中国文博界参访东北欧六国博物馆史事考论（1954—1957）
Research on the History of Cultural Heritage and Museum Sector Visiting to Museums in the Six Countries of Northeast Europe (1954-1957)
史 勇
Shi Yong
（甘肃省文物局，兰州，730030）
(Gansu Provincial Administration of Cultural Heritage, Lanzhou, 730030)
内容提要：20世纪50年代中期，在学习苏联博物馆建设发展经验的同时，中国文博界专家学者借助各种对外文化交流平台，通过学习考察波兰、罗马尼亚、保加利亚、捷克斯洛伐克、瑞典、芬兰等首批与新中国建交的东北欧国家的博物馆事业，为新中国博物馆事业出谋划策。相关探讨客观上规划了一种不完全等同于苏联模式的博物馆发展思路，是当代中国博物馆思想史和中欧文化交流史的重要内容。
关键词：东北欧国家 建筑遗产博物馆 革命纪念馆 国际交流
Abstract: In the mid of 1950s, experts and scholars in the new Chinese cultural and museum circles, with the help of various foreign cultural exchange platforms, by studying the museum undertakings of Poland, Romania, Bulgaria, Czechoslovakia, Sweden, Finland and the first northeast European countries to establish diplomatic relations with the People's Republic of China, combined with the experience of visiting, foreign experience and the actual situation of China, actively give advice to New China's museum cause. Under the background of “Learning from the Soviet Union” in the Chinese museum circles at that time, the relevant discussions objectively plotted a development train of thought for the museum cause of New China, which was not exactly identical to the Soviet model, it is an important part of the history of contemporary Chinese Museum thought and the history of Sino-European cultural exchange.
Key Words: Northeast European countries; museum of architectural heritage; revolutionary memorial museum; international exchange
城乡与社区发展视野下的博物馆角色
Roles of Museum in the Perspective of Region and Community Development
王思渝1 沈山 2
Wang Siyu1 Shen Shan2
（1.北京大学考古文博学院，北京，100871；2.上海市文物保护研究中心，上海，200031）
(1.School of Archaeology and Museology, Peking University, Beijing, 100871;
2. Shanghai Cultural Heritage Conservation and Research Centre, Shanghai, 200031)
内容提要:《文化与地方发展，效果最大化：地方政府、社区与博物馆指南》在城乡与社区发展视野下提出了博物馆发展的四个主要领域，即城市设计、社区发展、创意街区以及乡村语境。其主张可以进一步概括为整体性、工具性和参与度三个维度。本文结合我国的杨浦滨江城市更新项目、史家胡同博物馆、上生·新所、上吴村百艺馆的具体案例，探讨这一文献中的理念主张在实践中面临的诸多具体问题。三个维度在上述案例中有不同侧重，且尚未实现全面整合。
关键词：地方发展 整体性 工具性 社区参与
Abstract: Culture and Local Development: Maximising the Impact-A Guide for Local Governments, Communities and Museums proposed 4 main subjects about roles of museum in the perspective of region and community development, including urban design, community development, creative district and rural context. Such subjects could be further concluded as 3 characteristics, which are holism, instrumentality, and engagement. This article takes Yangpu riverside, Shijia Hutong, Columbia Circle, and Shangwu Village Museum in China as main cases, arguing that when ideas in such guide was put into practices there are still multiple issues beyond notice. The 3 characteristics are not well integrated based on such 4 cases.
