博物馆文物的防震保护研究（二）——设防地震动输入及结构地震动反应

通过对上海及邻近地区地震危害性分析,结合地震研究工作结果,根据上海博物馆文物防震保护的具体要求,研究确定了该博物馆文物防震保护的设防水准及地震动参数。场地地震动输入峰值加速度水准确定为50年超越概率3％,地震动反应谱采用上海市标准《建筑抗震设计规范》(DGJ08-9-92)中给出的地震影响系数曲线(阻尼比0.05),并将输入峰值加速度调整为180gal。研究采用了目前通用的拟合反应谱的方法,通过拟合选定的地震动反应标准谱,合成了6条人造地震波时程曲线,拟合精度控制在相对误差不大于5％;同时结合上海市《建筑抗震设计规范》(DGJ08-9-92)中所附的一条强震记录,共同作为上海博物馆结构地震反应分析的输入地震动。又根据上海博物馆建筑的结构特征分析,结合建筑结沟动力特征的实测结果,通过采用层模型结构时程分析计算方法,计算并获得了在遭遇设防地震时,上海博物馆建筑物每一层的地震动反应,表明上海博物馆建筑各楼层的地震动反应具有明显的楼层放大作用。对各楼层地震动反应的统计分析,给出了上海博物馆建筑物每一层的地震动参数,以此可作为今后文物地震危害性分析,及研究设计隔震装置等防震措施的依据。     

博物馆文物的防震保护研究（三）——陈列文物的地震安全性分析

通过分析博物馆馆藏文物的悬吊、固定、浮放等基本放置形式,探讨了文物的陈列特征及其可能造成的震害因素。综合考察和分析研究了国内外浮放式物体及陈列文物的运动状态,指出陈列文物在地震发生时的主要危害性运动是滑移和倾覆。根据相关浮放物在地震作用下的计算方法、上海博物馆文物的陈列特征及防震设计参数,提出简便实用的浮放式陈列文物稳定性计算模型,编制了适合上海博物馆文物安全性分析的计算程序。并以上海博物馆文物陈列的3类接触材料、4楼中国古代玉器馆的典型陈列文物为试点,计算了陈列文物在地震中遭受破坏的临界值。表明在设防水准的大震和中震情况下,目前陈列现状的绝大多数文物均存在倾覆和滑移安全隐患,但当文物所受到的地震动减小到110gal时可满足陈列安全。     

馆藏壁画保护理论探索与实践——以甘肃省博物馆藏武威天梯山石窟壁画的保护修复为例

馆藏壁画是具有重要历史、科学和艺术价值的博物馆藏品之一,大部分为来自考古发掘现场的墓葬壁画,其次为揭取搬迁的石窟壁画和殿堂壁画。因其制作材料(主要为泥质或石灰层地仗)脆弱,保存年代久远,各种病害多发且严重。已有研究结果表明,石窟壁画保护的难点是水—盐运移引起的壁画酥碱等病害问题,而当石窟壁画转移到博物馆作为藏品保存后,其赋存环境条件发生了根本变化,博物馆可控的、稳定的温度、湿度使其保护难度大大降低,保护现存实物原状与历史信息必然成为馆藏壁画保护的重要内容。本研究以甘肃省博物馆藏武威天梯山石窟壁画的保护修复为例,结合多年石窟壁画保护实践,探讨了馆藏石窟壁画保护理论与保护程序,重点阐述了壁画附加支撑体的去除、新支撑体的选择以及安装等方面的技术要点。提出通过举办专题展览,利用多媒体等高新技术,可以生动、形象、准确地反映和展示馆藏壁画的价值及保护修复过程,弥补传统陈列展览模式的不足。研究成果对同类文物的保护具有重要的借鉴价值。     

