专题介绍：博物馆陈列展示的理论与实践
编者按：
作为博物馆核心产品的陈列展览，因其在社会教育方面所起的作用，为公众所广泛关注。然而，博物馆陈列展示所涉及的内容繁杂、形式多样、学科众多，既要考虑人文、艺术、科学等领域的相关知识，又要兼顾不同年龄、不同层次、不同需求的观众，因而其理论还远未臻成熟，其实践尚处于探索之中。路漫漫其修远兮，吾将上下而求索。不畏艰险的一代代博物馆人从未停止过对博物馆陈列展示理论的发展与创新，从未停止过对博物馆陈列展示实践的践行与探索。
本期专题“博物馆陈列展示的理论与实践”的作者，既有年近九旬的周士琦先生，凸显了老一辈博物馆人对博物馆陈列展示的不懈追求，又有诸多年轻人，体现了博物馆新生代对博物馆陈列展示的最新思考。
博物馆陈列展示，是聚焦珍宝，还是阐释历史？是赏心悦目，还是人文关怀？是以物为主，还是以人为本？是作品，是项目，还是可以引发社会热点、触及观众心灵的事件？在新时代下，博物馆陈列展示，有哪些值得坚守，有哪些需要与时俱进？这一系列问题，令人深思。
博物馆展陈之道：专一、专业、专注
——周士琦先生访谈录
Principles of Museum Exhibition and Display: Concentrated, Professional and Persistent
访谈者：张亚娜1 李吉光2
Interviewer: Zhang Yana1 Li Jiguang2
（1. 科学出版社，北京，100717；2. 首都博物馆，北京，100045）
（1.Science Press,Beijing,100717;2.Capital Museum,Beijing,100045）
内容摘要：2019年国庆节期间，周士琦先生荣获“庆祝中华人民共和国成立70周年”纪念章。自1951年参加工作以来，先生亲身实践，先后完成了中国革命史陈列（中国革命历史博物馆）、北京中山堂基本陈列及其改陈、西藏博物馆基本陈列等诸多博物馆陈列设计的经典案例，为后学提供了宝贵的学习案例。本刊对周士琦先生进行了专访，并记录成文，以飨读者。
关键词：革命历史类展览陈列 古建空间 展陈空间 云展览
显与隐
——文化展示的人类学与人类学的文化展示
The Revealed and the Concealed on Cultural Displays
王铭铭
Wang Mingming
（北京大学，北京，100871）
（Peking University, Beijing, 100871）
内容提要：本文以“显”和“隐”两个字为切入点，探讨了文化展示的人类学与人类学的文化展示的关系。虽然人类学家常常认为自己是田野中使“隐”得以显现的人，但实际上不同地方的“报道人”已经生活在一个兼备“显”和“隐”的世界里。我们在田野调查时看到的文化展示，如寺庙及其节庆，充满了“展示的智慧”，堪与伴随着“殖民现代性”而来的各种“展示文化”做比对。此外，人类学家在寺庙庆典的“综合文本”中看到的——尤其是他们的献祭逻辑——对我们改革当代的“展示文化”具有启发意义。
关键词：民族博物馆 人类学 文化展示 主体/客体 献祭逻辑
Abstract: The short essay engages a pair of Chinese characters, Xian (revealed) and Yin (concealed), in a discussion of the relationship between the anthropology of cultural displays and the cultural displays of anthropology. The author argues that although anthropologists often think of themselves as those who reveal the concealed in the field, the “informants” in different localities have already lived in a world of both Xian(revealed) and Yin(concealed) factors. Furthermore, the cultural displays as we see in the field, like, temples and their festivals, are full of “wisdom of exposition”, waiting to be compared with the various “exhibiting cultures” arriving along with “colonial modernity”. The author also argues that what ethnographers have seen in the “synthetic texts” of temple festivity, especially their logic of sacrifice, is inspiring to our reformation of modern “exhibiting culture”.