Key Words: Region development; holism; instrumentality; community engagement
盲区：关于博物馆研究的博物馆学
Blind Spots: Museology on Museum Research
奥洛夫·格杜尔·西格福斯多蒂尔1著 翟磊2译
Olöf Gerður Sigfúsdóttir1 Translated by Zhai Lei2
（1.冰岛大学社会科学学院，雷克雅未克，101；2.中国国家博物馆，北京，100006）
(1. Faculty of Social Sciences, University of Iceland, Reykjavik, 101;
2. National Museum of China, Beijing, 100006)
内容提要：研究被认为是博物馆的四项基本实务之一，与收藏、保护和展示同等重要，并为博物馆的其他活动提供基础。然而，研究仍是博物馆实务模糊的组成部分，有时甚至被公众忽视。而且，自20世纪90年代初博物馆学重塑以来，研究一直是其中一个被忽略的话题，只有很少的成果。在本文中，笔者探寻关于博物馆研究的博物馆学线索，并找出研究文献中的空白，通过为当代博物馆学中的博物馆研究提供批判性分析的空间，探索博物馆研究在广义科学层级中的地位。由此，笔者采用认识论的方法讨论博物馆作为科学与文化交界处的公共机构这一议题。
关键词：博物馆研究 知识生产 认识论 科学层级 非传统研究
Abstract: Research is considered to be one of four fundamental museum practices, equal to collecting, preserving and display. As such, it is understood to provide the basis for many other activities carried out in museums. Yet research remains an ambiguous component of museum practice, sometimes entirely invisible to the public eye. Moreover, it remains a neglected topic in museology, with only a few publications on the subject since its disciplinary reinvention at the turn of the 1990s. In this article it explores museological strands towards research in museums and identify gaps in the literature. By carving out a space for a critical analysis of museum research within contemporary museology, it aims is to explore the place of museum research within the wider hierarchy of science. By doing so, take an epistemological approach to museums as public institutions in the borderland between science and culture.
Key Words: Museum research; knowledge production; epistemology; science hierarchy; alternative research
永泰寺铜钟考
Study on the Bronze Bell of Yongtai Temple
王申
Wang Shen
（大钟寺古钟博物馆，北京，100086）
(Dazhongsi Ancient Bell Museum, Beijing, 100086)
内容提要：大钟寺古钟博物馆收藏的永泰寺铜钟由清代山西巡抚苏克济捐资铸造，整体保存较为完好，具有较为重要的史料价值和文物价值。文章结合相关历史文献资料，梳理了铜钟曾经所处寺院永泰寺的历史情况，分析了铜钟与永泰寺之间的关系与变迁；对铜钟铭文进行了分析，指出铭文《大悲心陀罗尼》与其他版本的异同；对重要捐铸人苏克济的生平和任职经历等进行了介绍，对于捐铸人任职经历和铜钟捐铸时间、官职表述之间的矛盾进行了初步探讨。
关键词：铜钟 永泰寺 苏克济 《大悲心陀罗尼》
Abstract: The Yongtai Temple bronze bell, which preserved in the Dazhongsi Ancient Bell Museum, was donated and cast by Shanxi Governor Su Keji during the Qing Dynasty. The bell which was generally well preserved, has significant historical and cultural value. Combined with relevant historical literature and materials, to conduct research. Interpretation are conducted from three aspects. Firstly, it sorts out the historical situation of Yongtai Temple, where the bell was once located, and analyzes the relationship and changes with the bell and Yongtai Temple. Secondly, an analysis was conducted on the content of the bronze bell inscriptions, pointing out the similarities and differences in the versions of the scriptures reflected in the Great Compassionate Heart Dharani Sutra. Thirdly, an introduction was made to the life and career of the important donor, Su Keji, and a preliminary research was conducted on the contradiction between the donor's employment experience and the time and official position of the bell donation.
