试论民国时期古物保存法规产生之背景
The Background of Antiquities Preservation Regulations in Republic of China
张 琨
Zhang Kun
（张家港博物馆，张家港，215600）
（Zhangjiagang Museum,Zhangjiagang,215600）
内容提要：近代已降，西方探险家纷纷来华掠夺文物，国内文物盗窃频发、古迹破坏严重，经《申报》《大公报》等报刊报道揭露后，直接激发了国人民族和文化意识的觉醒，特别是具有强烈文化自觉意识的知识分子，他们对此甚为不满与忧虑。为此，他们积极作为，对内请求严禁盗墓破坏遗迹，对外主张维护主权、保留古物，发挥学者作用，推动政府采取必要应对之措施，试图通过国家立法来遏制文物盗掘与破坏，保护文化根脉和民族遗产，最终促成《古物保存法》等一系列相关法规的产生和实施。这些法律法规虽不十分完善，但这是中国文物保护有法可依的开端，使其走上了以法保物、以法护遗的正确道路，具有重要的历史和现实意义。
关键词：民国时期 古物保存 法规 背景
Abstract: Since the end of Qing Dynasty, western explorers have come to China to plunder cultural relics. Domestic cultural relics and historical sites have been severely damaged. After reports and exposures in newspapers and magazines such as Shen Bao and Ta Kung Bao have directly stimulated the national and cultural consciousness of the Chinese people, especially those intellectuals with a strong cultural consciousness are very dissatisfied and worried about this. For this reason, they actively acted by requesting internally that tomb robbery and destruction of relics were strictly prohibited, externally safeguarding sovereignty, preserving antiquities, playing the role of scholars, and urging the government to take necessary responses, attempting to curb cultural relics theft and destruction through national legislation to protect cultural roots and national heritage, and ultimately contribute to a series of related issues such as the Antiquities Preservation Law. Although the production and implementation of a series of related laws and regulations are not perfect, they have opened the process of legalization in which the protection of Chinese cultural relics can be followed, and have embarked on the right track of protecting remains and heritage by law, which has important historical and practical significance.
Key Words: Republic of China period; preservation of antiquities; regulations; background
把博物馆作为方法
——文化记忆的博物馆化探索
Museum as Method: Discussion About Musealisation of Cultural Memory
许捷1 李吉光2
Xu Jie1 Li Jiguang2
（1.浙江大学，杭州，310058; 2.首都博物馆，北京，100045）
（1.Zhejiang University, Hangzhou, 310058; 2. Capital Museum, Beijing, 100045）
内容提要：博物馆化的过程可以分为区隔、价值重构与展演三个步骤，其作用范围并不限于在博物馆机构内赋予“物”以博物馆地位：而且可以超越博物馆的机构属性，通过策展式工作在全社会范围内发挥作用。博物馆原本被认为是文化记忆的保存机构，但是通过博物馆化，博物馆参与到文化记忆的生产过程中。同时，借由博物馆化这一工具，公共展演成为文化记忆再生产的一环。在文化记忆的博物馆化探索中，我们可以看到博物馆化突破了博物馆研究的领域，一定程度上展现了其作为博物馆学学科方法的可能性。
关键词：博物馆 博物馆化 文化记忆 公共展演 博物馆学
Abstract: The process of musealisation can be divided into three steps: differentiation, reconstruction and display. Musealisation does not means endowing “objects” with museum status in museums which considered as institutions. However, it means transcending museums and playing a role throughout society through curatorial work. Museums were originally considered as institutions for preserving cultural memories. Nonetheless, musealisation, museums have participated in the production process of cultural memories by musealisation. Meanwhile, with musealisation, public display has become a part of the reproduction of cultural memory. The discussion about musealisation of cultural memory can breakthrough the field of museum research and demonstrated its potential as a method of museology.
