杜鹏飞

清华大学艺术博物馆（中国）

不仅仅是教学博物馆─清华大学艺术博物馆的实践之路

作为诞生仅仅2年左右的年轻大学博物馆，清华大学艺术博物馆自开馆以来，先後举办了近30个异彩纷呈的展览，开展了大量的公共教育和专业教育活动，吸引了将近100万观众前来参观，赢得较多声誉和社会各界的广泛关注。我们有一个雄心勃勃的愿景─成为中国最好、世界一流的大学博物馆。

围绕这个愿景，在过去的2年中，我们做了哪些尝试和努力？取得哪些经验和教训？在全球化的特定历史背景下，未来我们该何去何从？制约我们成长的关键因素有哪些？作为从非专业领域跨界到博物馆管理岗位的一位副馆长，我是如何协调环境工程专业教育工作与博物馆管理工作的衝突？我将和大家分享清华艺博的成长实践，也期待得到同行和前辈的指导和帮助。

曹芹

苏格兰国家博物馆（英国）

机遇与挑战︰苏格兰国家博物馆中国文物收藏与展示

历经150多年的发展，苏格兰国家博物馆所拥有的中国文物藏品数量可观，其中不乏精品，并且近些年在当代艺术品的收藏上有所拓展。博物馆於1996年开放首个东亚艺术馆，现正处於建设之中的东亚新馆是博物馆15年总体规划的最後一阶段。新的展馆将通过4个主题展示中国、日本及朝鲜半岛的古往今来，并有数件专为为新馆定制的藏品。新馆的建设带来了令人振奋的发展，但机遇与挑战总是并存的，我将藉这个报告与各位分享自己负责中国藏品的典藏与展示工作的一些心得。

王静灵

荷兰国家博物馆（荷兰）

二十一世纪展示中国艺术的挑战与机会: 以阿姆斯特丹国家博物馆为例

已有逾两百年历史的荷兰国家博物馆，一直以来致力於中国艺术的收藏。本报告以荷兰国家博物馆为例，针对其於过去、现在、以及未来对中国艺术的展示进行讨论。报告分为3个部份：第一、荷兰国家博物馆中国艺术文物的收藏史以及过去对中国艺术的展示；第二、自其於2013年重新开馆迄今的中国艺术展示；以及第三、荷兰国家博物馆有关中国艺术展示的未来展望。同时，有关展示中国艺术以及策划有关中国艺术展览的限制与挑战亦包含在论述中。

爱古心

柏林国家博物馆亚洲艺术馆（德国）

中国文人艺术与文化 ─ 本土观念及其全球影响

「文人艺术」（有文化修养人士、文人或骚人墨客的艺术）是中国文化之精粹。在国外某些华人聚居的地区，不少文人收藏的珍玩，及书画作品都被视为文人艺术的代表作并得到重视。在欧洲，中国书画作品对於普罗大众而言相对陌生。因此，介绍中国文人文化予欧洲观众时，一般会面对更多挑战。

本演讲将根据个人经验与本人对文人文化的了解，描述文人思想的要义、跨文化和全球化等问题。首先，展示我曾在欧洲、亚洲和美国等地学习和工作时所些文人艺术和文化研究。然後集中讲述本人的研究领域，即元代文人和道士张雨（1283 – 1350）。最後，我将讨论不同博物馆如何将文人艺术概念化，以及简单介绍即将於柏林洪堡空间开幕的国家博物馆亚洲艺术馆中的中国文人艺术及文化展馆。

金靖之

上海博物馆（中国）

中国文化艺术对日本江户时代绘画的影响

日本在进入江户时代（1603-1867）之前已经分别受到了我国唐代和宋元文化的两次影响，随著时间的流逝，这些来自中国的文化艺术渐渐融入到日本的本土文化中。到了江户时代又有一股最新的明末清初的文化思潮影响了日本，而且这个时期日本在德川幕府的统治下持续了将近300年，社会的稳定和经济的繁荣，促进了文化艺术的飞速发展。因而日本的绘画、陶瓷、工艺等艺术领域在这个时期均得到了极大的发展，打破了过去的单一形式，新兴艺术流派层出不穷，形成了百花齐放、争奇鬥豔之势。

江户时代随著出版业的迅速发展，中国明末清初的最新绘画风格与艺术理论很快传到了日本各地，被日本画家视为至宝。日本的绘画艺术也因此提升到了一个新的高度。比如，一些日本的知识分子由於憧憬书本上中国文人的理想境界而刻意模仿他们的生活方式，日本文人画就是在这样的文化背景下诞生的。然而诞生在京都的琳派艺术其支持者，大都是富有的商人，相比那些追求理想境界的知识分子，他们更加注重生活的品质与品味，所以琳派的作品往往更多的体现了日本一般民众的日常生活。此次演讲将以日本江户时代各派的作品为例，探讨日本江户时代绘画吸收中国文化的过程与传承方式。

徐铮

中国丝绸博物馆（中国）

美国费城艺术博物馆藏丝绸经面初探

「经面」，俗称「经皮子」，当时文献中也称其为「掩面」，指的是经折装佛经封面和封底的裱封。明清时期，特别是明代晚期刊印的《永乐北藏》，装裱材料多以各色华丽的丝绸织物製成，流传至今，成为研究当时丝绸生产的重要材料。费城艺术博物馆共藏有丝绸经面539件，其中大部分来自Carl Schuster的旧藏，此外，还有来自Howard A. Wolf和Peter A. Benolie捐赠的两函经书，这些织物无论品种还是图案都十分丰富，较全面地反映了明清时期的丝织技术和艺术风格。根据记载，当时用於佛经装裱的面料主要是缎、绫、绢等几种，但事实上，除了成套经书外，这些经面织物均为显花织物，这种现象的出现，可能是因当时古董商将经面撕下出售时，认为素织物没有价值，故未保留。从经纬线用色情况来看，这批显花织物可分为单色织物和多彩织物两种。而经面图案涉及的範围十分广泛，包括植物、动物、人物、吉祥、几何和云纹等，几乎涵盖了当时所有的织物流行题材，并大多赋有祥瑞之意。值得注意的一点是，有些经面织物原来可能是作补子、袍料等服饰之用，甚至还有用几片图案相近的零料拼贴而成的现象，推测出现这种情况的原因，一种可能是为表虔诚，以自己所用之物布施，另一种可能，则是製作时财力不足，只能以零料充数。

林伟正

芝加哥大学（美国）

在虚拟现实中展示中国艺术

世界各地的艺术馆皆随现今流行的趋势在展览中加入数码元素，例如智能电话应用程式、互动式平台、数码模型，以及虚拟现实。中国艺术展览亦非例外。这些科技产品具资讯及教育性，有助深化参观者的视觉体验，并进一步提升他们对展览的兴趣和认识。有时候，这些科技产品还被用作噱头以激发观众的「数码感官」。虽然这些数码元素主要用以配合博物馆的展览和装置策略，以吸引更多年青参观者进场；但随著数码技术的发展，它们亦同时为艺术品创造「新形象」，带来格外的视像、感观、体验和理解。换句话说，这种在美术展览中崭新的「数码性」不止是一个策展性的议题或挑战，还具有艺术史层面的重要意义。虚拟现实能提供最全面的视觉倣拟，但若实行在中国艺术上亦带来不少争议性的问题。

有些人认为早在西方源用的透视再现法中，已呈现出虚拟现实的概念和实践。透视再现的原理是要製造一个以观看者为中心的视觉，并用可实證量度的方法，仿拟他与四周空间的关係，令观看者有如置身於虚拟空间。因此，他们认为这样照方抓药，为一向缺乏透视再现的中国传统艺术品重建虚拟的体验，是一个牵强的举动。虽然这说法在某程度上是对的，然而，本次演讲将论证中国亦存在虚拟现实的历史，只是以不同於西方透视发的形式而存在。为此，这次发表演说先会重新审视三维科技製造出来的中国艺术数码图像，并论说其图像非原本艺术品的再现，而是再创造。其次，演说会在更广阔的中国艺术史情境中，探讨虚拟现实的数码图像怎样融入传统艺术。最後，演说将反思现时在中国艺术展览的数码技术，并据此提出新图像技术如何改变中国艺术的展示方式，和我们欣赏及认识它的方法。

曹宏

北京大学赛克勒考古与艺术博物馆（中国）

如何应用数字技术实现一个理想展览的逻辑 ─ 以北大赛克勒博物馆大同沙岭北魏壁画展为例

1、北京大学赛克勒博物馆简史 北京大学赛克勒艺术与考古博物馆於1993年对外开放，是中国第一所教学博物馆。赛克勒博物馆不仅展示了北京大学在考古和文物研究方面的成就，而且还通过与来自不同文化背景的艺术家和专家合作举办艺术展览和研讨会，是一个重要的学术交流中心。

2、展览所涵盖的主题 由北京大学考古文博学院与云冈石窟研究所合作举办的《另一个世界的想像──大同沙岭7号北魏墓葬壁画与云冈石窟艺术》展览於2017年1月12日至2018年3月26日在北京大学赛克勒博物馆举办。本次展览基於山西省大同市沙岭北魏7号壁画墓葬考古发现。这些壁画的发现被评为2005年「中国十大考古发现」之一。在这次展览中，我们展示了几幅複製的壁画和一些来自云冈石窟遗址出土的雕像。这些壁画複製品是在云冈石窟研究所的考古学家和内蒙古自治区的壁画家共同努力下创作的。他们在这个项目上通力合作了2年。雕像和壁画描绘了北魏统治阶级所享有的富裕生活方式，以及他们想像的来世的奢华生活。

3、展览亮点 本次展览强调跨学科专业人士的合作，展览团队包括考古学家、策展人、艺术史学家、古代建築史专家、艺术家和电脑专家。在以後的演讲中，我将进一步讨论如何利用最新研究成果以及数位技术（如3D列印和VR）等新方法来扩展观众的参与体验，以及如何使用微信创建展览语音导览等问题。

Christiaan JÖRG

德国德累斯顿国家艺术收藏馆（德国）

德累斯顿瓷器研究计划：著录皇室收藏亚洲外销瓷器收藏

瓷器与丝绸和茶叶一样，都是由中国外销至世界的商品，他们都极富异国风情和身份象徵，在亚洲市场始终需求庞大，并且16世纪之後的西方世界也红极一时。对欧洲人而言，瓷器上的装饰通常是他们对非西方文化的第一印象，激发他们对整个世界和文化奇观的嚮往。

茶叶和丝绸很快会变质，但瓷器即使有缺损也有近乎永恒的生命，因此通常被视为物质文化中早期全球化的最佳例子。瓷器在西方世界很有影响力，是西方室内设计的新元素，亦在1700年左右成为改变欧洲饮食习惯的核心，对之後於18世纪盛行的中国风影响深远。

瓷器在欧洲的广泛应用及各考古发现清楚显示，瓷器於18世纪影响著荷兰社会的各个层面。另外，欧洲上层阶级亦收藏瓷器，起初作为奇珍柜的陈列品，之後则设立瓷器室，展示数量巨大、不同形状、颜色和装饰的瓷器收藏，以显示拥有者的品味和地位。

奥古斯特二世（1670-1733）为萨克森选帝侯及波兰国王，在18世纪早期拥有丰富和完整记录的瓷器收藏，逝世时拥有接近25,000件中国和日本瓷器。由於这些瓷器可以与当代藏品目录的描述配对，记载奥古斯特二世在哪裏得到这些瓷器，购买价格和怎样使用它们。所以，虽然只有三分之一的瓷器避过战火而存於在德国德累斯顿的茨温格宫，但它们仍然是非常重要的藏品。这种难能可贵的对应关係之所以存在，是因为每件藏品到来时，底部都被铭刻或绘画了一个数字。由此可见，我们的瓷器藏品库能够原汁原味地反映一个时代的关於瓷器的品味、鑑藏和繁多的种类。

此外，这些瓷器藏品亦标誌著迈森首批真正西方瓷器的发明和发展。迈森位於德累斯顿附近，奥古斯特二世当时大力支持迈森瓷器製造作坊发展，甚至打算在德累斯顿的「日本皇宫」将迈森瓷器与亚洲瓷器一同展示，但这个计划从未实现。

现时，我们正在进行一个图录整理项目，建立英文版本的现代数字化图录，记录奥古斯特二世遗留的每件亚洲瓷器藏品。承蒙北山堂基金和其他机构的支持，所有藏品已经拍照纪录，所有相关的目录条目亦已誊写并翻译。30名各国专家正在撰写新条目，作为此项目的学术指导，我在论坛将展示项目成员的最新发现。

司徒元傑

香港艺术馆（香港）

博物馆与众同享 – 守护与推广中国书画收藏

博物馆的建立为人类具历史和文化价值的事物提供了良好的保存环境；它的藏品不但凝聚了文明精粹并反映其发展进程，又为衍生更优秀的文化、艺术提供丰富养份。中国书画作为精緻文化艺术的重要载体，对於它的保存、研究、教育推广诚然是博物馆及相关从业员非常重要的使命和工作。

清代乾隆《石渠宝笈》著录唐宋元书画作品共约二千件，但相比六百多年前宋徽宗的书画谱记录，单是北宋前作品已达七千六百多件，反映了书画一类珍贵的纸绢作品在历史流传进程中，是非常脆弱并轻易湮没。北京故宫博物院去年举办了《石渠宝笈》的展览和国际学术研讨会，来自世界各地的博物馆馆长、专家、学者深入地再检视这批中国文明瑰宝，为往後保存、研究和传播知识进一步釐清问题，从而奠立更坚实的发展基础，充份发挥了现代博物馆的功能。

《石渠宝笈》的一部份作品在上世纪经香港散佚海外，当时幸有虚白斋主人刘作筹先生倾力抢购得以保留十三件。刘先生有感历史上个人书画收藏大多如过眼云烟，决定将虚白斋藏品捐赠予香港艺术馆。馆方特设专业部门管理，建立先进的虚白斋仓库、研究室和展厅，其中不断利用了藏品中的《石渠宝笈》书画举办专题展览和教育活动，又出版教育刊物。又例如大英博物馆亚洲部馆长，曾利用馆藏《石渠宝笈》的南宋马和之《陈风图》，以长江文化为专题策划展览，让海外观众得从不同角度了解中国历史、文化和书画艺术。此举亦说明了现代博物馆和馆长如何执行守护与推广文化知识的使命与责任。

焦天龙

丹佛艺术博物馆（美国）

百年历程：丹佛美术博物馆的中国艺术收藏与展示

The history of a museum’s collection reflects the museum’s vision and mission. Collecting and promoting Chinese arts in American art museums reflects the museum’s understanding of the role of Chinese arts in their strategic plan. Since 1915, the Denver Art Museum has been collecting and promoting Chinese art. This centennial journey represents a unique perspective of a west American museum towards Chinese art. Like many American museums with Chinese art collections, Denver Art Museum has largely built its Chinese art collections from private donations. However, unlike some museums with big gifts from one or few collectors, the Chinese art collections at the Denver Art Museum were primarily accumulated through small or medium gifts over the past century. Almost 400 donors from the US, Asia, Europe and South America have helped build the collections. The first of these was Walter C. Mead (1866-1951), who pledged his collection of Chinese and Japanese art ‘to the people of Denver’ in 1915, forming the nucleus of Asian arts at Denver up to the early 1940s. With the generous support of these donors and the museum’s own purchases, the Denver Art Museum’s Chinese art collections rank today among the finest in North America, representing 5,000 years of art history of China.

With the expansion of its Chinese art collections over the past century, the Denver Art Museum embarked on ambitious exhibitions and programmes featuring and presenting Chinese arts and culture to the residents of Denver and beyond. It has to date developed or hosted more than ninety special exhibitions — including many collaborations with museums in Asia, Europe and other parts of the US — along with educational programmes, lecture series and academic symposia.

钱玲

天津博物馆（中国）

天津博物馆的古代艺术品收藏、研究与展示

演讲主要分为两部分内容，一是介绍天津博物馆的历史沿革，收藏品类别、构成、来源及特色。二是结合天津博物馆近年来策划举办的古代艺术系列展览，如绘画史系列的《海上风华–天津博物馆藏”海派”绘画作品展》、《见”怪”非怪–天津博物馆藏扬州画派作品展》、《笔墨真趣–清初”四王”绘画作品展》、《晚明绘画作品展》、《画与书归–明代中期吴门绘画特展》，以及古器物研究系列的《砚拓–天津博物馆藏古砚与拓片展》、《镜影–天津博物馆藏曆代铜镜展》等展览，分析介绍天津博物馆在艺术史研究及展示及社会教育等方面所作的尝试及得失，探讨未来艺术研究、策展、传播的目标和方向。

Katherine Anne PAUL

纽瓦克博物馆（美国）

纽瓦克博物馆的中国项目：过去与未来

Today the Chinese art collection of the Newark Museum numbers approximately 9,000 works of art (not including an additional 5,600 works of Tibetan art). Over 100 Chinese objects entered the collection with the Museum’s founding in 1909. The first major exhibition to focus on China was the 1923 traveling exhibition, “China, the Land and the People”. Organized in conjunction with the Chinese legation in Washington, DC, this was an unprecedented compilation of early twentieth-century Chinese crafts which showcased contemporary (1920s) life in China as well as its history. Two smaller exhibitions formed from this larger one traveled to twenty other US cities in the 1920s. This institutional history prompted a number of significant gifts of Chinese art to the Museum throughout the twentieth century.

In recent years, several projects have focused on different facets of the collection. The Museum hosted Professor Han Huirong 韩慧荣 of Beijing Normal University 北师大 to review and publish the Museum’s extensive collection of paper cuts resulting in the 2015 publication: Revolutionary Chinese Paper Cuts from the Newark Museum. 《剪綵出东方 纽华克博物馆馆藏中国剪纸》. This summer of 2016 Professor Lei Chinhau 雷晋豪 recently of Hong Kong Baptist University reviewed the Museum’s pre-Ming dynasty ceramic collection. We anticipate a publication resulting from his review in the near future.

Recent exhibitions of Chinese art at the Museum feature both special exhibitions and permanent gallery reinstallations. In 2013, the special exhibition “Ming to Modern, Elevating the Everyday in Chinese Art”《明代至今：日用品中的中国艺术》was drawn entirely from the Museum’s holdings (excepting one loaned work). In 2012 three permanent gallery reinstallations were created along these themes: “Re-Activating Antiquities: Honoring the Archaic in Chinese Art, 200 BC-2012 AD” 《复古》; “China’s China: Porcelain, Earthenware, Stoneware & Glazes”《中国陶瓷》; and “Buddhism, Taoism, Confucius and Cult of Mao: China’s Religious Arts” 《佛教，道教，孔子和毛泽东的崇拜》. Additional permanent gallery installations that showcase Chinese art include the 2011 “Tiaras to Toe Rings: Asian Ornaments” and in 2010 “Red Luster: Lacquer & Leather Works of Asia”.

