京鲁迅博物馆（北京新文化运动纪念馆），北京，100009）
(Beijing Lu Xun Museum and the New Culture Movement Memorial of Beijing, Beijing, 100009)

内容提要: 张樾丞是民国时期北京著名的篆刻艺术家。民国初年，他在北京琉璃厂开办了“同古堂”，为许多政治、文化、艺术界名人刻制过印章，鲁迅也是其中一位。本文考证了张樾丞艺术经历及其同古堂的成就，并以鲁迅藏同古堂印章为例，折射民国文化名人之间的关系。
关键词: 张樾丞 篆刻 鲁迅藏印
Abstract: Zhang Yuecheng is a famous seal artist in Beijing during the Republic of China era. In early Republic of China, he established Tonggutang in Liulichang Street in Beijing. He engraved seals for many political circles, cultural and art circle's celebrities, including Lu Xun. This paper examines the artistic experience of Zhang Yuecheng and his achievements with the Tonggutang. By taking Lu Xun's seal as an example, this paper reflects the relationship among cultural celebrities of the republic of China.
Key Words: Zhang Yuecheng; seal; the seal of Lu Xun's collection

大清银行兑换券大清门伍拾圆铜凹版的修复与考证
Restoration and Research of the Fifty Yuan Copper Intaglio Plate Engraved with Gate of Qing
(Issued by Government Bank of the Great Qing)         
魏三钢
 (Wei Sangang)
（首都博物馆，北京，100045）
(Capital Museum, Beijing, 100045)

内容提要: 首都博物馆“古都北京·历史文化篇”展览陈列着一块大清银行兑换券大清门伍拾圆铜凹版。这件填补我国印钞技术空白的铜凹版曾被弃为废品，濒临灭失，经过发现、修复、考证、印制票样等艰难之路，成为首都博物馆“让文物活起来”的一个经典案例。本文据此对“让文物活起来”的起点、支撑、内涵和外延等进行了探讨，以供业界参考。
关键词: 大清银行兑换券 大清门 铜凹版 修复与考证 “让文物活起来”
Abstract: A fifty Yuan copper intaglio banknote plate engraved with Gate of the Great Qing is displayed in the Capital Museum's "Ancient Capital City Beijing: History and Culture" exhibition. As an extremely valuable testimony to banknote printing history of China, this plate had a complex history. It was once considered as a valueless waste. Then it was on the verge of loss before rediscovered and restored by professional archaeologists. Finally, after textual research and reprinting, this plate now is well-preserved and becomes a classic case concerning reviving relics in the Capital Museum. This paper takes the plate as an example to discuss origin, rationale, connotation and denotation of reviving relics, providing a reference for
Key Words: Banknote certificate issued by Government Bank of the Great Qing; the Gate of China in Qing Dynasty; copper intaglio; restoration and research; "make relics alive".

从吉美、大都会到中国国家博物馆——对秦汉文物的不同诠释与解读
From Guimet and the MET to the National Museum of China: Different Explanations of Qin and Han Dynasties Cultural Relics
陈彦堂
Chen Yantang
（河南省文物局，郑州，450002）
(Cultural Heritage Bureau of Henan Province, Zhengzhou, 450002)

内容提要: 近年来，先后在欧美国家举办了“汉风—中国汉代文物展”和“帝国时代:中国古代秦汉文明”为主题的大型文物展，中国国家博物馆“秦汉文明”展也踵事增华。本文通过对这三个展览的展览背景、策展理念、陈展方式、文物意涵阐发等诸多方面的具体分析，认为这些展览虽然都是以秦汉时期的出土文物为展品，甚至展品有大量的重复，但策展人所要表达的理念有着明显的不同，因此文物的组合方式与陈展形式也存在着明显的差异。由此比较其间的异同，可以总结为:“汉风—中国汉代文物展”实际上是经由中国本土学者对欧洲观众解读汉代文物的展览，所体现的历史观也是中国学术界的认知;“帝国时代:中国古代秦汉文明”展则是以美国视角诠释秦汉文物的古代艺术品展览，所要表达的历史观念和艺术史观有别于国内的话语体系;中国国家博物馆“秦汉文明”展与前二者都有差异，基本可以视为中国官方版中国通史的文物陈列，与该馆通史陈列的主题思想和理念基本一致。
关键词: “汉风展” “帝国时代:中国古代秦汉文明” “秦汉文明”展 秦汉文物 策展理念诠释与解读
Abstract: In recent years, grand exhibitions such as "Splendeurs des Han" and "Age of Empires: Chinese Art of the Qin and Han Dynasties" were held in western countries. The national museum of China embraced opportunities after successfully organized these events. From background, idea, pattern of exhibition and meaning of exhibit, this article analyzes the exhibitions mentioned above in detail. This article holds that, though the two exhibitions both based on cultural relics from the same period (even exhibits were the same to a large extent), the thoughts behind the exhibitions were obviously different. Thus, combination of objects and pattern of exhibition differed evidently. From the differences, it is concluded that "Splendeurs des Han" the exhibition which was Chinese scholars explained Han Dynasty's objects to European visitors, expressing concepts accepted by Chinese academic circles while "Age of Empires: Chinese Art of the Qin and Han Dynasties" was an artwork exhibition which explained Qin and Han cultural relics in American view. This is historic view versus artistic. However, the one held in the national museum of China varied from the two in western countries. Exhibition of "Qin and Han Civilization" in national museum of China is an official version of Chinese general history. Basically, idea of this exhibition is similar to general history exhibition in this museum.
Key Words: "Splendeurs des Han"; "Age of Empires: Chinese Art of the Qin and Han Dynasties"; "Qin and Han Civilization"; cultural relics of Qin and Han Dynasties; idea of exhibition; explanation

