日，联合教科文组织官方刊物信使杂志在2020年第4期刊登了由南方科技大学人文社会科学学讲席教授，青铜时代考古学家唐际根撰写的安徽铜陵数字铜博物馆享全球青铜器资源，文章详细介绍了我市青铜文化历史和数字铜博物馆，并给予数字铜博物馆建设成果高度评价，这也是我市文化建设成就首获联合教科文组织官方推介。
信使官网介绍数字铜博物馆 英文原文 China Bronzes from around the world reunite in a digital museum A new kind of museum in Tongling, China, virtually displays ancient copper and bronze objects from the Han dynasty, many of which have found their way to museums abroad. It foretells the future of digital museums – institutions capable of sharing their resources and offering unprecedented access to their collections to global audiences. Tang Jigen Chair Professor at the Southern University of Science and Technology SUSTech in Shenzhen, with an expertise in Chinese Bronze Age archaeology. Caught in the turmoil of history, many cultural objects were taken away from their countries of origin, and remain overseas. Often, it is unlikely that this stolen heritage is returned – at least in the short term. When the objects are not restituted for years, sometimes centuries, how do people in their countries of origin get to see these cultural treasures? In the city of Tongling in the Anhui province of eastern China, the question of how to enjoy these objects that have remained overseas has been resolved by establishing a digital museum. A city of only 1.6 million, Tongling is famous for the production of copper – copper mining and bronze casting were established there in the late seventeenth century BC. During the Han Dynasty 202 BC–220 AD, this river port along the Yangtze river supplied most of the raw material for the casting of copper coins. In 2016, the city’s local government, with the help of experts, decided to construct a museum dedicated to copper and bronze. The goal of the Digital Museum of Copper and Bronzes DMCB is to share globally, the cultural resources of ancient Chinese copper and bronze objects online – especially those that remain abroad. A very special rhino Some of the treasures that visitors to the DMCB website expected to go online by end 2020 will have access to, are 100 Highlights of Chinese Bronze Objects, an online exhibition of a hundred bronzes selected by archaeologists through a voting process. It includes some Chinese bronzes from museum collections overseas. Another exhibition, 100 stories about Bronze Objects, recounts details of how these bronzes left China and still remain abroad. One of these stories tells of how the Xiao Chen Yu zun – a 3,000year old ritual bronze vessel shaped like a rhinoceros, from the Shang Dynasty 16001046 BC – made its way to Paris through C. T. Loo, an art dealer, and was bought by Avery Brundage, an American sports administrator and former president of the International Olympic Committee IOC. This Bronze Age Chinese ritual vessel, unique because it was made in the shape of an animal, was finally donated to the Asian Art Museumlink is external link is externalof San Francisco – where it remains one of the museum’s most visited pieces, and even serves as its mascot. The idea of sharing cultural resources online is not new. Many museums which are part of the International Council of Museums ICOMlink is external network have their own websites. What makes the DMCB unique is that it integrates and shows cultural resources spread across different countries. China has experienced great losses of its cultural heritage over centuries. Millions of cultural objects are estimated to have left the country through different means. More than just a website A survey conducted by this author in 2016 concluded that over ninety per cent of respondents hoped that the cultural objects which had left China would one day be returned to their country of origin. The fact that these cultural objects can now be shared online through the DMCB, may serve to relieve the longlasting tension between China and the countries that currently house them. Though the DMCB is an innovative idea, it is limited to sharing only a specific type of object online – Chinese