Key Words: Museum, musealisation, cultural memory, public display, museology
利用博物馆资源开展幼儿教育的系统综述与思考
Museum, Early Childhood and Education: A Systematic Review of Studies in China
王昱丹
Wang Yudan
（故宫博物院，北京，100009）
（The Palace Museum, Beijing, 100009）
内容提要：本文意在对我国利用博物馆资源开展幼儿教育的研究进行系统综述。文章检索了中国知网、万方数据、维普期刊电子文献库，搜集关于我国利用博物馆资源开展幼儿教育的研究，检索时限均为从建库至2022年6月。基于三个维度共13个指标进行资料提取与整合。文章共纳入66项研究成果，经分析梳理，将当前我国利用博物馆资源开展的幼儿教育分为博物馆幼儿教育、儿童博物馆教育、博物馆幼儿园教育三大方向；发现了在研究的均衡性、理论性、系统性，在对低龄幼儿的重视程度，在博物馆资源向场馆外延伸的能力，在运用各种形式的深入程度和教育教学的科学性，共五个方面存在的问题，并提出了对应的解决策略。
关键词：博物馆 幼儿 教育 系统综述
Abstract: The objective of this study is to systematically review the studies in terms of implementing early childhood education with museum resources in China. Databases including CNKl, Wanfang Data, and COVIP were searched from inception to June 2022 to collect relative studies. Data extraction and integration were carried out based on 13 indicators in three dimensions. As a result, a total of 66 studies were included and analyzed. Based on the discussion, 3 categories in terms of implementing early childhood education with museum resources were divided: early childhood education in museums, early childhood education in children’s museums, early childhood education in museum kindergartens. Five main issues were identified: lack of being balanced, theoretical, and systematical in studies, lack of attention on children aged 0-3, lack of museum resources extended to school and family, lack of in-depth use of various ways, lack of evidence in learning and teaching process. Corresponding strategies were proposed.
Key Words：Museum; early childhood; education; systematic review
西晋华芳墓银铃音乐图像探析
Analysis on Musicians Image of Silver Bell in Huafang Tomb in the Western Jin Dynasty
金隐村
Jin Yincun
（首都博物馆，北京，100045）
（Capital Museum, Beijing, 100045）
内容提要：西晋华芳墓银铃为首都博物馆馆藏一级文物，小巧别致、做工精细，铃身饰有8个乐人，栩栩如生。本文通过乐人分布特点、形态特征以及显微镜下观察到的残损细节，逐一辨识每个乐人的表演性质;并根据乐队组合和银铃自身特点，推断乐人表演的音乐类型;在此基础之上，结合墓主华芳所处时代背景，聚焦墓志铭中“朗解五音，而不听声乐，欲以终成家风，匪唯一己而已”之辞，试析银铃上乐人图像所体现出的音乐文化现象，解读墓志铭中称颂之辞的言外之意。
关键词：华芳墓银铃 鼓吹乐 蓄伎之风 私家乐部
Abstract：The silver bell from the Western Jin Dynasty is a first-class cultural relic in the collection of the Capital Museum. It is small and chic, with fine workmanship, bell body decorated with 8 musicians. Based on the distribution characteristics, morphological characteristics and the details of the damage observed under the microscope, this paper identifies the performance characteristics of each person. According to the characteristics of the band combination and the silver bell itself, the types of music performed by the musicians are inferred. On this basis, combined with the era background of the tomb owner Huafang, focuses on the epitaph “understand the five tones, but not listen to the common music, hope the virtue will eventually become a family tradition, not just limited to oneself”, attempts to analyze the music culture phenomenon reflected in the image of musicians on the silver bell, in order to interpret the meaning of the praise words in the epitaph.
Key Words: Silver bell unearthed in Huafang Tomb; wind and percussion music; the popularity of fostering musicians; private band
革命纪念馆文物征集工作的实践与思考
——以中国人民抗日战争纪念馆为例
Practice and Reflection on the Collection of Cultural Relics for Revolutionary Memorial Museum: Taking Museum of the War of Chinese People's Resistance Against Japanese Aggression as an Example
徐 源
Xu Yuan
(中国人民抗日战争纪念馆，北京，100165)
（Museum of the War of Chinese People's Resistance Against Japanese Aggression, Beijing, 100165）
内容提要：革命纪念馆文物征集作为革命纪念馆工作的重要内容，是激发革命文物活力，满足人民群众对革命文化精神需求的重要基础。本文基于近年来中国人民抗日战争纪念馆的文物征集工作实践，总结当前革命纪念馆文物征集的主要途径及难点，归纳出革命纪念馆文物征集途径主要有捐赠、购买和借展，应丰富文物捐赠方式、完善文物征购体系、加强馆际交流，让革命纪念馆的文物征集工作活起来。
关键词：革命纪念馆 革命文物 文物征集
Abstract: As an important part of the work of revolutionary memorial museum, the collection of cultural relics is an important basis for stimulating the vitality of revolutionary cultural relics and meeting the needs of the people for revolutionary cultural spirit. Based on the practice of cultural relics collection in the Museum of the War of Chinese People's Resistance Against Japanese Aggression in recent years, this paper summarizes the main ways and difficulties of cultural relics collection in the revolutionary memorial museum, and concludes that the main ways of cultural relics collection in the revolutionary memorial museum include donations, purchases and loan exhibitions, and it is necessary to enrich the methods of cultural relics donation, improve the cultural relics procurement system, and strengthen inter-museum exchanges, to bring back to life the cultural relics collection in the revolutionary memorial museum.