Planning for the next special exhibition is underway. With the working title: China Trending: 18th Century Fads and Fashions for Velvets, Painted Enamels and Glass, the exhibit will feature the Museum’s own superior examples of Chinese velvets, painted enamel wares and glass works and will highlight some of the early global exchanges between China and Europe that led to the creation of these pieces. As demonstrated above, the Museum welcomes visiting scholars to study and publish focused aspects of the larger collection. Areas that remain understudied include our significant holdings of jades, paintings, costumes and textiles.

史宁昌

故宫博物院（中国）

T故宫文物的传统修复工艺与新技术应用

故宫是明清两代24位皇帝之朝寝，彙集了无数奇珍异宝，藏品历经数百年乃至上千年的沧桑，存在不同程度的破损。文物修复历来有之，修复之法世代传承。文保科技部经历历史沿革，现已发展成为从事文物保护修复和科学研究的业务部门。随著科学技术在文物保护中的应用，为文物病害的诊断、文物的预防性保护和文物修复提供了重要的支撑。「古法」和「今术」的结合构建起故宫博物院的「文物医院」。半个多世纪以来，文物被送进「文物医院」，文物医生使他们延年益寿。伴随著「平安故宫」工程的实施，我部已拥有4项国家级非物质文化遗产，木器、织绣、漆器、百宝镶嵌、金石、钟錶、陶瓷、古书画装裱修复、古书画临摹、古书画数位喷绘複製、囊匣製作、唐卡、艺术品修复等13个门类的工作室一百多位专业技术人员每年修复文物数百件。

蒋人和

芝加哥大学（美国）

天龙山石窟专案与展览计画: 流散佛像的数位存档与石窟复原

The Tianlongshan Caves Project-Introduction
The Buddhist cave shrines of Tianlongshan were carved from the mountainside outside of Taiyuan City, Shanxi province, mostly from the sixth through eighth century. In recent history they have been seriously damaged when their sculptural contents were first recognized for their aesthetic value and dispersed through the international art market. Since 2014 the Center for the Art of East Asia at the University of Chicago has collected wide-ranging information and images of the sculptures and caves. A small work team has traveled around the globe to photograph and conduct 3D scanning of about one hundred sculptures and has created a website as database that brings together historical information, old photographs, and digital photographs and 3D models of the sculptures. This is searchable by cave numbers, museum locations, sculptural figure types, and other criteria and viewable with interactive 3D displays.

Dispersed Sculptures
More than 150 sculptures known from publications have been attributed to the Tianlongshan caves. The sculptures taken from the caves now are located in museums around the world where their original significance as religious images in the context of a cave temples and religious practice is lost. The former locations of many of these sculptures can now be confirmed with the current research and collected information. In addition the project will work with collaborators in China to conduct 3D scanning of the caves. This will enable us to create digital reconstruction of caves based on the scanned 3D data that could be shown in museum galleries together with the sculptures.

Exhibition Concepts and Goals of Digital Installations
The next step in the Tianlongshan Caves Project is to design a special museum exhibition that makes innovative use of contemporary technology. The goal is to devise new ways to create museum installations that offer an engaging, informative, and in some cases, interactive experience for a general museum audience. In both intimate and large-scale digital displays, the installations will create virtual spaces inside of galleries that offer new ways to view works of sculptural art even in the absence of the actual works of art and to experience the spaces of cave temples. The digital displays will allow visitors to to survey the Tianlongshan caves site environment and observe the art and architecture of the Buddhist caves in various ways. It will show the caves in their current condition and reconstruct their former appearance with the digital restoration of the missing sculptures in the caves. The exhibition can digitally transport the sculptures from their current museum locations and reunite them with their former groups of religious images in cave contexts. This will enable visitors to understand the historical appearance and religious meaning of Tianlongshan as well as the consequences of the destruction of the caves in recent history.

Marco LEONA

大都会艺术博物馆（美国）

Science and Art: The Colors of East Asian Paintings

East Asian painters and printmakers have achieved a rich visual language within the constraints of a very simple, almost minimalist technique. A relatively narrow range of pigments thinly bound in hide glue or dispersed in starch paste afforded artists in China, Korea, Japan, and the Himalayan plateau surprisingly evocative possibilities in scrolls, screens, album drawings and prints.

The complexity of painterly effects achieved by East Asian artists has often been overlooked in the West, and the extent to which color and gloss are manipulated through pigment selection, shading, and overlying with transparent or colored glazes has only been brought to light in recent studies. Much in the same way, the variety of natural and synthetic inorganic and organic pigments, and their history of mining, manufacture, and trade over China and the neighboring regions is not sufficiently known.

Despite the enormous importance of Chinese art over the centuries, the pigments of Chinese, paintings have not been studied in the West to the same extent as those of Japanese paintings or Himalayan thangkas. This situation should clearly be addressed, as China played a key role in developing and disseminating most of the traditional East Asian pictorial forms, as well as painting materials. In fact, the development of painting techniques in the regions around China cannot be understood without looking in detail at the material evidence presented by Chinese paintings.

This talk will attempt to stimulate discussion and new research in Chinese painting materials by presenting the results of scientific examinations of paintings and prints in private and public collections in the United States carried out over the last fifteen years. Case studies presented will range from the identification of lac dye on a Qing painting by Qian Wicheng, to the manipulation of gloss in a 15th century Tibetan thangka, from Kōrin’s technical choices in Irises at Yatsuhashi, to Hokusai’s experiments with Prussian blue in his paintings, from the sophisticate use of indigo and Prussian blue mixtures in the Nishimuraya printed Thirty-six views of Mount Fuji, to the synthetic dye revolution in Meiji prints.

The results presented were obtained by using a combination of non-destructive and microanalytical techniques such as fiber optics reflectance spectroscopy, X-ray fluorescence spectrometry, hyperspectral imaging, Raman spectroscopy, and surface-enhanced Raman spectroscopy.

It is hoped that this project will start a much needed dialogue between Chinese and US scientists to share analytical results and compare respective findings, in the interest of enriching the art historical and conservation fields with the latest scientific developments.

Joanne HACKETT

维多利亚与艾尔伯特博物馆（英国）

Science, History and Craft: A Trinity in Support of Conservation

It has been said that a good conservator needs to possess three key skills; an understanding of science, an appreciation of art history and the context of material culture within history and the artistic ability to make skilful conservation repairs. Using examples from various sections of the V&A conservation department as illustrations, this presentation will explore how science supports the work of the conservator in understanding how artworks are made, what they are made from, how they degrade and how best to conserve them for the future. The first example will describe how the analysis of the pigments used to manufacture painted Chinese export silks determined the appropriate adhesive technique to use to repair splits in two eighteenth-century English dresses. The second example will examine the effectiveness of a collaboration between the conservation science department of the V&A, the School of Science and Technology at Nottingham Trent University and the Royal Horticultural Society in a survey of Chinese export paintings that helped our understanding of early trade in painter’s materials between China and Europe. The presentation will also cover aspects of the V&A’s extensive and ongoing research into East Asian lacquer, focusing on the technical examination of a seventeenth-century kuan cai (Coromandel) screen which resulted in the identification of a previously unknown pigment and helped to inform which course of conservation was appropriate for the screen.

Finally, the presentation will address the various ways that scientific analysis can be presented to the public in order to enrich their understanding of the art on view in the museum.

Katherine EREMIN

哈佛大学艺术博物馆（美国）

Art Meets Science at the Harvard Art Museums: Case Studies from the Chinese Collections

The Sackler Museum, part of the Harvard Art Museums, contains a rich and varied collection of Chinese art, ranging from Neolithic ceramics and jades to modern and contemporary paintings. Multidisciplinary study with close collaboration among scientists, conservators, curators and art historians is crucial for the preservation, understanding, interpretation and presentation of the collections. The Chinese collections have been an area of active research ever since 1928 when Rutherford John Gettens was appointed as the first scientist in an American art museum. In this presentation, I will highlight some recent projects from these collections undertaken in the Straus Center for Conservation and Technical Studies.

A new study of the museums’ Chinese jades by renowned art historian Dr Jenny So involves close collaboration with conservators and scientists. Many art works preserve clear pseudomorphs or impressions of organic materials such as textiles and wood which were wrapped around the artefacts or came into contact with them during burial. These provide rare information about the nature and use of ancient Chinese textiles. Detailed study and measurement of tool marks helps to understand original manufacturing and decorating techniques and identify later alterations. Together with non-destructive analysis and x-radiography, this revealed that some key objects are pastiches of ancient components combined in the late 19th or early 20th century. The analytical and technical information will be fully incorporated into the catalog.

The art museums have a strong commitment to training and each year conservation fellows undertake a detailed analytical research project on works in the collections. Recent projects drawn from the Sackler Museum collections include Erlitou to Shang period bronzes inlaid with turquoise, studied by Ariel O’Connor, and, most recently, pottery from the Qijia culture of northwestern China, studied by Elizabeth LaDuc. Understanding of the ceramics was greatly enhanced by Elizabeth’s replication of the Qijia vessels and their decoration at the Harvard Ceramics Studio. The exhibition “Prehistoric Pottery from Northwest China” included an online feature with a large illustrated section on the conservation research. Hosted on the main art museums website, this is accessible to the general public as well as to specialists and scholars.

Replication is also an important aspect in an ongoing study of Jun ware flowerpots for an exhibition in summer 2017 organized by curator Melissa Moy. Kathy King, director of the Harvard Ceramics Studio, has created a number of replica vessels using different manufacturing techniques to aid interpretation of the x-radiographs and provide better understanding of production methods. The results will be incorporated into the online feature accompanying the exhibition.

The juxtaposition of art and science in these projects has greatly enhanced our understanding of the art works and our presentation of these to a diverse audience. We are confident that these and future collaborations will continue to strengthen our knowledge of the Chinese collections at the Harvard Art Museums.

刘明倩及郭福祥

维多利亚与艾尔伯特博物馆（英国）及故宫博物院（中国）

贡品与赏物︰马戛尔尼访华的实物见證

In 1792 Lord George Macartney led a British embassy to Beijing, ostensibly to offer gifts to Emperor Qianlong for his birthday. Citing the high value, the fragility and bulkiness of the gifts as excuses, the embassy did not follow the standard procedure of landing in Guangzhou, but sailed direct to Tianjin instead. They submitted a “tribute list”, which is now preserved in the China First Historical Archive.

Emperor Qianlong in return gave the King of England and members of the embassy numerous artefacts, called shangwu (bestowal). The original bestowal list is still extant in England, its copy in China.

The two speakers, Ming Wilson from the V&A and Go Fuxiang from the Palace Museum, will discuss what happened to the gifts in both England and China after this historic Sino-British encounter.

孟絜予

布朗大学（美国）

Teaching without Masterpieces

The concept of the teaching museum is undergoing a Renaissance at major universities in the United States. Since their inception over a century ago, teaching museums have endeavored to mobilize their collections and intellectual resources to advance the research and educational programs of their universities. In recent years, this long-standing mission has been reinvigorated with large-scale museum renovations featuring state-of-the-art study centers, a new generation of research-oriented curators, and surging interest across the academy in object-oriented inquiry. The scale of these endeavors presents a challenge for smaller teaching museums without the financial resources and world-class collections of major institutions like Harvard and Yale. Faculty and curatorial staff at smaller institutions recognize the importance of museum-based education, but frequently find their collections and in-house curatorial expertise insufficient for their pedagogical ambitions.

Using my own participation in the “Assemblages” pilot program at Brown University and the Rhode Island School of Design (RISD) as a case study, this paper explores ways in which novel partnerships between institutions can overcome some of the challenges of limited resources. With support from the Mellon Foundation, I am leading a team of students in developing the RISD Museum of Art’s small collection of Chinese paintings into a resource for introducing students and museum audiences to the art of connoisseurship. Like many collections of its kind, the majority of the works in the RISD Museum’s Chinese painting collection are problematic in one way or another: anonymous works of uncertain date, later paintings incorrectly attributed to earlier masters, and even at least one outright forgery. By gathering the material, visual, and textual documentation necessary to elucidate the problems with each work’s attribution, we aim to reveal connoisseurial process. The results of our work will provide raw material for the undergraduate students in my annual Chinese painting seminar, who will work with our team to develop an exhibition of our findings and to archive our data and process for future scholars to access, elaborate, critique, and revise.

Museums everywhere recognize the desirability of making the complex work of their curators and conservators more accessible to visitors. By treating the RISD collection of Chinese paintings as a resource for explaining connoisseurial process, we are transforming what might otherwise be dismissed as an undistinguished and problematic collection into an engaging learning experience. By working across institutions, we are enlisting energy and expertise that the museum could not generate in isolation, and by engaging students throughout our process, we are ensuring that the making of the exhibit is every bit as educational as the exhibit itself. All of this was made possible through a modest, focused grant from the Mellon Foundation, which can serve as a model for other organizations seeking to advance the model of the teaching museum into new institutional settings.

倪克鲁

维也纳大学 (奥地利)

Exhibiting Qingzhou Buddhist Sculpture in Museums

In 1996 workers levelling a playground in Qingzhou, Shandong, came across a pit filled with Buddhist sculptures. Staff of the local museum recovered fragments of about 320 figures most of which were dating to the 6th century AD. Already in the following year the find was presented to the public, during an exhibition at the National Museum of China. In 2000 the Hong Kong Museum of Fine Arts staged a special show. In 2001 a large-scale special exhibition was created at the Museum Rietberg in Zurich, and was shown at the Alte Museum in Berlin, the Royal Academy in London, and the Sackler Gallery in Washington. In each venue visitor numbers reached record levels. Over the following years more exhibitions followed in Sydney, Singapore, Paris and other places. Even though found only a few years before and even if their context was still little understood, the Qingzhou Buddhist sculptures soon became some of the most frequently exhibited artworks from China.

The paper will summarise what is known to date about the find, and will raise the question: Why did these sculptures provoke such an extraordinary interest equally among a Chinese and a foreign audience? Why did these objects of Buddhist worship appeal equally to Buddhist and non-Buddhist viewers? What made them attractive to visitors even when removed from their original context and presented in Museums? The talk will try and explain the exceptional appeal of these art works for a modern audience.

沈辰

皇家安大略博物馆 (加拿大)

Objects in Art and Archaeology and Objectivizing Early History of China in Museums

Subjects of museums’ exhibitions and galleries are objects. In most art museums, objects are treated naturally as arts. Defining arts within the context of ancient history sometimes could be problematic and challenging. This paper explores practices in museums of art and history of how early history of China can be objectivized, in addition to being contextualized. Objects can be, and should be, classified and viewed both as artworks and as functional utensils that were created in times of ancient civilizations. However, interpretations of ancient objects do not necessarily contextualize ancient history when those objects in exhibitions and galleries were simply displayed in historic chronologies with labels of archaeological contents. This paper argues for objectification of early creations in art and archaeology while displaying and interpreting objects in museums.

The purpose of re-thinking ancient objects in displays is public engagement, a current trend in museum practices. When objects in art and archaeology are interpreted in very different, sometimes obscured, ways with tools of social media, museum curators should utilize exhibits and programs to provide a multi-faceted and multi-layered meanings of objects linked to early history that might be in the process of being objectivized. Three integral processes of presenting ancient objects of early history appealing to general audiences can be re-considered: 1) objects in visual arts following principles of archaeological content; 2) objects in archaeological contexts following design principles; and 3) objects in art designs and archaeological contexts following needs and interests of the public. Therefore, the foundation for this new approach of museums’ displaying ancient objects is to identify public interests (especially in non-Chinese communities) in early Chinese history.

Nathalie CRINIERE

NC Agency （法国）

Exhibition Design and Culture Interpretation

When people nowadays come to visit a museum, they do not only expect to be amazed, surprised or questioned by the art pieces but they are now also very sensitive to how the pieces are presented and how the arrangement of space brings them a very special mood to look at and understand the exhibition.

The work of the designer is to bring visitors into this world taking into account that the art pieces are the purpose and not the design scenography.

Adrien GARDERE

Studio Adrien Gardere（法国）

Designing Contents

The presentation will focus on Studio Adrien Gardère’s expertise in translating curatorial visions into spatial, visual and intuitive display, making the artifacts and what they convey accessible to all. Working hand in hand with renowned institutions, curators and architects around the world, and breaking with traditional exhibition design while fully addressing curatorial vision, Studio Adrien Gardère creates unique visual and physical engagement, sensitive and innovative display, poetic and subtle interpretative installations.

The presentation will illustrate such approaches through the Studio’s most recent projects:
The Giacometti Retrospective – Yuz Museum – Shanghai (2016)
The Roman Antiquities Museum – Narbonne, France (arch. Foster+Partners) to open in 2018
The Aga Khan Museum – Toronto, Canada (arch. Fumihiko Maki) opened 2014
Le Musée du Louvre-Lens – Lens, France (arch. SANAA) opened 2012
The Islamic Art Museum – Cairo, Egypt (renovation led by Studio AG.) opened 2010

The presentation will focus on the Studio’s design process, and its specific responses to the curator’s narrative, to artifacts’ collection and the architecture. Each commission is approached by the Studio uniquely, looking for specific solutions within the artifacts, curatorial vision and spirit of the building, architectural and historical context, never reproducing past models. Being able to fully comprehend the dynamics involved, the museum’s mission and objectives, and the subtleties of the curatorial vision, is key to the Studio’s philosophy and projects’ success.

In this regard, Adrien Gardere’s presentation will concentrate on its capacity to adapt to different cultures and professional approaches and to establish fertile dialogues with all the actors involved in a Museum project, and on the Studio’s philosophy to look for design solutions at the heart of the content and its context.

鲁克思

柏林国立亚洲艺术博物馆（德国）

Starting from the King: Berlin’s New Chinese Art Galleries

In Berlin a new, large museum and center for the arts and cultures of Asia, Africa, the Americas and Oceania is being built, the Humboldt Forum, to open at the end of 2019. The museum galleries measure 18,000 square meters, of which Asian Art covers 5000 square meters. Chinese art (including ancient Xinjiang) is about 2000 square meters. We moved the Chinese art collection of about 5000 objects and the Xinjiang ancient Buddhist Art collection of about 15,000 objects from the current Asian Art Museum in the suburbs into the Humboldt Forum in the middle of town. With our splendid collections, we will tell new stories, which will have more context, more transcultural focus, and more contemporary relevance than in the old museum. This is a museum for the globalized world of the 21st century, that welcomes visitors from all over the world and shows them art and cultural objects also from their own country in ways that make them rethink their own culture. Of course, we don’t forget tradition: we start the Chinese galleries with a magnificent Shang-Dynasty Yue-Axe that symbolizes kingship.

王芳

广东省博物馆（中国）

与考古馆长的合作：「牵星过洋」展中的教育推广专案

The biggest challenge Guangdong Museum is facing involves several aspects, such as how to build a new type of partnership with visitors, how to enhance their educational experience, how will education become the core mission of a traditional museum, and how to persuade a museum curator with an archaeological background to support educational activities at the museum? The speech today will, therefore, take the exhibition “Sailing the Seven Seas – Legend of Ming Maritime Trade during Wanli Era” as an example, showing how educational activities on underwater archaeology, marine archaeological relics and the history background were planned and designed, as well as the ways in which student exhibition planners were engaged in the preparation of the exhibition. It also reveals insider secrets such as how the curator was convinced to add educational activities and readable information for an exhibition, and how “Curator’s coming” became an institutionalized branding program. Finally, it explores how Guangdong Museum, with a limited budget, successfully invited social institutions to collaborate in the exhibition “Maritime Silk Road ” in both Canton Tower and the Guangzhou subway, bringing museum exhibitions out of the building and closer to the general public.

