文物管理规制在民族文物理论研究与实践应用中的定向作用
The Regulation of Cultural Heritage Has Theoretic and Practice Guidance Meaning for
Cultural Heritage of Ethnic Minority
周婷婷
Zhou Tingting
（中国民族博物馆，北京，100080）
(Chinese National Museum of Ethnology, Beijing, 100080)
内容提要：民族文物是构建我国规模宏大文物体系的重要组成部分，涉及古代文物和近现代文物，时空范围大，等级差异大，质地分类复杂，诸多现实因素存在于民族文物理论研究与实践基础上，因此常触发从业者在民族文物保护与管理方面的实践困惑。文章就我国文物管理规制对民族文物的关照性加以分析，阐释在文物保护行业法规条例、规章制度、标准规范等规制框架内认识民族文物，开展民族文物认定、定级、分类等实践是民族文物研究与保护科学有效的方法路径。文章以文献研究为主，强调文物管理规制在民族文物理论研究与实践应用中的定向作用，具有现实意义和可操作性。民族文物研究与实践的发展，需要文物管理规制不断提升优化。
关键词：法规 民族文物 文物认定 文物定级 文物分类 标准
Abstract: Cultural heritage of ethnic minority include ancient heritage and modern cultural relics and they are an important part of the cultural heritage of the country. Cultural heritage of ethnic minority are large historical span, complicated varieties and complexity of materials. Many cultural relics practitioners are confused about the process of cultural relics’ management and maintenance. This paper analyzes laws and regulations combined with features of cultural heritage of ethnic minority. The paper focuses on the regulations of cultural heritage that make sense for theory research and practice for cultural heritage of ethnic minority.
Key Words: Laws and regulations; cultural heritage of ethnic minority; grading of cultural relics;
identification of cultural relics; classification of cultural relics; standards
“多元”与“一体”——博物馆国际展览讲好中华民族共同体故事
Diversity and Unity: Museums’ International Exhibitions Telling Good Stories
of Community for the Chinese Nation
孔达
Kong Da
（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：博物馆在对内、对外讲述国家故事、塑造国家认同方面扮演重要角色。20世纪七八十年代以来，民族文化逐渐被纳入，成为国家故事的重要组成部分。民族文化讲述国家故事的主要方式有两种：一是将博物馆及其展览当作一个“接触地带”，展示民族与文化间的碰撞交融；二是打造独立的民族文化主题博物馆或展览。中国博物馆国际展览则提供了第三种可能性，即将民族文化置于中华民族共同体的形成和发展过程之中，向世界呈现中华文明的多元一体。这既有利于消除世界对于中国的偏见与刻板印象，也有利于提升跨文化传播效果，更有潜力以中国经验启发世界博物馆实践。总之，以民族文化、民族文物、民族博物馆为代表的国际展览应在未来向世界讲好中国故事中发挥更加重要的作用。
关键词：博物馆 国际展览 多元 一体 中华民族共同体
Abstract: Museums have played an important role in telling national stories and shaping national identities both internally and externally. Ever since the 1970s and 1980s, ethnic cultures have been gradually incorporated and have become an important part of the national story. There are two main ways to tell the national story with ethnic cultures. One is to use the museum and its exhibitions as a “contact zone" to show the collision and integration between communities and cultures, and the other is to create independent ethic culture-themed museums or exhibitions. The international exhibition of Chinese museums provides a third possibility, which is to place the ethnic culture in the process of the formation and development of community for the Chinese nation, presenting the unity in diversity of Chinese civilization to the world. This is not only conducive to breaking the world’s prejudice and stereotypes about China, but also may help improve the effect of cross-cultural communication, and is more likely to inspire the practice of world museums with Chinese experience. In a word, international exhibitions consist of ethnic cultures and objects, and organised by ethnic museums should play a more important role in telling the story of China to the world in the future.
