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1.
对西文古籍的收藏、整理及保护等情况进行调查,是保护西文古籍的第一步。在分析国内外1985至2014年间31个文献保护与修复相关调查的范围、内容及各级指标的基础上,拟定调查指标并依之设计调查问卷,从可能藏有西文古籍的中国大陆及港澳地区四种类型71家图书馆中选择40家发放问卷进行调查。根据15份有效问卷,论文分析了古籍及善本的界定、收藏与整理、管理、保护与修复及需求等西文古籍保护现状,指出目前相关工作仍处于起步阶段,西文馆藏家底不清,更进一步的保护和修复基本未曾展开;根据当前情况以及需求,建议为推动西文古籍保护事业,首先应从古籍普查和通过高等教育培养人才这两项工作开始。 相似文献
2.
以上海中医药大学图书馆为例,介绍古籍修复工作过程中存在的问题,从破损古籍普查、古籍档案建设、古籍修复对象选择、修复工作的开展方式等方面规划未来图书馆古籍修复工作。 相似文献
3.
吕晓芳周岳李长红张艳霞 《大学图书馆学报》2023,(5):69-74
古籍修复的主要目的在于保障古籍合理利用。针对紧急利用的轻度破损古籍开展现场应急修复能够为古籍利用提供助力。文章基于北京大学图书馆相关实践,总结了订线残断、书叶破损、书皮残破等常见破损问题在现场应急修复场景下的处理措施,并在此基础上讨论了从完善修复基础保障、规范修复业务流程、健全馆藏修复体系三个方面为现场应急修复高效运转提供全方位管理保障。 相似文献
4.
古籍修复工作中的知识管理 总被引：2，自引：0，他引：2
分析了古籍修复工作中的知识构成,提出构建融合古籍修复档案管理和工作流管理的集成系统,并打造知识共享平台,从而在古籍修复工作中实现知识管理,以提高工作效率。 相似文献
5.
古籍修复是一项涉及各类知识的综合性的系统性的工作。在古籍修复的过程中,选配修补书叶用的纸张是一个非常重要的环节。本文对修复用纸实物库建设及数字化管理进行了实践及探讨 相似文献
6.
浅谈古籍修复的科学化管理 总被引：3，自引：0，他引：3
古籍修复是我国传统的手工行业 ,长期师徒相授 ,不太重视经验的总结和提升。本文从“古籍修复管理系统”的设计入手 ,从规范记录、分解工作程序、实施权限管理、完善图书馆业务管理体系、促进古籍修复标准化规范化、实现资源共享等方面探讨该系统设计应遵循的科学管理理念 ,力求使该系统成为科学管理的平台 ,成为古籍修复由经验修复向科学修复转化的助推器。图1。参考文献 5。 相似文献
7.
林红状 《大学图书情报学刊》2013,(6):45-48
古籍修复档案是修复实践活动的具体过程与本来面貌的真实记录和反映,有着丰富的内涵构成,具有科学研究、规范管理和古籍整理的价值属性,基于价值属性构建的古籍修复档案,对于建立古籍修复研究教育机制、转变修复工作管理模式和推动古籍整理都具有重要的意义. 相似文献
8.
[目的 /意义]历史修复遗存是古籍的组成部分,是新的古籍修复周期处理的对象,研究古籍历史修复遗存不仅能丰富古籍修复技术,更能提高古籍修复质量.[方法/过程]分别运用归纳法和案例法研究古籍历史修复遗存的形式及处理措施.[结果/结论]古籍历史修复遗存形式包括修复材料、修复方法及其印记等.古籍历史修复遗存处理应依据具体情况分... 相似文献
9.
图书馆古籍修复之刍议 总被引：3，自引：0，他引：3
林崇煌 《浙江高校图书情报工作》2001,(4):60-64
在图书馆的古籍保护工作中，古籍修复占据着十分重要的地位。作为一种相当专深但又不可缺少的特殊技艺，其肩负着抢救珍贵古籍的重大使命。本文从如何挑选待修古籍、如何制定修复方案、如何选用修复方法、如何提高修复人员素质及技术水平这四个方面深入浅出地剖析了古籍修复的特点，简略地概述了古籍修复的一般流程，提出了目前所存在的问题，指明了今后应努力的方向。本文重点强调，修复人员素质的好坏及技术水平的高低是修复工作成败与否的关键，应引起特别注意。因为只有提高修复人员的素质和技术，才有可能将古籍修复工作做得更加出色、更加完善、才有可能抢修更多的珍贵古籍。 相似文献
10.
