场景可供性视角下书画展释展路径与实践研究--基于“客中月光照家山--北京画院藏齐白石精品展”的观众调查  

The Interpretation and Practice of Calligraphy and Painting Exhibition from the Perspective of Context Affordances:Based on the Audience Survey of“The Moonlight from Another Land Illuminates Home Mountain:Qi Baishi Works from the Beijing Fine Art Academy Collection”

作　　者：郭青[1] 孙婵 GUO Qing;SUN Chan(School of Humanities,Central South University,Changsha,Hunan,410083;Hunan Art Museum,Changsha,Hunan,410002)

机构地区：[1]中南大学人文学院,湖南长沙410083 [2]湖南美术馆,湖南长沙410012

出　　处：《东南文化》2024年第2期139-146,共8页Southeast Culture

基　　金：中南大学研究生自主探索创新项目“以数字游戏为载体的红色文化传播机制研究”(1053320222767)。

摘　　要：近年来,书画展实践经验在美术馆与博物馆之间的交流互鉴日益增多,如何适应技术变革及社会变迁下观众行为模式与情感偏好的变化,是博物馆与美术馆同样需要回应的问题。从场景可供性视角出发,博物馆或美术馆通过“感知—认知—情感—社交”的释展路径,将观众对于书画展览模糊的期待转化为实践活动与舒适物空间,以灵活匹配不同观众的行为模式与情感诉求,使书画展与观众的主观能动性与潜在行动力之间形成强耦合关系,从而切实提升其文化获得感与幸福感。该释展路径能够有效促进书画展与不同公众的能动性之间形成协调互补的关系。In recent years,the exchanges and mutual learning of practical experience in painting and calligraphy exhibitions between art galleries and museums have increased.Adapting to changes in audience behavior patterns and emotional preferences amidst technological and social changes poses a challenge for art galleries and museums.From the perspective of Context Affordances,museums or art galleries transform the audience's vague expectations for painting and calligraphy exhibitions into practical activities and comfortable space through the interpretation path of“perception-cognition-emotion-socialization”It can flexibly match the behavioral patterns and emotional needs of different audiences,establishing a strong relationship between the exhibition and the audience,significantly enhancing their cultural attainment and sense of happiness.This exhibition interpretation path effectively promotes a coordinated and complementary relationship between painting and calligraphy exhibitions and the initiative of diverse audiences.

关 键 词：书画展 释展 博物馆 美术馆 场景可供性 观众调查 

分 类 号：G260[历史地理—考古学及博物馆学]