Viv GOLDING

莱斯特大学（英国）

Working Collaboratively: Education and Engagement at the Creative Frontiers of the Art Museum

In this session participants will examine how museums can become inclusive sites for learning and understanding about ‘Others’ and ‘Ourselves’ through museum collections. We will consider the nature of learning from material culture and the intangible heritage – the stories, songs and dances – from which such culture emerges. Delegates should come ready to engage in some interactive experiences.

I specifically want to share with you my collaborative work with Professor Joan Anim-Addo of Goldsmiths College London and the Caribbean Women Writers’ Alliance (CWWA), which I outline in chapter two of my 2009 monograph Learning at the Museum Frontiers: Identity, Race and Power. This collaboration is international and longstanding, now spanning over several decades, most recently with Arts and Humanities Research Council (AHRC 2011-13) funding on a ‘Translating Cultures’ theme and that I reference in my 2013 paper ‘Museums, Poetics Affect’ for the journal Feminist Review. My focus, which is highly relevant to the conference in China, will be on building new theoretical frameworks from outside of the Western world to inform museum practice, which I employed by collaborating with the CWWA community and the AHRC network. I shall consider together with delegates the revaluing of traditional knowledge(s) and the sensory ways of knowing that emphasize creativity in terms of process and outputs, as well as issues of agency and authority that can be contested at certain frontier zones such as the museum.

Overall, I will pose a series of questions for delegates, which highlight the complexity of the issues. I ask. How, if at all, might individuals come to deeper understandings of self and other in museums? To what extent might a respectful attention to the material culture and intangible heritage of diverse communities promote intercultural dialogue? Who owns cultural heritage in museums; where are the boundaries of power and control?

To interrogate these ideas our audience will be invited to engage in some active learning experiences to explore embodied knowledge construction, specifically the interconnections with objects and the 5 senses we commonly count on in the west that are challenged by CWWA. Then delegates will be able to hear some Caribbean sounds, the poet’s wonderful strong voices and the demotic languages that helped to raise new voices and visibilities in the context of the Horniman Museum, in London UK. Finally, a creative writing exercise will be offered to delegates before some tentative conclusions drawn.

Stephanie NORBY

史密森尼博物院学习与数位资源研究中心（美国）

Engaging the Public Using Digital Museum Collections

The Smithsonian Institution is the national museum of the United States and includes nineteen museums, a zoo, and nine research centers. The Smithsonian has 138 million artifacts, works of art, and specimens. As a national museum, one of its greatest challenges is to make these collections accessible to everyone, no matter where they live.

One of the strategies for addressing this challenge is the digitization of our collections. The Smithsonian Institution published, Creating a Digital Smithsonian: Digitization Strategic Plan 2010 to 2015. Staff representing all of the museums collaborated to set goals and establish priorities. Using new technology and an assembly line efficiency, the Smithsonian is able to digitize objects at a rate of one every six seconds. As a result, some museums have digitized their entire collection in high resolution. Most recently, the Freer / Sackler, Smithsonian Museums of Asian Art and the Cooper Hewitt, Smithsonian Design Museum completed this work. While digitization is valuable for all aspects of museum work, it is particularly valuable in supporting education.

The Smithsonian Center for Learning and Digital Access (SCLDA) is a central office of education at the Smithsonian that focuses on teachers and students as its primary audience. The Center built the Smithsonian Learning Lab, a web-based platform for accessing all of the Smithsonian’s digital collections. Teachers and students who visit the Lab are able to:

• Search for and create sets of digital objects: Educators identify “favorite” objects, recordings, images, and learning resources and save them in their personal profile. They also are able to link to or upload digital objects from other sites or their own work such as handouts or discussion guides.
• Use tools to customize: Educators find and organize digital objects for teaching, customize them using editing and annotation tools, and add instructional features such as assessments and discussion prompts.
• Share within networks: Educators share what they create within self-selected communities (a classroom of their students, for example) and publish widely to anyone using the platform.
• Collaborate within communities of practice: Educators may provide feedback, reuse, or adapt Smithsonian- or teacher-created sets to meet the needs of their own students.

The Center conducts ongoing research to understand how teachers and students discover, navigate, and use museum digital collections. (See a summae Carnegiry of findings). With a grant from the Corporation of New York, independent researchers are interviewing teachers and conducting classroom observations to understand how teachers and students use museum digital resources and the impact on their teaching and learning. Preliminary findings suggest the following:

• Teachers use digital collections to introduce new ideas, teach concepts, and analyze source material.
• Students are highly engaged when digital collections are used in the classroom.
• The central barrier is the difficulty in finding appropriate digital resources and the time required to build teaching collections.
• Many digital objects do not have adequate metadata (support information) essential for effective use in the classroom.
• Teachers need training on how to use these resources effectively.

The presentation will focus on how digital images of Chinese collections are being used by teachers to enhance classroom instruction in world history and art courses and plans for refining and enhancing the Lab based on research results.

王冠宇

香港中文大学文物馆（香港）

瓷韵逐波︰葡萄牙博物馆藏的中国瓷器

作为2014/2015利荣森纪念访问学人，讲者将重点分享其於葡萄牙科英布拉旧圣克拉拉修道院遗址博物馆（Museum of Mosteiro Santa Clara-a-Velha）交流访问的经历。

报告主要分三部分：首先，讲者会对遗址博物馆的概况及其重要性进行介绍，并说明选择交流访问的具体原因。旧圣克拉拉修道院遗址博物馆是一所以考古揭示遗址为基础而建立的文博机构，这一遗址的特殊之处在於大量十六世纪中国精美外销瓷器的集中发现。这批瓷器是最早入口欧洲的中国瓷器之一，在此之前，此时期的中国瓷器多为收藏於各地博物馆的传世器物，罕有经系统考古发掘所揭示的实物资料。其次，讲者将对其在交流访问期间的主要学术活动进行回顾，包括对修道院遗址出土的中国瓷器的集中研究，策划有关中葡早期航海与瓷器贸易的专题展览，对葡萄牙本地及其他欧洲国家藏瓷的实地考察等过程中的收穫，遇到的问题及解决方案等。最後，讲者会致谢利荣森纪念交流计划，并根据对自己交流经历的反思，提出一些对於未来学人，以及计划未来发展或为有益的建议。

梅玫

巴德装饰艺术研究院（美国）

纺织品与现代早期的全球交流：清宫中的欧洲丝绸和掛毯

本篇报告将围绕大都会博物馆的两个特展──《交织的地球：全球纺织品贸易，1500-1800》（2013）和《中国：镜花水月》（2015）──深入探讨近年来织品与服饰展览中的全球文化交流主题。我本人曾参与这两个展览的研究工作，对此有充分的了解。纺织品和服饰在综合性博物馆的陈列中和艺术史的学术领域都比较边缘化。这两个里程碑式的展览反映了纺织服饰史最新的研究动态，并代表著新颖的策展思路。

本篇报告在介绍策展、展品、展览设计、观众互动等方面的同时，将讨论一系列的问题，例如：这些展览如何拓展了传统的策展思路，引进跨学科和跨文化的视角？为何这种视角与纺织服饰史特别相关？中国在这些展览中是如何被呈现的？全球视野对探讨中国艺术提供了什麽新的分析角度？纺织、服饰史的展览设计如何在文物保护、凸显展品的艺术性和工艺、以及理论陈述三者之间达到平衡？在报告的最後，我将简要讨论针对跨文化织品、服饰展的一些批评和分歧，尤其在美国的文化语境下，引发大家思考博物馆如何处理敏感性文化主题这一问题。

陈芳芳

香港科技大学（香港）

閒情与日常：从清代仕女画管窥女性形象

本文以仕女画中描绘的器物、服饰和建築空间为切入点，探讨画中女性的日常生活与其社会身分的关係。以《红妆丽影：中国清代美人图》（加州大学伯克利分校美术馆和太平洋电影文献库，2013）的展品为例，本文著重探讨女性在闺阁和庭院的日常生活和文化熏陶。本文旨在指出日常生活，尤其是女性的閒情雅趣，可作为性别研究的进路。画中女性作为男性凝视的对象，亦同时是画作的观者，从中可窥见女性的日常生活，进而讨论其与明清时期文人风尚如何相互对照。

陈雅飞

浙江大学艺术与考古博物馆（中国）

大学博物馆的教育功能之探讨 ─ 以浙江大学与考古博物馆和耶鲁大学美术馆为例

浙江大学艺术与考古博物馆於2009年由浙江大学校方决议成立，至今已筹建七年。落成後的博物馆，将是一座功能完备、设施设备达国际标準的艺术史教学博物馆。我馆自创设和规划之初，一直与来自美国、欧洲、亚洲各地和国内同行的专家密切合作，以期既能汲取海内外博物馆界的成熟经验，又能适合於当下中国大学的现实需求。

耶鲁大学美术馆是美国最古老的大学艺术博物馆，它有170年历史，不仅以丰富馆藏闻名，更以其卓具成效的博物馆教育工作，成为耶鲁大学重要的艺术史通识教育基地。2014年，我以利荣森访问学人的身份赴美八个月，在该馆亚洲部主任江文苇博士指导下，参与教育处的工作，学习其博物馆教育、策展的经验；同时走访美国数十家大学博物馆和公私博物馆，瞭解其建築设施、收藏展览、教育项目等内容。

本次讲座将结合我在美经历，以及我自2011年参与浙江大学艺术与考古博物馆教育处的筹建工作，对国内高校博物馆如何借鑑国际经验作一定介绍，以期求教於国内外同行，更好地服务於大学博物馆，使其成为艺术史通识教育的基地。

何鉴菲

北山堂基金（香港）

Shifted Perspectives: Interpretive Planning of Chinese Art Exhibitions at the ROM

This presentation will be on the way my perspectives shifted through my intensive museum practice at the Royal Ontario Museum. I offer 2 case studies, drawn from the planning of 2 exhibitions I was involved in at the ROM. The ROM is an encyclopedia museum with one of the largest Asian collections outside Asia and an important cultural agency of Canada. Working there is a social practice, not just an intellectual or public practice, and it requires one to learn how to inspire critical dialogue through art from a place of expression and experience, imagination and reality, conception and creation.

My museum practice at ROM broadened my understanding of the field. As a coordinator of the exhibition “The Forbidden City: Inside the Court of China’s Last Emperors”, hosted by ROM and The Palace Museum, I worked with project management teams from the initial conceptualisation stage through the final design. To explore the issue of cross-cultural understanding in traveling exhibitions, I also conducted in-depth interviews with the ROM’s creative team, interpretive planner, 2D and 3D designers, project manager, as well as colleagues in marketing, programming, media relations, museum volunteers departments, and the Institute for Contemporary Culture. With this experience, I took up the role of a curatorial lead for the Chinese Export Art exhibition, a show that reflected the universal cultural phenomenon of gazing and embracing differences among different countries. More importantly, it has fueled in me the desire to thoroughly rethink how to help a Western community to gain a sensibility about the arts and archaeology of Asia, preparing me for my next step – establishing Chinese art and culture initiatives. Everything Foucault and everybody else say about “disciplinary boundaries” is contained in this shift and more.

圆桌讨论总结

Museum professionals in North America and Europe often raise the questions: How can museums engage the visitor? What should museum displays look like in the 21st century? How do we stay relevant? These questions are a focus of directors, curators, educators, designers, public affairs specialists, and the like, all of whom play important roles in the success of the modern museum. The same questions apply equally whether an institution is an encyclopedic museum holding a collection that represents a wide breadth of human civilization, or is more specialized, holding a collection dedicated to a specific culture or time period, such as a museum of Asian art or a contemporary art museum. In all cases, museum professionals have similar goals, protocols, and needs — that is to attract and serve their audiences, including offering enjoyment and education, and also to develop a sustainable plan to support the staffing needs and infrastructure of the museum building at a level to physically preserve the collection and extend the objects’ lifecycle into the far distant future.

While care and preservation of the collection is the core responsibility of a museum, its heart lies in the power to use the collections to reach people, and hopefully to sometimes profoundly touch them. As the museum scholar, Stephen Weil puts it, “Museums matter only to the extent that they are perceived to provide communities they serve with something of value beyond their mere existence.” (Stephen E. Weil. Making Museums Matter (Washington, D.C.: Smithsonian Press, 2002), pp. 4, 5, 41). This paper will look at some of the implications of this view of museums. How do museums provide for a community, and specifically how do they do this in the context of holding collections of Chinese art, and how do museum staff work together to accomplish this large goal? The paper will in particular address the curatorial role with some specificity.

At the outset, it is worth noting that Weil’s comment is widely accepted and represents a prevailing view in museum communities, but it is also worthwhile to point out there may be a danger in his use of the words “matter only” if they provide beyond the importance of their physical existence, because this points to a shifting balance towards prioritizing community service over preserving the collections themselves — a view I find untenable. Preserving, and also researching the collections, are time consuming, expensive, and mostly behind-the-scenes endeavors that have enormous gravitas, but which are losing position to other concerns of the museum world. The hidden nature of preservation and research has perhaps made it hard for museum directors to champion these aspects, but we must keep these as an unwavering goal of institutions. This paper explores the role of museum staff in upholding Weil’s broader perspective for museums, but aims to also emphasize the importance of staff, primarily curators, who can serve as an active interface between the two sides of the museum — collection care and research and people-to-people engagement.

It is laudable, and in fact, obligatory, for museums to want to share their collections in ways to inspire interest and appreciation for the objects they hold and expand viewers’ understanding of them, as well as to find new ways to engage visitors and make them feel actively engaged in the museum experience. Displays should connect and communicate with the viewer, and when a museum is successful at doing this, it builds its viewer base, which is necessary for income generation and sustainability. More visitors streaming through the door translates into greater profits from tickets and merchandise sales; and for museums with free admission, more visitors can translate into greater private or government support. In Western museums that have important collections of Chinese art, there is almost universal agreement among staff that the greatest wish is for visitors to leave the museum (or end a website visit) feeling enriched, finding themselves more interested or thoughtful about Chinese art, and possibly even thinking differently about China itself.

Using art to connect people with a better understanding of China in general is a goal that most museums today see as part of their relevance to modern society. This sounds good, and even obvious, but tensions can arise, since there are differences in opinion about what achieving relevance means. There are different points of view about whether historic art collections, or even contemporary art, should be used as a direct means to understand the modern political and cultural entity of China. For example, can a presentation of Ming/Qing imperial art be used to inform visitors about China today? The answer is perhaps a very guarded “yes”, in the sense that when visitors who previously had no knowledge about historic China learn through seeing Chinese artefacts of the 15th and 18th century that have stylistic connections to Middle Eastern, Himalayan, or European cultures, they gain a greater understanding that China was not historically insular. This knowledge may be enlightening for them when looking at modern China’s international position. But the danger is that increasingly some museum staff members are trying to use historic art to make direct connections to modern politics and life. Museums seem to be walking a tightrope — should they host programmes with political commentators, or is this perhaps an arena in which they should collaborate with other academic institutions, such as a college or think-tank like the Brookings Institutions? This paper will examine some of the approaches that museums are taking today to ensure that visitors in a Western society will feel attracted to displays of Chinese art.

What are some of the practicalities of how museums can accomplish this? Museums have always been, and are increasingly, reliant on teamwork to accomplish these goals as their mandate becomes broader. Therefore, there are inevitably questions about which individuals and which departments should be represented on which teams and who (if anyone) should lead each team, and how to communicate internally and externally. Different museums have different approaches to this complex question and a few prototypes will be examined.

One of the questions that always comes up in this type of discussion is what is the role of a curator, and can/should a curator be a project/team manager. Decades ago, curators were likely to be the person-in-charge, beholden only to the Director’s higher judgment, but today they are usually placed as just one of many highly regarded staff members. Institutional structures are nobly trying to nurture all types of staff and thus benefit from diverse and disparate talents. It has become common to talk about curators as “content providers,” and value them in exhibition, and other, teams the same as the members of other departments. Much is gained by being certain to avoid a monopoly by curators, but it is worth questioning the validity of a now not uncommon view that holds that curators are generally removed from the public they serve, and are mostly ivory tower academics or even prima donna. While there may be the occasional curator of that nature, I would suggest that this a largely unfounded view that has spuriously come into play, perhaps partly as a kind imaginary foil to give other newer roles in the museum, such as interpretation officers, more validity and urgency. I propose the newer job roles are critically important to the success of the modern museum, but this in no way diminishes the key importance of the curator, nor should we collectively buy into the myth that curators are disconnected and disinterested in the public. Curators are invaluable not only in providing and shaping content and fact-checking content generated by others, but it often remains unsaid that curatorial passion (which is also knowledge-based) for the objects they study and care for can make the curators the most informed and energetic team leaders.

Without knowledge and passion, it is easy for museum objects to become just “things”. This paper takes a look at what curators can provide in the modern museum setting. Keeping in mind the comment by the famous Irish playwright, George Bernard Shaw, who said “The single biggest problem in communication is the illusion that it has taken place,” I will also address the practicalities of how curators can improve their communication with other museum staff, and will review the scenario in which a curator as team leader is paired with a project manager, whose role in entirely administrative, and can assist in team management. I will also address the issue of the size of committees, since there is a trend to increase the membership of committees, disregarding what many business leaders note that the smallest reasonable membership is strongly advised. Art collections are brought to life by the collective expertise and imagination of museum staff, as well as by close coordination with collaborators, who may include the museum visitors themselves, living artists, performance centers and academic institutions. In all this, the curator plays a critical role worth examining in some detail.

凌利中

上海博物馆（中国）

Organizing International Traveling Painting and Calligraphy Exhibitions at the Shanghai Museum: Three Case Studies

Since the organization of Chinese National Treasures of Painting and Calligraphy from the Jin, Tang, Song and Yuan Dynasties exhibition in 2002, the Shanghai Museum has organized several similar exhibitions, with painting and calligraphy works borrowed from several leading museums in the country. All these exhibitions have turned out to be huge successes. The exhibitions provoked the audiences’ interests towards the classics of traditional Chinese painting and calligraphy, received high attention and acceptance locally and internationally, and built a good foundation for lending its own collections for exhibitions abroad.

In the past ten years or so, the Shanghai Museum has attached great importance to its international travelling exhibitions. It accumulated substantial experience from several previous exhibitions of this kind by first cooperating with Japanese colleagues for two exhibitions: “Masterpieces of Ancient Chinese and Japanese Calligraphy” in 2006 and “Masterpieces of Ancient and Chinese Paintings in Japan” in 2010. It then cooperated with five prestigious museums in the US for the “Masterpieces of Early Chinese Painting and Calligraphy in American Collections” exhibition in 2012. All these were big successes.