bronzes. In future, digital museums will be built and run by several museums collaborating across different countries, integrating a wealth of resources to exhibit a wide range of art objects. These new digital museums could be called digital museum networks or cloud museums. The cloud museums are neither simply websites that display a specific museum’s collections, nor the combination of the websites of different museums. Instead, they are the result of collaborations of various museums across the world. These futuristic digital museums already exist – the online exhibition by the Museum of Archaeology and Anthropologylink is external at the University of Cambridge and the British Museumlink is external, both in the United Kingdom, is one such example. The rapid and dramatic strides in big data storage and transfer technologies will facilitate the birth of cloud museums. Some scholars have predicted that the advent of these museums could change the current state of these institutions, and even culture in general. Limitless possibilities The digital museums of the future will be able to select different types of objects on a range of themes, to design exhibitions on an unprecedented scale by sharing huge amounts of data. They may also be able to interpret and display an object in a variety of ways, drawing on cultural resources from across the globe. Scholars from different countries would be able to engage in a conversation with each other, and with the public, about the objects on display. Three thousand years ago, during the Shang Dynasty – the earliest archaeologically recorded dynasty in Chinese history – bronze craftsmen created at least two known bronze you objects, depicting a tiger eating a human. Because of historical reasons, these two objects are now in the collections of the Musée Guimetlink is external in Paris and the SenOku Hakukokan Museumlink is external in Kyoto, Japan. If these two museums and the Chinese archaeologists specializing in the Shang period all featured on a cloud museum one day to share their knowledge and stories about these you objects with a worldwide audience, how wonderful it would be. 文译文 安徽铜陵数字铜博物馆享全球青铜器资源 安徽铜陵数字铜博物馆展示了大量商代以的青铜器，其相当多的青铜器自以外的其它家。此种新的展览形式预见了数字博物馆的未发展，它通过分享际资源，给观众提供了跨访问藏品的全新可能。 唐际根 南方科技大学人文社会科学学讲席教授 青铜时代考古学家 在历史的动荡，许多珍贵文物被携带出母，长期滞留海外。这些流失文物回归母的难度极高至少短期而言是这样。如果多年甚至几个世纪以后这些文物都无法归还，文物原有的人们如何才能看到这些文化宝藏？ 为了让文物原籍人们欣赏到滞留海外的本文物，部的安徽省铜陵市打造了一座数字博物馆，以满足人们对流失文物的文物的关注热情。铜陵市是一座仅有160万人口的城市，以铜而闻名于世公元前17世纪末，铜陵就开始了铜矿开采和青铜器铸造。在汉王朝时期公元前202年至公元220年，这座沿江城市长期为家提供铸造铜币的主要原材料。 2016年，当地政府在社会各界支持下，决定打造一座反映采铜历史和展示青铜器的数字博物馆。铜数字博物馆DMCB的一个重要目标，便是让全球公众在线享古代铜器和铜文化资源，尤其是那些留在海外的青铜器。 奇特的犀牛 DMCB网站铜数字博物馆预计在很快上线， 自全世界的游客可以通过互联网自由访问其珍贵文物展品，其包括由文博领域知名考古学家通过调研和投票选出的100件青铜器精品，部分海外博物馆收藏的青铜器也囊括在内。同时推出的还有被称为青铜器故事百则的包括青铜器跨旅行的流传故事。推出的故事将有一则围绕一件3000多年前商朝公元前16001046年臣艅尊的故事。这件犀牛形礼器当年被艺术品经销商C.T.Loo带到巴黎，并被际奥委会前主席美人艾弗里·布伦戴奇Avery Brundage买下的故事。这件青铜器时代的礼器因其造型独特，最终被捐赠给旧金山的亚洲艺术博物馆Asian Art Museum，至今为止，它仍然是博物馆最受欢迎的展品之一，并被用作为该博物馆的镇馆之宝。 文化资源网络享并不是什么新概念。际博物馆理事会ICOM旗下的许多博物馆都拥有自己的网站。DMCB铜数字博物馆的独特之处在于它围绕某个主题，整合并展示了分布在不同家的珍贵文物，在此基础上促成了全球资源享。代历史上，的文化遗资源随着家命运的沉浮遭受过损失。据估计，数以百万计的文物因不同途径离开了自己的家。 不仅仅是网站 本文作者在2016年进行了一项社会调查，调查表明超过90的受访者希望流失文物有一天能回到祖。通过DMCB铜数字博物馆展示那些曾经属于本的文物，有助于作为文物流失的与文物所在之间对此类文物资源的协调与处理。 虽然DMCB铜数字博物馆是一种创新的模式，但是它只能有限地分享特定类型的文物青铜器。可以预见，在不久的将，越越多的家将通过数字博物馆积极开展合作，整合各种资源，展示多样的文物艺术品。这种新型的数字博物馆关联起，或可以称为数字博物馆网络或云博物馆。 云博物馆并不是一个简单展示博物馆藏品的网站，也不是数字博物馆网站的简单组合。其意义更在于营造世界各地博物馆网站合作的氛围和模式。利用数字化技术享文物资料过去也有过不错的案例，如剑桥大学考古学和人类学博物馆和英的大英博物馆的在线展览。云博物馆的诞生得益于大数据存储和传输技术的进步。有学者预测，云博物馆的出现可能会改变世界各的文物管理机构甚至文化资源分布状态。 前景展望 数字博物馆能够依据多种主题上选择和展示文物藏品，通过大数据享设计规模空前的展览，可以整合世界各地的文物资源，以不同的方式解释和展示藏品。自不同家的学者将能够就展出的文物艺术品在线即时交流，并以各种形式与全球公众互动，满足社会群体的文化需求。 三千年前，商王朝工匠们至少铸造了至少两件虎食人卣。由于历史原因，这两件文物现在分藏被巴黎的Guimet博物馆和日本京都的SenOku Hanukkah博物馆将的某一天，当考古学家与法日本的博物馆的专家同时出现在云博物馆，与全世界观众同分享两件虎食人卣的知识和流传故事时，那将是一场多么美妙的文化盛宴呀。 延伸阅读 信使杂志为联合教科文组织官方杂志，创办于1946年，用联合教科文组织的6种工作语言出版，在会员发行。信使是传播教科文组织理念倡导文明对话的重要载体，在教育科学和文化等教科文组织的业领域引领全球发展。 信息源教科文组织信使杂志 源文旅铜陵 原标题我市数字铜博物馆获联合教科文组织官方推介！ 阅读原文
