Biao Hu was one of the eight famous traditional crafts in the late Qing dynasty.This skill involved decorating the interiors of ancient buildings such as ceilings,walls,and windows and creating burial objects.It was p...Biao Hu was one of the eight famous traditional crafts in the late Qing dynasty.This skill involved decorating the interiors of ancient buildings such as ceilings,walls,and windows and creating burial objects.It was primarily used for wooden buildings in northern China during the early Qing dynasty.For example,there is white-patterned wallpaper in the Forbidden City utilizing both traditional and nontraditional patterns.Moreover,there was wallpaper with a special pattern in the Lodge of the Bamboo Fragrance(Zhuxiang Guan).Its structure and composition were studied via morphological observations and spectral analyses,the pigments and dyes were analyzed by Raman spectroscopy and ultra-high performance liquid chromatography-mass spectrum(UPLC-MS).Traditional technology and exchanges between China and the West were discussed by the study of patterned wallpapers in other buildings of the Forbidden City.展开更多
The Palace Museum,built on the site of the Forbidden City in Beijing,has a collection of some 80,000 study objects,including writing brushes,ink sticks,ink slabs and paper.Many of them are high-quality ink sticks made...The Palace Museum,built on the site of the Forbidden City in Beijing,has a collection of some 80,000 study objects,including writing brushes,ink sticks,ink slabs and paper.Many of them are high-quality ink sticks made during the Ming and Qing dynasties(1368-1911).These ink sticks are categorized into such types as imperial ink sticks(made by court workshops),展开更多
In the history of theQing Dynasty(1644-1911),two DalaiLamas and onePanchen Erdeni went toBeijing for an audiencewith the emperor.Theywere the 5th Dalai Lama,who went in 1652,he
Zhamgyia Hutog-to was the onlyState Tutor whoreceived thehonor from the Gingemperors.As one of thefour major Living Buddhasystems of the Yellow Sect,he was he most influentialLiving Buddha in the Mon-golian area.Of th...Zhamgyia Hutog-to was the onlyState Tutor whoreceived thehonor from the Gingemperors.As one of thefour major Living Buddhasystems of the Yellow Sect,he was he most influentialLiving Buddha in the Mon-golian area.Of the six gen-erations,3rd Zhamgyia(1717-1786)was the mostfamous.展开更多
Ilectured at the Taipei Universi-ty of Political Science for three months between May and Aur gust 1994,This gave me a chance to visit the Tibet Buddhist Objects Show put up by the Taiwan Palace Museum,
Digital media offer unique opportunities for museums to bring to life the secrets and stories of their historical collections.To bring insight into the process of developing digital media exhibits,this paper presents ...Digital media offer unique opportunities for museums to bring to life the secrets and stories of their historical collections.To bring insight into the process of developing digital media exhibits,this paper presents the perspective of a creative practitioner in approaching technology-and media-based interpretation for collection objects.It follows the Time,Culture and Identity digital workshop held in Beijing in October 2019,which explored and shared ideas about collaborative research and interdisciplinary practice in digital interpretation between academics,institutions,creative practitioners,and developers.Following the direction of the workshop,the paper takes as its focus the clocks and automatons of the imperial collection at the Palace Museum in Beijing.Observations are based on the author’s practice-led experience in running a design studio,Harmonic Kinetic,developing new media exhibits using digital technology and audiovisual media for museums,galleries,and exhibitions in the UK,including the Science Museum,V&A,Barbican,Tate,and the Tower of London.Taking a broad interaction-design-led outlook,the paper explores a personal design perspective for developing interpretive content and considers the particular opportunities and approaches these historical devices suggest.The paper concludes with a final section that reviews the process and reflects on outcomes from the Time,Culture and Identity digital workshop.This explored possibilities for an interpretive exhibit on the Country Scene clock from the Palace Museum collection.展开更多
This paper discusses cross-cultural understanding of museum collections by looking into transnational audience engagement with the imperial clock collection of the Palace Museum in Beijing.The audience research took p...This paper discusses cross-cultural understanding of museum collections by looking into transnational audience engagement with the imperial clock collection of the Palace Museum in Beijing.The audience research took place in three sites:the Hong Kong Science Museum,the Palace Museum in Beijing,and the Science Museum in London.Audience data were collected using qualitative methods,such as intercept interviews,focus groups,and informal group discussions with non-specialist and specialist audiences across the three locations.The qualitative samples suggest that UK-China audiences draw from different cultural references when they engage with the unique"singsongs"in the imperial clock collection.Despite the divergence of cultural connections made across audiences in the UK and China,it is consistent in the audience data that the appeal of the clocks is reinforced by seeing their movement.The data also indicate a desire to connect with human stories behind the creation,trade,and conservation of singsongs,and expectations for a digital resource that is visually captivating and offers additional insights into the singsongs,such as the demonstration,mechanism,and backstory of the automatons.This paper concludes with a reflection on the implications of audience data for the interpretation strategy of a London-based exhibition featuring the singsongs,and considerations for the development of a digital experience about the imperial horological collections that speaks to audiences across the UK and China.展开更多
基金the support from the National Key R&D Program of China(2019YFC1520300).