While it has learnt quite a lot from its own past experiences, the Shanghai Museum has also learnt from experiences and concepts of its colleagues both home and abroad. This is quite helpful to the Shanghai Museum to diversify its ways of organizing exhibitions strategically. For example, selection exhibitions can be one of the successful forms; however, the Shanghai Museum has explored new forms such as theme exhibitions. As a matter of fact, it has been preparing the exhibition, “How the Wu School of Painting Originated” 《吴门前渊》 since 2012, which is scheduled to be on view in 2016. In this exhibition, it is planned to display 120 items of three modules, to be borrowed from around 20 museums and institutions. This exhibition aims to present the results of scholarly research, focusing on academic aspects but also appealing to the general audience. It is well expected that this exhibition will promote academic research and general interest. The research findings will surely inspire the artists of the contemporary and future generations.

白珍

大英博物馆（英国）

Lending MFA Paintings to Shanghai Museum’s Exhibition in October 2012: Masterpieces of Early Chinese Painting and Calligraphy in American Collections

In this presentation, I will outline the process by which four US museums lent Song and Yuan Dynasty paintings to Shanghai Museum in October 2012. I will also include our experience of lending ceramics to the Yuan Blue and White exhibition at Shanghai Museum in 2012.

I will go through the collaborative process at the US end and at the Chinese end. This will include details of preliminary meetings between the four US institutions, hosting Shanghai Museum representatives in the US to choose the works, getting loans approved by museum Boards, getting works valued, arranging couriers/transportation and application for a US government indemnity.

At the Chinese end, I will describe some of the challenges facing Western museums when arranging loans to China, in particular Chinese works of art to Chinese museums. These include the situation at customs, storage at the airport, transportation and installation requirements. Not least is the challenge of obtaining immunity from seizure of Chinese works in foreign collections from the Cultural Heritage Bureau.

My presentation will be illustrated by slides showing elements of the process and I will conclude by suggesting some ways to meet the challenges in the future.

孙志新

大都会艺术博物馆（美国）

Opportunities and Challenges: Sending Exhibitions to China

The last decade or so has witnessed a rapid increase in collaborations between the Metropolitan Museum and its Chinese counterparts. The Met has hosted several exhibitions from China, including “China: Dawn of a Golden Age 200-750 AD (2004)”, “The World of Khubilai Khan: Chinese Art in the Yuan Dynasty (2010)”, and “The Emperor’s Private Paradise: Treasures from the Forbidden City” (2011), to name only a few. At the same time, the Met has lent a number of artworks to Chinese museums, either as part of Met-curated shows or by participating in Chinese-organized exhibitions. Two recent Met-organized exhibitions are “Earth, Sea and Sky – Nature in Western Art: Masterpieces from The Metropolitan Museum of Art”, which opened at the National Museum of China in January, 2013 and “The American West in Bronze: 1850-1925”, which opened at the Nanjing Museum this September.

During the last two years the Met has twice lent works to the Shanghai Museum: Twenty-nine Song and Yuan paintings in 2013 and a prized set of ancient Chinese bronze ritual vessels this November. While these exchanges have augmented mutual understanding and created exciting opportunities, they have also brought unprecedented challenges. This paper aims to examine and share the Metropolitan’s experiences with colleagues at the conference.

Joseph CROOK

大英博物馆（英国）

The British Museum’s Touring Exhibitions in China

Background:
The British Museum is committed to sharing it’s collections with a global audience. Whether through welcoming international travellers through our doors in London, loaning objects, continuing to expand our online collections, or touring exhibitions, the objectives of access and engagement remain constant.

Since 2006 the British Museum has toured 11 exhibitions to China, two of these were in collaboration with the V&A. They have been displayed in Beijing, Shanghai and Hong Kong. The exhibitions have been diverse in their subject matter, including iconic Greek statues, Indian temple art, Assyrian wall reliefs and highlights from our renowned collection of ceramics. It is our hope that in the years ahead we can build on this foundation, touring an even broader array of objects to an even wider Chinese audience.

The museum-building boom within China means that many cities across the country now benefit from modern museums that have the facilities to host international touring exhibitions. It is hoped this will bring opportunities for the British Museum’s collections to be shared with new audiences throughout the country.

Future opportunities
Recently the British Museum has been exploring opportunities for touring exhibitions to travel to a number of major museums outside of Beijing, Shanghai and Hong Kong. During several trips to cities across China we have engaged in discussions about the types of exhibition that could be desirable; this includes the size of exhibitions, the themes and the types of objects that Chinese audiences would wish to see.

It is our hope that there will be opportunities in the coming years to bring British Museum touring exhibitions to Chinese museums with whom we have not worked in the past. It is recognised that some Chinese museums have different budgets to the major museums in Beijing, Shanghai and Hong Kong. This poses a challenge because of the high costs of transport and insurance associated with large exhibitions, and so creative solutions will need to be found.

Multi-venue tours of international touring exhibitions appear to be favoured by many Chinese museums. There are distinct advantages to multi-venue tours in terms of costs. In addition they have benefits for the profile of an exhibition in China, and bring exhibitions to a wider audience. It is therefore a model that the British Museum is interested in exploring further. It may be that the future lies in creating multi-venue tours to upwards of four venues, thereby allowing significant cost-sharing.

The museum appreciates the value of face-to-face meetings for helping to clarify complex issues relating to exhibition projects. Meetings have consistently helped to bridge gaps in understanding by providing us with a forum in which to discuss different working practices and contexts.

Despite certain challenges there is a clear will on both sides to work together and possible solutions are being identified. It is hoped that, with the links we now have, we can continue to work with Chinese counterparts to bring British Museum exhibitions to wider parts of China in the coming years. In addition the museum will continue building on the strong and valuable relationships we have in Beijing, Shanghai and Hong Kong to tour exhibitions there in the future.

姚安

中国文物交流中心（中国）

Chinese Cultural Relics Exhibitions – An Approach to Beauty of China

Chinese cultural relics exhibition opens a new prospect of cultural relics exchanges and cooperation with other countries. It serves as a window to show Chinese culture to the world and plays a prominent and efficient role in facilitating Chinese diplomatic relations.

General Information of Chinese Outbound and Inbound Exhibitions
From 2005 to 2013, Chinese museums held 492 outbound exhibitions in 48 countries and regions. The number of exhibitions held in Asia was 276, or 56% of the total. 198 shows or 40% of the total were in Europe and America, with the remaining 4% in Africa and Oceania, where exhibitions were lacking. It can be indicated from the above figures that Chinese cultural relics exhibitions have become hot topics and distinguished business cards and earned great prestige in the world.

Adjustments in Legislation on Outbound and Inbound Cultural Relics Exhibitions
To have a better international perspective, the Chinese government keeps adopting and optimizing legislation on outbound and inbound cultural exhibitions. The focus has been shifted to cultural exchange, scientific research, and cultural relics protection.

Key Cases of Inbound and Outbound Exhibitions
According to statistics, in 2013, there were 67 inbound and outbound exhibitions, with duration ranging from 5 days to 14 months. 49 domestic and 61 international museums were involved. 6199 pieces of exhibits were presented to the audience, among which 328 pieces were Grade-A. In particular, the exhibitions “Early China”, “Treasures of China”, “Tea Culture” and “Buddhism on the Silk Road” were very well received.

Trends of Outbound and Inbound Exhibitions
Audiences are fascinated by cultural diversity or mysterious beauty in the flow of rich and colorful exhibitions all around the world. In the future, exhibitions themed “National Treasure”, “Cultural Memory”, “Vivid Chinese Life”, “Etiquette and Ceremony”, “Archives Treasure”, “Glory Land and Talented People”, “Cultural Heritage”, and “Contemporary China” will be presented to show the past and the present of China. It is believed that with the development of international museum and exhibition exchanges, Chinese cultural relics exhibitions will become more dynamic and attractive.

周燕群

上海博物馆（中国）

Issues in Antiquities Loans

Nowadays, loans between museums for exhibitions have become a common practice worldwide. In the last 5 years, the Shanghai Museum participated in over 30 loan exhibitions abroad, and held 25 loan exhibitions at home and abroad. To assure successful loans, curators and organizers should pay special attention to a number of key issues.

When applying for loans from China, the borrower should notice the regulation issued by the SACH that the total number and proportion of top-grade pieces of a loan is strictly limited. Endangered species require additional approval which takes about two months to obtain. A provenance certificate is required for the pieces shown together with the loans from China. When an exhibition requests loans from more than two Chinese museums, the application should be made by an appointed coordinator on behalf of all the participants in China. Loan application documents include an exhibition proposal or invitation, exhibition outline and exhibition venue facilities report in addition to the agreement between the lender and borrower.

For loans to China, all Chinese antiquities loans to China for exhibition require a provenance certificate. There is no free of capture and seizure clause in our State Law so far. A Letter of Guarantee signed by the SACH can be provided if it can be accepted.

From our experience, medium-sized thematic exhibitions on a mutual exchange basis between museums is a good way to minimise cost while making an impact.

富田淳

东京国立博物馆（东京）

Collaborative Chinese Art Exhibitions at the Tokyo National Museum, 2012-2014

From January 2012 to September 2014, the Tokyo National Museum held the following five exhibitions of Chinese Art:

I. Two Hundred Selected Masterpieces from the Palace Museum, Beijing (2 Jan-19 Feb, 2012)

II. The Twentieth Century for Chinese Landscape Painting: Selected Masterpieces from the National Art Museum of China (31 Jul-26 Aug, 2012)

III. Wang Xizhi: Master Calligrapher (22 Jan-3 Mar, 2013)

IV. Treasures of Chinese Painting from the Shanghai Museum (1 Oct-24 Nov, 2013)

V. Treasured Masterpieces from the National Palace Museum, Taipei (24 Jun-15 Sep, 2014)

The number of international loans were: 200 items for I, 50 for II, 4 for III, 40 for IV, and 186 for V (including 231 loans to the Kyushu National Museum). I, III, and V were large-scale exhibitions held in the galleries on the second floor of the Heiseikan building, which has 2,900 square meters of exhibition space. Most of these exhibitions materialised as a result of the long-term relationships of over 20 years that the Tokyo National museum has enjoyed with Chinese institutions.

Our museum had to give up certain loans immediately before the opening dates of the exhibitions due to the international political climate. In my presentation, I will discuss the exhibitions held between 2012 and 2014, including the processes leading up to their openings, our aims in holding these exhibitions, as well as the influence they had and the problems that arose both in and outside of Japan.

Kevin MCLOUGHLIN 马凯文

苏格兰国家博物馆（英国）

Ming China in Contemporary Scotland

This presentation will look at the experiences and challenges of bringing an exhibition on the Ming (U.K.)dynasty (1368-1644) to the National Museum of Scotland (NMS) in Edinburgh. Ming: The Golden Empire was held at the NMS from 27 June to 19 October 2014. The exhibition was very well received by both the media and the public, and it brought unique and rare artefacts from the collections of the Nanjing Museum halfway across the world to a new audience in Scotland. The exhibition came to Edinburgh through an intermediary company – an exhibition and design company based in Edinburgh and Chengdu called Nomad. This company now works with a number of Chinese museums to develop and promote exhibitions internationally.

This presentation will examine some of the lessons learned from working through a third party exhibition company; the particular curatorial challenges of working with an exhibition developed on a commercial and not primarily on a curatorial or scholarly basis; as well as the challenges of marketing and making accessible the culture and history of a unique period of Chinese history to a non-specialist audience in a museum institution which is not an art museum or an Asian art museum. What in other words were the key challenges for an exhibition curator in soundly articulating and making accessible a culturally complex and nuanced historical period of Chinese history to a museum audience which may have had very little prior knowledge of or encounter with Chinese history, visual or material culture.

As a corollary of the experiences outlined above, this presentation will also seek to situate the experience of working on this exhibition project within a wider reflection on what it might mean for external museums hoping to work with Chinese museum and cultural institutions in a rapidly growing and transforming Chinese museum sector over the next five to ten years. This presentation will conclude by asking what the future might hold for external museum professionals hoping to work with and build links with Chinese colleagues, and what do Chinese museum professionals in turn hope to gain from working with external museum institutions and colleagues. And what might the future hold in developing exhibition projects with a China which now views culture as among other things a major strategic industry, and a powerful developmental force.

张弘星

维多利亚与艾尔伯特博物（英国）

From Policy to Practice: A Personal Reflection on Exhibition Collaboration

Collaboration between Chinese museums and museums outside China have been rapidly growing in recent years not only in terms of numbers but also in complexity. This paper takes the Masterpieces of Chinese Painting 700-1900 exhibition held at the V&A last year as an example to explore how collaborations between museums are practiced. It starts out by introducing this exhibition project and its major components, before moving to review the areas of collaboration that had taken place. The paper then considers ways of improvement and new possibilities.

Jessica HARRISON-HALL 霍吉淑

大英博物馆（英国）

The British Museum Collaboration with China: Research and Exhibitions

Early Ming China’s multiple courts were internationally engaged long before the arrival of Europeans who traded directly with China in the 1500s, Ming: 50 years that changed China, co-curated by Jessica Harrison-Hall of the BM and Craig Clunas of the University of Oxford explores multiple courts in the early Ming and their international connections. Through 280 objects and paintings, the show examines the contexts for the Forbidden City and explores the myths and realities of Chinese national hero Zheng He, the eunuch who led armadas across the Indian Ocean to Africa before Columbus was born.

Curating the exhibition involved working with 30 lenders (museums, libraries and private collections). This paper focuses on the relationships with Chinese museums particularly curators, directors and people responsible for cultural heritage in regional China. Organisations included Art Exhibitions China, the State Administration for Cultural Heritage, the Ministry of Culture of China, and the Ministry of Foreign Affairs. This collaboration required close engagement with senior high officials in China as well as with the British Council, British Embassy in Beijing and the Chinese Embassy in London all of which played important roles.

Cultural diplomacy, big business and the growing emphasis on “soft” power generates interest in the Ming exhibition among UK politicians. Vince Cable, Secretary of State for Business, Innovation and Skills, opened the exhibition on 16 September 2014 and said; “This event is a good example of a coalition between the BM and its exhibition sponsor, BP,” -as reported in the London Evening Standard. George Osborne, Chancellor of the Exchequer, mentioned the exhibition in a parliamentary speech on 12 September 2014. The Hon Ed Vaizey, Minister for Culture and the Digital Economy on 23 September 2014 described it as “a stunning exhibition”. Boris Johnson, Mayor of London, cited the Ming exhibition as a major autumn blockbuster and one which brought tourists to London, delivering an important income stream. Within China, the Ming show has also been used as a vehicle for cultural diplomacy. Li Keqiang (now Premier of the People’s Republic of China and party secretary of the State Council) visited the BM in 2010 and discussed some of the BM’s Ming material, which is included in the exhibition. In 2014, his wife, Cheng Hong examined paintings and objects being conserved for the show.

As well as these successes my paper will address some of the difficulties involved in working with China on a project of this scale. There are different approaches to academic research in China and elsewhere. The sheer size of China and the time to travel and build relationships directly with core museums, libraries and individual lenders, whilst moving forward other parts of the project, was a real challenge. Perhaps digital technology will help as more Chinese museums start to put their collections online. Balancing the quid pro quo is a challenge. Can the BM lend treasures to Chinese museums on a similar scale? Chinese museums have much larger staff than the BM. This impacts the hospitality and care we can provide. The 7-hour time difference also impacts on communications. Linguistic challenges are ever present. Legal requirements are different in the two countries affecting contract negotiations. Chinese timescales are much shorter than English timescales for planning events and exhibitions. In addition to the Chinese relationships, we are balancing the needs of sponsors, lenders, politicians, art organisations, journalists and exhibition teams. Despite working in systems that are organised and function quite differently, the end result of the collaboration between China and the BM that produced the exhibition is one that has shown positive public, as well as scholarly benefit.

柳扬

明尼阿波利斯美术馆（美国）

Opportunities and Challenges of Traveling Exhibitions from China

In recent years, exhibition exchanges between US museums and their Chinese counterparts have thrived, which has the potential for great impact on cross-cultural understanding between the two countries. What are the opportunities and challenges of American museum curators attempting to organize exhibitions from China? This presentation will highlight how the ongoing and thriving archaeological activities in China provide great resources for American curators. The presentation will also elicit challenges in bringing travelling exhibitions from China and discuss the ways to rectify common practices that place unnecessary burdens on the exchange of exhibitions.

Natasa VAMPELJ SUHADOLNIK 万娜塔莎

卢布尔雅那大学（斯洛维尼亚）

Chinese Art Objects and Other Materials in Slovenia: Identification, Registration and Digitization Project

The present paper will briefly introduce a newly begun research project at the Department of Asian and African Studies at University of Ljubljana, in Slovenia, which was planned in collaboration with Slovene Ethnographic Museum. The project will include Chinese art collections, together with other materials and resources, which are currently held in various museums and other institutions in Slovenia. While some collections and objects have been the subject of research in recent years, an overall survey and listing, i.e. identification, categorization, listing in catalogue format, and digitization, has yet to be undertaken. Many objects and materials are stored in depositories, and in some cases the existing categorization has proved to be incorrect. Due to this situation, a precise and comprehensive examination, analysis, study, identification and digitization of all Chinese art objects in institutional collections in Slovenia, will be performed.

The paper shall also briefly present two smaller projects, included within the aforesaid project, which are planned in collaboration with the Palace Museum in Beijing and the National Palace Museum in Taipei. The first project is the restoration of an original “model” of a Chinese house and decorative screens which were brought to Slovenia at the start of the 20th century. The second project instead concerns setting up a database of old photos, postcards and other documentary material from China with metadata, digital images and explanatory texts, that meet the most current international standards.

The paper will also briefly introduce the newly established EAAA, which has as its main aim encouraging and promoting academic and scholarly activities related to Asian art and archaeology in European countries. It will also discuss creating different forms of cooperation between European and Asian museums, in order to enhance the Chinese heritage and related researches in Europe. Such forms of collaboration can play an active role in today’s globalized society, which is characterized by ever-expanding currents of intellectual and material exchanges.

汪海伦
赵丰

大英博物馆（英国）
中国丝绸博物馆（中国）

Researching Silk Road Textiles – An International Collaboration

Helen Wang and Zhao Feng will introduce their collaboration of almost ten years — starting with the “Textiles from Dunhuang” series — and show how these scholarly and specialist catalogues have opened up new avenues for collaborative research with scholars in other fields.

Zhao Feng would also like to suggest a new international collaboration proposal, the “Silk Mountings of Chinese Paintings and Calligraphy”.

吴蘅

南京博物院（中国）

International Museum Collaborations: More than Traveling Exhibitions

Exhibitions are a major channel for museums to conduct international collaborations. In the past, a quite usual approach for Chinese museums to conduct international exhibition collaboration was to loan objects. In this way, Chinese objects are interpreted in a western narrative, which sometimes may deprive them from the meanings, contexts, and discourse they originally contain. Another frequently adopted model was to loan an entire exhibition. In this way, the stories are often told in a way that has no appeal to the local audience.

