历史人物纪念馆陈列探讨

历史人物纪念馆的陈列既要保持历史遗存的建筑风貌,又要融入现代博物馆的陈列理念,如以历史人物的手稿、献照片、遗物为基础,辅以展示人物雕塑、场景复原及多媒体影视、红外线遥控、音频、视频数字化等高科技的展示手段。     

Deadly medicine

This article discusses the methods the United States Holocaust Memorial Museum used to make an exhibition on the complex history of Nazi eugenics accessible to the museum's mass public and at the same time, provocative for special audiences consisting of professionals and students from the biomedical fields. Deadly Medicine: Creating the Master Race showed how both eugenics and related "euthanasia" programs in Nazi Germany helped pave the road to the Holocaust. The exhibition implicitly evoked the present-day appeal of biological explanations for human behavior and of new visions of human perfection. Educational programs used the exhibition as a springboard for discussions of bioethics and medical ethics.     

陈列展览策划与博物馆建设

陈列展览是博物馆最基本的职能之一,是博物馆开展公共文化服务的直接载体和最佳切入点。陈列展览策划作为创造性运作陈列展览的有效手段,与陈列展览水平及博物馆建设密切相关。陈列展览策划能力是博物馆核心竞争力的主要构成要素,加强陈列展览策划是适应博物馆事业发展的需要,深化陈列展览策划有助于提升博物馆的文化影响力。探析陈列展览策划与博物馆建设之间的关系,有助于深化对陈列展览策划的理性认识与实践探索,有益于增强对陈列展览策划与博物馆建设重要性的认识。     

The selected representation of contested prison history: memorial exhibitions and tourist experiences

The Jing-Mei Detention Centre, Taipei, is one of the primary sites associated with the ‘White Terror’, which took place during the imposition of Martial Law in Taiwan (1949–1987), by the authoritarian post-war regime of Chiang Kai-shek. Taiwan’s intelligence agencies violated civil rights and liberties. Suspects suffered arrest, interrogation, torture, trial, and imprisonment. The former detention centre has become Jing-Mei Human Rights Memorial and Cultural Park, which is one of two penal facilities dealing with the processing of political prisoners and for the suppression of activists who struggled for human rights. This study focuses on the interpretation by visitors of exhibitions at the site and the process of historical representation at the memorial park. The roles of the relevant parties were identified through interviews with former prisoners. The selection criteria, and the approaches to interpretation employed by the exhibition planners to represent a contested history, were examined. An analysis of visitor experiences and interaction with historical interpretation and layout in the exhibition demonstrated the visitors’ disoriented, yet unified, perceptions. A model of prison history has been developed that selects the memories and materials used to depict the past, unifying the multiple layers of histories during the ‘White Terror’.     

博物馆实践与博物馆理论的关系——以博物馆展览为视角

博物馆学是一门后设学科,世界各地的博物馆都是用藏品来呈现人类与其环境所发生事物的真实场所,所以它是在产生功能之后才建立起模式与理论。中国博物馆机构的建立虽然是输入的“舶来品”,但是也有着相同的对收藏对象的运作、管理与使用之目的,所以在呈现给公众观赏的展览上,如何达成文化遗产讯息的传承,用观众对展览主题的认知、态度与需求...     

论地方博物馆展览学术支撑体系建设

学术研究成果和展品形象资料构成了博物馆展览的学术支撑体系,直接影响着展览的质量和水准。地方博物馆应加强展品形象资料的收集整理与地域文化资源的挖掘研究,以加强展览学术支撑体系的建设,提高展览的建设质量和水平。     

史料与史学视域下的藏品与陈列

借鉴史料与史学的关系理论来思考藏品与陈列问题,或可有利于博物馆界问题意识的强化和理论品位的提升,从而将相关问题的研究引向系统和深入。陈列本质上是一种意义重构的过程,理想的陈列应该是使藏品的自我解释与陈列的外在解释相得益彰。陈列设计者应该在整体历史观念的统摄下,将那些承载着片段历史和文化信息的藏品进行正确解读和定位,并引发观众对基本完整的历史事件的理解。为了从不同侧面令人信服地展示历史风貌,扩大博物馆藏品的征集和遴选范围是十分必要的。     