Key Words: Ethnography museum; anthropology; cultural displays; subject/object; the logic of sacrifice
产品、项目、事件
——临时展览策划与实施的三个新视角
Products, Projects and Events: Three New Perspectives about Temporary Exhibition-making
陈同乐
Chen Tongle
（江苏省美术馆，南京，210018）
（Jiangsu Art Museum, Nanjing, 210018）
内容提要：临时展览是博物馆展陈体系的重要方面，其策划与实施的方式直接决定了临时展览的展示效果。学界已从不同视角对如何策划与实施临时展览进行了讨论，并已得出不同结论。本文尝试从临时展览的策划与资源整合、展览的管理与实施、展览的传播与推广三个视角将展览重新定义为产品、项目和事件。认为产品的视角可以让我们重新定义和审视展览，项目的视角可以提高我们展览实施的水平与质量，事件的视角有助于我们发挥展览的价值与作用。并在此基础上提出：好的策划可以熏陶一代人，好的创意可以引领一群人，好的展览可以影响一座城。
关键词：临时展览 产品 项目 事件 策划
Abstract: This article from the temporary exhibition-making and resource integration, exhibition
management and implementation, exhibition dissemination and promotion of three perspectives redefine exhibitions as products, projects and events. From product view allows us to redefine and examine the exhibition, from project view can improve the level and quality of our exhibition implementation, and the perspective of event can help us give full play to the value and work of the exhibition. On this basis, it is proposed that a good plan can edify a generation, a good idea can lead a group of people, and a good exhibition can influence a city.
Key Words: Temporary exhibition; product; project; event; exhibition-making
西方语境下博物馆curator的岗位职责及角色定位
The Job Responsibility and Role of Curator in the Context of Western Museums
果美侠
Guo Meixia
(故宫博物院，北京，100009）
（The Palace Museum, Beijing, 100009）
内容提要：“Curator”在中国博物馆领域通常被译为“策展人”，指提出展览构想并主要负责展览策划、实施的人。这将curator的工作与展览直接关联在一起；但事实上，西方博物馆的curator有明确的工作职责和角色定位，主要工作集中在藏品、展览和管理三个方面。Curator因对藏品有深入系统研究而参与展览工作，有些curator资历、经验丰富，承担一定的管理职责，但并不因此决定其在展览中的权威地位。随着时代的发展，除博物馆和艺术馆之外，“curator”一词有了新的应用领域，其意义也逐步扩展，甚至出现了以“curator”为名的新兴职业。
关键词：博物馆 curator 策展人 照看藏品 策划展览 行政管理
Abstract: In Chinese museums, the English term “curator” is usually translated into “策展人 (Ce Zhan Ren)”, a Chinese word that literally means “exhibition planner” who mainly plans, develops and implements exhibitions. Such a translation links a curator’s work to exhibitions. In western museums, however, the term “curator” refers to museum professionals whose work mainly focuses on collections, exhibitions and management. Curators are involved in exhibition work by virtue of their great expertise. Some very experienced curators assume certain management responsibilities, but that does not guarantee their authority in the exhibition work. Nowadays, the term “curator” is used in other fields besides museums and art galleries. Its meaning has gradually expanded as the world changes, and even new professions titled “curator” have emerged.
Key Words: Museum; curator; curator of exhibition; curate the collection; planning exhibition; administration
打开边界的博物馆
——以杭州工艺美术博物馆实验性策展实践为例
Breaking Boundaries:
A Case Study of Experimental Exhibition-making at the Hangzhou Arts and Crafts Museum
许潇笑
Xu Xiaoxiao
（杭州工艺美术博物馆，杭州，310000）
（Hangzhou Arts and Crafts Museum, Hangzhou, 310000）
内容提要：科学技术在21世纪持续快速更新，传统的专业化、阶梯式的知识生产结构被颠覆，精英文化在社会平民化的过程中被消解殆尽，多元、复杂且充满变化与冲突成为一种文化现实的常态。“跨界”即不同学科的知识与方法在社会文化实践中的综合应用，成为新知识、新观念、新体验发生的关键方式。21世纪的博物馆应当关照这一社会与文化现实，探索打开专业边界、与其他学科发生对话的方式。杭州工艺美术博物馆自2018年开始发起“博物馆@当代艺术”实验性策展项目，将当代艺术作品及其文化诠释引入博物馆的展览语境，在物质的并置展示、叙事的编辑整合中，通过策展将两者不同的文化资源、展示媒介与价值诠释体系相互关联，从而发起不同学科与文化领域之间的对话与交流。这样一种“跨界”为文化遗产的展示提供了不同的视角，也为历史与当下、博物馆与公众之间的辩证关系提供了更为广阔的讨论语境。
关键词：策展实践 杭州工艺美术博物馆 当代艺术 跨界“女神的装备”“永远有多远”
Abstract: Technology is developing fast and continually in the 21st century. The traditional specialized and stepped structure of knowledge production is subverted and the elite society is resolved and replaced by the democratized society. The cultural reality becomes more and more multiple, complicated and full of changes and conflicts. “Cross the boundaries”, which refers to the communication and dialogues among different intellectual studies and practices, is becoming the essential way and context, where new knowledge, ideas and experiences take place. Museum in the 21st century should take this social and cultural reality in consideration, and try to explore ways that could break professional boundaries and make dialogues with others possible.
