摘要
当博物馆要展出藏品的文化属性与观众的知识背景之间产生偏差,甚至发生矛盾时,策展团队常常会因人而异、因地制宜地讨论,以不同理解方式与阐释取向来解决这种文化差异的展览设计问题,尤其像本文中所举出的两项展览案例:一个是大都会艺术博物馆的“达芬奇的圣杰何梅展”(Leonardo da Vinci's St.&Jerome),艺术馆讨论达芬奇未完成作品的理论与技术;另一个加拿大科技博物馆的“达芬奇——五百年天才”(Leonardo da Vinci:500-Years-Genius),却是科学馆以现代科技来充实博物馆展览的教育性。虽然这两个博物馆都是为了达芬奇逝世500周年举办的纪念展,前例的展览只有一张画,后面的案例却完全是复制品,这种不同理解与阐释问题的讨论就变得十分必要,成为策展团队十分必要的设计过程。
When the cultural categories of exhibits and the background of knowledge of visitors aredifferent,sometimes there are contraditions.This is why exhibition design teams in museums with different missions have to gather and discuss a proper dimension of interpretation for their visitors in different ways of learning.For example,I have mentioned two cases in this article,both of them being in commemoration of Leonardo da Vinci.The first one is Leonardo da Vinci's St.Jerome at theMetropolitan Museum of Art and the other one is Leonardo da Vinci:500 Years of Genius at the Canada Science and Technology Museum,Ottawa.The Metropolitan Museum of Art has one unfinishedpainting by da Vinci,Saint Jerome Praying in the Wilderness,which can prove the theory of the making of his painting.However,the exhibition design team at the Canada Science and Technology Museum has used the newest science and technology to allow their visitors to understand da Vinci's technology as described in his Codices,and these seven Codices are the main exhibits of this exhibition.
作者
徐纯
XU Chun(Taiwan Association of Museum Professionals)
出处
《科学教育与博物馆》
2019年第5期385-393,共9页
Science Education and Museums
关键词
达芬奇
文艺复兴时代的艺术家
赞助者
展览评量
Leonardo da Vinci
artist in Renaissance Age
patron
exhibition evaluation