Key Words: The revolutionary memorial museum; revolutionary artifacts; collection of cultural relics
转喻和提喻
——“大河文明”展览的叙事分析
Metonymy and Synecdoche: A Narrative Analysis of the Exhibition Civilizations of the Great Rivers
闫 志
Yan Zhi
（首都师范大学历史学院，北京，100048）
（School of History, Capital Normal University, Beijing, 100048）
内容提要：本文是对郑州博物馆和意大利都灵埃及博物馆、东方艺术博物馆、都灵皇家博物馆、巴拉科古代雕塑博物馆合作的“大河文明”展览文本大纲内容的分析和研究。作者对展览构思、大纲内容，以及展览策划者想要表达的观念进行了剖析。同时，作者对大纲文本进行了叙事学分析，指出大纲运用了“转喻”修辞在“大河”和“文明”之间建立了叙事关系。但是，由于展览目的的转换。致使大纲最后一部分的叙事从“转喻”变成了“提喻”，从而导致整体叙事的连贯性出现了问题。
关键词：“大河文明”展 转喻 提喻 展览叙事
Abstract: This paper is an analysis and research of the text outline of the exhibition Civilizations of the Great Rivers co-organized by Zhengzhou Museum and Museo Egizio, Museo d'Arte Orientale, Musei Reali Torino, Museo Barracco Di Scultura Antica. The author analyzes the conception of the exhibition, the content of the outline, and the idea that the exhibition organizer wants to express. At the same time, the author makes a narratological analysis of the outline text and points out that the outline uses metonymy to establish a narrative relationship between “rivers” and “civilizations”. However, due to the change of the purpose of the exhibition, the narrative in the last part of the outline changed from “metonymy”to “synecdoche”, which led to problems in the coherence of the overall narrative.
Key Words: Civilizations of the Great Rivers; metonymy; synecdoche; exhibit narrative
博物馆历史叙事类特展形式设计中的“大”“小”关系刍议
A Meager Opinion on Big and Small Relationship in Museum Special Historical Narrative Exhibition Design
薄海昆
Bo Haikun
（故官博物院，北京，100009）
（The Palace Museum, Beijing, 100009）
内容提要：博物馆历史叙事类特展通常视角独特、主题鲜明，通过数量适度的展品，以点带面，管中窥豹，通过宽广视角向观众讲述史实，以剖析历史本质，传承历史记忆，建立文化认同。此类展览形式设计除烘托展览主题、渲染壮观氛围、美化展示空间外，尤其需要妥善协调处理好各种“大”“小”关系，力求实现大小兼顾、两相平衡；使形式设计既能紧扣主题，又可张扬个性，充分凸显阐释展览内容的辅助作用。本文结合首都博物馆与故宫博物院若干历史叙事类特展案例，归纳了几种“大”“小”关系典型情况，并提出较为实用的协调处理方法。
关键词：博物馆特展 历史叙事 形式设计 “大”“小”关系
Abstract: Museum special historical narrative exhibition usually uses theme with specific perspective and exhibits of proper quantity to fan out from point to area and quickly tells visitors important historical stories in order to analysis historical nature, inherit historical memories and build cultural identification. Exhibition design of this type should attach importance to set off by contrast the historical themes, render splendid atmosphere, and beautify exhibition galleries. Besides, it needs to coordinate different big and small relationships in a proper way, try to make exhibition design balance both, promote individuality as sticking to the point, and completely magnify the auxiliary effect of explaining exhibition. The article cites several cases of' special historical narrative exhibition at the Capital Museum and the Palace Museum to generalize some typical big and small relationships and provide comparatively practical methods of coordination.
