摘要部分：
1、设计有“文化”的光—以广东省博物馆埃及展照明为例
Reading Civilization with Light— The Lighting Design of Egyptian Exhibition in Guangdong Museum
骆伟雄
摘要：博物馆展览照明质量的优劣，除了与照明技术有关，照明设计也是其中重要的一环，且优秀的展览照明设计对呈现展览内容和提升展览效果颇有助益。本文通过探讨广东省博物馆引进的埃及展在选用照明灯具、把控照明亮度和技术等方面的具体做法，结合博物馆展览照明设计的普遍原则，阐释展览照明与展览内容之间的关系。
关键词：博物馆 展览 灯具 照明设计 独特性
Abstract: The quality of museum’s exhibition lighting is affected by not only the lighting technology, but also the lighting design. Excellent exhibition lighting design is helpful to present the exhibition content and enhance the exhibition effect. This paper expounds the relationship between the exhibition lighting and the exhibition content by discussing the specific practices of the selection of lighting fixtures, controlling lighting brightness and other technical details in the Egyptian exhibition introduced by the Guangdong Museum.
Keywords: Museum, Exhibition, Lighting Fixture, Lighting Design, Uniqueness
2、视角·构建·维度—以南京博物院“恐龙展”为例谈儿童展策划
Perspective, Construction and Dimension:—Discussion about the Children’s Exhibition Curating from the Case of “the Dinosaur Exhibition” in Nanjing Museum
田 甜
摘要：博物馆是当今儿童学习、社交、活动的重要场所之一，越来越多的传统型博物馆开始重视儿童和亲子家庭的参观，并以他们为目标观众策划展览活动。南京博物院于2018年首次尝试以“恐龙”为主题策划儿童展。本文从“视角的转换”“信息的构建”“空间的维度”三个方面介绍此次展览的策划思路，以期从中总结出策划此类展览可复制的理念与做法，供国内博物馆策划儿童展参考。
关键词：南京博物院 儿童展 展览策划 恐龙展
Abstract: Nowadays, museum is one of the most important places for children to learn, socialize and participate in activities. More and more traditional museums start to pay attention to the visits of children and their family, and they try to use them as target audiences to curate exhibitions. In 2018, the Nanjing Museum first attempted to curate a children’s exhibition with the theme of “dinosaurs”. This paper introduces the planning ideas of the exhibition from three aspects of “perspective shifting”, “information construction” and “spatial dimension”, in the hope of finding out the ideas and practices that can be copied when planning such kind of exhibitions, for the reference of curating children’s exhibitions in domestic museums.
Keywords: Nanjing Museum, Children’s Exhibition, Exhibition Curating, The Dinosaur Exhibition
3、地域文化元素在博物馆空间设计上的艺术表述—以南宁博物馆为例
Artistic Expression of Regional Cultural Elements in Museum Space Design—Taking Nanning Museum as an Example
周梅清
摘要：博物馆承载着历史和文明，是展示地域特色的主要场所，也是发扬地方文化的窗口。基于博物馆的特性和使命，在空间设计上通过提取、抽象或重组地域文化元素等，将其运用到博物馆的空间设计中，既可以营造地道的区域文化气息，又可以烘托展厅文化氛围，还可以增强展陈空间设计感，对凸显地域文化，避免“千馆一面”“千展一面”和建设地方性特色博物馆都有重要意义。
关键词：地域文化 博物馆 空间设计 艺术表述
Abstract: By carrying history and civilization, museum is the main place to present regional cultural characteristics, and is also a window to promote local culture. Based on the characteristics and the mission of the museum, the regional cultural elements should be extracted, abstracted or reorganized to integrate into the space design of the museum, which can not only create authentic regional culture, highlight the cultural atmosphere of the exhibition hall, but also highlight the regional culture and enhance the sense of displaying space design. It is of great significance to highlight the regional culture and build the museum with local characteristics to avoid “thousands of museums showing one exhibition” and “thousands of exhibitions are the same”.