Human osteoarchaeology in the UK 2001–2007: a bibliometric perspective

Bibliometric analysis of osteoarchaeology publications covering the period 2001–2007 in leading journals was carried out. The aims were two‐fold: firstly, to characterise research in this field in the UK and make comparisons with selected other countries, and secondly, to shed light on the use of skeletal collections. It was found that, since a previous survey of this type,covering the period 1991–1995, isotopic and DNA studies have increased. In the UK, work on biodistance studies is minor compared with other countries, and the proportion of palaeopathology work is high. In palaeopathology, substantial effort continues to be devoted to case studies, particularly in the UK where the frequency of problem‐orientated work directed at understanding earlier populations has not increased since the early 1990s. Although it is argued that the case study still has a place in osteoarchaeology, the balance of work needs to shift further in favour of population studies, particularly in the UK. Skeletal collections are vital for primary osteoarchaeological work, and there was little evidence for any great use of skeletal databases such as the Standard Osteological Database. Skeletal collections from the UK were the most used for the research papers analysed, demonstrating the importance of UK‐held collections for research that leads to high profile publication in the international scientific literature. These observations are pertinent since legal, ethical and practical issues in the treatment of human remains, particularly those connected with retention of skeletal collections, are now coming under closer scrutiny in the UK. Copyright © 2008 John Wiley & Sons, Ltd.     

THE SYNTAX OF OBJECTS AND THE REPRESENTATION OF HISTORY: SPEAKING OF SLAVERY IN NEW YORK

The representation of history continues to evolve in the domain of museum exhibitions. This evolution is informed in part by the creation of new display methods—many of which depart from the traditional conventions used to achieve the "museum effect"—in part by an increased attention to the museum-visitor relationship. In this context the ethical force of bearing witness, at times a crucial aspect of the museum experience, has emerged as a particularly compelling issue. In seeking to represent and address atrocity, injustice, and the abrogation of human rights, museums have the potential to become "sites of conscience" and to encourage "historical consciousness." Through a series of three exhibitions devoted to slavery, the New-York Historical Society demonstrated how such sites can be constructed and how objects can be deployed to represent extreme or "limit cases." In this review/essay I investigate and interrogate these exhibitions, looking closely at the use of objects as a source of "indirect testimony" (Marc Bloch) and at the "dialogical situation" (Paul Ricoeur) that might arise in an encounter among objects, exhibit narratives, and visitors. Thinking in terms of point of view, I look at the variety of rhetorical platforms from which objects speak in these exhibitions; thinking in terms of syntax, I look at the effects of ordering and of the radical juxtaposition of objects; thinking in terms of irony, I look at the provocations of double-voiced narratives and at how objects are used to support those historical sentences.     

秦俑博物馆陶器库房空气污染的物理化特征及其对彩绘陶器的影响

2007年冬季在秦始皇兵马俑博物馆陶器库开展了室内大气污染系列采样工作,持续31天,使用Minivol便携式气溶胶采样仪采集了大气颗粒物样品（PM2．5）,利用AreaRAE—IAQ（PGM5220）测定了库内的微气候特征。结果表明,冬季兵马俑陶器库中的PM2．5的平均质量浓度为76．1μg／m3,明显低于室外,PM25中水溶性离子主要由SO4^3-、NO^3-和NH4^＋组成,与室外相同,表明库内污染物主要受室外控制,而且库内颗粒物偏酸性,库内温差较大,由于颗粒物偏酸性可能会对库内的陶器彩绘颜料中的碳酸钙、碳酸钡及硅酸铜钡等成分产生不利影响,颗粒物的悬浮与沉降也可能会对彩绘产生污损,此外库内剧烈的温度变化也可能会对彩绘陶器的保存带来不利影响。     

略论我国博物馆的陈列与展览

博物馆的陈列与展览在保存传统文化方面发挥重要作用,要使展览收到好的效果,就要求文博人集思广益、精心设计,提供人性化的服务,以吸引更多的观众。     

现代技术与文博工作者的主体性——试论数字博物馆建设中“人”的作用

在人类各个技术发展阶段,技术与人的主体性之间互相消长,在数字博物馆建设中,文博工作容易出现傻瓜化倾向。为此,数字博物馆的建设应是文化创意的过程,在使用现代设备、系统、工作流程的同时,文博工作者要发挥自身的主体作用。     

论自然标本的文物属性——以成都理工大学自然博物馆藏品为例

自然博物馆藏品中部分标本,在其被征集、研究、馆藏、展示过程中,不断积淀、附着重要的人文信息,成为具有文物特征的自然标本。然而,由于管理体制等原因,对于自然博物馆文物化标本尚缺乏科学管理办法,导致其重要的隐性人文信息得不到规范的管理和传播,不能凸现其实际科学研究价值。对此,应从自然博物馆及文物管理部门两方面入手,加强对具有文物特征标本的科学保护与管理。     

数字技术辅助博物馆展陈的若干思考

数字展览与互动技术是博物馆展陈的重要辅助手段,提高了用户参观趣味性,增强了用户体验,达到了参观个性化的目的。