Key Words: Bronze bell; Yongtai Temple; Su Keji; the Great Compassion Heart Dharani Sutra
首都博物馆藏片状透雕玉凤形佩年代与文化属性探讨
The Age and Cultural Attribute of Capital Museum's Phoenix-shaped Jade Pendant
范芳芳
Fan Fangfang
（首都师范大学，北京，100089）
(Capital Normal University, Beijing, 100089)
内容提要：首都博物馆藏有一件断代为商代的玉凤形佩，但目前已知考古出土的商代玉鸟均无此类片状透雕形式，无论从凤纹形象还是加工工艺上看该玉凤形佩均与商代玉器的特征不符。片状透雕这种玉器加工工艺在许多新石器时代文化中就有发现，通过对新石器时代玉器加工工艺及凤纹形象的对比，首都博物馆藏片状透雕玉凤形佩与后石家河文化透雕玉凤有较多相似之处，应为新石器时代晚期后石家河文化遗物。
关键词：玉凤形佩 透雕 后石家河文化 商代玉鸟
Abstract: The Capital Museum has a phoenix-shaped jade pendant dating back to the Shang Dynasty, but none of the jade of birds during the Shang Dynasty have the same shape. From the image of phoenix patterns and processing techniques, the phoenix-shaped jade pendant does not match the characteristics of the Shang Dynasty jade artifacts. The method of openwork carving has been presented in many Neolithic cultures. By comparing the processing methods and phoenix patterns of jade carving in the Neolithic period, the phoenix-shaped jade pendant has many similarities with the post-Shijiahe culture's carved jade phoenix, and should be considered a relic of the post-Shijiahe culture.
Key Words: Phoenix-shaped jade pendant; openwork carving; post-Shijiahe culture; jade bird of Shang Dynasty
试论国有博物馆探索“三权分置”改革的三个维度
On Three Dimensions About the Reform of
“Separation of Three Powers” in State-owned Museums
付 莹
Fu Ying
（深圳博物馆，深圳，518026）
(Shenzhen Museum, Shenzhen,518026)
内容提要：为有效盘活国有博物馆文物资源，充分发挥其在讲好文物、历史及文化故事，传承优秀传统文化，扩大中华文化影响力方面的重要作用，国家相关部门出台或联合下发的系列文件明确要求、支持符合条件的新建博物馆开展国有博物馆资产所有权、藏品归属权、开放运营权分置（即“三权分置”）改革的探索试验。目前博物馆领域或着手试验、积极推进，或存有疑虑、踌躇不前，或对“三权分置”涵义不知其详，将其他属性的创新举措笼而统之以此冠名，不加区别地模糊使用。凡此种种，迫切需要对国有博物馆“三权分置”改革的目的、属性、内涵实质，以及推进此项改革应具备的前提条件进行准确的理解和把握。就此，不妨从政策、理论（物权权能分离）和实践三个维度加以分析。
关键词：国有博物馆 “三权分置”改革 资产所有权 藏品归属权 开放运营权
Abstract: In order to effectively utilize cultural relics resources of state-owned museum, give full play to their ability to tell cultural relics, history and cultural stories, inherit excellent traditional culture and expand the influence of Chinese culture, a series of documents issued or jointly issued by relevant national departments stipulate and support eligible new museums to explore the reform of the separation of asset ownership, collection ownership and open operation rights (that is “separation of three powers”) in state-owned museums. The current situation in practice exist the following types: testing and promoting, doubts and hesitations, unclear about the meaning, and vague use of innovative measures with other attributes under this title without distinction. There is an urgent need to accurately understand and grasp the purpose, attributes connotation and essence of “separation of three powers” reform in state-owned museums, as well as the prerequisites for promoting this reform. It is advisable to obtain a clearer understanding from three dimensions: policy, theory (separation of property rights and functions), and practice.
Key Words: State-owned museum; reform of “separation of three powers”; asset ownership; collection ownership; open operation rights
中外纺织品藏品的定名差异
——以英藏敦煌丝织品等为例
Naming Differences Between Chinese and Foreign Textile Collections: Taking the Textiles from Dunhuang in UK Collections as an Example
周娅鹃
Zhou Yajuan
（中国丝绸博物馆，杭州，310002）
(China National Silk Museum, Hangzhou,310002)
内容提要：科学规范的藏品定名及英译是衡量一座博物馆专业度和国际化水平的重要标准。对比分析《敦煌丝绸艺术全集·英藏卷》中英藏品名称后，发现两者并非严格对应。中文藏品名称详细专业，旨在全面表达藏品蕴含的信息；英文藏品名称简单明了，更易被观众理解接收。两者各具优势与局限性。
关键词：纺织品文物 敦煌丝织品 藏品定名汉英对照
Abstract: Scientific and standardized naming of a museum's collections, as well as English translation, are important standards to measure the professionalism and internationalization level of a museum. By comparing and analyzing the names of the Chinese and English versions of the Textiles from Dunhuang in UK Collections, it is found that they are not strictly corresponding. The Chinese version is detailed and professional, aiming to fully express the information contained in the collection, while the English version is simple and clear, easier to be understood and accepted by the audience. Both have their own advantages and limitations.