Keywords: Regional Culture, Museum, Space Design, Artistic Expression
4、端砚文化展示途径的创新研究
Research on the Innovation of the Presenting Ways of the Duan Inkstone Culture
贾 敏
摘要：端砚发展至今已有 1300 多年的历史。端砚因其石质坚实光滑、细致娇嫩、呵气可研磨、发墨不损毫、酷暑不干、酷寒不冰等特质成为贡品而闻名天下，是历代帝王将相和文人墨客的文房珍品。端砚制作技艺是我国重要的非物质文化遗产，也是肇庆本地重要的文化产业。本文就端砚文化展示存在的问题进行探讨，并提出相应的对策和建议。
关键词：端砚 端砚文化 展示途径 创新
Abstract: The Duan inkstone has been developing for more than 1300 years. It is famous for its solid and smooth stone quality with delicacy for easily grind and not doing damage to the ink brush, and without being dry in the hot summer and without being freezing in the chilly winter. It was the treasure of the emperors and literati. The production skills of the Duan inkstones are an important intangible cultural heritage in China and an important cultural industry in Zhaoqing. This paper puts forward some innovative ways of presenting Duan inkstone culture based on the existing problems.
Keywords: Duan Inkstone, Duan Inkstone Culture, Presenting Way, Innovation
5、关于《天津天后宫行会图》研究的几个问题
Several Research Issues Regarding the Pictures of Tianjin Tianhou Temple Parades
肖海明
摘要：现藏于中国国家博物馆的清代《天津天后宫行会图》，是一套描绘清代天津皇会巡游活动的大型图画，是中国古代庙会图中的典型代表性作品之一。本文对该图的绘制年代、创作动机、使用功能、艺术风格和作者生平等问题进行了探讨并提出了自己的观点。
关键词：《天津天后宫行会图》 天津 中国国家博物馆
Abstract: The pictures of Tianjin Tianhou Temple Parades of the Qing dynasty, which is now in the National Museum of China, are a set of large-scale pictures depicting the parades of the Tianjin Huanghui in the Qing dynasty. It is one of the typical representative works among the ancient Chinese temple fair pictures. This paper explores several issues such as the drawing age, creation motivation, functions of use, artistic style and the author’s life, and puts forward to its own views.
Keywords: Pictures of Tianjin Tianhou Temple Parades, Tianjin, National Museum of China
6、三块清代封赠圣旨匾额及相关问题探讨
Discussion on the Three Plaques Inscribed Imperial Edicts Regarding Conferment of Honorary Titles in the Qing Dynasty and Related Issues
张 亮
摘要：本文对中国客家博物馆馆藏的三块清代封赠圣旨匾进行了探讨，通过分析匾文并结合史料，发现叶氏家族的圣旨匾是在朝廷覃恩封赠诰命后，叶家人为了光宗耀祖，请漆木工将诰文内容誊刻在木匾上的。受封的时间分别是同治帝登基时和同治帝大婚时。同治帝登基时封赠叶舒华本人及妻室的木匾已不见，其时叶父、叶母尚在人世。同治帝大婚时，叶父、叶母、叶舒华的正妻谢氏均已不在人世，叶舒华本人及继室袁氏尚在人世。叶舒华受封时实为正五品同知衔，但因为清廷允许加级捐封，最终他以高一级的从四品受封。诰文内容为清代官样文书。由于匾文和地方志中都没有记载叶舒华出任同知的具体履历，推测该同知衔是叶舒华通过捐纳得来的虚衔。虽然捐纳制度本身存在很多弊病，但对捐纳人来说可以借此提高自身社会地位，从侧面也说明捐纳制度在基层社会有一定影响。
关键词：清代 圣旨匾额 捐纳
Abstract: This paper probes into the three plaques inscribed imperial edicts regarding conferment of honorary titles in the Qing dynasty collected by the Hakka Museum of China. Through the analysis of the inscriptions on the plaques and historical materials, it is found that the inscriptions of imperial mandates were inscribed on the wooden plaques by lacquer carpenters, hired by the Ye family, to glorify their ancestors after the imperial edicts were conferred by the imperial court. The imperial edicts were granted when Tongzhi Emperor ascending the throne and getting married, respectively. The wooden plaque recorded the imperial edicts which honored Ye Shuhua and his wife, and was bestowed when Emperor Tongzhi taking the throne, was lost. At that time, his parents were still alive. When Emperor Tongzhi got married, Ye’s parents and his