Key Words: Museum special exhibition; historical narration; exhibition design; big and small relationship
文博数字人创作与应用探索
The Creation and Application of Digital Humans in the Cultural and Museum Sector
孙芮英
Sun Ruiying
（首都博物馆，北京，100045）
（Capital Museum, Beijing, 100045）
内容提要：随着数字技术的发展，国家文化数字化战略深入实施，社会公众对博物馆新需求不断拓展，数字人在文博界的出现是必然的，其应用将是不可避免的。已出现的文博行业数字人的创作与应用案例，其价值和意义值得肯定;其未来发展等问题值得研究。文章列举了数字人作为博物馆数字化的新鲜事物有哪些应用案例，从案例分析得失，技术实现原理及社会需求等方面进行探讨。探索性提出数字人形象设计、内容建构、组织建设等工作的开展问题，以及未来博物馆数字人创作与应用的几种可能。
关键词：博物馆 数字人 人工智能 数字化转型
Abstract：With the development of digital technology, the deep implementation of the National Cultural Digital Strategy, and the continuous expansion of new demands from the public for museums, the emergence of digital humans in the cultural and museum sector is inevitable, and their application will be unavoidable. The creation and application of digital humans in the cultural and museum industry, as evidenced by existing cases, are noteworthy in their value and significance. Issues related to their future development warrant further research. This article lists application cases of digital humans as a novel element in museum digitalization, discussing aspects such as the gains and losses from case analyses, technological implementation principles, and societal demands. Exploratory issues in digital human image design, content construction, and organizational development are presented along with several possible directions for the future creation and application of digital humans in museums.
Key Words：Museum, digital human, artificial intelligence, digital transformation
高校博物馆票务系统的设计与实践
——以清华大学艺术博物馆为例
Design and Practice of Ticketing System in University Museum: In the Case of Tsinghua University Art Museum
彭宇1 柳泳2
Peng Yu1 Liu Yong2
（1.清华大学艺术博物馆，北京，100084; 2.北京米若教育科技有限公司，北京，100095）
（1. Tsinghua University Art Museum, Beijing, 100084; 2. Beijing Mirror Education Technology Co. Ltd, Beijing, 100095）
内容提要：高校博物馆是博物馆家族的重要组成部分，由于其双重身份，它的信息化建设与一般社会博物馆相比有其特殊性，其中票务系统的建设与一般社会博物馆相比在系统架构、服务对象、接口设计等方面都有所不同。本文结合清华大学艺术博馆票务系统建设，从系统建设必要性、独特性、系统设计、应用情况等方面介绍其设计与实践。
关键词：高校博物馆 票务系统 架构设计 功能设计
Abstract: The university museum is an important part of the museum family. Because of its dual identity, its information construction is different from the general social museum. The construction of ticketing system is different from that of general social museums in terms of system architecture, service objects, interface design, etc. Based on the ticketing system construction of Tsinghua University Art Museum, this article will introduce the design and practice of the system construction from the aspects of construction necessity, uniqueness, design scheme, application, etc.