文摘Biao Hu was one of the eight famous traditional crafts in the late Qing dynasty.This skill involved decorating the interiors of ancient buildings such as ceilings,walls,and windows and creating burial objects.It was primarily used for wooden buildings in northern China during the early Qing dynasty.For example,there is white-patterned wallpaper in the Forbidden City utilizing both traditional and nontraditional patterns.Moreover,there was wallpaper with a special pattern in the Lodge of the Bamboo Fragrance(Zhuxiang Guan).Its structure and composition were studied via morphological observations and spectral analyses,the pigments and dyes were analyzed by Raman spectroscopy and ultra-high performance liquid chromatography-mass spectrum(UPLC-MS).Traditional technology and exchanges between China and the West were discussed by the study of patterned wallpapers in other buildings of the Forbidden City.
文摘The Palace Museum,built on the site of the Forbidden City in Beijing,has a collection of some 80,000 study objects,including writing brushes,ink sticks,ink slabs and paper.Many of them are high-quality ink sticks made during the Ming and Qing dynasties(1368-1911).These ink sticks are categorized into such types as imperial ink sticks(made by court workshops),
文摘In the history of theQing Dynasty(1644-1911),two DalaiLamas and onePanchen Erdeni went toBeijing for an audiencewith the emperor.Theywere the 5th Dalai Lama,who went in 1652,he
文摘Zhamgyia Hutog-to was the onlyState Tutor whoreceived thehonor from the Gingemperors.As one of thefour major Living Buddhasystems of the Yellow Sect,he was he most influentialLiving Buddha in the Mon-golian area.Of the six gen-erations,3rd Zhamgyia(1717-1786)was the mostfamous.
文摘Ilectured at the Taipei Universi-ty of Political Science for three months between May and Aur gust 1994,This gave me a chance to visit the Tibet Buddhist Objects Show put up by the Taiwan Palace Museum,
文摘Digital media offer unique opportunities for museums to bring to life the secrets and stories of their historical collections.To bring insight into the process of developing digital media exhibits,this paper presents the perspective of a creative practitioner in approaching technology-and media-based interpretation for collection objects.It follows the Time,Culture and Identity digital workshop held in Beijing in October 2019,which explored and shared ideas about collaborative research and interdisciplinary practice in digital interpretation between academics,institutions,creative practitioners,and developers.Following the direction of the workshop,the paper takes as its focus the clocks and automatons of the imperial collection at the Palace Museum in Beijing.Observations are based on the author’s practice-led experience in running a design studio,Harmonic Kinetic,developing new media exhibits using digital technology and audiovisual media for museums,galleries,and exhibitions in the UK,including the Science Museum,V&A,Barbican,Tate,and the Tower of London.Taking a broad interaction-design-led outlook,the paper explores a personal design perspective for developing interpretive content and considers the particular opportunities and approaches these historical devices suggest.The paper concludes with a final section that reviews the process and reflects on outcomes from the Time,Culture and Identity digital workshop.This explored possibilities for an interpretive exhibit on the Country Scene clock from the Palace Museum collection.
文摘This paper discusses cross-cultural understanding of museum collections by looking into transnational audience engagement with the imperial clock collection of the Palace Museum in Beijing.The audience research took place in three sites:the Hong Kong Science Museum,the Palace Museum in Beijing,and the Science Museum in London.Audience data were collected using qualitative methods,such as intercept interviews,focus groups,and informal group discussions with non-specialist and specialist audiences across the three locations.The qualitative samples suggest that UK-China audiences draw from different cultural references when they engage with the unique"singsongs"in the imperial clock collection.Despite the divergence of cultural connections made across audiences in the UK and China,it is consistent in the audience data that the appeal of the clocks is reinforced by seeing their movement.The data also indicate a desire to connect with human stories behind the creation,trade,and conservation of singsongs,and expectations for a digital resource that is visually captivating and offers additional insights into the singsongs,such as the demonstration,mechanism,and backstory of the automatons.This paper concludes with a reflection on the implications of audience data for the interpretation strategy of a London-based exhibition featuring the singsongs,and considerations for the development of a digital experience about the imperial horological collections that speaks to audiences across the UK and China.