Key Words: Textile artifacts; textiles from Dunhuang; naming of collections; Chinese-English comparison
博物馆通过互联网开展乡村学校教育的实践和思考
——以世博会博物馆公益教育项目为例
The Practice and Thinking of Museums Promoting Rural School Education Through Internet: Taking WEM's Public Welfare Education Project as an Example
柴 程
Chai Cheng
（世博会博物馆，上海，200023）
(World Expo Museum, Shanghai, 200023)
内容提要：博物馆教育属于社会教育范畴，是学校以外的“第二课堂”，知识体系的广度与深度可灵活地融入各学科教学，有效弥补乡村小学文化和美育等课程的短缺现象，有效提升学生综合素养，这对于乡村小学现代化教育的推进起着重要作用。本文基于世博会博物馆开展的“WE Kids世博小讲堂”网络课程项目，梳理受众学生和老师对于课程的反馈意见，总结“博物馆+互联网”教育模式的影响。从而为博物馆如何运用互联网和现代化设备开展教育活动，打破时间、空间的限制，弥补乡村教育缺陷，推动博物馆文化扶贫，实现全国各地教育资源的共享互通提供思路。
关键词：博物馆教育 互联网 乡村小学 世博会博物馆
Abstract: Museum education, as an “Extracurricular Programme”, falls into the scope of social education. It boasts the knowledge system, broad and profound, that can be incorporated into the teaching of various disciplines with agility to effectively bridge the gap of primary cultural and aesthetic education courses in rural areas, and foster student's all-round development. Thus it is playing a key role in pushing ahead modern education in rural schools. This article, based on “WE Kids”, the online programme of the World Expo Museum, sorts out the feedback from the audience students and local teachers by cases, and summarizes the effects of the “Museum + Internet” education model on rural schools. To shed light therefore on how museums can organize educational activities, leverage the internet and modern equipment, clear off the limitations of time and space and refuel rural education, roll out museum-based relief of cultural stress, and realize the sharing, and interconnection of educational resources across the country.
Key Words: Museum education; internet; rural primary school; World Expo Museum
基于感知价值理论的博物馆文创产品设计策略研究
Design Strategy of Cultural and Creative Products Based on Perceived Value Theory
徐雍涵 徐云
Xu Yonghan Xu Yun
（桂林理工大学，桂林，541004）
(Guilin University of Technology, Guilin,541004)
内容提要：针对博物馆文创产品粗放式开发导致难以满足消费者多元化需求的问题，引入感知价值理论，为博物馆文创产品的设计开发与实践提供一种理论方法参考。首先结合顾客感知价值层次模型，从功能、美学、文化、体验四个感知价值维度提取消费者对于博物馆文创产品的感知需求；其次采用Kano模型，获取各项感知需求的类型分类、满意度及重要性指标；最后通过对调查数据的分析提出感知价值理论下博物馆文创产品的“首要、核心、重要、次要”层次化设计原则，并以凤凰古城景区为例进行设计实践，验证该原则的可行性。以期为博物馆文创产品设计开发提供新的思路，促进博物馆文创产品设计的创新发展。
关键词：感知价值理论 Kano模型 文创设计 设计策略
Abstract: Regarding the problem that the rough development of cultural and creative products makes it difficult to meet the diversified needs of consumers, this paper aims to introduce the perceived value theory to provide a theoretical and method reference for the design development and practice of creative products. First of all, combined with the hierarchical model of customer perceived value, extracted consumers’ perceived needs for cultural and creative products from four perceived value dimensions: function, aesthetics, culture and experience. Secondly, Kano model and Better-Worse four-quadrant analysis method are used to obtain the classification, satisfaction and importance of the perceived needs. Finally, through the analysis of the survey data, this paper puts forward the hierarchical design strategy of “primary, core, important, secondary" for the cultural creation products under the perceived value theory. Also take Phoenix Ancient Town as an example to verify the feasibility of the strategy. The creative product design strategy provides new ideas for the design development of cultural and creative products, and promotes the innovative development of cultural and creative product design.
