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阿里波娃·塞娅 《自然科学博物馆研究》2018,(1):51-54
哈萨克斯坦共和国国家博物馆是中亚地区最年轻、规模最大的博物馆。本文介绍了该馆的基本情况,并详细介绍了该馆的古代与中世纪历史展厅、历史展厅、民族志展厅、黄金大厅等重点展厅展示的历史文化遗产以及创新的展示技术等。 相似文献
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1978年夏,湖北省考古工作者在随州市郊擂鼓墩发掘了一座战国早期曾国国君的墓葬——曾侯乙墓。共出土礼器、乐器、兵器、车马器、金玉服饰、漆木用具以及竹简等各种文物一万余件。当时为了满足各方面的要求,便把部分珍贵文物在湖北省博物馆突击陈列展出。但随着时间的推移,展出场地、陈列形式和展览设备均日益陈旧。前年,该馆用款13万元,在不影响展出的情况下历时一年,将1100多平方米的展厅和700多件重 相似文献
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近年来，新晃档案馆在投入80万元强化硬件建设的同时，在档案的收集、整理和编研上不断创特色，谋突破。目前该馆有馆藏档案5万余卷，其中民国档案2235卷。特别是一批红军长征途径新晃的史料和实物犹为珍贵。该馆还征集有侗族特色档案，编写了《夜郎史话》、《侗民族资料》，并举办夜郎文件展厅，展示神秘悠远的古夜郎侗文化、稻作文化、巫傩文化和竹文化。 相似文献
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伽伯·西萨巴 《自然科学博物馆研究》2018,(1):40-43
匈牙利自然历史博物馆是世界上最早的自然历史博物馆之一,具有独特的传统并在社会中发挥着决定性的文化作用。馆内收藏有丰富的植物学、动物学、人类学、古生物学和地质学的藏品、原生型标本以及藏书,为世界各地研究人员的研究活动提供收藏品和设施。该馆每年举办的展览吸引观众约30万人次,组织近500场教育活动,受众达到了44000人。该馆意识到博物馆当前所面临的挑战与机遇,积极应对诸如气候变化、生物多样性危机、新发传染病、生物入侵等全球性问题,在探索与相关政府部门以及其他科学组织和机构合作方式过程中发挥主导作用。 相似文献
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内蒙古博物馆是一座综合性的博物馆。自一九八一年以来,该馆展出了古生物与古人类、历史、民族、革命文物等四个基本陈列。这四个基本陈列,既可以独立展出,又可以组成一个有机整体。从年代上看,上限可到十八亿年前的太古代早期,下限可至中华人民共和国成立。它是内蒙古从古到今的一个缩影。对不了解内蒙古的过去和现在的人,它是一个进行生动历史唯物主义教育的课堂;对于生活在自治区的各族人民,它对人们认识和了解自治区悠久的历史、灿烂的文化,激发热爱祖国,热爱家乡的热情,是 相似文献
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我国55个少数民族人口超过1亿,几乎所有县市都有两个以上民族共同居住。民族区域自治地方占国土面积的64%。135个边境县有107个在民族地区,边境2100多万人口中近一半是少数民族。由于自然和历史原因,少数民族经济和文化发展水平相对落后。 相似文献
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Trina Evarts Bowman 《Curator: The Museum Journal》2003,46(2):158-181
In December 1924, the Wallace Nutting Collection of Early American Furniture and Household Implements came to the Wadsworth Atheneum for exhibition. One of the nation's finest assemblies of seventeenth‐ and eighteenth‐century furnishings, it instantly provided the Atheneum with the objects necessary for a new series of Americana galleries. This article analyzes the initial installation of the collection and its place in museum history. The installation, which struck a balance between pure aesthetic display and historical reconstruction, reinforced the idealized notions of the Colonial Revival. The article concludes with a discussion of the dismantling of the original installation in the mid‐1930s and the Atheneum's transition from the period‐room format to “masterworks” galleries. 相似文献
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芦萱 《自然科学博物馆研究》2021,(2):82-86
鲍里斯·帕夫洛维奇·雅科夫列夫是俄国鸟类学家,曾在黑龙江的东省文物研究会所属陈列馆及天津北疆博物院从事自然史研究及博物馆管理等工作。他卓有成效的工作,不仅为后世科学家提供了珍贵的研究成果,更促进了中西文化的交流互鉴。雅科夫列夫在中国早期两座博物馆中的工作成就及研究成果,使科学与文化研究跨越了国界,得以更长久地发展。本文分别以雅科夫列夫在东省文物研究会所属陈列馆和北疆博物院工作的情形,阐释这位科学家为世界自然科学领域做出的努力与贡献。 相似文献
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Monique Scott 《Curator: The Museum Journal》2005,48(1):74-89
This article explores the question of how transnational audiences experience anthropology exhibitions in particular, and the natural history museum overall. Of interest are the ways in which natural history museums reconcile anthropological notions of humanity's shared evolutionary history—in particular, African origins accounts—with visitors' complex cultural identities. Through case studies of British, American, and Kenyan museum audiences, this research probed the cultural preconceptions that museum visitors bring to the museum and use to interpret their evolutionary heritage. The research took special notice of audiences of African descent, and their experiences in origins exhibitions and the natural history museums that house them. The article aims to draw connections between natural history museums and the dynamic ways in which museum visitors make meaning. As museums play an increasing role in the transnational homogenization of cultures, human origins exhibitions are increasingly challenged to communicate an evolutionary prehistory that we collectively share, while validating the cultural histories that make us unique. 相似文献
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Eilean Hooper‐Greenhill 《Curator: The Museum Journal》2004,47(4):428-449
Abstract During 1999–2002, the British government invested £3 million (roughly $5.5 million) in an unprecedented set of initiatives that explored the potential of museums and galleries for educating students in novel and compelling ways. The Museums and Galleries Education Program (Phase 1), or MGEP1, consisted of 65 projects linking schools and museums of all kinds. Projects took many forms and were spread across England, reaching students between the ages of 5 and 16. They also enlisted the talents and energies of creative professionals, such as artists and media producers, and involved parents, community members, and museum workers. This paper describes MGEP1, gives a “before and after” picture of museums and education in England, and assesses the program's impact. Learning outcomes for pupils and teachers are discussed, and the importance for museum education policy and practice is outlined. 相似文献
