国剧陈列馆沿革考  

The History of the National Opera Exhibition Hall(1931−1949)

作　　者：高柯立 蒋凯运 GAO Keli;JIANG Kaiyun(Institute for Cultural Heritage and History of Science&Technology,University of Science and Technology Beijing,Beijing 100083,China)

机构地区：[1]北京科技大学科技史与文化遗产研究院,北京100083

出　　处：《北京科技大学学报（社会科学版）》2023年第3期362-368,共7页Journal of University of Science and Technology Beijing(Social Sciences Edition)

基　　金：北京市哲学社科规划项目“北京传统手工技艺文化资源价值挖掘与传播创新研究(重点)”(编号:21LSA002)。

摘　　要：文章对国剧陈列馆从20世纪30年代筹备到成立的过程,以及在抗战期间的艰难维持和抗战胜利后的恢复,乃至建国后的去向,进行了细致的梳理和考察。国剧陈列馆在此过程中得到了政、学、戏曲界等多方关注和呼应,所搜集和收藏的戏曲文物也多得以保存和延续至今,具有重要的文物价值、史料价值和艺术价值。通过梳理国剧陈列馆的沿革,我们可以发现齐如山等人抓住博物馆思想在中国传播的契机,创造性地利用国剧陈列馆来收集、保存和研究戏曲文物,并向公众开放,宣传介绍传统戏曲,为传统戏曲文化在现代的发展搭建了新平台。同时,由于陈列馆的藏品始终带有强烈的私有色彩,与公立博物馆相比,陈列馆又具有“不完全的公共性”。In 1934,the National Opera Association opened the National Opera Exhibition Hall in Beijing,which was open to the public free of charge,to spread the traditional Chinese opera culture,and provide researchers with materials,which were much talked about.The development of the National Opera Exhibition Hall has gone through the changes of preparation,establishment,turbulence and reconstruction,and has been echoed by the political and academic circles,reflecting the exploration of a group of researchers and opera actors.Through relevant historical records,this paper combs the history of the National Opera Museum,presents a more complete development context,and then reveals Qi Rushan and others’ideas of using modern museum to build a new platform for the development of traditional opera culture in modern China.But it is really difficult for the exhibition hall to become completely public because the its collections had been private.

关 键 词：国剧陈列馆 国剧学会 齐如山 梅兰芳 

分 类 号：G269[历史地理—考古学及博物馆学]