博物馆本性及特性析
Analysis on the Nature and Characteristics of Museum
宋向光
Song Xiangguang
（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：文章从公众体验和公共博物馆历史发展角度，将博物馆视为客观实存，据此探讨博物馆本性及其特性。博物馆本性是作为客观实存的博物馆的自然性质，是博物馆形成和存续过程中形成的，是博物馆维持自我状态的活动机制和自维持机制，是实现博物馆目的的行为机制，体现在博物馆的物质条件和各项业务活动中。博物馆特性是博物馆在存续环境中与环境互动方式和姿态的表现，是博物馆在基本价值观指引下环境变化应对策略的体现。博物馆特性受博物馆知识构建和传播活动的制约和影响，主要表现为精英性、普世性、公共性和开放性。博物馆本性规定和制约博物馆特性，博物馆特性对博物馆本性起着强化的作用。要警惕博物馆特性扭曲或误导人们对博物馆本性认知的可能。
关键词：博物馆学 博物馆本体 博物馆本性 博物馆特性 知识构建
Abstract: From the perspective of public experience and the historical development of the public museum, the article treats the museum as objective existence, and discusses the nature and characteristics of the museum accordingly. The nature of museum is the natural nature of the museum as an objective reality, and it is formed in the process of the formation and existence of the museum, is the activity mechanism and self-sustainment mechanism for the museum to maintain its own state, is the behavioral mechanism for achieving the purpose of the museum, is reflected in the material conditions of the museum and various professional activities in the museum. The characteristic of the museum is the expression of the way the museum interacts with the environment and its posture in the existing environment, and the embodiment of the museum's response strategy to environmental changes under the guidance of basic values. The characteristics of the museum are restricted and influenced by the knowledge construction and dissemination activities of the museum, which are mainly manifested as elitism, universality, publicity and openness. The nature of the museum stipulates and restricts the characteristic of the museum, and the characteristic of the museum play a role in strengthening the nature of the museum. We must be wary of the possibility of museum characteristic distorting or misleading people's perception of the nature of the museum.
Key Words: Museology; museum ontology; the nature of museum; the characteristic of museum; knowledge construction
博物馆展览叙事语境的构建
The Context of Exhibition Narrative as Constructed in Museums
曹宏
Cao Hong
（北京大学赛克勒考古与艺术博物馆，北京，100871；北京大学考古文博学院，北京，100871）（Arthur M. Sackler Museum of Art and Archaeology at Peking University, Beijing, 100871; School of Archaeology and Museology, Peking University, Beijing, 100871）
内容提要：展览叙事语境是指展览的时间、空间、社会背景、文化背景等影响展览表达者与观众对话和交流的时空场域，是展览叙事得以达成其目标的前提条件。合适的叙事语境可以缩短观众与展览表达者之间的心理距离及知识差距，带给观众更好的展览体验，满足不同观众的参观需求。本文尝试利用叙事学、修辞学理论，从展览叙事语境的角度，通过分析展览叙事语境的结构及其组成要素，讨论如何营造合适的展览语境，如何让展览的表达者与这些生活经验、知识结构、认知水平、文化背景等各不相同的观众，能在共同的展览语境中默契交流从而帮助观众完成一次超预期的难忘的参观体验，并产生自己的感悟联想。
关键词：展览叙事语境 展览叙事参与者 物理语境 文化语境
Abstract: The context of exhibition narrative refers to temporal domains and spatial fields that affect dialogues and exchanges between the curator and the audience including: time, space, social background and cultural background. It is the prerequisite for narrative exhibitions to reach their goals. Since appropriate narrative contexts reduce the psychological distance and the knowledge gap between the audience and the museum, they not only provide better experience as a whole, but also satisfy different needs of the audience. In this paper, theories of narratology and rhetoric are adopted and the perspective of exhibition narrative is assumed to analyze constituents of which the context of exhibition narrative is composed, to discuss methods by which proper contexts of narrative exhibitions are created, and to demonstrate opportunities in which tacit exchanges are enabled in shared, proper contexts between the museum and the audience with different life experiences, knowledge structures, cognitive levels and cultural backgrounds, with the aim to helping the audience acquire unexpected and unforgettable experience from such a narrative exhibition so as to enforce associations of their self-awareness.