Nanjing Museum has been exploring new approaches to conduct international exhibition collaboration. For example, the “Treasures of China” exhibition, which was held in Colchester Museum in the U.K. in 2012, invited ten students from the U.K. to China to pick their favorite objects from Nanjing Museum’s numerous collections. Based on their choices, museum curators added other objects to form the whole exhibition. This approach introduced an audience view in the exhibition curation. Moreover, the opportunity provided by this exhibition to travel to China to encounter with Chinese culture has become a great life experience for these students. Encouraged by this success, we are now extending the project – next February, a group of ten Chinese students will travel to Essex, UK to select their favorite artefacts from Colchester and Ipswich Museum Service’s collection to form an exhibition to be held in Nanjing Museum.

To get help from local media to warm up the local audience of an exhibition venue seems a good practice. Nanjing Museum loaned an exhibition on the Ming Dynasty to De Nieuwe Kerk Amsterdam in 2013. The local audience had very little knowledge about Chinese history and culture. Except for the blue and white porcelain, they knew nothing about the Ming. Our solution was to have a group of journalists from local media companies come to Nanjing to see the collection, the museum, the city, and the culture with their own eyes. After their return, the local audience in Amsterdam was able to access the information and knowledge about the Ming dynasty, the theme of this exhibition, before the opening.

The ideal approach, but also a more challenging one, rather than to loan just objects or an entire exhibition, is co-curation. Curators from both sides work together on theme selection, exhibits picking, and exhibition development. An effective way to initiate such collaboration is to find a common ground of mutual interest such as similarities in collections or relevance in terms of the time period.

黄涵音
Sarah CAMPBELL

利荣森纪念访问学人
维多利亚与艾尔伯特博物馆（英国）

Experiences at the Learning Department of Victoria and Albert Museum

This presentation shares the experience of a six-month attachment with the Learning Department at the Victoria and Albert Museum (V&A) from June to November 2013. The Fellow set out to understand the learning needs of school groups and younger visitors and to explore how museum learning provides resources to children, making the programmes engaging and fun without ‘dumbing it down’ for our younger visitors. The main objective of the programme was therefore to develop educational resources with the Schools, Family and Young People team of the Learning Department. The development of resources was carried out with an emphasis on the V&A’s permanent Chinese collection and the special exhibition “Masterpieces of Chinese Painting 700-1900”, and covered different stages of the development from planning, content development to delivery.

The presentation begins with a description of the tasks and activities during the attachment, which included creating a new China Gallery back-pack, developing teachers’ resources for the China Gallery and the special exhibition “Masterpieces of Chinese Painting 700-1900”, preparing and delivering the October half-term programme, and assisting in the planning of the Chinese Festival programme. Illustrated by these tasks, The presentation goes on to discuss how colleagues at the V&A made use of the gallery space, which was seen not only as display space but also as a seminar room, lecture hall, theatre or story-telling stage. It reflects on how the V&A’s use of its gallery space offers food for thought in terms of encouraging in-gallery learning instead of separating the activities from the displays. Finally, the presentation concludes by pointing out that the key to a successful exchange programme lies in constant communication between fellows and host institutions. It suggests that discussions beforehand help both parties have a clearer picture of the arrangements during the attachment period and, particularly for Fellows, reduce anxiety of settling into a new environment. Equally important is to have regular communication with contact persons at the host institutions in order to reflect on the progress and to ensure necessary adjustments are made.

林苗苗
马麟

中华世纪坛世界艺术馆（中国）
纳尔逊阿特金斯艺术博物馆（美国）

A 12-Month Fellowship in the Curatorial and Education Departments at the Nelson-Atkins Museum of Art

This paper explores my experience as a 12-month J.S. Lee Fellow at the Nelson-Atkins Museum of Art. Unlike previous fellowships, which were primarily focused on art history/curatorial research, my goal as a museum educator was to understand the organizational structure of a Western museum, and the role that education plays in it, and to see what aspects of Western museum organization and museum processes could be usefully applied to China.

During my yearlong fellowship, I worked with the Chinese Art Curator, Dr. Colin Mackenzie, and the Director of Education Division, Mrs. Judith Koke. With their guidance, I contributed to the exhibitions “Journey through Mountains & Rivers: Chinese Landscapes Ancient and Modern”, and “Jade: China’s Immortal Soul,” and the educational programmes “Chinese New Year Events” and “Family Gallery Guide to Chinese Art”. Through my participation in a great number of museum practices, I finally figured out what our similarities and differences in education are, and what we could learn from American museums.

In this presentation I will discuss some of the areas in which I gained a better understanding of the complexity of museum work, particularly the organization of exhibitions in the U.S. One of the key insights I gained was how closely curatorial, education, and fundraising departments work together. In particular, the concept of keeping the audience as the focus and trying to see a potential exhibition, even from early discussions, from the point of view of the audience. I found that concepts like the “big idea” and the “takeaway message” were considered very important. I also learned much about the focus on audience evaluation both in terms of general demographics and surveys of visitors’ attitudes toward the museum prior to their visit as well as their experience during the visit.

As a museum educator working in a museum that exhibits primarily “foreign” (i.e., non-Chinese) art and therefore deals with challenges of interpreting it for a domestic (i.e., Chinese) audience, it was very useful to work with a non-European Department which faces similar challenges: how to engage audiences with something they can be totally unfamiliar with.

Although not all the practices in a US museum can be transferred wholesale to a Chinese museum, I believe that it is important for Chinese museums to understand the dialogue and changes that are taking place in Western museums and to adopt those elements that are suitable. Since returning to China, I have begun to discuss with my colleagues how we can use some of the new techniques and organizational structures that I encountered during my fellowship and we have begun devising an achievable and realistic plan for the next three years.

I believe that a successful exchange can contribute to both professional exchange and personal life exchange; it could even lead to the creation of future international joint programmes. I truly hope my fellowship experience can be a useful example for the J. S. Lee Memorial Fellowship Programme as well as future fellows.

孙淼

故宫博物院（中国）

The Invisible Design of Museum

I spent four months working with my colleagues at the Freer Gallery: (1) attending weekly meetings of the Department of Design and Production and the Department of Exhibitions as well as all exhibit projects meetings; (2) visiting the collection storage and familiarizing myself with the galleries, as preparation for the design work for which I am responsible; (3) designing an exhibit project at the Freer Gallery 13, the Freer Corridor and the Sackler Gallery N8, titled “Gifts to the Collection: 1987-2012”; (4) visiting and interviewing staff members at various departments to better understand the ways in which the Freer and Sackler operates.

The knowledge and skills I garnered during my stay in the US are of immense value to the museums in China. I came to understand that design is not just a concept or a piece of paper. In fact, project management, production quality, and the idea of public service are the three important factors of museum design. That is called “Invisible Design”.

I wish to put them to use in my actual design work at The Palace Museum and to introduce them to other museum professionals in China. In respect of improving the quality of exhibitions at The Palace Museum, I plan to (1) standardize all the colors, fonts, measurements used in The Palace Museum, producing a detailed style guide and document each process of the exhibition; (2) set up an in-house workshop for exhibition construction jobs (mounts, stands, etc.) and a lab for developing technologies catering to the needs of The Palace Museum to solve such issues as lighting and earthquake proofing, so as to better protect the objects; (3) help to shift gradually to a new mode of exhibit projects managing, bringing in persons of various specialties that have been hitherto neglected yet much needed, including exhibition coordinator, graphics designer, writer, and exhibition conservator. I also plan to organize an exhibits group in Beijing. We can have some designers’ meetings regularly. The discussion will share the best practices, good examples, pitfalls to avoid, and address other questions.

Sascha PRIEWE

大英博物馆（英国）

Building Museum Sectors: The British Museum’s International Training Programme

The International Training Programme demonstrates the BM’s commitment to building a global network of colleagues crossing geographical and cultural boundaries. The Museum’s staff and collection provide a forum to disseminate museum best practice and to exchange specialist knowledge and professional skills. The Museum aims to provide the opportunity for mutual learning, discussion and collaboration among museum professionals from around the world from very diverse institutions and backgrounds but with one goal — to help drive and shape the museums of the future.

For almost ten years, the BM has been training museum professionals in collections management, storage and documentation; exhibitions and galleries; conservation and scientific research; national and international loans; learning, audiences and volunteers; fundraising, income generation and commercial programmes; leadership, strategy, museums management and communication. Participants also spend time in a department relevant to their specific interests, with tailored individual training and research time. Another key part of the programme is a 10-day period spent at another UK museum. This allows the participants to experience multi-site museums and different types of displays, and helps these museums develop international relationships.

In 2014, the programme took place from 3 August to 13 September and welcomed participants from Armenia, China, Cuba, Egypt, Greece, India, Iran, Iraq, Lebanon, Mexico, Pakistan, Palestine, Oman, Turkey, and Sudan.

王伊悠

迪美博物馆（美国）

The Past and the Future of US-China Museum Collaboration at the Peabody Essex Museum

The PEM has a long history of engagement with China. Established in 1799, the Museum holds the very first American museum collection of Chinese art, which was formed in 1800. Highlights in our Chinese art collection include the world’s largest and most comprehensive collection of Chinese export art and the largest American museum collection of nineteenth-century photographs of China. Since 2003 the museum has been home to Yin Yu Tang, a unique 200-year-old house from China and the only intact example of Chinese vernacular architecture in the U.S. Most recently, we worked with the Palace Museum, Beijing to organize a major traveling exhibition in the US featuring Emperor Qianlong’s garden Juanqinzhai.

Delving into the museum’s deep historical ties to China inspires new thinking about our future collaboration with China. This presentation shares information about collaboration opportunities at PEM and considers a number of new avenues to collaboration with Chinese colleagues in exhibition, publication and digital projects.

曹音

新南威尔士艺术馆（澳洲）

A New Curator at a Changing Gallery

Cao Yin joined Sydney’s AGNSW just as the institution was about to embark on an evolutionary change. While she continues her role as a curator of Chinese art in the conventional sense, she faces fresh opportunities as well as new challenges. In this presentation, she will discuss these changes and their impact on her work at AGNSW.

The AGNSW is the leading museum in Australia in terms of its long history of collecting Chinese art and promoting Chinese culture. The Chinese programme was a particular area of interest over the past three decades when the gallery was under the leadership of Mr. Edmund Capon with his expertise and passion for traditional Chinese art.

In the past decade, AGNSW held several important exhibitions curated by Director Capon with the assistance of Dr. Liu Yang, then curator of Chinese Art, including The Lost Buddhas: Chinese Buddhist Sculpture from Qingzhou (29 Aug – 23 Nov 2008) and The First Emperor: China’s Entombed Warriors (2 Dec 2010 – 13 Mar 2011), the latter the gallery’s most popular exhibition to that point, attracting more 300,000 visitors.

The Chinese programme at AGNSW entered a new phase in 2012 with the retirement of Mr. Capon, who had been the gallery’s director for 33 years, and the departure of Dr. Liu who was the Chinese Curator for more than a decade. The new director, Dr. Michael Brand, is determined to continue the long tradition of a strong presence of Chinese culture at the gallery, and is also planning to develop a more comprehensive programme to engage with China.

The new strategic plan is a reflection of the gallery’s response to the larger social and political development in Australia, and to the ever closer ties between Australia and China in recent years. The renewal of the entire executive team has also brought new ideas and a different management style to the operation of the gallery. The institution’s planned “Sydney Modern” expansion now being under way will add further impetus to the transformation of the gallery to inspire audiences of the 21st century.

姚进莊

香港中文大学文物馆（香港）

Collaborations with Long-term Impact

This presentation will be a summary of several initiatives undertaken by the Art Museum in recent months. I shall discuss some projects — such as the “Digitization of the Sheng Xuanhuai Archive”, the “Investigation of Ancient Chinese Gold Working Techniques” and “Preservation of Modern Chinese Ink Painting” — that involve institutions and individuals outside of the museum field, and show how these projects may engage and resonate with the community. As these projects are still in the planning stage, my discussion is also intended to be a brainstorming session with curators and colleagues who may help us to enrich the projects.

溥若诗

亚洲协会美术馆（美国）

The Second US – China Museum Leaders Forum, Shanghai and Hangzhou 2014

From November 18 to 21, Asia Society (AS) and the Chinese People’s Association for Friendship with Foreign Countries will host the second US-China Museum Leaders Forum in China. The forum is an AS initiative that began in 2012 to develop tangible and actionable projects that museums in the US and China could execute to promote better collaboration and exchange. In 2012 the museum leaders identified various benefits of museum exchanges. Such programmes provide information and experiences to museum audiences; foster tolerance and understanding between nations; and enhance cultural competence in a globalized world. The directors also identified obstacles impeding museum collaborations, including disparities in resources and practices; cumbersome bureaucratic, legal, and regulatory systems; a lack of familiarity between museum professionals; and the absence of institutional and funding mechanisms to facilitate exchanges. The consensus view among those attending was that the expansion of museum collaborations will require new funding and organizational mechanisms to spur and conduct exchange activities. This presentation will be an overview of the Forum, which includes panel discussion on successful museum exchanges and on the state of art philanthropy in the US and China.

吴秀华

香港大学美术博物馆（香港）

An Exceptional Traveling Exhibition: A Case Study of An Artistic Exchange Mechanism in a Cross-strait Four-region Artistic Exchange Project

This paper studies the Cross-Straits Four-Region Artistic Exchange Project 2014 which intends to present a new generation of artists and expand the horizons of young artists around the four regions: Hong Kong, Mainland China, Macao and Taiwan. The theme is “Conforming to Vicinity,” which requires artists to explore the new state of contemporary art in these four places and to understand how regional and city development influence their artistic creation. Their works are shown in museums of these four regions throughout the year including the University Museum & Art Gallery, He Xiangning Art Museum, Macao Art Museum and Pingtung Art Museum. This is an exceptional exhibition which is different from most traveling exhibitions which usually present the same set of exhibits throughout the tours. This project requires most participating artists to strive for change in their respective places to showcase their developing artworks which grow from one place to another until they reach their completed state at the final stop. In addition to its site-specific theme, this exhibition emphasizes the collaboration among multiple institutions and the process of curation and creation.

The paper will discuss this ambitious project from the point of view of the organizational strategies and practical issues that required coordinating the artists and running the project. It will also study the problems that the partners need to deal with issues such as the artist support, artwork display, transport and promotion of this challenging project.

Why do institutions as well as artists want to participate in such an artistic exchange project? Does this type of experience provide a deeper engagement with audiences and give institutions and artists an opportunity to learn from these experiences? What are we finding in the process?

木下弘美

费城艺术博物馆（美国）

保护及修缮费城艺术博物馆的建築内饰

One of the strengths of the PMA’s , a 17th century Reception Hall and an 18th century Scholar’s Study. Acquired in Beijing in the 1920s, the interiors followed the vision of the director Fiske Kimball who saw them not only as works of art but as settings in which to provide historical context for the display of Chinese objects. Today, the Reception Hall and the Temple Ceiling remain important examples of the official style architecture of the Ming dynasty (1368-1644). After fifty years of display, the need to conserve and preserve the vibrantly painted roof beams and timbers of the Reception Hall initiated a study of the materials and techniques of Chinese architectural painting. This paper will present the research and conservation treatment carried out on the Ming Reception Hall and also on a Buddhist wall painting said to have come from a temple In Henan province. Similarities include the range of colors in the palette, raised gold ornamentation and binders. It is often assumed that architectural interiors were frequently repainted, however, analysis of the paint samples showed that the Reception Hall was repainted only once or twice during its three-hundred-year history.

奚三彩

浙江大学（中国）

现代科技在纸质文物保护中的应用研究

自两千年前造纸技术发明後，纸张一直扮演著记录历史、传递延续文化的重要角色。收藏在博物馆、图书馆、档案馆中的历代遗存的书、画、报刊、文献等纸质文物，是研究中华民族历史、政治、经济、艺术、文化的珍贵资料，具有十分重要的历史文化价值。

纸张属於有机材料，主要化学成分是纤维素，由纤维素大分子中基团间的葡萄糖键连接而成。随著岁月的流逝，在内在因素 (酸的作用和材质的变化) 与外在因素 (温度、湿度、光照、酸性气体侵蚀、蟲蛀、黴变及机械的磨损) 的影响下，导致酸化、发脆甚至粉化，纸张「自毁」正面临著严峻的局面。

对已酸化的纸质文物、书刊、文献而言，脱酸是延长纸张寿命的唯一途径。自19世纪30年代以来，各国学者研究了各种脱酸方法，大体可归纳为：水溶液法、有机溶剂法、气相法。这些方法为纸质文物、书刊、文献的保护发挥了一定作用，但都不大理想。近几年浙江大学、广州工业大学、南京博物院等单位，在纸张脱酸研究方面取得了可喜进展，他们在总结、吸收以往方法基础上，开展了创新性研究，如：浙江大学张溪文、奚三彩等，从低温等离子体原理出发，对等离子脱酸技术在纸质文物、书刊保护中的应用进行了研究。

本文仅简要介绍纸张酸化的原因及脱酸研究的进展。

胡源

中国文化遗产研究院（中国）

中国早期费昂斯和早期玻璃的科学分析

我的彙报内容主要是我在美国哈佛大学艺术博物馆保护实验室进行的部分研究成果。主要分为两个部分：

西周弓鱼国墓地出土费昂斯残片的科学分析，研究的重点是采用ESM-EDX分析剖面样品的元素分佈和组成。此次分析的费昂斯来自两个墓葬，时代基本上都是西周中期，也是费昂斯产生或出现的时期。分析结果其中一个墓葬的样品符合高钾低钠的特徵，这一结果和之前的一些研究资料是一致的，即西周至春秋时期的费昂斯玻璃相内高钾低钠，具有和埃及西亚地区不同的元素含量特徵。但另一墓葬的样品具有不同的特点，其高钠低钾的特徵符合埃及西亚地区的特点，反映出这些料珠或生产技术源於外部，很有可能是由中亚传入的。

第二部分内容是简要介绍对多件藏于哈佛大学博物馆的东周时期的重要玻璃器的科学分析，这也是首次对这些器物进行科学检测。这些器物包括东周晚期和汉代的镶有蜻蜓眼、玻璃条铜镜和带勾。通过对这些器物之上的玻璃部件的XRF元素分析，发现一些蜻蜓眼不同区域采用的原料成分差异很大，有些部位显示出典型的铅钡玻璃特徵，有些部位显示出含有钙和钠元素。这反映出当时玻璃在製作过程中的一些特点。东西方产的玻璃原料都在同一件器物上出现，这一发现有助於瞭解当时玻璃製作和使用的重要资讯，对於研究东西方交流也有很重要的借鉴作用。

熊樱菲

上海博物馆（上海）

学而知不足 思而得远虑 – 在弗利尔和赛克勒艺术馆学习交流回顾

中国古代陶瓷器不仅是艺术品，也饱含著丰富的技术内涵，科技研究的介入可以获取更多的古代陶瓷工艺技术等方面的资讯，为工艺传承、文物鉴定提供有价值的参考。早在19世纪，西方学者就开始应用先进的科学设备研究中国古代艺术品，美国史密森研究院的弗利尔和赛克勒艺术馆 (FSG) 在中国文物研究方面积累了很多研究技术和经验。受到「利荣森纪念交流计画」的资助，在2011年2月至8月间，前往FSG进行学习交流，深有所获。

交流专案主题为「中国古代铁、铜呈色瓷釉的分析研究」。中国古代铁、铜呈色的陶瓷器品种较多，选择标準参考样品、準确定量为难点，交流中，采用扫描电镜、显微分析仪、X萤光光谱仪和电子探针等设备，对52件具有代表性的中国历代重要时期传世或出土的瓷片进行测试，通过不同测试方法和标準样品的选择比较，筛选出12件适合的标準参考样品，实现了对瓷釉化学组成的準确定量。最後，通过对资料的分类整理与分析，初步完成了对铁、铜呈色瓷釉的釉料特点、施釉工艺特徵及影响釉呈色主要因素的讨论，达到了预期效果。

史密森研究院对古代艺术品的收藏、研究有很长的历史，涉及了世界上各个古代文明地区，通过库房观摩、资料查询、与会讨论，得以拓展视野和研究空间；收集的资料将在今後的研究中，直接起到至关重要的作用。交流工作期间，也体会到了美国同行严格执行操作规範和不断探索新方法的工作态度。

第一节专题讨论 – 藏品修复与保护

本节讨论了建築、纸张、费昂斯 (faiences) 及陶瓷四个截然不同的修复课题，各讲者同时强调不同领域一起合作研究的重要性。各人亦探讨策展人在参与科学研究中的角色应该是支持、促进、还是主导。

单一学科的研究或分析结果往往会造成错误的判断，因此艺术史学者、考古学者及科学研究人员应增加讨论和互相了解，结合学者的艺术史知识、登录保存人员对文物的记录、考古学者的发掘结果，以及科学研究人员对艺术品成份的分析，才能建构出对艺术品的全面认识。

Adele SCHLOMBS

科隆东亚艺术博物馆（德国）

Imperial Splendour: Life and Art in the Forbidden City – an Exhibition Organized by the Museum of East Asian Art Cologne in Collaboration with The Palace Museum Beijing from 19 October 2012 to 20 January 2013

Themes and Topics Covered by the Exhibition – The Qing Dynasty in Focus
The Exhibition was the highlight of “China Year” in Germany, commemorating 25 years of city partnership between Beijing and Cologne as well as 40 years of diplomatic relations between the Peoples’ Republic and Germany. The idea was to contribute to a deeper understanding of modern China by focusing on the 17th and 18th centuries in which China developed into a vast colonial empire under the Mandchu rulers. The objects were arranged in the following groups:

1. The son of heaven as universal ruler and the concept of Confucian state ritual. This group comprised a throne ensemble, ancestor portraits, ceremonial robes and depictions of state rituals such as “10.000 States pay reverence to the Emperor of China”. Also included in this group were the Mandchurian ritual of hunting and its influence on military structure as well as the new development of the cult of military heroes.