Key Words：University museum; ticketing system; architecture design; functional design
清代太平有象宫灯彩画玻璃研究
Research on Stained Glass on Taiping Youxiang Palace Lanterns of Qing Dynasty
巩天舒 孔艳菊 王允丽
Gong Tianshu Kong Yanju Wang Yunli
（故官博物院，北京，100009）
（The Palace Museum, Beijing, 100009）
内容提要：故宫博物院藏掐丝珐琅太平有象宫灯为清代宫廷用具，在对其修复过程中，需将脱落的彩画玻璃进行回装。结合现代科学仪器检测的玻璃基质和彩画颜料成分，尝试对两件太平有象宫灯的彩画玻璃进行分组归类，辨析原有装嵌组合的潜在问题，找寻一套更为合理的回装方案。彩画玻璃易损坏，太平有象灯这类装嵌彩画玻璃的宫廷用具，在使用中常会有替换并循环利用的情况，但清宫造办处档案中对此过程并未有具体详实记载，因此易导致对其艺术理解、价值认知的错误；从而使修复产生混乱。本文采用美术学理论和仪器分析相结合的论证方法，试图探析彩画玻璃的工艺发展样貌，为后续同类文物复原研究提供借鉴。
关键词：清代太平有象宫灯 彩画玻璃 图像分析 成分检测 玻璃质文物保护
Abstract: During the restoration of the cloisonne Taiping Youxiang palace lanterns from the Palace Museum, which were royal implements of the Qing Dynasty, the dislodged stained glass need to be reinstalled back to the relics. This article tries to revisit the grouping of the stained glass, and identify potential problems with the original assemblage. Meanwhile, this article analyses the image content and style from a painting perspective, combining with the composition of the glass matrix and painted pigments tested by modern scientific instruments, in order to find out a more reasonable solution for the reinstallation. The stained glass assembled on the royal implements such as Taiping Youxiang palace lantern is easily damaged, so it is often replaced and recycled in use. However there is no specific and detailed record of this in the archives of the Archive of the Qing Imperial Workshop. As a result, it is easy to lead to the error of artistic understanding and value cognition, which leads to the confusion of restoration. The analysis adopts the method of combining art theory and instrument analysis, trying to serve as a reference for further research on similar relics and provide detailed examples for the study of Qing Dynasty palace glassware.
Key Words: Taiping Youxiang palace lantern of Qing Dynasty; stained glass; image analysis; composition testing; conservation of glassy relics
故宫博物院文渊阁建筑油饰的分析研究
Analysis and Research on the Architectural Oil Decorations of the Wenyuan Pavilion at the Palace Museum
李路希1’2 黄亚珍2 魏书亚2
Li Luxi1,2 Huang Yazhen2 Wei Shuya2
（1.中国国家博物馆，北京，100006;2.北京科技大学科技史与文化遗产研究院，北京，100083）（1. National Museum of China, Beijing, 100006; 2. Institute for Cultural Heritage and History of Science &Technology, University of Science and Technology Beijing, Beijing, 100083）
内容提要：文渊阁为明清皇家藏书楼，清代的文渊阁于乾隆四十一年（1776年）建成，历经多次修缮，室内大面积使用了黑色油饰，如匾额、楼梯、地面等。为了解该建筑油饰所用材料和工艺以及在修缮过程中所用到的材料，本研究采用了三维视频显微镜、拉曼光谱、热裂解气相色谱质谱等多种分析手段对文渊阁黑色油饰进行取样分析。通过分析研究揭示了文渊阁部分黑色油饰采用了传统的三道黑烟子油工艺；在楼梯和二楼地面以及楹联“三”字发现了黑红相间的涂刷，其中的黑色颜料层为黑烟子油，红色的颜料层根据建筑部位的不同采用了不同的材料，楹联“三”字采用了红土，楼梯以及二楼地面使用了红土与现代有机合成材料“永固红”混合物，这些材料的使用也可能和后期修复有关。该研究确定了近现代黑色油饰所使用的工艺与材料从而为后续保护修复提供科学依据。
关键词：文渊阁 建筑油饰 胶结材料
Abstract：The Wenyuan Pavilion is an imperial library building that existed during the Ming and Qing Dynasties. The Qing-era Wenyuan Pavilion was completed in 1776. Throughout its history, it underwent several renovations, with a large area of black oil decoration used indoors, such as plaques, staircases, and flooring. To understand the materials and techniques used in the black oil decorations of this building and the materials employed during its restoration, this research utilized various analytical methods, including 3D video microscopy, Raman spectroscopy, and pyrolysis gas chromatography-mass spectrometry, to sample and analyze the black oil decorations in the Wenyuan Pavilion. Through these analyses, it was revealed that some of the black oil decorations in the Wenyuan Pavilion were created using the traditional three-step black smoke lacquer technique. On the staircases, second-floor flooring, and the “三” character in the couplet, a black and red alternating brushwork was identified. The black pigment layer was made from black smoke lacquer, while the red pigment layer varied in material depending on the specific location within the building. For the “三” character, red clay was used, whereas a mixture of red clay and a modern organic synthetic material called Permanent Bordeaux was applied on the staircases and second-floor flooring. These materials might have been used during later restoration efforts. This study successfully determined the techniques and materials employed in the near-modern black oil decorations, providing a scientific basis for future preservation and restoration endeavors.
Key Words：Wenyuan Pavilion; architectural oil decorations; cementing material