Key Words: Context of exhibition narrative; participant of exhibition narrative; physical context; context of culture
拜谒射鹊登云湄——宋山石祠中蕴含的升仙仪轨
Visiting, Shooting the Magpie and Flying into the Air: The Ritual of Immortality Contained in the Stone Shrine of Songshan
张露胜
Zhang Lusheng
（山东博物馆，济南，250014）
（Shandong Museum, Jinan, 250014）
内容提要：汉画像石既再现了汉代的社会生活，又描绘了汉代人的鬼神信仰和理想追求。画像石中的拜谒图和射鹊图多位于祠堂或墓室的中心，本文以宋山小石祠南壁、微山两城村永和六年石祠北壁和微山两城村永和二年石祠东壁的画像石为例，从祠堂的结构布局、汉代的丧葬习俗及社会礼仪等视角去讨论这一组图像，说明汉代人的生命观及他们理解的升仙过程，梳理了从人逝后随阴官乘车马进入阴宅接受拜谒，然后随羽人、朱雀来到扶桑之下，最后驾乘天马飞上扶桑的升仙过程。
关键词：画像石 拜谒 射鹊 升仙
Abstract: The pictorial cavings depict not only the social life of Han Dynasty, but also the belief of ghosts and gods and the pursuit of ideals of the people. The visiting and shooting designs are mostly located in the center of the shrines or tombs. This pictorial stone reliefs on the south walls of the small stone ancestral temple on Songshan, the north walls of the stone ancestral temple and the east walls of the stone ancestral temple in Liangcheng Village, Weishan County for example, aiming at the configuration of the shrine, funeral custom and social pleasantry of Han Dynasty to figure out the meaning of these collections of designs for the views of life and immortal process of the people in Han Dynasty, to analyze the immortal process of accessing the resting place with Death Officer by chariot after death, visiting the tomb owner then coming under the mulberry with feathery-winged deities and rosefinchs, finally flying into the air with horse.
Key Words: Pictorial cavings; visiting; shooting the magpie; immortal
太原市存“天龙禅寺”刻本及相关问题探讨
Discussion on the Engraved Editions of Tianlong Zen Temple Preserved in Taiyuan and Related Issues
韩革 陈庆轩 袁佳珍
Han Ge1?Chen Qingxuan1?Yuan Jiazhen2
（1.太原市文物保护研究院，太原，030025；2. 山西博物院，太原，030024）
（1. Taiyuan Institute for the Preservation of Culture Heritage, Taiyuan, 030025; 2. Shanxi Museum, Taiyuan, 030024）
内容提要：“天龙禅寺”刻本为《碛砂藏》明补刻本，目前可知世界范围内保存量非常少。太原市文物保护研究院保存有明建文元年“天龙禅寺”刻本《大方广佛华严经》卷第三十四及刻于天龙禅寺的《大方广佛华严经普贤行愿品》，太原崇善寺保存有74卷74册《大方广佛华严经》“天龙禅寺”刻本。通过与国内外现存“天龙禅寺”刻本的比较，对刻经时间、刻经者、捐资者及相关题记内容进行探讨。
关键词：“天龙禅寺”刻本 建文元年题记 刻经者 题记内容
Abstract: The engraved editions of Tianlong Zen Temple are very few around the world at present, which are the supplement engraved editions of Qishazang in Ming Dynasty. Taiyuan Institute for the Preservation of Culture Heritage preserves Tianlong Zen Temple engraved edition of Flower Garland Sutra, volume 34, in Jianwen first year of the Ming Dynasty, and Flower Garland Sutra·the Practices and Vows of the Bodhisattva Samantabhadra engraved in Tianlong Zen Temple. Taiyuan Chongshan Temple preserves 74 volumes of Tianlong Zen Temple engraved edition of Flower Garland Sutra. By comparing with the existing editions of Tianlong Zen Temple at home and abroad, this paper discusses the engraving time, the engraving people, donors and related contents of inscriptions.