‘Hidden from view’?: an analysis of the integration of women’s history and women’s voices into Australia’s social history exhibitions

ABSTRACT

‘Women have mostly been left out of history’, boldly asserted Elizabeth Willis in her exhibition text for The Story of Victoria in 1985. Taking Willis’ statement as a starting point, this article aims to trace firstly how women have been rewritten into Australia’s social history exhibitions focusing on the use of voice as a strategy to do so, and secondly how these voices have changed historical master narratives – by allowing a shift from a big picture history to intimate and deeply personal stories that recast our understanding of the past in ways that are inclusive of gendered experiences. We investigate the use of the curatorial voice as reflected in Willis’ work, aligning it with the notion of curatorial activism, before exploring the changing curatorial practices that expanded the potential for an interpretive approach that incorporated the voice of the subjects themselves as a central component in the telling of history. We then analyse the impact of these strategies on traditional understandings of the past through three exhibitions developed by Melbourne Museum over 30 years: The Story of Victoria, a successor exhibition The Melbourne Story, and their Great War centenary exhibition, WWI: Love & Sorrow.     

陕西历史博物馆藏东汉绿釉陶孔雀灯的修复

陕西历史博物馆收藏的东汉绿釉陶孔雀灯,1964年出土于陕西省潼关吊桥镇,是一级文物。四川汶川5·12地震致使其在陈列柜内倒翻,断裂为70块碎片,为了能够重新展览该件珍贵文物,必须对其进行修复。本工作在东汉绿釉陶孔雀灯每件碎片（块）的现状调查记录的基础上,通过陶胎和修补材料的XRF、SEM分析,制定了修复方案。采用预加固、清洁、拼对、黏结、补全、补色等措施,完成了复原性修复工作。修复后的东汉绿釉陶孔雀灯已能够达到陈列展出的要求。     

Alternative Radio: exhibiting radio and music heritage after the Christchurch earthquakes

This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum’s exhibition manager and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station’s participants and audiences.     

吉金片玉著王霸——“山西出土两周时期文物精华展”撷英

公元前11世纪,武王姬发克商,建立“周”朝,大封诸侯,以拱卫姬周中央。周武王子成王即位后,将位于今山西南部的河、汾之东的故国“唐”地封给胞弟叔虞。叔虞过世后,其子燮父改国号“唐”为“晋”。晋国与鲁、卫等国一样,为宗周的最亲近的宗亲国。     

吴越胜览 五代时期吴越国文物综述

一唐宋之间 吴越国是五代十国时期东南沿海地区极为重要的地方政权,疆界以今浙江省境为中心,建都杭州,最盛时有13州1军86县之地,北起苏州,南抵福州。     

Archaeology in the World of Display: A Material Study of the Use of History in the Stockholm Exhibition of 1897

History was an important notion in constructing an industrial capitalist society in the nineteenth century. This article deals with the manifest use of history at the Stockholm Exhibition of 1897. At this exhibition, history was ubiquitous and was most fully expressed in the model of medieval and Renaissance Stockholm called “Old Stockholm.” The history of nineteenth- and twentieth-century exhibitions in general has been thoroughly studied in the field of humanities. However, the specific use of history and space has not attracted much interest. This analysis of the model of Old Stockholm is of the first archaeological study of remains of the great exhibitions ever to have been done. Even though the “Old Stockholm” pavilion was exceedingly popular in the summer of 1897, only very scarce documentation has survived. An archaeological excavation of parts of the temporary historical models, such as the “Hospital of the Holy Spirit,” showed convincing evidence of the hegemonic position which the use of history enjoyed at the exhibition and in the nineteenth century.     

The sound of music heritage: curating popular music in music museums and exhibitions

A significant amount of previous academic research into popular music museums centres on critiques of the content, design and layout of predominantly authorised institutions. Throughout much of this research, authors consistently criticise the use, or rather, the perceived misuse, of music played within music museums, arguing that the music itself, rather than artefacts, constitutes the most significant part of popular music exhibition. This article seeks to counter this trend by exploring the challenges of incorporating recorded sound into popular music exhibits as understood by curators and exhibit designers. Utilising interviews conducted within 14 authorised and DIY museums devoted to popular music, the researchers demonstrate a distinct contrast between current academic critiques of music use in these museums and the attitudes of the people who create them. The result is a varied discussion surrounding sound in the museal space, including issues of sound bleed, technology and the creation of balance between artefacts and sound. This account draws attention to curators’ intentions of telling the story of popular music history by engaging with both the visual and aural memories of museum patrons, and suggests a new understanding of the purpose underpinning popular music museums in modern contexts.     

