倦勤斋光环境及相关文物保护研究——倦勤斋保护工作阶段报告之二

本研究遵循的总原则是室内视觉环境的真实性原则、光辐射的文物安全优先原则、展示照明装置的可逆性原则和可识别性原则。以室内光环境实测为研究基础,论证了适用于倦勤斋的照明标准,同时估算室内文物的年曝光量,推算展示时间,确定参观模式。确定经过隔紫、隔红、降强度的天然光为室内照明的主要光源。对于透光装置和材料进行改造,对于历史灯具进行复位并提出电气改造建议。初步提出"历史光环境是倦勤斋值得保护的重要元素之一"。该研究提出的对于内檐文物兼顾整体保护和鉴赏的视觉环境,为倦勤斋的开放提供了部分理论和技术支持,对于故宫的同类保护项目具有一定借鉴意义。

Study of the Optical Environment in Juanqin Studio and Its Effects on Relics Preservation:Second Report on Work Stages in the Preservation of Juanqin Studio

This research work complied with a number of general principles:the veracity of the interior visual environment,the principle of giving priority to the safety of the antiquities subject to lighting,and the principles of avoiding reflections and showing objects clearly in the display areas.The basis of the work was how to best distribute natural lighting throughout the rooms of the studio.Experts in many fields (ancient architecture,antiquities preservation, exhibition space designers,museum operations) co-operated to develop lighting criteria for Juanqin Zhai that could be scientifically measured.Preliminary calculations were made using the light conditions of the Beijing environment to determine ideal visiting times for displaying the objects in the studio.On the basis of the space requirements,display modes and conservation principles,a protective plan for lighting the spaces was drawn up.Filters for ultra-violet and infra-red and diminishing intensity were set up at the main light source, and transparent objects and materials were accordingly altered so that the original light fittings could be returned to their original positions and the various electric wiring options were scrutinized to ensure the safety of using electric lighting for dark areas and to enhance the lighting of the ceiling and provide deep-level historical information of those antiquities now lit by the moved lighting sources.Through co-operation between the various experts, understanding was reached on Qing Dynasty lighting so that 'original lighting' was one of the features of the restoration work.This article demonstrates how optical technical support provided the environment for opening the studio so that visitors could appreciate the preserved antiquities and how the work on the optics of the studio helped with this aspect of the preservation of other parts of the Forbidden City.