Key Words: Perceived value theory; Kano model; cultural and creative product design; design strategy
晚唐五代越窑青瓷碗和宋代磁州窑盆修复中配补材料的选择与使用
Selection and Application of Complementary Materials in the Restoration of Yue Kiln Celadon Bowl During Late Tang and Five Dynasties and Cizhou Kiln Basin During Song Dynasty
于文凯1何锦章1张茗2
Yu Wenkai1 He Jinzhang1 Zhang Ming3
（1.上海工艺美术职业学院，上海，201808；2.上海博物馆，上海，200030）
(1.Shanghai Art & Design Academy, Shanghai, 201808;
2.Shanghai Museum, Shanghai, 200030)
内容提要：本文以晚唐五代越窑青瓷碗和宋代磁州窑盆为修复对象，重点对陶瓷修复过程中所用配补材料进行对比实验，以达到选择最优配补材料的目的。实验对象为滑石粉、高岭土、金刚砂、石膏粉、白炭黑、瓷粉等填充材料，实验仪器选择syntek邵氏硬度计和Q-Sun氙灯全光谱模拟器，通过测试环氧树脂调和不同填充材料后的硬度和耐老化性，对比得出实验样品的数值并分析优缺点。研究发现，滑石粉、石膏粉、瓷粉和高岭土在陶瓷器修复中具有优势。因其优良的耐老化性和合适的硬度，最终分别选用石膏粉和滑石粉作为填充材料，恢复了文物的结构稳定性，完成了两件瓷器的保护修复。
关键词：陶瓷器修复 填充材料 硬度实验 老化实验
Abstract: This paper takes the celadon bowl of the Yue kiln of the late Tang and Five Dynasties and the Cizhou kiln basin of the Song Dynasty as the restoration objects, and focuses on the comparative experiment of the matching materials used in the ceramic restoration process to achieve the purpose of selecting the optimal matching materials. The experimental instrument selected syntek Shore hardness tester and Q-Sun xenon lamp full-spectrum simulator, and compared the hardness and aging resistance of epoxy resin after blending different filling materials, comparing the values of experimental samples and analyzing the advantages and disadvantages. Talcum powder, gypsum powder, porcelain powder and kaolin are considered to have advantages in ceramic restoration. Because of its excellent aging resistance and suitable hardness, gypsum powder and talcum powder were finally selected as filling materials, which restored the structural stability of cultural relics and completed the protection and restoration of two pieces of porcelain in the late Tang Dynasty and Song Dynasty.
Key Words: Ceramic restoration; filling material; hardness experiment; aging experiments
平凉市博物馆藏明代金铜佛造像合金成分和铸造工艺研究
Research on the Composition and Casting Process of Ming Dynasty's Bronze Buddha in Pingliang Museum
张语晨 陈安道 张海宏 郭海燕 杨娟
Zhang Yuchen Chen Andao Zhang Haihong Guo Haiyan Yang Juan
（平凉市博物馆，平凉，744000）
(Pingliang Museum, Pingliang, 744000)
内容提要：采用便携式X射线荧光光谱仪、显微镜等科学仪器，结合宏观观察，对平凉市博物馆藏明代金铜佛造像成分特征、铸造方式和装饰工艺进行了分析研究，结果表明造像质地以铜锡铅三元合金的青铜为主，少部分为铜锌二元合金的黄铜；铸造工艺主要使用范铸法，少量为翻砂法，另有几尊造型工艺精湛的造像采用失蜡法铸造；施金工艺采用了鎏金、泥金和贴金三种，部分造像表面将施金、髹漆、彩绘结合应用。此研究结果可为今后明代金铜佛造像合金成分和铸造工艺分析提供科学依据。
关键词：明代 金铜佛像 成分分析 铸造工艺 施金工艺
Abstract: Using portable X-ray fluorescence analyzer, microscope and other scientific instruments, combined with macroscopic observation, the composition characteristics, casting method and decoration technology of the Ming Dynasty bronze Buddha statues collected in Pingliang Museum were analyzed and studied. The results showed that the main texture of the statues was copper, tin and lead ternary alloy bronze, and a small part was copper and zinc binary alloy brass. The casting process mainly uses the mold casting method, of which the clay mold method is the most, a small amount is the sand casting method, and several statues with exquisite modeling technology are cast by the wax loss method. There are three kinds of gold-decoration gilding, peat gold and sticking gold, part of the surface of the statue will be applied in combination with gold painting and color painting. The research results can provide scientific basis for the composition and casting technology of the gold and copper Buddha statue alloy in the Ming Dynasty in the future.