Ancient Pottery： Epitome of Original Culture in Tibet

The exhibition hall of pre-his-toric culture in the TibetMuseum displays exhibitsfrom stoneware of the Pale-olithic Age to bronze andcliff paintings of the early Metal Age,which is a vivid epitome of the develop-ing history of pre-historic human culturein Tibet.Archaeologists have demonstratedthat the distribution of Neolithic Age pot-tery in China covers the whole country,but especially in five major areas: YellowRiver Valley, Yangtze River Valley, south-east China, southwest China and …     

跨学科视域下的博物馆非遗类展陈——以“云泽芳韵土布展”为例

非物质文化遗产保护是新时代博物馆功能的又一重要体现。如何做好非遗事项的展陈,如何通过有形、静态的"物品"呈现非遗无形、活态的"信息",这是博物馆学与民俗学、社会学、人类学等学科综合研究的要求与趋势。"云泽芳韵土布展"通过两位女性非遗传承人的手工织布作品来讲述其个人生命故事,更好地呈现"物"与"人"的关联,使观众于观展过程中,不仅能了解非遗技艺,提升非遗保护意识,更能通过对他人生命故事的解读,完成自我生命的观照与思考。此案例可以为更多的博物馆非遗类展陈提供参考。     

永恒的文明──洛阳文物精品陈列设计与构思

《永恒的文明──洛阳文物精品陈列》是洛阳博物馆新近推出的又一精品力作,并喜获殊荣。本文从内容的构思、艺术形式的设计等方面,对该陈列进行较为全面的分析和论述。     

Making digital heritage about people’s life stories

Abstract

Actively creating new digital heritage content about people’s life histories is part of the democratisation of heritage engagement with the public. The approach of documenting unofficial histories is supported by a growing literature. Unofficial stories contribute new perspectives on the heritage identity of a region. The case study of the ‘Local People’ exhibition, curated by the author in 2013 in the North West of Ireland, is used to discuss the methodology of a digital curatorial process, www.localpeopleireland.com. This article argues that gathering and presenting unofficial histories of individuals' life experiences, can disrupt official narratives of The Troubles and challenge a regional identity based on conflict and division. The making of digital history is analysed as a curatorial process, rather than the ease of use of technology. The methods used included: filmed interviews, new portrait photography and the digitisation of family photograph albums. A virtual exhibition was produced and new digital historical sources were created that transform intangible heritage by crystallising people’s voices and images into ‘tangible’ digital objects. ‘Local People’ utilised Facebook https://www.facebook.com/localpeopleproject/?fref=ts and Vimeo https://vimeo.com/album/2518991. It is argued that the digital space provides a ‘virtual contact zone’ in which diverse, unofficial and personal narratives can be presented together.     

The National Gallery of Victoria’s Colony and Difficult History

A recent exhibition staged by the National Gallery of Victoria Australia can be regarded as an expression of the international difficult histories boom. In large part, its representation in Colony of Australia’s black history is in keeping with the Manichean accounts that have come to dominate in the realm of popular culture and is a function of its decision to represent the past in forms that are primarily memorial and performative rather than historical and pedagogical. I argue that any serious attempt to come to grips with this nation’s difficult Aboriginal history requires its settler peoples to rethink rather than merely reject previous settler accounts of the past, and I contend that this task demands the practice of both scholarly history and local Aboriginal community history, which provide more complex accounts of the past.     

赏析狮座诗文瓷枕 感悟长沙窑历史成就

2008年7月15日在北京首都博物馆开幕的中国记忆—五千年文明瑰宝展中有一件唐代长沙窑褐绿彩绘狮座诗文瓷枕（图1）非常引人注目,它造型别致、装饰精美、器形小巧,为长沙窑瓷枕中之极品。高7.3、长13.1、宽8.1厘米。青釉、灰白胎,枕面与底座均为长方形,中一卧狮承托枕面。枕面为长方八角,两端是褐绿彩六边几何图案装饰,