wife Xie were all dead. Ye Shuhua himself and his step-wife Yuan were still alive then. Ye Shuhua was actually awarded to be the official fifth grade, and because the imperial court allowed him to increase donation, he was eventually awarded as a senior one, the vice fourth grade. Ye Family was appointed twice without changing his official grade, so the previous plaque inscribed the imperial edict was speculated to be lost when Tongzhi Emperor was married. The contents of the edicts conformed to the format of the official document in the Qing dynasty. Since neither the plaques nor the local chronicles recorded Ye Shuhua took an official position, it is presumed that the title of “the fifth grade Tong Zhi” was an honor bought by Ye Shuhua, according to the subscription system at that time. Although there were many drawbacks in the subscription system, it could improve the social status of the donors, which indicated that the subscription system had a certain influence on the society at grassroots level.
Keywords: Qing Dynasty, The Plaque of Imperial Edicts, Subscription System
7、广东省博物馆藏“辜敦厚”侨批浅析
Analysis of the Gu Dunhou’s Qiaopi Collection in Guangdong Museum
郑文菊
摘要：侨批是集书信、汇款、邮政为一体的地方特色文化遗产，是我国侨乡地区与华侨所在国家和往来的重要历史见证，也是研究我国近代史、华侨史、邮政史和经济史的珍贵资料。本文通过释读广东省博物馆所藏“辜敦厚”侨批，分析其包含的相关信息，并解读侨批之于潮汕地区的特殊意义和价值。
关键词：侨批 辜敦厚 潮汕华侨
Abstract: Qiaopi is a local cultural heritage with a combination of letters, remittances and postal services. It is an important historical testimony of the exchanges between the hometowns of overseas Chinese and the countries and regions where they lived. It is also a precious material for studying the modern history, overseas Chinese history, postal history and economic history of China. This paper analyzes the relevant information in the Qiaopi of Gu Dunhou collected by the Guangdong Museum, and interprets the special significance and value of the Qiaopi to the Chaoshan area.
Keywords: Qiaopi, Gu Dunhou, Overseas Chinese from Chaoshan
8、宋以来“番鬼望波罗”传说的文本差异及历史语境分析
Analysis of the Textual Differences and Historical Context of the Legend of “the Fan Kwae Overlooks Palas” Since the Song Dynasty
王维娜
摘要：关于“番鬼望波罗”传说，在宋代至清代的广东方志、碑刻及文人笔记等文献中可见相关记载，但在不同时期的历史语境和社会环境下，该传说的文本存在不少差异，且差异主要聚焦于该传说的主要人物—达奚司空的国籍、身份和来华缘由三个方面。本文将“番鬼望波罗”传说文本差异置于历史语境中思考，试图分析宋、明、清各时期的官员和文人建构传说的社会历史背景和过程，也希望通过此个案研究对“历史语境”这一学术视角进行民俗学研究实践。
关键词：“番鬼望波罗”传说 达奚司空 历史语境
Abstract: Regarding the legend of “Fan Kwae Overlooks Palas”, relevant records can be found in the local Chronicles, inscriptions and literati notes from the Song dynasty to the Qing dynasty. However, in the historical context and social environment of different periods, there are many differences in the texts of this legend, which are manifested in three aspects: the nationality, the identity and the reason of coming to China for the main figure of the legend — “DaxiSikong”. By putting the differences of legends in the historical context, this paper attempts to analyze the social and historical background and process of the officials and literati constructing legends in different periods of the Song, Ming and Qing dynasties. This paper also tries to carry out folklore research practice from the academic perspective of “historical context”.