博物馆的全球化思考——从世界三大博物馆几个临时展览说起
Reflection on the Globalization of Museums: Beginning with Several Temporary Exhibitions of the World's Three Largest Museums
张岩 张卫星
Zhang Yan Zhang Weixing
（秦始皇兵马俑博物馆，西安，710600 ）
(Emperor Qinshihuang's Mausoleum Site Museum, Xi' an, 710600)

内容提要: 本文结合近期世界三大博物馆举办的三个临时展览，讨论博物馆的全球化及相关问题。这三个展览既有中国博物馆引入的世界著名博物馆的临时展览，也有国外博物馆举办的关于中国文化的展览，这些展览的内容与策划都与当前博物馆的全球化有关。虽然世界三大著名博物馆全球化的发展模式对一般博物馆来说无法复制，但是全球化进程可为所有博物馆发展提供新的机遇，多样化的理念下的差异发展不失为全球化进程中我国博物馆的发展模式。此外本文还指出遗址博物馆需要把握全球化、差异化发展的机遇。
关键词: 博物馆全球化 临时展览 遗址博物馆
Abstract: With three recent temporary exhibitions held in the world's three largest museums as the break through point, the paper explored the globalization of museums and some relevant issues. The three exhibitions included not only temporary exhibitions of world famous museums introduced by Chinese Museum, but also exhibitions on Chinese culture held by foreign museums, the content and planning of which are all relevant to the globalization of current museums. Although the globalized development mode of the world's three famous museums cannot be duplicated by general museums, the globalization process can provide new opportunities for all other museums. Under the concept of diversity, varied development should be regarded as the development mode for Chinese museums in the process of globalization. In addition, the author also pointed out that site museums need to grasp the opportunities of globalized and differentiated
Development.
Key Words: Globalization of museum; temporary exhibition; site museum

“互联网+”背景下博物馆基础业务的夯实与拓展
Consolidation and Expansion of Museum Basic Mission under "Internet Plus" Context
黄雪寅
Huang Xueyin 
（首都博物馆，北京，100045）
(Capital Museum, Beijing, 10004)

内容提要: 在“互联网+”时代背景下，博物馆基础业务的范围究竟是什么？目前博物馆在互联网时代需要夯实的基础工作有哪些，才能真正适应大众的需求？由此，在国家“互联网+”行动计划的推动下，博物馆基础业务的拓展空间上，博物馆又如何进行自我革新和创新，是摆在我们面前的重要课题。中国博物馆正在从自说自话开始转变为以大众需求为导向的发展轨道上。在这个过程中，事业发展速度越快，需要充实的业务范围和内容量越大。我们具备以藏品为基础的诸多储备吗？本文带着这些看似传统的老问题，进行与时俱进的思考，以期共同迎接新时代对我们的挑战。
关键词: “互联网+” 博物馆基础业务夯实与拓展 博物馆自我革新与创新 从自说自话到服务大众 新时代的挑战
Abstract: What is the field of museum's basic mission under "Internet Plus" context? Nowadays, what is the basic mission of the museum to satisfy the public needs in this age of Internet? Therefore, based on the national plan of "Internet Plus" and expanding the space of museum's basic mission, our major project is how to carry out museums' renovation and innovation from themselves. The Chinese Museums are on the way from self-entitled to public needs-oriented. In this process, with the rapid development of business, the field and content of museum mission become greater, do we have enough collection-based knowledge? This essay will take these traditional problems to thinking in advance with the times to figure out the solution and meet the challenges of new era.
Key Words: "Internet Plus"; consolidation and expansion of museum basic mission; museum self-renovation and innovation; from talking to themselves to public needs-oriented; challenges of new era

战争主题展览的文本分析与叙事策略——以“鸦片战争”展为例
Exhibition Text Analysis and Narrative Strategy under the Theme of War: Illustrated by the Case of "Opium War" Exhibition               
关昕
Guan Xin
（中国国学中心，北京，100101）
 (China Classical Culture Center, Beijing, 10010)