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以参观博物馆的4~7岁儿童为测试对象,探查他们对博物馆动物剥制标本的认知。结果发现,4~7岁儿童可对动物剥制标本做出有生命或无生命、自然物或人造物两个层面的判断区分。进一步细分,儿童对动物标本现状的认知可分为真的自然物、假的人造物、真的生命体和假的非生命体四种类型。儿童对标本生物属性和真实属性理解的正确率均随年龄的增长而提高。年龄对儿童的认知具有显著性的影响。随着年龄的增长,儿童逐渐接近和达到成人的认知水平,即可认识到博物馆中陈列的动物剥制标本代表真实的自然物,能够体现自然界中真实存在生物的科学信息。 相似文献
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数字展示技术提高了博物馆的传播效果,但是其多样化也给技术人员带来了选择的困难。本文对世界知名博物馆、展览馆和设计公司使用的线上线下展示技术进行了调研与归纳,对其传播效果进行了分析,并通过电话访问等方式进行了价格咨询,根据传播效果、应用范围、实施的空间与经济成本等因素,对技术的采用提出了建议,分为推荐使用、根据预算情况使用、谨慎使用三个大类,为博物馆进行技术选择提供参考。 相似文献
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Jeanette Clarkin‐Phillips Margaret Carr Rebecca Thomas Maiangi Waitai Joanne Lowe 《Curator: The Museum Journal》2013,56(4):407-420
Studies exploring very young children visiting museums and art galleries are few. The majority of research about museum and gallery visitors explores family group interactions. This paper examines the findings of a study involving three‐ and four‐year‐old children visiting an art exhibition in a national museum on more than one occasion. The children's construction of knowledge about being a museum visitor and exhibitor indicates their ability to develop an appreciation of art and an understanding of the purposes of museums and art galleries. 相似文献
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Alan R. Emery 《Curator: The Museum Journal》2001,44(1):69-82
Abstract This article describes a process initiated in 1983, at the Canadian Museum of Nature (CMN), which was based on the premise that a responsible natural history museum should assist society in shaping its collective future. The museum predicted that if it were able to help people understand themselves and their relationship to the natural world, the museum would again be seen as valuable to society, and thus would be supported in its efforts. The CMN therefore began to integrate its collections, scholarship, discovery, public programming, and public exhibits into broad, institution‐wide programs focused on the needs and interests of society. These programs enabled the museum to engage its visitors in “guided conversations” in which the museum provided the content, drawing on the research and communication strengths of the museum, while the audience, representing society, set the context. This guided conversation empowered the public to make informed decisions and to influence the museum and its work. CMN also designed exhibit formats that allowed the visiting public to contact industry and government decision‐makers with their opinions. The article describes the museum's evolution through several stages of increasing internal and external integration, ultimately using a managerial matrix to form project teams, with discipline‐based professionals focused on the interests and needs of society. Drawing on audience participation, the CMN reset its programming and offered advice and counsel to government and industry. The museum also took the first steps to include the traditional knowledge of indigenous peoples as an additional source of wisdom about the natural world. Financial and other support grew rapidly, effectively demonstrating a successful programmatic feedback loop helping society to shape its future using the museum as an information source and communication tool. The effort was terminated before the integration was completed, but nonetheless, CMN demonstrated that is possible to achieve a programmatic feedback loop that includes collections, science, exhibits, the general public and both government and industry decision‐makers. 相似文献
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Richard Ellis 《Curator: The Museum Journal》1997,40(1):30-55
Models of the giant squid (Architeuthis spp.) are probably unique in natural history exhibition: they are representations of a giant living animal that has never been seen in a healthy state by a human being. Since its discovery in the mid-nineteenth century, the giant squid has remained one of the world's great zoological mysteries. In the attempt to introduce this fabulous creature, museums around the world have resorted to life-sized models. Yale teuthologist A.E. Verrill was responsible for the first such models in 1882; then Ward's Natural Science Establishment in Rochester, New York, manufactured and sold them. In this century, various museums (and one zoo) have made their own models of these ten-armed monsters of the deep. Their disparate attempts to re-create Architeuthis for the museum public represent one of the most intriguing case histories in the annals of museum exhibition. 相似文献
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汪筱林 《自然科学博物馆研究》2021,(6):38-44
古生物遗址博物馆是非常重要的一类自然博物馆,能够真实地记录地球重大的生命演化事件。我国目前建立了很多以古生物为主题的国家地质公园,在其重要的化石地点建设了各具特色的遗址博物馆,对化石及其遗址的保护起到了积极的作用,但是还存在不少问题,包括化石的自然风化和有效保护等等。如何建设一个能展示地球生命辉煌历史、进行科普教育,又能有效地保护这些重大生命事件的化石记录的遗址博物馆,是目前面临的严峻挑战。 相似文献