Keywords: The Legend of “the Fankwae Overlooks Palas”, Daxi Sikong, Historical Context
9、广东潮汕地区“出花园”成年习俗的传统形态与现代传承
The Traditional Form and Modern Inheritance of the Coming-of-Age Custom “Out of the Garden” in the Chaoshan Area
关溪莹 李欣曼
摘要：“出花园”是广东潮汕地区一种具有鲜明地域特色和族群特点的成年习俗。本文通过梳理有关潮汕地区“出花园”成年习俗的传统形态的文献，以及调查“出花园”成年习俗在现代社会的传承样态，运用“通过仪式”理论解析传统的与现代的“出花园”仪式，发现当下这一传统习俗趋于简化，但基本结构并未改变。因承载着潮汕传统文化因子并参与建构潮汕民众的现代生活，“出花园”习俗至今仍长盛不衰。如何改善其形式、完善其功能，满足当下社会青少年成长的现实需要，是富有现实意义的研究课题。
关键词：“出花园” 成年习俗 潮汕 通过仪式
Abstract: “Out of the garden” is a kind of coming-of-age custom in the Chaoshan area with distinct regional feature and ethnic characteristics. We present its traditional form from consulting the local document literature from the Qing dynasty to the Republic of China, and find its modern inheritance from field investigation. Using the theory of rite of passage to analyze the traditional and modern Out of Garden rituals, we get to know that this traditional custom tends to be simplified but its basic structure hasn’t changed. Due to the factors of Chaoshan’s traditional culture and its involvement in the modern life of the Chaoshan people, the custom of “Out of the Garden” is still prosperous. How to improve its form and its functions to meet the needs of the youth growth in current society is a research topic of practical significance.
Keywords: Out of the Garden, Coming-of-Age Custom, Chaoshan Area, Rite of Passage
10、传统技艺的生产性保护和艺术化传承—以永康铜艺的双重传承模式为例
The Productive Protection and Artistic Inheritance of Traditional Crafts—Taking the Dual Inheritance Mode of Yongkang Copper Art as an Example
陈科锦
摘要：学术界对生产性保护理念的讨论多集中于对产业化、商品化、旅游化的警惕和评判，以及呼唤传统技艺回归民众的日常需求。然而，现实中的非物质文化遗产保护实践为传统技艺的艺术化传承提供了新的可能，这是对生产性保护理念的补充和发展。从永康铜艺当前的双重传承模式状态可以寻找其之所以转型的内在逻辑，有助于探讨非物质文化遗产生产性保护和艺术化传承之可能。
关键词：永康铜艺 生产性保护 艺术化传承
Abstract: The academic discussion on the concept of productive protection of intangible cultural heritage has usually focused on the vigilance and critique of industrialization, commercialization and tourism, and calls for the return of the traditional crafts to people’s daily needs. However, the protection practice of intangible cultural heritage provides a new possibility that the traditional crafts could be inherited artistically, which would complement and develop the concept of productive protection. From the current state of dual inheritance mode of Yongkang Copper Art, we can find the inherent logic of its transformation, which helps to explore the possibility of productive protection and artistic inheritance of intangible cultural heritage.