内容提要: 战争主题展览旨在记录与战争有关的历史，提供让观众反思战争之场域。其常以历史叙事为主轴，通过照片、文物、模型、场景等展示元素，铺陈战争发生的来龙去脉，并呈现出特定的史观。“鸦片战争”展秉承强国叙事的传统，在精神正向传承的范式基础上，通过全球视野和中西方对比的展示手法，带动观众的情感认知;其“故事”与“话语”的结合方式则体现了单线进化论叙事的特征。从中，亦可看出国内战争主题展览走向多元化叙事的可能性。
关键词: 战争主题  展览叙事鸦片战争
Abstract: Aims of exhibition under war theme are recording war's history and providing reflection on war. Usually, this kind of exhibition presents a certain view of history by detailing war story in photos, relics, models and other elements. The "Opium War" exhibition inherited the narrative tradition of the powerful nation and the paradigm of positive inheritance of spirit. It brings out the audience's cognition in the global vision and the contrast between China and the West. However, the combination of "story" and "discourse" also shows the characteristics of single evolutionism narrative, from which we can see the possibility that the war theme exhibition moves towards multi narrative.
Key Words: Exhibition under war theme; exhibition narrative; Opium War

交点与焦点:“丝绸之路”系列特展的博物馆学观察
Intersection and Focus: Museological Perspective on "the Silk Road" Special Exhibitions Series
任琳
（四川大学历史文化学院考古系，成都，610064）
(Dept. of Archaeology, College of History and Culture, Sichuan University, Chengdu, 610064)

内容提要: 自2014年中国全面推进“一带一路”建设，为博物馆领域相关事业的发展提供了机遇和挑战。面临不断涌现的“丝绸之路”系列特展，博物馆人应该将关注重点从数量转移到质量上来。博物馆的性质与特征决定了“丝绸之路”系列特展的定位是信息定位型展览，然而目前相关主题的展览绝大部分都是以艺术欣赏为目的的文物艺术品展览。这些特展没有明确的主题和贯穿整个展览的主线，展览内容与形式的最大问题在于没有成功地将书面研究成果转化为博物馆陈列语言，展览信息阐释效率较低。解决这些问题的关键在于策展人进行文物梳理与信息解读时需要把握好“交点”与“焦点”。若干个“交点”的碰撞就是展览主题提炼灵感的来源;“焦点”则是文物重点信息的聚焦，是把“丝绸之路”特展“故事线”讲得生动而吸引观众的要点。
关键词: “丝绸之路”特展信息定位型特展陈列语言信息解读
Abstract: Since 2014, China's "Belt and Road" initiatives have brought changes and challenges for the development of related career in museums. With the increasing amount of "the Silk Road" special exhibitions series right now, museum experts' concerns would divert from quantity to quality. By the nature and characteristic of museum exhibitions, "the Silk Road" special exhibitions series should aim at transmission. However, most of them aim at artistic appreciation. These special exhibitions do not have specific themes or clear mainline, whose contents and design cannot be called "exhibition language". The key to solving these problems is to grasp "the intersection point" and "the focal point" when the museum curators are studying objects. The intersection point is the source of exhibition theme refining, and the focal point is the center of exhibition objects' important clues, both of which decide whether the "the Silk Road" special exhibitions seines attract visitors or not.
Key Words: "The Silk Road" special exhibition; exhibition aimed at transmission; exhibition language; exhibition objects studying

清同治时期历代帝王庙名臣增祀事考
The Modification of Notable Government Officials in the Temple of Ancient Monarchs in Tongzhi Reign
于淼
Yu Miao
（北京历代帝王庙博物馆，北京，100034）
(Museum of the Temple of Ancient Monarchs, Beijing, 100034)

内容提要: 北京历代帝王庙是明清帝王祭祀历代圣帝及功臣名将的祭祀场所，而对于历代帝王、名臣的祭祀亦为两朝重要的常规祭礼之一。历代帝王庙中从祀名臣的数量随着时代的变化而不断调整与厘定，至清雍正朝已基本定型，形成了东庑40人，西庑39人的从祀模式。本文将从历代帝王庙从祀制度的变化过程入手，结合同治朝对庙内从祀名臣的调整，对历代帝王庙从祀名臣体系做一简单的梳理。
关键词: 历代帝王庙 同治 增祀 散宜生 高允
Abstract: The Temple of Ancient Monarchs in Beijing was the place where, during the Ming and Qing Dynasties, traditional ceremonies were performed by the reigning emperor to honour previous dynastic emperors and notable government officials. Such ceremonies were part of the key regular rituals of the Qing and Ming. The number of tablets in this temple for notable government officials kept changing. By the Yongzheng reign, it was decided that forty tablets shall be placed in the east side room and thirty-nine in the west, which since had been regarded as a standard system, with a modification in the Tongzhi reign. The author investigates this system and introduces its changing progress.
Key Words: The Temple of Ancient Monarchs; the Tongzhi reign; modification; San Yisheng; Gao Yun