Key Words: The engraved editions of Tianlong Zen Temple; inscription in Jianwen first year of the Ming Dynasty; the engraving people; inscription content
海外新见北洋海军相关档案文物初探——以德国联邦档案馆、汉堡国际海事博物馆藏品为研究对象
Study on the New Overseas Archives and Cultural Relics of the Beiyang Navy: Taking the Collection in German Federal Archives and Hamburg International Maritime Museum as the Research Object
李琮 张远
Li Cong Zhang Yuan
（1.中国国家博物馆，北京，100006；2. 新华通讯社，北京，100803）
（1. National Museum of China, Beijing, 100006; 2. Xinhua News Agency, Beijing, 100803）
内容提要：有关北洋海军的档案文物，不仅见于海内，也大量收藏于众多海外机构。德国联邦档案馆和汉堡国际海事博物馆即收藏有“定远号”线图复制件、“镇远号”临时船长的护书及相关外交剪报等档案文物。它们从不同角度补充了北洋海军在德购舰的历史，尤其展现了这一时期列强对华开展军火销售的贸易竞争。与此同时，几件档案和文物因未曾见于国内，故较好填补了相关研究领域的空白，从“德国视角”对北洋海军的建设史进行了复原。
关键词：北洋海军 档案 海外 文物
Abstract: The archives and cultural relics of the Beiyang Navy are not only found in China, but also collected in many overseas institutions. The German Federal Archives and the Hamburg International Maritime Museum have copies of Dingyuan armored ship diagram, the protective book of the temporary captain of Zhenyuan armored ship and relevant diplomatic clippings. They complement the history of Beiyang Navy’s purchase of ships in Germany from different angles, and especially show the “trade competition” of arms sales to China among Western countries during this period. Meanwhile, as these archives and cultural relics have not been seen in China, they have better filled the gaps in relevant research fields, and restored the history of Beiyang Navy from the “German perspective”.
Key Words: Beiyang Navy; archives; overseas; cultural relics
情境重构：康乐园展藏的明清铁钟研究
Context Reconstruction: Research on the Iron Bells in Ming and Qing Dynasties Exhibited in the Kangleyuan Campus of Sun Yat-sen University
李宁利
Li Ningli
（中山大学，广州，510275）
（Sun Yat-sen University, Guangzhou, 510275）
内容提要：康乐园展藏有两口明清时期的大铁钟：其一为明代万历二十一年（1593年）铸造，曾供奉于“韶州府曲江县布恩上都大岭堡延寿庵”中，目前存放在马丁堂；其二为清代嘉庆四年（1799年）铸造，曾供奉于越秀山旧广州城的三元宫关帝庙，现高悬于康乐园的惺亭内，两口铁钟均有铭文。与对待其他古物不同，这两口大铁钟在20世纪二十到四十年代携入康乐园时并未被纳入博物馆珍藏，而是露天展存于大学校园的凉亭中，近百年来观者如织却对其视若不见。本文首次对铁钟的铭文进行抄录和考释，运用“情境重构”的方法，阐释大铁钟进入大学情境之中如何表达“身许国家、永作楷模”的家国情怀，如何铭记抗战迁校时的颠沛流离。本文旨在以康乐园铁钟为研究案例，超越对器物的平面描述，探寻因情境变化而促成器物价值的“汇聚和叠加”；将器物与精神相连，才可以见到器物流转与空间移易背后的人群和思想的跃动，对诠释和解读早期大学校园文化遗产具有范式意义。
关键词：情境重构 康乐园 明清铁钟 惺亭 八角亭
Abstract: There are two big iron bells preserved and exhibited in Kangleyuan Campus of Sun Yat-sen University, one of which is now preserved in Martin Hall, while the other is hanging in the Xing Pavilion. The former one was cast in 1593 in the Ming Dynasty, used to be enshrined in Yanshou Nunnery, and the latter one was cast in 1799 in the Qing Dynasty, used to be enshrined in Guandi Temple. Both bells were engraved with inscriptions. Unlike other well-preserved antiques, these two big iron bells were not registered in collection by the museum when they were brought to the campus in the 1920s and the 1940s, but placed in the outdoor pavilion in the campus instead. Over nearly a century, people passed by the bells but paid little attention to them. In this paper, the inscriptions in the bells are transcribed and explained for the first time. By the way of “context reconstruction”, this paper elaborates the bells' role in expressing patriotism of “being committed to the country and being an everlasting role model” in the context of entering the campus, and in memorizing the school' s arduous struggle of removal during the Anti-Japanese War. Based on the research of iron bells in Kangleyuan Campus, this paper goes beyond the plain interpretation of the bells, and searches for their combined and added value in the change of context. Moreover, this paper combines artifacts with spirits, in order to find out the contributors and active minds behind the circulations and shifting locations, which also has model significance in explaining early cultural relics in university campus.