Key Words: Exhibition-making; Hangzhou Arts and Crafts Museum; contemporary art; cross boundaries; Goddness in the Shell: Discourse Beyond Antiquity and Art; The Shapes of Immortality: Discourse Beyond Antiquity and Art Ⅱ
博物馆学术型书画展的情感诠释和表现
Emotion Interpretation and Performance of Museum Academic Calligraphy and Painting
Exhibition
蓝武芳
Lan Wufang
（广西壮族自治区博物馆，南宁，530022）
（The Museum of Guangxi Zhuang Autonomous Region, Nanning, 530022）
内容提要：情感诠释和表现是博物馆学术型书画展的薄弱之处，但是书画作品中蕴含的情感元素是作品价值的根本所在。通过举办以古代书画家个人为主题的特展、讲解书画作品中的情感故事、塑造和营造陈列空间等方式，博物馆学术型书画展力图扩大作品的表现张力，揭示、再现和复原书画作品的情感，让古代书画中的情感与当下观众产生共鸣，文章分析了传统书画作品中蕴含的情感元素，讨论了学术型书画展诠释情感元素的方式，并探讨了提升学术型书画展情感诠释的方法。
关键词：书画展 情感设计 陈列展览
Abstract: Emotion interpretation and performance usually are the weak points in the academic exhibitions of calligraphy and painting. However, the emotion elements contained in works of calligraphy and painting are the fundamental value. By the forms of holding ancient calligraphers and painters’ personal theme exhibitions, annotating the background stories, shaping and creating exhibition space to expand the expressive tension of their works. Let the emotions contained in the works of ancient calligraphy and painting be synchronized with the modern society and the visitors by revealing, reproducing and restoring the emotions in the original works of calligraphy and painting. Let the calligraphers and painters and their works jump out of their own small world, let their personal emotion sublimates be the whole consciousness and national feelings of Chinese people by focusing on the deep connection between the emotion elements of ancient painting and the spirit of realism.
Key Words: Calligraphy and painting exhibition; emotion design; display and exhibition
陋俗文化展览初探
The Research on Exhibiting Vulgar Culture
陆欣欣
Lu Xinxin
（陕西师范大学，西安，710119）
（Shaanxi Normal University, Xi’an, 710119）
内容提要：作为民俗文化重要基因的陋俗文化，与人类发展相伴相随，对于公众的生活和社会的发展仍然有着较大影响，但与之相关的博物馆展览及其研究屈指可数，即使一些展览有所涉及，也只是浅尝辄止，未能充分发挥博物馆在警示陋俗文化、防止陋俗文化沉渣再起方面的作用。本文通过分析，认为：陋俗文化是民俗文化中的毒瘤，也是博物馆展陈的必要素材，并对具备展示条件的博物馆，如何通过恰当的方式举办陋俗展览，更好地服务于社会的发展提出了六点建议。
关键词：博物馆展陈 陋俗文化 民俗文化 揭出病苦 社会责任
Abstract: As an important gene of folk culture, vulgar culture, accompanied by human development, still has a great impact on the development of public life and society, but there are only a few museum exhibitions and their research related to it, even if some exhibitions are involved, they are only dabbling in it, failing to give full play to the role of museums in warning vulgar culture and preventing vulgar culture from recurrence again. Museums with display conditions can better serve the development of society by holding vulgar exhibitions.
Key Words: Museum exhibition; vulgar culture; folk culture; uncovering illness and sorrow; social
responsibility