Key Words: Museums; international exhibitions; diversity; unity; community for the Chinese nation
新中国成立后“中国通史陈列”范式的生成
The Paradigm Formation of Chinese General History Exhibition After the Founding of
the People’s Republic of China
关昕
Guan Xin
（1.中国社会科学院大学历史学院，北京，102488; 2.中国历史研究院，北京，100101）
(1.School of History, University of Chinese Academy of Social Sciences, Beijing, 102488;
2.Chinese Academy of History, Beijing, 100101)
内容提要：通史陈列作为新中国成立后博物馆历史类陈列的主要类型，其诞生可追溯到20世纪五六十年代中国历史博物馆的“中国通史陈列”的塑造。“中国通史陈列”是中国马克思主义史学为代表的通史路径在博物馆领域产生影响的典型案例。这一案例的发生既是特定时代情境下的产物，同时也集中体现了20世纪中国新式通史编纂累积的智识传统。“中国通史陈列”所形成的通史展览范式及其背后的思维架构，以及由此生发的学术议题，至今仍潜移默化地影响着博物馆实践的发展。
关键词:马克思主义史学 通史编纂传统 中国通史陈列 范式
Abstract: As the main type of museum history display after the founding of the People's Republic of China, general history display can be traced back to the Chinese General History Exhibition, shaping of the National Museum of History in the 1950s and 1960s. Chinese General History Exhibition is a representative case of the general history path represented by Chinese Marxist historiography in the field of museums. The occurrence of this case is not only the product of the specific situation of the times, but also reflects the accumulated intellectual tradition of the new general history compilation in the 20th century. The general history exhibition paradigm formed by the Chinese General History Exhibition, as well as the thinking structure behind it and the resulting academic issues, still imperceptibly affect the development of museum practice.
Key Words: Marxist historiography; tradition of general historiography; Chinese General History Exhibition; paradigm
博物馆借展文物点交的规范化
Reflection on the Standardization of Checking and Handover Museum Loan Collections
张丽华
Zhang Lihua
（四川博物院，成都，610071）
(Sichuan Museum, Chengdu, 610071)
内容提要：文物点交是博物馆藏品管理工作中的一个重要环节。自文物入藏、文物保护、利用直至文物调拨出馆或注销，凡是需要动用文物的业务活动，都必须经过严格的文物点交程序。我国实施博物馆免费开放政策以来，文物借用尤其是展览文物借用，是在博物馆和其他国有文物收藏单位中发生的最频繁的业务活动之一。借展文物点交流程的规范、规章制度的健全、业务合同及点交文本的完备、工作人员的专业化等，是博物馆藏品管理学研究的重要内容和方向。
关键词：点交 规范化 点交文本 点交代表 点交顺序
Abstract: Checking and handover of cultural relics is an essential part of museum collection management. All collection businesses involving storage, conservation, utilization as well as borrowing venues out of the museum or cancellation, must undergo strict checking and handover procedures. Since free access to museums for the public, the lending/borrowing of collections, especially for the loans and exhibitions program, has been regarded as one of the most frequent business activities in museums and other state-owned units of cultural relics collection. Thus, issues including the standardization of checking and handing loan objects, the improvement of rules and regulations, the complement of business contracts and texts of checking and handover, and the specialization of staff, are significant contents and directions of museum collection management research.
Key Words: Checking & handover; standardization; texts of checking & handover; representative of checking & handover; sequence of checking & handover
“博物”与“明志”——一座民间博物馆的道德关怀
Museums and Meaning-Making: The Ethics of a Non-State Museum in China
张力生
Zhang Lisheng
（北京大学社会学系社会人类学研究所，北京，100871）
(Institute of Sociology and Anthropology, Department of Sociology, Peking University, Beijing, 100871)
内容提要：过去近二十年间，中国私人收藏持续升温，民间博物馆正成为民间资本参与文化遗产保护的一个新趋势。作为民间博物馆的一种类型，民间纪念性博物馆可被视作个人情感和历史叙事相交融的记忆空间，其实践者往往带有强烈的历史责任感和道德关怀。本文以中国规模最大的民间博物馆——建川博物馆聚落为案例，分析该项目如何通过收藏和展示抗日战争、红色年代、汶川地震等中国近百年间的重大事件，抒发一种特殊的家国情怀。基于2015至2017年在建川博物馆进行的总共为期十五个月的民族志调研，本文将解读建川博物馆所体现的独特历史使命感，并探讨民间实践对理解博物馆伦理与博物馆社会责任的启示。
关键词：民间博物馆 道德关怀 集体记忆 建川博物馆
Abstract: Over the past twenty years, private initiatives have become a notable trend in China's ongoing ‘museum boom’. As a salient contrast to the state-owned heritage construction, non-state museums are memory spaces that communicate the historical narratives of communities and individuals with a shared sense of moral responsibility to pursue historical ‘truth’ and restore collective memories. This paper looks at the Jianchuan Museum Complex (JMC), China's largest non-state museum project, to examine how it conveys a special sense of patriotic sentiment through its collection and representation of significant historical events in China's past hundred years, including the Anti-Japanese War, the Red Age and the Wenchuan earthquake. Based on 15 months of ethnographic fieldwork at the museum from 2015 to 2017, this paper seeks to understand the sense of historical responsibility and ethical commitment of the Jianchuan Museum, and how non-state museum practices may inform new ways of understanding museum ethics and innovation.