王燕萍 《图书馆研究与工作》2010,(1):70-70
12月15日,文化部公布首批12家“国家级古籍修复中心”名单,浙江图书馆、宁波天一阁博物馆名列其中。国家级古籍修复中心将承担本省及所在区域古籍破损情况定级、审定修复技术方案、破损古籍的修复和修复人才培训等,在古籍保护工作中发挥重要作用。 相似文献
11.
北京大学图书馆收藏约150万册古籍,藏量居中国第三、高校之首。但由于种种原因,馆藏古籍破损情况严重,不仅使这些国之瑰宝的传承受到威胁,而且使学校的教学、科研工作受到影响。作者结合工作实践,从典藏条件、经费问题、管理方法以及修复人员培养等方面,分析了造成馆藏古籍破损严重的原因和古籍修复工作所存在的问题,并提出了切合实际的解决办法。 相似文献
12.
《文物保护研究》2013,58(3):172-182
AbstractThis paper provides an understanding of an under-explored aspect of the sharing of conservation decisions. In particular, it argues that conservation decisions are inherently shared in at least three senses. First, conservation is conceived as a field of shared values, principles, and decision-making methodology, and aspires to a universally shared ethic. This view is supported by the logical and ethical consistency of existing Codes of Ethics, and is made manifest with the aid of a conceptual model of what science is. Second, conservation decisions are conditioned by the identity of heritage entities. The values comprising the heritage identity of an entity transcend space and time boundaries; they are interrelated and interdependent and, as such, shared. Third, the benefits but also the harms stemming from conservation decisions and actions are distributed and shared among all people for whom the object of a conservation decision is heritage. As dictated by the do-no-harm principle, conservators have a duty to consider risks of such harms when making decisions. 相似文献
13.
In fine arts, contemporary artists seek to showcase their artistic skills and concepts. There is very little awareness by most artists on the quality of materials they use in art production and the conservation needs of contemporary artworks which pose conservation challenges as materials used and the physical quality of artworks produced are secondary to what the artists seek to express. Of prime interest to them is the expression of concepts through various genres of art creation. However, the quality of material used by most artists is largely affected by their financial situation and inadequate knowledge on the durability of such materials. Artworks created using recycled materials such as found objects and cheap materials like poor quality paint on paintings, low grade paper in artworks, or poor quality wood present conservation challenges to professionals in galleries. The end product are artworks made from composite materials, some stable and unstable. Thus professionals are faced with a dilemma to reconcile the conservation needs of these artworks and the artists’ expression of their concepts. Moreover, in the absence of remedial conservation measures, artworks are prone to deterioration. This is worsened by dwindling donor and government funding which negatively impacts on the gallery's capacity to conserve the art. Additionally, conceptual expression, artistic creativity, and commercialisation of the art are of priority over conservation. Therefore there is need to maintain a balance between the need to express concepts and commercialise the art on one hand and to conserve the contemporary artworks on the other hand. 相似文献
14.
节能环保在图书馆建设中不能仅仅注重理论上的能耗,而更应体现人文精神的追求和拓展,本文从图书馆选址、设计和自然资源利用方法等方面的论述和分析,提出了图书馆建设节能环保的一些建议及具体措施,解决了图书馆建设节能环保所面临的实际问题。 相似文献
15.
Marie-Claude Corbeil 《文物保护研究》2015,60(6):32-38
Key messages to conservation institutions were drafted during the ICCROM Forum 2013 on Conservation Science so they could, in turn, influence the profession. The first message is a general statement of the fact that conservation science is an essential part of conservation. The other messages provide guidance to conservation institutions so that they can achieve maximum impact. Conservation institutions should engage in research and development that anticipate issues, provide sustainable solutions and guidelines, and are conducted in a transdisciplinary way; share resources and expertise to be more efficient, increase access and reduce inequalities; and assume a leadership role, promote conservation, and ensure knowledge is made available. The key messages, five altogether, are reproduced in their entirety in this article, which provides further elaboration and development of each message as well as avenues for making positive changes in strategic areas. 相似文献
16.
In 1991, five segments of the Berlin Wall, first painted by renowned contemporary artists Thierry Noir and Kiddy Citny, were bought at auction, transported to the USA, and placed in an outdoor environment that severely advanced the deterioration of the painted surface and reinforced concrete substrate. This paper discusses aspects of the conservation treatment and management plan for these painted segments of the Berlin Wall. The strategy and criteria for the conservation program were defined by a multidisciplinary team that comprised conservators, concrete specialists, and engineers; the deliberations of this team also led to an appropriate treatment and management plan. The choice to intervene at a minimal level meant treatment was restricted to stabilization rather than restoration or reconstruction of deteriorated areas. Additionally, the team decided to reinstall the pieces indoors to reduce future deterioration. 相似文献
17.