Keywords: Yongkang Copper Art, Productive Protection, Artistic Inheritance
11、自我述怀与形象意塑—论何香凝诗画中的梅、枫树与牡丹
Self-Statement and Image-Creation — Discussion About the Plum, Maple and Peony in He Xiangning’s Poems and Paintings
周锦嫦
摘要：何香凝是中国近现代集社会活动家与艺术家于一身的伟大女性。20世纪二三十年代，由于多遭变故，在何香凝的绘画作品中，狮虎已罕见，寒梅、落枫、牡丹、孤松、傲菊等花木作品兴起，其中有与友朋合作者，亦有独力之作。何香凝其时也作抒情诗表达心迹，诗虽不多，但首首经典。本文将就何香凝诗画中出现的梅、枫树、牡丹三类题材进行专门探讨。通过层层剖析，发现其中同时蕴含大量自我述怀及形象意塑的元素，清晰地呈现了一个铁骨铮铮、不畏艰辛、义无反顾的伟大革命女性形象。
关键词：何香凝 诗画 自我形象
Abstract: He Xiangning (1878-1972) was a great Chinese social activist and artist in modern China. In the 1920s and 1930s, due to a variety of misfortunes, lions and tigers were rare in her paintings, and the themes of flowers and trees such as plum, maple, peony, pine and chrysanthemum emerged in her works. Some of these works were completed by her and her friends collaboratively, while some of them were completed by herself independently. At that time, He Xiangning also wrote poems to express her feelings and thoughts. Although her poems are few in number, each one is a classic. This paper discusses the themes of plum, maple and peony in her poems and paintings. Through layer-by-layer analysis, it is found that there are a lot of elements of self-statement and image-creation, which clearly present a great revolutionary female image with iron skeleton, not afraid of hardship and without any hesitation.
Keywords: He Xiangning, Poems and Paintings, Self-Image
12、广东省博物馆藏“南澳I 号”出水景德镇窑青花瓷图像研究
A Study on the Images on the Jingdezhen Kiln Blue-and-White Porcelains from “Nan’ao I Shipwreck” Collected in Guangdong Museum
吴昌稳
摘要：瓷器绘画是瓷器研究的重要组成部分，其对于瓷器的断代、瓷画文化内涵的识读和瓷画画风的流变等研究都十分重要。本文挑选具有代表性的“南澳I号”出水景德镇窑青花瓷器，就各件器物上的图像与版画、画谱和绘画进行比较研究，探讨该批景德镇窑青花瓷器图像的绘制技法及其与版画、画谱和绘画之间的关系。通过详细对比，我们认为“南澳I号”出水景德镇窑青花瓷器的年代应为嘉靖时期。在此基础之上，本文还对“南澳I号”出水青花瓷器的图像与版画、画谱和绘画的分疏异同做了进一步探究。
关键词：广东省博物馆 “南澳I号” 景德镇窑 青花瓷 图像
Abstract: Porcelain painting is an important part in studying porcelain characteristics. It could be used to judge the time of manufacturing of the porcelain, and understand the cultural connotation and its development trend of painting style on porcelains. This paper selects the typical Jingdezhen kiln blue-and-white porcelains from “Nan’ao I Shipwreck” collected by Guangdong Museum, and compares the images on each object with prints, printed manuals of Chinese paintings and some paintings in order to find the relationship among them. Through careful comparison, we believe that the age of the Jingdezhen kiln blue-and-white porcelains from “Nan’ao I Shipwreck” collected by Guangdong Museum should be the Jiajing reign period of the Ming Dynasty. On this basis, the paper also makes a further exploration of the similarities and differences among the images on porcelains, prints, painting guide books, and some Chinese paintings.
Keywords: Guangdong Museum, “Nan’ao I Shipwreck”, Jingdezhen Kiln, Blue-and-White Porcelain, Images
13、米歇尔·波利曼斯绘画形式语言研究
Study on the Painting Formal Language of Michael Borremans
邓汉平
摘要：本文研究的是比利时当代超现实主义画家米歇尔·波利曼斯的绘画形式语言。文章首先整体分析了波利曼斯与怀斯、戈雅在绘画风格等方面的相通之处，然后从色彩、光影、笔触三方面对其绘画进行深层次的剖析，旨在挖掘其绘画作品更深层的意义以及其艺术思想具有的现实价值。
关键词：米歇尔·波利曼斯 绘画 绘画形式语言 超现实主义
Abstract: This paper studies the painting formal language of Michael Borremans, a Belgian surrealist painter. It first makes an overall analysis of the similarities between Borremans, Wyeth and Goya in painting style, and then deeply analyzes Borremans’ paintings from three aspects of color, light and shadow, and brush stroke, in order to dig out the deeper meaning of his painting works and the practical value of his artistic thoughts.
Keywords: Michael Borremans, Painting, Painting Formal Language, Surrealism