Key Words: Non-state museum; ethical commitment; collective memory; Jianchuan Museum Complex
工矿城镇文化遗产资源活化——以巴克维尔国家历史城镇互动博物馆为例
Revitalization of Mining Heritage Town:
A Case Study on Canadian Barkerville Historic Town and Park
方茜茜1 黄韧1 周静2
Fang Xixi1 Wong Mark Yan1 Zhou Jing2
（1.广州南方学院艺术设计与创意产业系，广州，510970; 2.广西师范大学文学院/新闻与传播学院，桂林，541001）
(1. School of Art Design and Creative Industry, Nanfang College· Guangzhou, Guangzhou, 510970; 2. School of Chinese Language and Literature/School of Journalism and Communication, Guangxi Normal University, Guilin, 541001)
内容提要：鬼镇是北美社会历史发展相对独特的现象。加拿大巴克维尔正是由于金矿开采造成人口快速高度聚集，而在矿产资源枯竭后又迅速流失所形成的矿山鬼镇。然而这并不影响它作为承载着加拿大国家文化的矿山城镇特有的重要记忆空间和考古场所，具有丰富的文化遗存发掘价值。为促进地区经济发展、重新激发地区生命活力，加拿大三级政府鼎力建设巴克维尔国家历史城镇互动博物馆。其立足于矿山城镇独特的历史文化资源和建筑景观，打造出人境互动的旅游特色。不仅使游客在亲历巴克维尔的文化记忆空间时感知国家、历史和人文认同，还通过开发特色文旅产品和多元体验项目助力历史文化资源转换为经济效益，提高了地方产品的知名度和销售量，从而形成良好的产业生态。
关键词：鬼镇 加拿大 情怀 博物馆 体验
Abstract: Ghost town is a unique phenomenon in North American history and society. Barkerville Historic Town and Park, a known ghost town in Northern Canada, once flourished because of a rapid gold mining industry. It significantly increased and then decreased in population accordingly with the availability of its gold resource. However, this history makes it an important location carrying a rich Canadian national cultural character for both historic memory research and archeological excavation. To increase its regional economy and revitalize cultural resources, the Canadian federal, provincial, and regional/municipal governments created Barkerville Historic Town and Park with a unique interactive character. It highlights a human-environment interactive experience based on the local infrastructure, history and memory, to form a nostalgia of the North. Visitors can learn about Canadian ideas, nationhood, history and culture through the medium of an interactive cultural tourism experience that promotes buying and selling of local product brands, thus establishing a new kind of industrial ecology.
Key Words: Ghost town; Canada; nostalgia; museum; experience
新型袍服类服装保护型展陈支撑装置的研发
Research and Development of New Protective Exhibition Support Device for Robe Clothing
崔筝 陈杨 张佳 张晶晶 吕陈辰
Cui Zheng Chen Yang Zhang Jia Zhang Jingjing Lyu Chenchen
（故官博物院，北京，100009）
(The Palace Museum, Beijing, 100009)
内容提要：中国传统平面裁剪服装在展示过程中需要进行支撑。良好的支撑不仅能够充分展示服装特点，也可对服装本身起到保护作用。现以袍服类服装为例，梳理国内外现有的袍服类服装支撑架及现有人台专利，结合袍服类服装的结构特点，研制出一款既具备展示效果又兼顾展示安全的新型袍服类服装支撑架，并通过与现有品种支撑架类比压力测试进行论证。结论表明：新型袍服类服装保护型展陈支撑装置由多组件拼合而成，具有可调节性和运输便捷性，在充分展示不同袍服类服装的同时，还能够有效分散服装受力，保证服装安全。
关键词：袍服 平面裁剪 压力 支撑装置
Abstract: Traditional Chinese plane-cutting garments need support during the display. Good support can not only fully display the characteristics of clothing, but also protect the clothing itself. Taking robe clothing as an example, the existing domestic and foreign garment support frames and existing patents are reviewed. This paper studies the structural characteristics of robe clothing. A new type of clothing support frame for robes with display effect and display safety is developed. It is demonstrated by pressure tests with the existing variety of support frames. The conclusion shows that the protective exhibition support device for new robe clothing is composed of multiple components. It has adjustability and convenient transportation. It can not only fully display different robes, but also effectively disperse the stress of clothes and ensure the safety of clothes.