2. The second group was focused on the different religious systems which were simultaneously supported by the Qing court, while Tibetan Buddhism was favoured as a political link to integrate the peoples at the fringes of the multi-ethnical realm. Also included in this group were objects related to the Jesuits, among them Adam Schall von Bell from Cologne, who received access to the court because of their scientific knowledge and skills in the arts and crafts.

3. The next group illustrated the role played by the emperors as scholars, poets, collectors, artists and fervent supporters of court art, pointing out the Mandchu emperors’ admiration for Confucian values and traditions on the one hand, and their fascination with realistic Western portrait painting on the other, which served to illustrate and propagate their virtues in a stunningly realistic manner which was unprecedented in former dynasties.

2. Imperial Art Objects from the Collection of the Cologne Museum Integrated in the Palace Show – A Dialogue on Provenance

Imperial Art Objects from the Collection of the Cologne Museum Integrated in the Palace Show – A Dialogue on Provenance
The exhibition also included objects from the collection of the Cologne museum which were published in the catalogue at the end by smaller images and with brief captions. The idea was to show these objects in their original context, in other words, to do justice to them, and to show them in a way that they normally cannot be seen in Cologne. Another aim was to start a dialogue on – and enter a new chapter – in the book of provenance history. The Cologne museum made a special pledge to be allowed to show these pieces together with the objects from Beijing. We handed in a list explaining the provenance of each individual object. After about three months the Ministry of Cultural Affairs agreed to the display of almost all of the pieces, but there was one Imperial jade seal which was not allowed to be shown. The reasons were not clearly stated but in my paper I will try to explain why I think this seal was refused.

The Question of Conservation – Varying Standards and Differing Ideas about how to Hang and Protect a Hanging Scroll in an Exhibition
While we were planning and discussing the exhibition architecture with our partners in Beijing, we realized that there exist many views on how to display objects safely. After the arrival of the exhibition team consisting of curators only, and not of professional restorers, we were confused because some of their views were influenced by Western ideas while other views were neither traditional, nor Western. It also seems worth noting that different from Western museums, the restorers of the Palace museum who are familiar with the craft of mounting paintings, do not seem to have much influence on the theory and practice of exhibiting objects. If there existed professional standards defined by those who are actually dealing with the practical art of restoration and conservation, it would probably be easier to find safe solutions.

刘芳如

国立故宫博物院（台湾）

两岸故宫书画展览与保存、应用之比较研究

北京故宫博物院与臺北国立故宫博物院的文物典藏，素有密不容分的链结关係。自2009年2至3月间，两岸故宫的院长展开互访以来，透过举办学术研讨会与展览交流等活动，已经使两岸故宫研究人员以及文物展示的实质合作更为具体化。

本项研究，正是植基於上述基础。2011年下半，我获得香港「利荣森纪念交流计划」的赞助，利用5个月的时间（8月1日至12月31日），针对本身工作中所涉及的领域，分别就北京故宫在书画展览规划，以及书画保存修复、数位影像建置、数位影像应用等项目的执行方式，进行通盘研习。期间访谈交流的对象，囊括了古书画部、展览部、文物管理处、科研处、文保科技部及资料信息中心、图书馆等七个部门，另外亦实地观摩书画换展、书画修复与文物拍摄的情形，受益良深。

在2011年底研习结束前，和2012年初返回臺北之後，我曾分别将此行的经验与北京故宫及臺北故宫的同仁分享，另外也著手撰写《两岸故宫书画展览与保存、应用之比较研究》一书。本次讲座，即是撷取文稿中的三个要项，为论坛与会者介绍两岸故宫在各自营运期间（指1949年迄今），所累积的丰硕成果，期能藉助两院相同议题的比较研究，提供给博物馆同业作为参考。

张荣

故宫博物院（中国北京）

英伦之行收获及学术成果出版模式的探讨

由於各种历史原因，中华文物散落於世界各地公立、私立博物馆和私人藏家中，随著各个类别文物研究的推进与深入，我们逐步认识到，对於散落世界各地的中华文物的研究是不可或缺的重要组成部分之一。对这些文物的瞭解、研究与出版是今後研究各类文物极其重要的内容。台北故宫曾经出版《海外遗珍》，虽然掛一漏万，但对瞭解和掌握海外藏中国文物起到了重要的桥樑作用。我们希望借此机会，呼籲对海外藏中国文物的研究与出版能够得到重视并能够一步一步地实现。

「利荣森纪念交流计画」，为文物研究者瞭解、研究海外博物馆藏中国文物搭建了一个非常好的平臺，我们建议，在此基础上一方面继续扩大博物馆的範围，一方面与各个博物馆沟通，实现将研究成果出版，供更多的人欣赏与进一步研究。它既是每一个访问学人的研究成果，也是「利荣森纪念交流计画」的业绩与成果。在出版运作中，主要涉及两个难题，一是署名问题，二是文物照片版权与费用问题。第一个问题除了臺北故宫博物院存在一定的难度外，其它博物馆均可妥善解决。第二个问题是需要有专门的部门、专门的人员负责协调解决，主要涉及到对方博物馆的「情感」问题，是否愿意由他人出版，如果涉及的文物量少，尚可理解和考虑，如果涉及的文物量大且没有图片或者对方博物馆尚未出版，能否接受由中国研究人员、中国的出版社出版?

我们相信凡事都有解决的途径与办法，我们可以考虑由双方的专家一起研究，一起署名，在版权上或在费用上适当给对方比较优惠的条件，目的只有一个，就是将博大精深的中华文物展现给世人。

林巧羚

香港教育学院（香港）

Wandering in and beyond Chinese Jade: A Research on the Sonnenschein Collection at the Art Institute of Chicago

The year of invaluable working experience at the Art Institute of Chicago (AIC) offered me opportunities of participating in daily curatorial works, and close studies of the museum Chinese jade collection. In this presentation, I will briefly discuss my recent survey on Chinese glass plaques – one of the researches that I conceived and developed by studying the Edward and Louise B. Sonnenschein archaic Chinese jades Collection during the year at the AIC.

Most discussions about early Chinese glass to date have explored issues of origin and studied this material as an indication of China’s contacts with outside civilizations. This research, however, attempts to focus on the different subject of these glass plaques. By juxtaposing the AIC’s glass plaques with other collections’ pieces and those found from excavations, this study will explore the original function of the plaques, and in addition, review the long-standing perception that ancient Chinese glass (particularly in burial context) served as less precious simulations of those of jade.

杨说

香港中文大学（香港）

谈更新克里夫兰美术馆中国绘画资料经验

更新中国绘画网上资料是我在克里夫兰美术馆的主要工作。此专案旨在改善现有网上图文资料，促进公众对馆藏中国绘画之兴趣与认识。所更新之五百馀件作品，资料甚丰，由是可窥是藏之历史与特色，以及中国绘画藏品资料电子化之得失。

Colin MACKENZIE 马麟

纳尔逊阿特金斯艺术博物馆（美国）

Towards a Goal of Long-term Collaboration between Chinese and American Museums

Over the past two decades, numerous exhibitions of Chinese art have been presented at American museums large and small. With few exceptions, however, these collaborations have generally been stand-alone projects rather than long-term partnerships. This paper explores whether it may be possible in future to create longer-term relationships and what form these partnerships might take. It begins by reviewing the recent exhibition Masterpieces of Early Chinese Painting and Calligraphy in American Collections at the Shanghai Museum and considers how this exhibition could become a model for future exchanges. The paper then explores a broad range of possible collaborations, including exhibitions, conservation, scholarly research, and audience outreach.

第二节专题讨论 – 博物馆合作与资源共享

博物馆合作及资源共享这课题激发起与会者的兴趣，各人就国际合作出版、展览及资源分享进行了热烈讨论。有学者建议西方博物馆与亚洲学者合作进行研究及出版，同时亦可设立网上图像分享平台，促进研究机会。透过网络平台，博物馆可上载艺术品图像，并建构网上资料库，推动艺术品的研究。

国际展览合作方面，与会者认为由於中西方博物馆策划展览时间的差异，艺术品运输保险费用高昂，以及中国文物交流中心等组织的严谨政策等，令东西方博物馆合办展览遇到一定困难。

Nancy BERLINER 白玲安

波士顿美术博物馆（美国）

Reaching the All Audiences: Education, Outreach and Programming at the Museum of Fine Arts Boston and at Yin Yu Tang at the Peabody Essex Museum

Currently Curator of Chinese Art at the Museum of Fine Arts in Boston, and formerly Curator of Chinese Art at the Peabody Essex Museum in Salem, Massachusetts, Nancy Berliner will give an introduction to the collections and missions of each of these two museums – including a discussion of the role of the Yin Yu Tang house project at the Peabody Essex Museum. Berliner spearheaded the re-location, re-erection and the curating of this 18th century house from Anhui Province which is now installed as it appeared when it was last occupied in the 1980’s. Presentations about the two museums will focus on the interaction between the curatorial departments and the education, programming and interpretation departments at each museum. These departments and sub-departments each have their own specific roles in the museum, and their own approaches and missions in reaching out to the many distinct communities that the museums serve. Effective museum experiences rely on the expertise of individuals from all of these departments working together to ensure all audiences (adults and children, specialists and general interest groups) enjoy and learn from their museum experiences.

李建毛

湖南省博物馆（中国）

博物馆馆员在教育中的作用 – 以湖南省博物馆为例

对於作为教育场所的博物馆，公众往往更为关注藏品数量及品质、陈列展览、参观人数、可提供的教育项目等显性因素，而往往不甚瞭解联繫沟通藏品与公众之间的隐性因素–博物馆馆员。儘管教育功能与生俱来，但博物馆曾一度被看做是精英文化的代表，馆员们当中除了专门从事教育工作或公众服务的成员，更多的是为教育提供宏观的指导或主题意义的选择，均较少的通过陈列展览与公众产生直接的联繫。随著时代的衍进，社会思潮的变化，特别是博物馆社会角色和功能的发展，博物馆不再是居高临下的教导者，而是传播者与引导者。教育的内容和意义不再仅仅由博物馆研究人员所主导，更加入了熟悉藏品的保管人员，善於诠释藏品的专职教育人员，瞭解公众需要的公共关係人员以及嫺熟当代各种科技发展与媒体创新的展示设计人员，辅之以藏品展示过程中所必须的开放管理、安防、行政人员，由他们形成一个「博物馆馆员」团队，明确职权，使得博物馆藏品和展示得以平衡的照顾到博物馆专业和公众的需要，在博物馆「大教育」的背景下中产生积极的作用。报告将结合湖南省博物馆近年来的工作发展情况与陈列展览实例，探讨博物馆馆员的身份界定与职权划分，表述博物馆馆员在教育中的协作及效果，阐述博物馆馆员综合素养水準对教育成效的影响，分析博物馆教育物件针对馆员在教育中的作用的回馈与评估。以期对博物馆馆员在教育中的重要作用列出證据并作出说明，对博物馆教育的未来发展提供「馆员」人力资源支撑的实例借鉴。

沈晨

皇家安大略博物馆 (加拿大)

新世纪博物馆馆藏学术研究的转型问题与思考

21世纪以来，公众对博物馆藏品研究及展示的兴趣骤变，随之而来的是对博物馆提供更多公众项目、展厅互动和社交网路互动的期待和要求。如今，众多博物馆开始重新检视自身的办馆总旨，并通过策略性的改变来重新定义和解释这一类面向公众的学术文化机构。在这次报告中，我将通过集中讨论藏品研究和藏品管理方面的改变，扼要地介绍皇家安大略博物馆现正施行的一系列策略性改变。皇家安大略博物馆是一所包涵众多学科的研究型博物馆。作为加拿大最大的世界性博物馆，它研究并收藏涵盖世界各地的文化和自然历史。然而，博物馆的学术研究部门面临的挑战基於这样一个事实，即公众对博物馆研究人员的前沿性研究成果知之甚少，而正因如此，公众对博物馆展出的藏品的独特历史内涵无法进行更深入的瞭解，遑论那些博物馆库房中另外90％的收藏品。皇家安大略博物馆新推八个「发现研究中心」（Centres of Discoveries），旨在强调基於博物馆藏品的研究，在公众项目和教育方面鼓励积极的参与和互动。随著博物馆展览中移动设备和社交网路技术的应用日渐频繁，我们需要自问：甚麽是博物馆研究馆员积极的职责所在？在多元的博物馆拓展专案中，研究人员如何能同时保持自身的研究兴趣、研究品质、学术自由和学术尊严？在当今日益面向公众开放的博物馆中，藏品研究的转型并非意味著馆员必须为了迎合公众的趣味而抛弃或转变其擅长的研究兴趣和才能。相反，只要能在与社会变迁之时事与问题的相关性情境中呈现研究人员的学术研究，那麽，受到全球範围内学界认可的基於博物馆藏品的研究必将享有更深远的声誉。最终，恰恰是藏品研究和馆藏文物将博物馆转型为一个极富创造性的重要目的地（destination），而这一场所同时又是参观、学习和教育过程中不可或缺的指向性环节，使得公众能够藉此瞭解和认识当前瞬息万变的自然世界和文化世界。

Shelagh VAINKER 马熙乐

阿什莫林艺术与考古博物馆（英国）

Curators and Outreach: Recent Experience in the Ashmolean Museum

This presentation will look at the importance of educational and outreach programmes in the Ashmolean Museum. The development of educational activities for all ages was a key factor in securing a major grant from the UK Heritage Lottery Fund for the 2006-9 redevelopment of the Ashmolean, and remains a priority. Since 2012 new programmes have also been introduced to increase the use of the collections in teaching throughout the university.

In addition, it will include an account of outreach activities relating to the Chinese collections over the last nine months, with particular reference to projects during my J S Lee Fellowship at the Capital museum. The Fellowship greatly enriched two museum exhibition projects as well as affording opportunities for me to take part in outreach activities at museums and galleries in Beijing. The presentation will conclude with an introduction to the innovative use of technology in the Ashmolean’s current main exhibition Xu Bing: Landscape Landscript (28 February – 19 May).

Julia WHITE 白珠丽

加利福尼亚大学柏克莱美术馆与太平洋电影资料库（美国）

大学在艺术教育中所扮演的角色

Institutional Direction
The Berkeley Art Museum and Pacific Film Archive is the fine arts center on the University of California, Berkeley campus. With a broad collection of historic and contemporary arts, as well as film from around the world, the museum plays a central role in the arts education of the campus and the community.

A recent strategic plan initiative at the museum led to some conclusions about its role in arts education:

• A core value of the museum is the belief that art and film contribute powerfully to learning and that we must strive to fulfill this educational potential for diverse audiences.

• We believe that art and film should play a central role in the learning experience of every Cal student, especially undergraduates.

• We know that exposure to the arts increases cultural awareness, develops sense of self, improves cognitive capacities, and fosters greater sociability, all of which contribute to improved classroom learning in diverse disciplines.

Curators’ Role
The Curators’ role within the University museum setting is not unlike that in city, county or private museums; we are the creative voice of the institution through initiation of original exhibitions, as well as development of collections and programs. In gallery printed labels and interpretative content rests solely with the curator. Collaboration with the Education department is essential to the development of relevant programs and we serve as the “expert” voice on selection of outside speakers and interpretive programs.

The tight bond between the university and the museum creates opportunities for curators to be directly involved with the academic community. A few of these include formal roles in classroom teaching (guest lecturers), participation in campus wide initiatives (Townsend Fellows), gallery talks (student docent training and alumni groups), and student mentoring and internships for post-graduate and graduate students in the arts (Mellon, J.S. Lee, W.T. Chan, ACHIEVE, PFA Film Curating Internship).

Our curators also serve as supervisors for work-study students whose long-term academic and professional interest may or may not be in the arts, but whose family’s financial situation allows for on-campus employment. The program introduces undergraduates to the arts in a very direct way and opens the door to life-long involvement in the arts. Examples of student projects include work in conservation, collections management, and art and film research.

As the museum prepares to move to a new site in downtown Berkeley new initiatives for enhanced community learning have begun including programs for teens, K-12 in-gallery interactive exhibitions, art-making classes, and greater exchange between artists and community. Live programming of dance, performance, and music are new programs involving guest curators from specific disciplines. The size and scope of the museum as well as its long-standing commitment to higher education encourages experimentation in all facets of our programing.