Conserving ourselves: Embedding significance into conservation decision-making in graduate education
Ellen Pearlstein 《文物保护研究》2017,62(8):435-444
Graduate conservation students are well educated in many aspects of their work; however, it is difficult in the classroom to teach students how to base their conservation decisions on aspects of cultural significance. It is widely acknowledged that conservation decisions are not neutral, that they depend on cultural context and upon the predilections of the conservator and the owning individual or institution. Partnerships between community members and conservators have had a long history within conservation practices described as ‘ethnographic’, and such methods have arguably influenced working practices within other conservation specialties. A graduate conservation class is described in which students conserved important heritage items belonging to their classmates, in an environment where access to discoveries of significance were encouraged for their ability to inform preservation decisions. Cases are described that link decisions with specific values. 相似文献
18.
《文物保护研究》2013,58(5):291-305
AbstractThe possible meanings in conservation of the word authenticity are discussed and some different definitions are briefly evaluated. Recent research showing the brain reacts differently to the concepts of copy and authentic is reviewed. The relationship between cultural heritage charters and how authenticity has been employed in them is explored with examples from the Athen's Charter, The Venice Charter, The Nara Document, The San Antonio Declaration, and the UNESCO World Heritage Documents. Several examples are discussed in the text concerning the interactions between authenticity and restoration, employing the examples of ancient buildings and old master paintings. Some of the important writings on the subject of authenticity by scholars and art historians are reviewed. Criteria which could be used to evaluate the concept of authenticity in different cultural settings are discussed and these are illustrated with case studies taken from restoration carried out on ancient marble sculptures, the Sistine Chapel frescoes by Michelangelo, and the artwork of several prominent forgers. Given that concerns about the authenticity of art are multi-dimensional, it is important that the present fragmentation of the arguments concerning authenticity across the disciplines properly take into account the conservation field and are aware of the debates within conservation concerning this topic. The questioning of the relevance of authenticity is a healthy process, and may now be framed quite differently from the way in which it was discussed even 20 years ago. 相似文献
19.
Public visual spaces, populated by a blend of community murals, unauthorised street art, and historic painted mercantile signs, are often the mark of an urban environment that is both progressive and eclectic. Changes in the aesthetic and cultural value of these urban mural forms have led to an increase in the appreciation and, in some instances, promotion of their artistic merit and cultural significance as examples of public art. However, examining the significance of these works, with a view to implementing a conservation approach is problematic. This is due to a number of practical and theoretical considerations that are primarily a result of the ephemeral existence of urban murals outside conventional exhibition spaces, and issues associated with their often fragmented ownership and uncertain authorship. Consequently, larger thinking on the interpretation, conservation assessment, and advocacy for the conservation of urban murals are required. Key to defining and implementing such strategies is contextualising the public visual spaces that these murals occupy and, as part of this, the local and wider communities’ perception of these murals as culturally significant objects as well as fostering awareness and understanding of appropriate measures aimed at their conservation. This paper examines the role of citizen science, or crowd-sourcing, of local community members in establishing a conservation dialogue and generating conservation- relevant data on urban murals. It looks specifically at a project involving a collection of in situ historic painted mercantile signs — also known as ghost signs — in the City of Port Phillip, Melbourne, Australia. The project fostered the establishment of an informed and open dialogue between conservation specialists and participants from the local community on the significance of local ghost signs whilst transferring knowledge on conservation processes and assessment methods. Working directly with community members, a programme was designed in which conservation and community knowledge of these urban art forms, could be collected and exchanged across digital platforms. This enabled researchers to examine how citizen science can be utilised as a research tool as well as a means to advocate for the conservation of collections of urban murals. It created the opportunity to consider the role of non-specialists and shared authorities in the collection and collation of conservation- relevant data and how information generated from what we call citizen conservation projects, can inform the way in which conservators evaluate and prioritize the conservation of urban cultural heritage. The data gathered and interpreted proved to be the most effective means of ‘conserving’ these often ephemeral forms of cultural material. 相似文献
20.
林明 《图书馆工作与研究》2012,(3):71-74
浆糊是文献修复的重要材料。中国古代文献修复和装裱用浆糊多为小麦面粉添加若干添加物煮制或用开水冲制而成,本文依据古代文献内容对此问题加以探讨和研究,希望能对文献修复工作有所裨益。 相似文献