無論你是充滿好奇心的遊客，或是藝術歷史學者，無論你是希望探尋中國文化的博物館管理人員，還是中國藝術的愛好者，都不容錯過本書。這本由三位英美作者撰寫、中國博物館協會編寫的手冊，收錄有我國近200家博物館，以地道的英文，海量精彩圖片，引領讀者跨越古今，感受令人心醉神迷的中國歷史、藝術與文化。
基本介紹
- 書名：中國博物館導覽
- 作者：米里亞姆·克利福德 (Miriam Clifford) 凱西·詹格蘭德 (Cathy Giangrande)
- 出版社：譯林出版社
- 頁數：400頁
- 開本：32
- 品牌：江蘇譯林
- 外文名：Chinese Museums Association Guide
- 類型：人文社科
- 出版日期：2013年8月1日
- 語種：英語, 簡體中文
- ISBN：9787544740593
基本介紹,內容簡介,作者簡介,圖書目錄,文摘,
基本介紹
內容簡介
國外考古學家、藝術史學家、博物館學家眼中的中國博物館。
《中國博物館指南(英文版)》(作者米里亞姆·克利福德、凱西·詹格蘭德、安東尼·懷特)囊括中國216家博物館，按地區、省、市劃分，使用方便。
中國百家博物館傾力合作。近千幅精美圖片。
獨特新穎，收錄易被忽視的博物館，介紹博物館必看展品。
特意標註適合兒童參觀的博物館。
《中國博物館指南(英文版)》(作者米里亞姆·克利福德、凱西·詹格蘭德、安東尼·懷特)囊括中國216家博物館，按地區、省、市劃分，使用方便。
中國百家博物館傾力合作。近千幅精美圖片。
獨特新穎，收錄易被忽視的博物館，介紹博物館必看展品。
特意標註適合兒童參觀的博物館。
作者簡介
米里亞姆·克利福德先後就讀於紐約大學和倫敦大學，拿到考古學位，之後在香港和北京一共生活了14年。作為一位攝影家與圖片記者，她的名字經常出現在《南華早報》、《洛杉磯時報》、《紐約時報》等報刊上。凱西·詹格蘭德是位藝術史學家與考古學者，曾在多家博物館就職，還親歷過美國與歐洲的水下考古。她的著作涉及博物館、歷史、考古諸多題材。安東尼·懷特身兼藝術史學家與出版人雙重角色。過去二十幾年一直從事與中國藝術相關的工作，著作有《紫禁城：簡史及導覽》等。
圖書目錄
Section1: Beijing and the North
Section2: The Northeast
Section3: Shanghai and the East China
Section4: The Yangtze
Section5: The South
Section6: The Silk Road and the Northwest
Section7: Tibet
Section8: Hong Kong, Macao, Taiwan
Section2: The Northeast
Section3: Shanghai and the East China
Section4: The Yangtze
Section5: The South
Section6: The Silk Road and the Northwest
Section7: Tibet
Section8: Hong Kong, Macao, Taiwan
文摘
Introduction
This book, edited by the Chinese Museums Association (CMA), is based on China:Museums published in 2009. All the museums included are related to the CMA, so anumber of the original entries have been deleted, while others have been added.
Since our first edition, China’s museum building explosion has continued. In 2008, the official count was 2,310 and by 2012 had increased to over 3,000 with about 100 newmuseums being built annually. This official count excludes private museums, new art centres and vibrant districts and villages dedicated to contemporary art and culture.
Beginning in the Republican Period and accelerating after 1949, China established a system of national, provincial and city museums. New museums of world-class quality were opened, such as those in Nanjing and Shanghai.
Unlike in the West, these museums collected, almost exclusively, Chinese art and artefacts. This is still the case, in large part, but the situation is evolving, as Chinese audiences are exposed to more travelling exhibitions from the finest museums in the world and as galleries and individuals begin to collect from other cultures as well as their own.
Out-of-date exhibition practices are quickly disappearing from Chinese museums and being replaced with more modern displays which are attracting large numbers of people. Additionally, the Chinese government has made all state museums and memorials (except ancient architecture and site museums) free of charge. The number of buildings undergoing renovation and modernization, as well as the construction of compelling and innovative new structures, is staggering. Every day, new private collections and government-sponsored museums open their doors.