第三节专题讨论 – 启发与创新：博物馆馆员在教育及推广活动中的任务

本节讨论的博物馆教育活动具有两个共同原素︰趣味性及与观众的关联性。结合教育原素於博物馆展览规划中已成为趋势，博物馆教育亦不再局限为教育部门的工作。关注观众的需要为展览策划带来以艺术为主导，抑或以观众为主导的考虑。与会者认为艺术品或展品仍然是展览的基础，但如何平衡观众的需要将值得继续探讨。

除了是探索、启迪及学习的场地外，博物馆亦是世界艺术品及文物的守护者。它其中一项使命，是透过研究来获取及传播知识。因此，在考虑策划博物馆学术研究及教育时，对艺术品及观众的关注缺一不可。

在探讨加强中西博物馆合作方面，增加彼此的深入了解将至为重要。特别在筹办国际展览，财务运作、展览模式，以至展览内容，均应就不同展览地点及场地进行讨论及调整。与会者亦建议设立长期的博物馆馆员交流计划，促进双方的了解，令合作关係持之以恒。

林业强

香港中文大学文物馆（香港）

万寿贡珍：康熙青花缸新考察

The Vase

• A monumental blue and white vase with ten thousand shou-characters in the collection of the Art Museum, The Chinese University of Hong Kong
• Acquired in South Kensington, London in 1951-2
• Various opinions – export piece, non-imperial, even Vietnamese
• Early 1980’s: Importance of the piece recognized

Preliminary Studies

• Counting, calligraphy style, variations of the shou characters
• Prototypes – Ming Jiajing vases and other Kangxi shou vases and brushpots
• Emperor’s Birthday: Wan Shou Jie 万寿节
• The Kangxi Emperor: his reign: 1662-1722, 61 years, longest in history of China
• Emperor’s birthday on 18th day, 3rd month of every year
• Probably presented in 1713, 52th year, 60th birthday

2011 New Discoveries

• Acquisition of a ‘birth certificate’ in June, 2011 from an auction in Beijing:
  A blue and white brushpot with a prose-poem, Wanshou Zun Fu 万寿尊赋
  And related new findings

张子宁

旧金山亚洲艺术博物馆（美国）

Calligraphy, Painting, and Seal: An Initial Survey of the Permanent Collections of the Asian Art Museum of San Francisco

My talk presents an important group of paintings, in the permanent collections of the Asian Art Museum, San Francisco, by painters who were active in Nanjing in the 17th century China. Landscape paintings by Gong Xian (龚贤 1618 – 1689), Fan Qi (樊圻 1611 –？), Zou Zhe (邹? act. 1640s – 1670s), and Ye Xin (叶欣 act. 1640s – 1670s) of the Eight Masters of Jinling 金陵八家 and those by Xiao Yuncong (萧云从 1596 – 1673), Cheng Sui (程邃 1607 –1692), Kuncan (髡残1612 – 1673), and Cha Shibiao (查士标 1615 – 1697) will also be presented. Unusual landscapes by Xiao Yuncong, Fan Qi, Ye Xin, and Cheng Sui will be included in further discussions, with a focus on the painting “My Teacher Cheng Yuanji by Cheng Sui”.

An undated fan by the Anhui painter Xiao Yuncong could be an early work from the early 1640s when he spent years in retreat at the Qixia Temple in Nanjing before the fall of Ming dynasty, an early, perhaps the earliest, landscape handscroll by Fan Qi dated 1645, and another rare large hanging scroll by Ye Xin are all little known works of interest to scholars and students alike in the field of Chinese painting. More discussion will be devoted to Cheng Sui’s My Teacher Cheng Yuanji, which is stylistically related to that of Kuncan, on which an interesting seal by Cha Shibiao appears on the join between the painting and the long inscription above reveals a close circle, who were Ming loyalists such as Ji Yingzhong (纪映锺1609 – 1681) and Zhou Liaoxu (周蓼卹) in addition to Cheng and Cha, active in Nanjing in the early Qing dynasty.

Finally, a brief note on the painting Bamboo, Rock, and Cymbidium by the modern scholar, diplomat, and artist Ye Gongchao (叶公超 1904 – 1981), who was better known as George Ye. The landscape elements of rocks and waterfall were actually added by another younger painter Fan Po-Hung (范伯洪 1937 – 1988). Ye and Fan co-painted many works in the 1970s and most of which bear only Yeh’s signature and seals, a little known fact in the history of modern Chinese painting.

许晓东

故宫博物院（中国）

A Reconsideration of Several Jades in The Palace Museum Collection

This presentation introduces five jades at The Palace Museum in Beijing. They are all from the Qing imperial family collection and were suggested as Tang or Ming pieces, but never published so far, maybe due to the fact that no one is quite sure about their unusual shapes, dates and places of origins. When and where were they made? This presentation suggests other possibilities while taking the opportunity to ask for more suggestions and advice from all the participants of this conference.

木下弘美

波士顿美术博物馆（美国）

Material Study and Dating of Inlaid Mother-of-Pearl Lacquers

Chinese lacquer in the MFA is not as well-researched or published as other areas of its collection. In my presentation, I will give a brief survey of some of our less well-known lacquers and discuss recent material studies carried out on a group of mother-of-pearl inlaid lacquers.

The majority of the MFA’s collection is made up of later Qing mother-of-pearl inlaid lacquers. Associated with poorer quality workmanship and export wares, Qing mother-of-pearl inlaid lacquers have never been as popular or seriously studied as lacquer from the earlier periods. Researching the collection has revealed several interesting things. One is that some pieces, originally catalogued as Chinese, may in fact be from the Ryukyu Islands (Okinawa). The remaining group of dishes and boxes, which number 180, appear to have been used by the middle and upper class as everyday utensils. The pieces are fascinating to study as they encompass many different subject matters – famous landmarks, poems and idioms – and also vary in the quality of their workmanship. Furthermore, examining the elemental composition of metal foil inlay has revealed much about later mother-of-pearl inlaid lacquer process and also clarified certain techniques.

Dating these lacquers is challenging. Usually, dating is reliant upon stylistic analysis and comparisons with similar designs on other contemporary media including woodblock prints, paintings, porcelains, and textiles. The MFA has a presentation box with a cyclical date with designs and motifs that also appear on other smaller pieces. If a date for this box can be established using Carbon-14 or radiocarbon dating, then it may be used as a yardstick in which to date other pieces. As the box was made less than 300 years ago, obtaining a deterministic date is impossible, however, preliminary analysis shows that it is most likely to have been made in 1668 or 1788.

凌利中

上海博物馆（中国）

上博藏王原祁、董其昌作品研究的启示

王原祁（1642－1715）《题画稿墨蹟》册发现後，对近百年来学界所熟知的《麓台题画稿》、《王司农书画录》二书予以重新审视，得出如下结论：上述诸本中，《司农本》内容最为齐全，共收214则，其中第1则的标题为《墨蹟册》所无，而第31则、33则、34则为诸书皆无收；但该书存在诸多脱漏误识，以及标题小注遗漏甚多且未忠实於原著等问题。《麓臺本》内容虽不全（共收56则），脱漏字亦夥，但该书将源於《墨蹟册》全本的《前刻本》中为诸书所无的另外48则画论予以刊刻存世，且著录方式较之《司农本》更忠实於原著，其重要性不言而喻。而《墨蹟册》共收画论32则，是王原祁题画稿部分原著墨蹟，其中的24则画论为《麓臺本》无收，并可替代《司农本》，另外8则画论可校正《麓臺本》之舛误，第25则为诸本所无；且该册较之《司农本》之辗转编辑，对王原祁??画论的确切内容、形成过程、书法风格、画论贡献的研究之价值和意义，尤显重要而弥足珍贵。且对《墨蹟册》、《麓臺本》、《司农本》与传世尚能获观的作品四者关係的梳理，在鉴定王原祁作品真伪时是不无启示的。本案的介绍，是博物馆藏品研究，对促进中国美术史得以进一步深入研究的佳例。

刘明倩

维多利亚与艾尔伯特博物馆（英国）

款彩屏风仔细看

There are two Coromandel screens in the V&A. It would be incorrect to call them new discoveries. Afterall they are large objects, not something that got tucked away in a corner and forgotten by curators. Yet it is exactly their large size that makes them difficult to study close-up.

Both screens were acquired by the V&A in the 19th century. This one was bought in 1885, from the well-known Paris dealer Siegfried Bing (1838 – 1905). The Museum paid an enormous sum for it – ￡1000. I went through all the purchases of the same year. There were only two objects more expensive, and they came from the Fountaine collection which was supposed to be very famous. I did not have time to check records further back, but I would not be at all surprised if that sum was the highest paid for a Chinese object since 1852. Then, for some unknown reasons the Museum bought another screen four years later, at the still very expensive price of ￡700.

The Far Eastern gallery came into existence only in 1952, where the two screens were displayed at the far end of the gallery. The problem with screens is we usually just see the front but not the back. Also anything above eye level tends to escape the viewer’s attention. Photographs are not much help either. Because the screens are heavy and difficult to handle they were photographed in the early 20th century and not again until the 1980s. The photographer did take a few shots of the back, but the height of the screen made it impossible for the details of the design to show up clearly on the photos.

Then in 2000 one of the screens was chosen to be displayed in the British Galleries. Conservators set it up in the tapestry gallery and new photography was taken – that’s why there is part of a tapestry behind the screen. Thanks to modern technology the curator can now examine all the details from her own computer screen. The first thing I noticed is the attempt to reproduce the calligraphy of renowned scholars. They come in different scripts, with names attached to them such as Tang Yin and Chen Jiru. The combination of poetry and picture reminds me of the ink cake books such as the Fangshi mopu 方氏墨谱 and Chengshi moyuan 程氏墨苑. The individual patterns on the borders, known generally as bogu 博古patterns, also have their parallels in the ink cake books.

Yang Ming 杨明, one of the authors of Xiu shi lu 髹饰录, describes the kuancai technique as ‘the design engraved in intaglio, like that of a printing block’ 阴刻文图，如打本之印版. Looking at the details of the screen I would say that not only is the technique similar to woodblock cutting, but the overall design was probably inspired by illustrated books of the day. A great deal of labour would have been required in the production. The selling price, even for a country with no shortage of labour, would have been high. Consequently, old screens in Europe were not discarded but were turned into some other form of furniture. The boy servant on the side panel of this chest has part of his head chopped off – a clear sign of the recycling of wood.

My colleagues in the European departments often asked me where in China were Coromandel screens made. So far I have not been able to answer with certainty. In view of the similarity between woodblock and kuancai lacquer I am inclined to say Huizhou, also known as Xin-an. Huizhou was a major centre for printing and publishing in Ming and early Qing times. It was also the hometown of Huang Cheng 黄成, one of the two authors of Xiu shi lu and himself a lacquerer.

Most Coromandel screens are dated to Kangxi. We know some were intended for Chinese customers and some were sold to Europe. Some screens bear long inscriptions, usually celebrating the birthday of a state official, for example the one now in the Asian Art Museum, San Francisco, with a date of Kangxi 9th year, equivalent to 1670. Of those sold to Europe the best documented examples are three screens used as wall panelling, installed in the Palace of the Frisian stadholders in Leeuwarden in about 1694, and moved to the Rijksmuseum, Amsterdam in 1880.

Sarah Medlam, my colleague in the European Furniture Section, has done a survey of European furniture that incorporates Coromandel lacquer. Her survey reveals that the Coromandel screens were not used as a free-standing screen in 17th century Europe. They were either used to line walls – as panelling, or the individual panels were cut up to decorate cabinets. Some European furniture can be dated quite precisely, because an invoice exists, or an inventory, or some other records. This cabinet from Ham House was made in circa 1675. You can see the right door is made of two pieces of wood, not one. Some scholars think it results from an old screen being re-used. But in the 1670s newly made Coromandel screens were still arriving in Europe so the cabinet-maker did not necessarily have to use recycled screens.

Thus it would seem logical to assume that the screens made for export would have an undecorated back. I cannot imagine a European merchant spending money unnecessarily on a screen with decoration on both sides, when all he needed was the decoration on the front. However, the majority of Coromandel screens, including those with inscriptions, and those with beautiful calligraphies on the back, are in western collections today. The Zhongguo qiqi quanji, published in 1995, features only one kuancai screen, now in the Anhui Museum.

It seems China stopped making Coromandel screens after the Kangxi period, but in Europe the use of Coromandel lacquer continued into the 1780s. That probably was the reason why more Coromandel screens ended up in the West than in China today. We do not have time to look into that half of the story now. What I would like to hear is that there are other kuancai lacquer pieces in Chinese collections that I don’t know about. It is through information sharing that we can gain a better understanding of this remarkable product which is unique to China.

Elinor PEARLSTEIN 潘思婷

芝加哥艺术学院（美国）

Drafting New Biographies of Ancient Jades

Ancient Chinese jades, like many other antiquities, are silent repositories of information about their age, provenance, function, context, and at the deepest level, the mindset of their craftsmen and patrons. Reconstructing the lives of these jades-from their creation to collection-is an ongoing challenge of archaeologists, scientists, curators, and collectors alike. All are critically dependent on archaeological data and on archaeological interpretations of that data.

The jades seen here represent a small number of the almost 650 Neolithic and Bronze Age jades bequeathed to The Art Institute of Chicago in 1950. All had been collected by Edward Sonnenschein and his wife Louise between 1915 and Edward’s death in late 1935. Those two decades bridged the transition from antiquarian studies-epitomized in Chicago by Berthold Laufer and in China by his mentor, Wu Dacheng- to archaeology, when speculations of date and burial context had yet to be corroborated by many well-documented finds outside Anyang. Today, we face the daunting need to gather, absorb, synthesize, and interpret a floodtide of evidence-intact assemblages as well as chance finds-whose provenance may or may not be known or reliably recorded. The Sonnenschein’s frequently published demonic plaque exemplifies a type for which new discoveries associated with the Shijiahe culture continue to pose new questions as they clarify others. Jenny So has carefully illuminated issues surrounding this site, and I will not attempt to summarize them here. Instead, I sincerely thank the Lee Foundation for bringing her former student Eileen Lam to Chicago. Eileen has focused on other jades for which we have scattered clues but few in-depth stylistic and archaeological studies. Insights on the first two forms described here are hers.

Long before the profusion of archaeological reports, many of the most elegant jades in the Sonnenschein and other Western collections-particularly the perforated examples among them-had been identified as components of stunning pendant sets. Finds datable from the Western Zhou through Western Han dynasties increasingly reveal that the original visual impact of individual pendants such as a pair of arc- shaped pieces derived from their combination in larger assemblages. But the form, placement, and function of trapezoidal plaques perforated above and below had confounded scholars until about 1990, when discoveries in north and central China revealed similar forms that were found together with colorful beads of materials including agate, jade, and faience that had been strung together so as to splay out from both edges. Such pendant sets discovered in situ and on the very few remains identifiable by sex suggest that women may have worn them over or near their shoulders. A more curious example from Pingdingshan incorporates so-called “handle- shaped” jades of a type now recognized in very diverse forms that span roughly one thousand years, from the 18th through 8th centuries BCE. Some of the most intriguing of these so-called “handles” bear inscriptions in crimson red that suggest their ritual use; others have been found together with bits of turquoise and jade that appear to have been inlaid into a perishable and yet unknown material. Indicative of their analytical curiosity, the Sonnenscheins- who purported no scholarly expertise but are said to have perceived their jade room as a “laboratory”-collected thirty-two such handles for which intact finds may someday offer substantial insights. Meanwhile, we are always reminded that isolated reconstructions need be critically considered in any attempt to visualize a jade in its original burial context.

Turning from comparative research to close physical examination, recent Art Institute studies focused on types of surface alteration and on and our means to determine and describe them. One study focused on conspicuous remains of organic materials on several jades clearly analogous to Bronze Age finds in both the Sonnenschein collection and the Sackler collection in Washington DC. This study aimed to describe and develop a visual vocabulary for types of surface alteration that incorporate vestiges of textiles-that is, to distinguish and classify remnant images or “impressions” from textile “ghosts” or pseudomorphs-the latter a phenomenon in which minerals from the burial environment replace and duplicate biodeteriorated fibers. When possible, we also attempted to identify the nature of those fibers. The particular twist in the weave visible on the tip of one blade in the Art Institute, for example, identifies it as the ghost of a silk fabric that had been created by reeling rather than spinning. This study was a collaborative project between the Art Institute’s conservation scientist Francesca Casadio, the Freer-Sackler’s geologist Janet Douglas, curators in the Art Institute’s Asian and Textile departments, and chemists at Northwestern University.

Another collaborative study including these three institutions, as well as Jing Zhijun, a geologist at the University of British Columbia, focused on a Sonnenschein piece that is neither Chinese nor jade, but has been incorporated in studies of both. Although it was then already owned by the Sonnenscheins, Osvald Siren initially published this kneeling figure in 1943 as belonging to private collection in Peking. As seen here in three views, the figure’s hands are bound behind him with two rounds of thick rope. His hair is sharply parted down the middle, and a long double braid runs down his back. His face is defined by raised eyebrows, high cheekbones, an incised mouth, and large pierced ears. This sculpture had no known counterpart until 1984, when roughly similar but larger pieces datable to the late second millennium BCE were first unearthed in and near Chengdu, Sichuan-discoveries with which many here are undoubtedly familiar. At least twelve of these figures discovered since 2001 at the remarkable site of Jinsha in Chengdu are virtually identical in scale and style to the Sonnenscheins.’ But whereas the Jinsha figures are carved of roughly textured stones-serpentinite and tremolite-some of which bear traces of pigment-the Sonnenschein piece is cholorite, and distinguished by a plain and unusually dark, glossy surface. The primary goal of this study was to shed light on the nature of that surface.

The figure’s mineral composition and structure were determined by non-destructive technologies-most notably, x-ray diffraction, which to the uninformed like me looks like dental surgery. Following up on a proposal by Wen Guang of the Institute of Geology in Beijing that the figure may have been heated, samples of chlorite were then burned at incrementally high temperatures; that at 600 degrees centigrade producing a distinctively deep black. This explained the color but not the smooth, shiny texture. Further studies proved that this piece had been impregnated with Japan wax, a byproduct of lacquer that was first developed in the mid-19th century. Together, these features led us to speculate that a craftsmen likely made the Sonnenschein figure near or at Jinsha workshop but sourced his stone from a different site than that of the Jinsha figures revealed thus far, that the figure had been burned (possibly during a ritual ceremony), and that a later dealer or collector-perhaps attempting to disguise the surface damage or simply enhance the figure’s texture-coated it with Japan wax. Burning, polishing and impregnation with waxes would have combined to darken and smooth the figure’s surface. Here, close visual examination, scientific analysis, and archaeological research combined to enhance our understanding of a fascinating and hitherto enigmatic work of art.

锺妙芬

克里夫兰艺术博物馆（美国）

Contemporary Challenges: The Cleveland Experience

A general discussion of how The Cleveland Museum of Art as an encyclopedic museum — which collects and exhibits works of art across cultures and time — approaches the field of contemporary Chinese art, especially with the museum expansion project that presents an exceptional opportunity for looking to the future. The discussion focuses on establishing links between the past and the present as well as collaboration of professionals across disciplines. It addresses the implications of the new development on our museum practice (e.g. displaying the collection, curator’s role, art collecting, and exhibition programs). Finally, the presentation stresses a simultaneous need to promote modern Chinese art, especially here in the West, as the newly hot contemporary Chinese art scene calls for a broad and deep understanding of China’s modern art, without which the sight of unfolding historical processes will be lost.