Key Words: Robe; plane-cutting; pressure; support device
博物馆文保区功能需求研究——以北京大运河博物馆（首都博物馆东馆）为例
Study on the Functional Requirements of Cultural Preservation Area of Museums: Taking the Grand Canal Museum of Beijing (Capital Museum East Branch) as an Example
武望婷 张哿
Wu Wangting Zhang Ge
（首都博物馆，北京，100045）
(Capital Museum of China, Beijing, 100045)
内容提要：近年来博物馆行业飞速发展，博物馆的数量和业务范围都在扩增，文物保护作为主要业务之一越来越受重视，但在博物馆建设中如何做好文物保护功能区需求调研却鲜见研究报道。本文以大型综合类博物馆北京大运河博物馆（首都博物馆东馆）为例，在总结了首都博物馆本馆文保区目前运行状况的基础上，讨论了博物馆建设前期文保业务调研的必要性、文保业务方案设计及特殊需求保障。前期充分调研利于为文保功能区位置选择、面积设置、建筑工艺设计和施工阶段的预埋预留提供主要依据，减少建成后的拆改，避免造成人力、资金的浪费，给文物保护工作留出可持续发展空间，期望能对后续博物馆文保区建设提供参考。
关键词：博物馆 文保功能区 文保业务 预埋预留
Abstract: With the rapid development of the museum industry in recent years, the number and scope of museums are expanding, and the protection of cultural relics, as one of the major businesses, is receiving more and more attention. However, there is no research report on how to do a good job in the demand research of the cultural relic protection function area in the museum construction. Taking the Grand Canal Museum of Beijing (Capital Museum East Branch) as an example, this paper summarizes the current operation state of the cultural preservation area of the Capital Museum, discusses the necessity of cultural protection business investigation in the early stage of museum construction, and cultural protection functional requirement and the special requirements of cultural protection functional area. The full investigation in the early stage is beneficial to providing the main basis for the location selection, the area setting, the design of the construction technology and the pre-embedding reservation in the construction phase of the cultural preservation function area, reducing the demolition and alteration after the completion of the construction, and avoiding the waste of personnel and funds. There is room for sustainable development for the protection of cultural relics, which is expected to provide a reference for the construction of cultural and conservation areas of museums.
Key Words: Museum; cultural relics protection functional area; preservation of cultural relics; built-in and reservation
手迹文物临摹复制中飞白的制作工艺研究
The Study of Reproducing Feibai in the Reproduction of Handwritten Cultural Relics
吕雪菲
Lyu Xuefei
（中国国家博物馆，北京，100006）
(National Museum of China, Beijing, 100006)
内容提要：飞白是书写者在行笔过程中笔墨干枯和笔速迅疾等因素共同作用产生的特殊的线条虚实形态，其特点是由点、线、面组成的有规律的墨象。它在字迹中反映着笔法、笔力、墨色变化、线条连贯度等重要信息，临摹复制时，飞白处理不好，会影响整件复制品的气息和还原度。本文基于临摹实践，对手迹文物临摹复制中飞白的制作工艺进行了深入探讨，认为直接摹写并加以修整是临摹飞白的可操作性工艺制作方法。这一方法使手迹类文物的复制更精准、更贴合原件风神。
关键词：手迹 临摹复制 飞白
Abstract: Feibai is a special form of virtual and solid lines produced by the combination of applying drying up ink and fast writing speed. It features regular ink images composed of points, lines and surfaces. It conveys important information such as brushwork, the intensity of writing, the change of ink color and line coherence in the handwriting. Feibai can greatly affect line coherence and the similarity between the original work and the copy. Based on the author's replica practice, this paper aims to explain the reproduction process of Feibai, indicating that the combination of direct copying and modifying method makes the reproduction of handwriting cultural relics more accurate and more similar to the original style, and it is also a feasible method to retain and develop the traditional manual copying.
Key Words: Handwriting; reproduction; feibai (hollow-stroke in Chinese calligraphy)