The key national and provincial museums, e.g. the Capital Museum in Beijing and the Shaanxi History Museum in Xi’an, present their displays historically. Every province has its own museum dedicated to the history and culture of that region. Exhibitions are didactic in nature, showing the development of Chinese history through its art, neatly compartmentalized by dynasty or material. Over time, these museums have also acquired newly excavated treasures in the wave of stunning archaeological finds after 1949. From this period as well, a fervent pride in the new state and its institutions emerged, leading to the founding of institutions such as the Military Museum in Beijing and the Naval Museum in Qingdao. Is the government’s purpose to use the artefacts in these venues to highlight the creation of China as a unified centralized state, in addition to showing their aesthetic value? Foreign visitors are often left with this impression. The emphasis on viewing objects with an eye to history rather than for its own sake can be seen in the common practice among Chinese museums of exhibiting copies of originals – and not always thus marked. This can occur even in a so-called ‘Treasure Room’, where a copy or cast is lovingly displayed as the real thing; it is not necessarily meant as a deception, rather the object itself may be deemed too valuable to risk exposure. This situation is likely to change with the creation of more modern museums, with ever better methods of conservation and tighter security.
Archaeological sites are now some of the most exciting art destinations in China, as new museums are built in situ and excavation pits are opened to the public – a trend that began with the Terracotta Warriors. Although, traditionally, the best finds went to the provincial museum or to Beijing, site museums are now able to start displaying their treasures in newly built, state-of-the-art galleries located at the excavation site. Great exhibitions of Chinese art are now being shown in the West, but, if able, do see the original collections in situ. No travelling exhibition can give more than a vestigial understanding of the impact of the Terracotta Warriors amassed in their burial pit the size of an aircraft hangar; or of the alternating intimacy and grandeur of the Forbidden City; or of the radiant magic of the great ancient bronze collection in Shanghai.
It is intended that the selection and presentation of museums will contribute to the quality of a visit to China and to the beginning of an enhanced understanding of Chinese art, culture, society and history.
Miriam Clifford, Cathy Giangrande, Antony White
This book, edited by the Chinese Museums Association (CMA), is based on China:Museums published in 2009. All the museums included are related to the CMA, so anumber of the original entries have been deleted, while others have been added.
Since our first edition, China’s museum building explosion has continued. In 2008, the official count was 2,310 and by 2012 had increased to over 3,000 with about 100 newmuseums being built annually. This official count excludes private museums, new art centres and vibrant districts and villages dedicated to contemporary art and culture.
Beginning in the Republican Period and accelerating after 1949, China established a system of national, provincial and city museums. New museums of world-class quality were opened, such as those in Nanjing and Shanghai.
Unlike in the West, these museums collected, almost exclusively, Chinese art and artefacts. This is still the case, in large part, but the situation is evolving, as Chinese audiences are exposed to more travelling exhibitions from the finest museums in the world and as galleries and individuals begin to collect from other cultures as well as their own.
Out-of-date exhibition practices are quickly disappearing from Chinese museums and being replaced with more modern displays which are attracting large numbers of people. Additionally, the Chinese government has made all state museums and memorials (except ancient architecture and site museums) free of charge. The number of buildings undergoing renovation and modernization, as well as the construction of compelling and innovative new structures, is staggering. Every day, new private collections and government-sponsored museums open their doors.
The key national and provincial museums, e.g. the Capital Museum in Beijing and the Shaanxi History Museum in Xi’an, present their displays historically. Every province has its own museum dedicated to the history and culture of that region. Exhibitions are didactic in nature, showing the development of Chinese history through its art, neatly compartmentalized by dynasty or material. Over time, these museums have also acquired newly excavated treasures in the wave of stunning archaeological finds after 1949. From this period as well, a fervent pride in the new state and its institutions emerged, leading to the founding of institutions such as the Military Museum in Beijing and the Naval Museum in Qingdao. Is the government’s purpose to use the artefacts in these venues to highlight the creation of China as a unified centralized state, in addition to showing their aesthetic value? Foreign visitors are often left with this impression. The emphasis on viewing objects with an eye to history rather than for its own sake can be seen in the common practice among Chinese museums of exhibiting copies of originals – and not always thus marked. This can occur even in a so-called ‘Treasure Room’, where a copy or cast is lovingly displayed as the real thing; it is not necessarily meant as a deception, rather the object itself may be deemed too valuable to risk exposure. This situation is likely to change with the creation of more modern museums, with ever better methods of conservation and tighter security.
Archaeological sites are now some of the most exciting art destinations in China, as new museums are built in situ and excavation pits are opened to the public – a trend that began with the Terracotta Warriors. Although, traditionally, the best finds went to the provincial museum or to Beijing, site museums are now able to start displaying their treasures in newly built, state-of-the-art galleries located at the excavation site. Great exhibitions of Chinese art are now being shown in the West, but, if able, do see the original collections in situ. No travelling exhibition can give more than a vestigial understanding of the impact of the Terracotta Warriors amassed in their burial pit the size of an aircraft hangar; or of the alternating intimacy and grandeur of the Forbidden City; or of the radiant magic of the great ancient bronze collection in Shanghai.
It is intended that the selection and presentation of museums will contribute to the quality of a visit to China and to the beginning of an enhanced understanding of Chinese art, culture, society and history.
Miriam Clifford, Cathy Giangrande, Antony White