罗伯特· 毛瑞

哈佛大学艺术博物馆（美国）

Contemporary Chinese Ink Paintings at the Harvard Art Museums: Exhibitions and Collections

This presentation is not a research report. Rather, it is a simple statement of what types of contemporary Chinese art are collected and exhibited at the Harvard Art Museums. The presentation will touch on the following points:

• Types of contemporary Chinese paintings that are collected:
  Ink paintings; artists represented include Liu Dan, Li Huayi, Li Xubai, Liu Guosong, Li Junyi, Chen Qikuan, Xia Yifu, Michael Cherney (aka Qiu Mai), among others
• Where presented
  Asian permanent-collection galleries, alongside traditional, or classical, Chinese art
• Collecting strategy; relationship of contemporary ink paintings to other categories of Chinese art collected
• Special exhibitions organized
  The New Chinese Landscape: Recent Acquisitions
  Arthur M. Sackler Museum, Harvard, 12 August – 12 November 2006

  A Tradition Redefined: Modern and Contemporary Chinese Ink Paintings from the Chu-tsing Li Collection, 1950-2000
  Arthur M. Sackler Museum, Harvard, 3 November 2007 – 27 January 2008
  Phoenix Art Museum, Phoenix, AZ, 7 July – 14 September 2008
  Norton Museum of Art, West Palm Beach, FL, 11 October 2008 – 4 January 2009
  Spencer Museum of Art, University of Kansas, Lawrence, KS, 11 February – 24 May 2009

• Relationship of contemporary Chinese ink paintings to the permanent collection, whose strengths include:
  Archaic Bronze Ritual Vessels, Shang – Han
  Ancient Chinese Jades, Neolithic – Han
  Chinese Buddhist Sculpture, Northern Wei – Tang
  Chinese Ceramics, Neolithic – Ming
• Relationship of contemporary Chinese ink paintings to the permanent collection, whose weaknesses include:
  Classical Chinese paintings (though the collection includes several excellent classical Chinese paintings, the overall collection is weak) Qing-dynasty decorative arts (ceramics, lacquer, glass, etc.)
  Chinese furniture, period rooms and architectural settings, scholar’s studio installation, etc.
• Challenges:
  Other Chinese contemporary arts: International-style art, Pop-style art, Post-Modernist
  Relationship of Chinese contemporary art to European and American contemporary art

嵇若昕

国立故宫博物院（台湾）

陈设档案中的国立故宫博物院藏品举隅

从2009年底开始至2010年上半年，承「利荣森纪念交流计画」赞助，於北京故宫博物院（以下简称「北京故宫」）进行为期五个月的考察与研究，主要是对於国立故宫博物院（以下简称「台北故宫」）的藏品溯源。

北京故宫图书馆所藏内廷陈设档案有数百种，居停期间就台北故宫藏品内容与个人研究偏好，查阅了近百种的陈设档，最早的有康熙三十三年（1694）正月建立的《（坤宁宫）陈设帐》，最晚的是宣统十六年（民国十三年，1924）八月（农曆）建立的《王、罗大人提出古铜册》，同年阳曆十一月五日末代皇帝溥仪就被请出宫了。

除了收购与接受捐赠的新增文物外，台北故宫藏品主要承继原（北平）故宫博物院与原（南京）国立中央博物院筹备处的文物，後者有一大部分是原来贮存於渖阳奉天行宫与承德热河行宫的文物，前者则是原来收藏在清朝宫廷内院的文物。前者也是台北故宫收藏品的主要来源，几占院藏品的九成。因此，北京故宫所保管的清代内廷陈设档案中所列文物，有不少目前贮存於台北故宫。藉由这些陈设档案，可进一步瞭解台北故宫藏品贮存於清宫的情形，本文仅举二例论述，即康熙朝玻璃胎画珐瑯牡丹蓝地胆瓶（故瓷17588）与养心殿後殿竹丝小格百式件（故杂1284）。清代中後期至（北平）故宫博物院成立之初，前者贮存於乾清宫的库房-端凝殿，後者则陈设於清世宗雍正皇帝及以後诸帝的寝宫-养心殿。

从北京故宫现存六本乾清宫库收珐瑯器陈设档案可知，康熙朝玻璃胎画珐瑯牡丹蓝地胆瓶是清朝唯一一件收贮在乾清宫库房-端凝殿的康熙朝玻璃胎珐瑯器，或即意味著清帝认为它是康熙朝玻璃胎画珐瑯製作工艺的最高成就。

因为养心殿长期做为清帝的寝宫，皇帝居停於紫禁城内时，置身养心殿的时间最多，遂处处可见供皇帝几暇怡情的百什件。其中「清 竹丝缠枝番莲多宝格圆盒」外型相对轻巧又多变，可呈圆筒形，可呈一字形屏风式，又可呈正方柱体！拉开小抽屉，或见小画卷，或见小册页，还有可360°转动的立柱形屉格。一一比对内贮文物可知，「清 竹丝缠枝番莲多宝格圆盒」就是陈设档所指称的「竹丝小格百式件」，清季收存於养心殿。在现存廿六种养心殿百什件陈设档册中，仅《养心殿後殿竹丝小格百式件》的封面黄签显示出其於道光十九年建立档册时陈设於养心殿後殿，後却移置於东暖阁，显示出其与众不同的地位！

陈丽碧

香港中文大学（香港）

中国玉器的西方内容，从两个例子说起

陈丽碧，首届「利荣森纪念交流计划」访问学人之一，去年曾到美国华盛顿 Smithsonian Institution Freer Gallery of Art and Arthur M. Sackler Gallery作为期一年的展览策划与博士後访问学人。是次报告题为 “中国玉器的西方内容，从两个例子说起（Chinese Jades in the Western Context: Two Case Studies）”。报告的第一部份，陈氏介绍了她曾参与的两个计划 ── Freer Gallery of Art的中国玉器与青铜器展厅的重新佈展，她所提供的专业中国早期玉器知识，以及展览的灵感来源。第二部分，陈氏探讨一件造型特殊、被认为是中国玉器的小玉瓶。据她分析，此小型玉瓶具强烈的波斯容器特色，造型比例上却与波斯容器存在差异，应和後来的壁厚圆圈足的中亚回部玉器风格有近似之处。她推测其造型应来自十至十二世纪期间，波斯地区流行的金属或玻璃製容器造型；然而，产地应位於丝绸之路的东西交汇点 ── 盛产玉器的崑崙地区。

雷勇

故宫博物院（中国）

Was Malachite the Most Popular Green Pigment?

Based on an investigation of recent pigment analyses of many dated caves and murals, as well as some historical records and scripts in China, the most popular green pigment for wall painting and architecture might be copper trihydroxychlorides since North Dynasty (386-581 CE) until late Qing Dynasty (1840 -1911 CE), rather than malachite. Furthermore, the synthetic technology of making bronze corrosion artificially probably began to dominate the green pigments supply in Five Dynasties (907-960 CE) or Song Dynasty (960-1279 CE).

It is well known that Blue and Green Landscape Painting (“Qing Lv Shan Shui” in Chinese) is one of the dominant Chinese landscape painting trends. It illustrates the important roles that blue and green pigments play in Chinese arts. It is also well accepted among normal Chinese artists that the most popular traditional green and blue pigments in China are malachite and azurite.

However, based on recent Chinese mural and architectural painting analytical research, copper trihydroxychlorides (Cu2(OH)3Cl) might have played a more important role than malachite in Chinese paintings. However, this research doesn’t cover Chinese painting scroll due to the difficulties of nondestructive analytical requirement.

Some Chinese historical scripts might document copper trihydroxychloride. “Salt green” or “green salt” (“Yan Lv” or “Lv Yan”in Chinese) was mentioned in both the Weishu and Suishu as one of local products of Qiuci or Persian Capital.

Based on the documents above, the imported “green salt” or “Salt green” in China might be mineral copper trihydroxychlorides. The assumption matches a recent geological discovery of some copper trihydroxychlorides both in Shanshan and Qiuci.

Some scripts of Tang Dynasty (618-907) found in Turfan mentioned the prices of both Malachite and copper green (Tong Lv in Chinese). If copper green was synthetic copper trihydroxychlorides, it should be easier and cheaper to obtain than mineral malachite. But the much cheaper price of malachite in Turfan scripts provided contradictory evidence. Then, the “copper green” here should be the rare mineral copper trihydroxychloride, which had a higher price than malachite.

Wang Jinyu and Li Zuixiong’s research in Duhuang and Yulin Grottos suggested the copper trihydroxychlorides were the most popular green pigment before the Five Dynasties or Song Dynasty. Furthermore, malachite sometimes was always found together with it. The copper trihydroxychlorides and malachite can exist together in nature geologically. Therefore, mineral copper trihydroxychlorides was the most popular green pigment from the Northern Dynasty to the Five Dynasties.

It is very interesting that the most popular green pigment in Dunhuang and Yulin Grottoes was pure copper trihydroxychlorides without malachite since the Five Dynasties or Song Dynasty. This evidence indicates that the synthetic technology of copper trihydroxychlorides began to be popular since the Five Dynasties.

There are several documents mentioning the recipes of making copper green, especially in the Song and Yuan Dynasties.

For example, the recipe in Song Dynasty: Firstly, vinegar added with sodium chloride was heated on a fire for a long time; secondly, the hot vinegar was poured onto copper boards in a big copper pot; thirdly, some green powder was peeled off from the boards after 4 hours. Then repeat those steps.

Based on David Scott’s research, we know the final product of those recipes is copper trihydroxychlorides rather than copper acetate, especially since the treatments of heating prevented making copper acetate.

Research on a wall painting of the Yuan Dyansty (1206-1368 AD) in the Nelson-Atkins Museum of Arts has shown that the most widely used original green pigment was copper trihydroxychlorides. Another achievement of this research is that it also found tin in the green pigment, which might be derived from tin bronze.

Similar unpublished research was done by conservation microscopist, Inge Fiedler. She found minor to trace amounts of both tin and lead in the green pigment of a polychrome seated Guanyin (11-13th century) in the Art Institute of Chicago.

Another large mural painting of the Yuan Dynasty, Seven Buddha Sermon Illustrations, is now preserved in The Palace Museum, Beijing. By Polarizing Microscope (PLM), I found green and spherical Cu2(OH)3Cl particles with dark spots in the centre, which are one proof of artificially making.

In addition, an unpublished research on another large mural painting of the Yuan Dynasty preserved in the Royal Ontario Museum also found copper trihydroxychlorides, but without synthetic or natural identification. In addition, the similar murals preserved in Metropolitan Museum of Art, University of Pennsylvania Museum of Archaeology and Anthropology didn’t receive any pigment analyses.

I was involved in a mural painting research of several Ming Dynasty (1368-1644 AD) temples in Yong Deng, Gansu Provence. Most of the green pigments particles were found to be spherical with dark spots in the centre, which is a proof of synthetic making, too. Similar evidence was also found on architectural paintings in The Palace Museum, Beijing.

In summary, based on a number of artifact analyses and historical scripts, for Chinese mural and architectural painting, the most popular green pigment may be copper trihydroxychlorides rather than malachite since the Northern Dynasty until late Qing Dynasty. Then synthetic technology probably began to dominate green pigments production in the Five Dynasties or Song Dynasty. Bronze might be more popular than pure copper when synthesizing copper trihydroxychlorides. Therefore, the green pigments supply for historical Chinese mural making was supported by the synthetic technology of copper trihydroxychlorides in a great deal rather than the mineral malachite’s exploration.

刘凤霞

香港公营博物馆（香港）

大英博物馆藏中国外销画研究

Lau has been conducting research on Chinese export art for years and she has once been the curator of the Historical Pictures collection of the Hong Kong Museum of Art. Meanwhile, she is a J. S. Lee Memorial Fellow at The British Museum and is studying the Museum’s collection of Chinese export paintings. Lau’s research focuses on the idea of “Trade-port culture” of the South China area during the 18th and 19th C and with a special emphasis on Canton (present-day Guangzhou). Canton was a “great and popular city” in the western’s eyes and the most prosperous Chinese city for foreign trade. Playing the role as the gateway to China during the past hundreds of years, Canton had been contributing to imperial China to enter the modern era. Chinese export art objects were brought back to Europe and the US by the western merchants and seamen who did China trade business. Chinese export art was a unique art genre – produced in large quantities mainly in Canton of China during the heyday of China trade, could only be seen in the western world now, seldom mentioned by the Chinese art history… Nevertheless, many invaluable and untold information have been enclosed in these paintings. These visual records may help us understand more in-depth of the past. Lau will make use of several themed albums of The British Museum, with cross reference to the contemporary English and Chinese texts, to show you her findings and views.

朱赛虹

故宫博物院（中国）

迁台清宫善本初识

这是「利荣森纪念交流计划（2010/211）」资助项目之一，由於正处於实施之中（2011年4月26日 – 10月26日），因此只能汇报前半段调研工作。

陈述分为三部分：第一部分介绍清宫藏书背景，包括文献种类、功用，在清宫的收藏状况，故宫博物院图书馆成立後的典藏沿革，以及目前清宫藏书在海内外图书馆的分佈状况；第二部分介绍迁台善本的数量、文献种类和特色，如北京故宫所没有的「天禄琳瑯」、「宛委别藏」、写经等宋、元、明本，清代乾隆时期两大精写本丛书《四库全书》、《四库全书荟要》等；第三部分结合本人的研究兴趣，精选了上述难得一见的国宝级文物或重要文物中的少量影像，如清蓝线绣本《无量寿佛百福莊严绣相颂》、黑线缂丝本《佛说阿弥陀经》等，展示它们在图绘、装潢材质、纹饰或工艺等方面的成就，这些内容往往在文献记载中极少或付阙；结合《真禅内印顿證虚凝法界金刚智经》等善本的著录实例，说明所进行的基础性的资讯调研工作，有助於确定版本时代、责任者、装潢时间、递藏源流等。两岸故宫所开展的不同研究也有著相得益彰的作用，这些对於日後「拼碎成全」等研究工作至关重要。

婷娜•玛拉比妮

大英博物馆（英国）

Studying Conservation of Chinese Heritage Paintings: Placement at the Shanghai Museum

The extraordinary experience of working in direct contact with probably last generation of highly trained masters in the conservation of Chinese paintings national heritage at the Shanghai Museum; the description of the hard training that is necessary in order to reach the mastership and the unique opportunity to be transferred the authenticity of this century-long knowledge in the purpose of looking after the preservation of Chinese paintings collection held in Western Museums following the respect of the same tradition. This is the inauguration of international collaboration between institutions in the care of important treasures.

韦其志

佛利尔美术馆及赛克勒美术馆，史密森尼学会（美国）

Lessons from the Xiangtangshan Project

I would like to speak about our current special exhibition “Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan”. It will be closing in Washington on Sunday July 31 and moving on to Dallas and then San Diego. The show has gotten a lot of attention lately (Wall Street Journal review and an upcoming piece of the PBS Newshour, etc.). There are many interesting aspects to this project including:

• The significance of a monographic, site-specific exhibition dedicated to a place in China that doesn’t include any Chinese loans
• The integration of art and technology, including the “Digital Cave,” a large, immersive video installation in the middle of the show
• The structure and design of a show with 4 very different checklists depending on the venue
• The need to confront issues of object removal (in the early 20th century) and current concern for cultural patrimony and repatriation

姚进莊

西雅图美术馆（美国）

Celebrating Chine e Painting and Calligraphy at SAM—An Exhibition without Labels

In summer 2013, the Seattle Asian Art Museum will devote three galleries to feature 18 Chinese painting and calligraphy works, and the exhibition will have minimum labels. Visitors will be directed to the computers in the galleries to find out more information about the works through the newly launched online catalogue, which is sponsored by the J. Paul Getty Foundation. The presentation will feature the prototype of the online catalogue, and emphasize its interactive aspect, so that the voice of the users will be given more prominence. To facilitate online discussion, each entry includes the section ‘Questions for Experts/Researchers’, and I conclude the presentation with one such question on a Shitao painting in SAM, which bears a possible Bada Shanren seal.

沈辰

皇家安大略博物馆 (加拿大)

Exhibiting Archaeology: Ancient Artworks in Context

Many artworks were preserved and recovered from archaeological sites and burials of ancient time. Therefore, archaeological context and historical information of ancient arts to be displayed in museum galleries are always challenged by design installations and visual impacts on visitor experiences. This talk introduces the recent exhibition “Warrior Emperor and China’s Terracotta Army” at the Royal Ontario Museum and the Montreal Museum of Fine Art in Canada. The two museums take different approaches to exhibiting one of the greatest archaeological discoveries from China. The successful venues demonstrate both historic perspective and visual design / media are equally important in exhibiting ancient artworks in a cultural context.

James WATT 屈志仁

大都会艺术博物馆（美国）

博古与考古

屈志仁教授先就中国收藏历史作出介绍，他提到收藏家早在宋代出现，他们收藏文物的目的，一方面为研究，另一方面为赏玩。元、明两代，中国艺术发展出雅俗观念，认为工匠艺术庸俗，文人艺术高雅，它也成为了收藏家的审美观。至清代乾嘉时期，金石学家收藏书画、文物作学术研究之用，再次强调收藏与研究均同样重要。

发展至现代，我们可以把中国收藏与博物馆归纳为三类：第一类是近代金石学家和书画收藏家的私人收藏；第二类是宫廷收藏，即故宫旧藏，这类藏品主要反映乾隆的个人爱好；第三类是地方博物馆，主要靠考古出土文物为藏品。

同时，现代博物馆面对两个主要问题。首先，现在大部分博物馆与考古分开。考古成为了一门独立的学科，辅以人类学、社会学等学科理论来诠释，但却与历史、典章、名物制度及艺术等研究文物学科脱节。另一方面，艺术史学者只重视和钻研理论，忽视研究博物馆收藏的重要性。面对考古学家及艺术史学家的忽视，甚至批评与挑战，博物馆应如何面对?

陈克伦

上海博物馆（中国）

亦师亦友︰博物馆与收藏家

上海博物馆（「上博」）创立初期，收藏家除了作为主要捐赠者，亦担任博物馆的重要顾问。九十年代上博筹建新馆，是博物馆成长发展的关键时刻，私人收藏家无论在文物捐赠、资金赞助上均提供了极大帮助，因此上博与收藏家的关係更加密切。陈副馆长介绍多位与上博有深厚渊源的收藏家，如胡惠春、刘体智、谭敬、杜维善、吴湖帆、庞莱臣、潘达予、李荫轩、刘靖基、顾公雄、华笃安、施嘉幹等，让大家了解上博与这些收藏家之间的互信互助、亦师亦友的关係。上博一直努力维繫与收藏家和他们家人这份一辈子的情谊，而这些均是让上博成为藏品质量首屈一指的博物馆的关键所在。