Key Words: Context reconstruction; Kangleyuan Campus of Sun Yat-sen University; iron bells in the Ming and Qing Dynasties; Xing Pavilion; Octagon Pavilion
从思想到文明：孔子及儒家文化的博物馆叙事
From Ideology to Civilization: Museum Narratives of Confucius and Confucian Culture
关昕
Guan Xin
（中国社会科学院中国历史研究院，北京，100101）
（Chinese Academy of History, CASS, Beijing, 100101）
内容提要：孔子创立的儒家学说以及在此基础上发展起来的儒家文化，对中华文明产生了深远影响。伴随清季民国以来中国从“王朝国家”向“民族国家”的转变，“除旧布新”还是“温故知新”成为国人认知儒家文化的论争焦点。当儒家文化进入博物馆，其主题叙事也存在着价值评判的内在张力。在博物馆展陈中，对儒家代表人物孔子的解读几经更易，从教育家、思想家的历史人物形象逐步扩展为中华独特文明形态的代表之一。这一历程体现了国内博物馆书写、传播历史的叙事话语权发展，也体现了儒家文化与国家主流意识形态的融合。关键词：思想?文明?孔子?儒家文化?博物馆
Abstract: The Confucian theory founded by Confucius and the Confucian culture developed on this basis have a profound impact on Chinese civilization. Since modern times, in the process of China entering the“Nation-State”, whether to “expel” or “renew” has become the basic proposition for Chinese people to recognize Confucian culture. When Confucian culture enters the museum, its theme narrative also has the internal tension of value judgment. In the narrative of museum exhibition, the interpretation of Confucius, the representative figure of Confucianism, has gradually expanded from the historical figures of educator and thinker to a representative of the unique form of Chinese civilization. This process not only shows the discourse power development of domestic museums in spreading historical narrative, but also reflects the development trend of the integration of Confucian culture and national mainstream ideology.
Key Words: Ideology; civilization; Confucius; Confucian culture; museum
“美的瞬间：中国广西纺织文化展”策展解析
Analysis on The Moment of Beauty: Ethnic Costumes and Textiles Exhibition from Guangxi, China
褚?楚
Chu Chu
（广西民族博物馆，南宁，530028）
（Anthropology Museum of Guangxi, Nanning, 530028）
内容提要：“美的瞬间：中国广西纺织文化展”文物展于2019年12月23日在韩国国立大邱博物馆举办。该展从策划到最终实施，经历近三年的磨合与完善。展览从当代少数民族自身出发，以第一人称的叙述视角讲述中国故事，并尝试以视觉艺术的内在逻辑作为展览实体的根据。本文通过对策展起源、内容选题、叙事语言、视觉逻辑等问题的解析，讲述展览如何实现“自我”，凭借新的材料与方法表达“少数民族文化即是当下和谐多元的中国文化”这一主题。
关键词：出境展览 策展 广西 少数民族 跨文化传播
Abstract: The exhibition The Moment of Beauty: Ethnic Costumes and Textiles Exhibition from Guangxi, China was held at the Daegu National Museum, Korea on December 23, 2019. After nearly three years of planning and refinement from its inception to its final implementation. The exhibition tells a Chinese story from the perspective of contemporary ethnic minorities themselves, and strives for the logic inherent in visual art. This paper documents the curatorial cycle. Through the origins of exhibition, the exhibit selection and narrative language, etc., it tells how the exhibition realizes the main theme of “ethnic minority culture is the harmonious and diversified Chinese culture at?present”.
Key Words: Outbound exhibition; curation; Guangxi; ethnic minority; cross-cultural communication
小盲盒大世界——探析河南博物院考古盲盒成长之路
Big World in the Little Blind Box: The Development of Henan Museum Archeological Blind Box
宋华?姚星
Song Hua?Yao Xing
（河南博物院，郑州，450002）
（Henan Museum, Zhengzhou, 450002）
内容提要：在文旅融合大背景下，博物馆属性较之前发生新的变化，基于传统的“三性两务”，博物馆旅游和教育的功能越来越突出。博物馆文创作为展览的延伸，如何通过文创产品体现博物馆自身特色也越来越受到关注。河南博物院研发了“动态文创”考古盲盒，并通过在新媒体平台发声，转换营销渠道，打造开放交流空间等手段，实现了文创“出圈”。该实践对新时代文旅融合背景下博物馆文创发展具有重要借鉴意义。
关键词：博物馆文创 考古盲盒 动态文创
Abstract: Under the background of culture and tourism integration, the attribute of museum have changed. Based on the traditional functions of museum, education and tourism are becoming more and more prominent. As an extension of the exhibition, how to embody the characteristics of the museum through cultural and creative products has attracted more and more attention. Henan Museum has developed the “dynamic cultural and creative product” archeological blind box, and made it popular among the public by means of promoting on the new media platform, changing the marketing channels and designing open communication space, etc. The practice is significant to the development of museum cultural and creative product in the new era.