Key Words: Ming Dynasty; bronze Buddha; composition analysis; casting technique; gilding
金嵌玉石宝塔的镶嵌修复研究
Conservation Research of the Gold Gemstone Inlaid Pagoda
展菲 李合 罗涵
Zhan Fei Li He Luo Han
（故宫博物院，北京，100009）
(The Palace Museum, Beijing, 100009)
内容提要：金嵌玉石宝塔是清代佛教器物，乾隆十一年（1746年）由造办处造得并安嵌于重华宫崇敬殿。因宝塔存在镶嵌宝石污渍、璎珞断裂、镶嵌宝石脱落、珍珠镶嵌松动等伤况，故进行修复研究。利用便携式X射线荧光光谱及便携式拉曼光谱对金属塔的元素组成及镶嵌宝石的矿物组成进行检测分析，并对璎珞的形制进行研究。以此为前提，清洁宝塔的镶嵌部分，加固重穿伞盖璎珞，加固宝石镶嵌及珍珠镶嵌。在修复中发现一处雕刻金星玻璃与其他相应位置的材质不符，根据档案线索，疑为制作时有意为之，反映了金星玻璃在清代作为珍贵材料备受重视。在清代，大型镶嵌类器物选择颜色、形状相近材料的情况偶有发生，具有一定的灵活性。此次修复在解决文物病害的同时，也加深了对清代宫廷佛教金器镶嵌技法的了解。
关键词：金嵌玉石宝塔 材质分析 宝石镶嵌形式 璎珞形制 金星玻璃
Abstract: The Gold Gemstone Inlaid Pagoda is a Buddhist object used for the statue of Buddha in Qing Dynasty, which was made by the Office of the Chief Architect in 1746 and be settled in the Chong Jing Hall of Chong Hua Palace. Because of the stained inlaid stones, broken pearl strings, inlaid stones off, loosing pearl inlay and other injuries, the author restored the inlaid part of the pagoda and carried out research work in the conservation process. Using portable X-ray fluorescence spectroscopy and portable Raman spectroscopy to detect and analyze the elemental composition of the metal pagoda and the mineral composition of the inlaid stones, and studying the form of the pearl strings, the conservation steps such as cleaning the inlaid part of the pagoda, reinforcing and re-string the umbrella pearl strings, reinforcing the stone inlay and reinforcing the pearl inlay were carried out. During the conservation, it was found that a carved Venus glass does not match the material of other corresponding locations. According to the file clues, it is suspected that it was intentionally made during the production, reflecting the importance of Venus glass as a precious material in the Qing Dynasty. In the application of materials for large-scale inlaid cultural relics in the Qing Dynasty, the selection of materials with similar colors and shapes has occasionally occurred, with a certain degree of flexibility. The conservation of cultural relics not only dealed with the injury, but also provided experience for an in-depth understanding of the palace Buddhist gold inlay techniques in Qing Dynasty.
Key Words: The Gold Gemstone Inlaid Pagoda; material analysis; the form of gem inlay; the form of the pearl inlay; Venus glass