Key Words: Museum cultural and creative products; archeological blind box; dynamic cultural and creative products
《弘历骑马像轴》的科学分析与保护
Scientific Analysis and Conservation of Emperor Qianlong in Armour on Horseback
王 茜
Wang Qian
（故宫博物院，北京，100009）
（The Palace Museum, Beijing, 100009）
内容提要：《弘历骑马像轴》因年代久远，存在残缺、断裂、白化等现象，亟须保护。利用光学显微镜、扫描电子显微镜、能谱仪等仪器对该文物进行了系统分析研究。研究表明，油画使用了多种矿物颜料与黏合剂。结合对病害、材料、颜料、工艺分析研究结果，开展了清洁与加固的前期保护，并制定相应的后期保护修复方案，力求恢复文物原貌，展示其科学与艺术价值。对此幅绘画的研究可以丰富中国古代油画颜料的研究内容，也为大型古书画的修复提供新的经验。
关键词：郎世宁 故宫博物院 科学分析 保护修复
Abstract: Emperor Qianlong in Armour on Horseback is generally incomplete, fractured, and bleached, which is in urgent need of protection. The painting has been systematically analyzed and studied by using optical microscope, scanning electron microscope, energy spectrometer and other equipments. Studies have shown that this oil painting uses a variety of mineral pigments and adhesives. Combined with the research of diseases, materials, pigments and techniques, the preliminary protection of cleaning and strengthening was carried out, and the corresponding restoration scheme was formulated to regain the original appearance of the painting and demonstrate their scientific and artistic value. The study of this painting can enrich the research of ancient Chinese oil paintings and provide new experience for the restoration of large ancient painting and calligraphy.
Key Words: Giuseppe Castiglione; the Palace Museum; scientific analysis; conservation and restoration
银镀金累丝长方盆穿珠梅花珊瑚盆景的工艺研究
Study on the Craft of Miniature Landscape with Plum Blossoms of Pearls and Gems in a Rectangular Pot of Gilt Silver Filigree
展菲 孔艳菊 刘瀚文 张雪雁 王娜
Zhan Fei Kong Yanju Liu Hanwen Zhang Xueyan Wang Na
（故宫博物院，北京，100009）
（The Palace Museum, Beijing, 100009）
内容提要：故宫博物院藏“银镀金累丝长方盆穿珠梅花珊瑚盆景”不论从材质选择还是工艺运用上，都代表了清代宫廷花卉类盆景中的较高水平，所用工艺包含清代宫廷花卉类盆景中的多种技法。本文旨在探索清代宫廷花卉类盆景工艺及制作方法。通过科技检测，明确了所用材质的种类，并对其工艺进行了梳理与分析，包含点翠工艺、珠宝镶嵌工艺、穿珠工艺、金属工艺及盆景组装与制作工艺；并在不损伤文物的前提下，对文物内部结构进行科学的研究，从而探索盆景组装和制作方法，为清代宫廷花卉类盆景文物的修复进行案例积累。
关键词：宫廷花卉类盆景 珍贵选材 工艺分析 科技检测
Abstract: Not only from the selection of materials, but also the application of crafts, miniature landscape with plum blossoms of pearls and gems in a rectangular pot of gilt silver filigree which collected in the Palace Museum is on a higher level in the imperial court flower potted landscapes crafts of Qing Dynasty. Using various of the imperial court flower potted landscapes crafts in Qing Dynasty, this artifact is a typical representative to study the imperial court flower potted landscapes crafts of Qing Dynasty. This article aims to explore the imperial court flowers potted landscapes crafts of Qing Dynasty and production methods. Through the technical testing, the types of materials used on the potted landscapes are clarified, sorting out the crafts and analyse them, including kingfisher crafts, jewelry inlay crafts, beading crafts, metal crafts and potted landscapes assembling and producing crafts. The research on the internal structure of the cultural relics is taken place scientifically without any destruction, and the potted landscapes assembling and production methods are explored to accumulate the cases for the imperial court flower potted landscapes crafts in Qing Dynasty.
Key Words: The imperial court flower potted landscapes; precious materials; craft analysis; technology inspection