sexta-feira, 15 de dezembro de 2017

Monir Museum. Iran has opened its first museum dedicated to a solo female artist – Monir Shahroudy Farmanfarmaian, who has received widespread international attention during decades of exile. - Museu Monir. O Irã abriu seu primeiro museu dedicado a uma artista feminina solo - Monir Shahroudy Farmanfarmaian, que recebeu ampla atenção internacional durante décadas de exílio. - تحف منير. افتتحت إيران أول متحف مخصص لفنان منفرد، منير شهرودي فرمانفرميان، الذي حظي باهتمام دولي واسع النطاق خلال عقود من المنفى.

The nonagenarian doyenne of Iranian art and friend of Andy Warhol, Jackson Pollock and Willem de Kooning, had her first US solo museum exhibition at the Guggenheim in New York in 2015.


image 1
Mirror Ball by Monir Shahroudy Farmanfarmaian on display at Sotheby’s in London last year. Photograph: Nils Jorgensen/Rex/Shutterstock.



image 2
Monir Farmanfarmaian at her Guggenheim exhibition. 
Photograph: Todd Heisler/NY Times/Redux/eyevine

On Friday, the Monir Museum opened in Tehran at the historic Negarestan park gardens. It displays 51 works, including her signature mirror mosaics, abstract monotypes and reverse glass paintings, inspired by geometric patterns germane to ancient Iranian architecture, particularly those seen in mosques.

Many of Farmanfarmaian’s works were confiscated and destroyed after the 1979 Islamic Revolution. She spent most of her career in the US, only permanently returning in 2004.

All the pieces on display in the museum have recently been donated by Farmanfarmaian to its permanent collection, which is managed by Tehran University.

“All my inspiration has come from Iran – it has always been my first love,” Farmanfarmaian told the Guardian from Tehran on the eve of the opening. “When I travelled the deserts and the mountains, throughout my younger years, all that I saw and felt is now reflected in my art.”

Farmanfarmaian said she gifted her works because she wanted to honour her last husband, Abolbashar Farmanfarmaian. “[He] was a law professor at the University of Tehran, and so I gifted them 51 pieces – this museum is now the first for a female artist in Iran,” she said.

Her works, some of which have been acquired by the Metropolitan Museum of Art and the Tate Modern, combine complex geometric patterns seen in traditional Persian art with western modern abstraction and expressionism. 

image 3
An artwork by Farmanfarmaian at a Sotheby’s auction in 2016. 
Photograph: Kirsty Wigglesworth/AP

The leading Iranian art critic Shiva Balaghi said the opening was “a truly historic moment”.

“It is a fitting tribute for one of the most important living artists today,” she said. “This museum really becomes a window on to Iranian modernity, showing the ways Monir has brought together abstraction with Islamic geometry to create a uniquely Iranian art form.”

Balaghi said the artist’s return to Iran had stimulated her creativity. “Monir has called this her ‘graceful twilight’ but in fact it’s been the most productive and successful time for her as an artist.”

In recent years, Iran has begun to embrace previously shunned artists, many of whom have lived abroad, including the New York-based Shirin Neshat and Parviz Tanavoli.

Tanavoli, who pioneered the Saqqakhaneh school of art, a neo-traditionalist movement and one of the earliest manifestations of Iranian modernism, held an exhibition earlier this year at the Tehran Museum of Contemporary Art.

TMOCA has one of the finest collections of modern art anywhere outside Europe and the US, boasting works by Pollock, Warhol, Francis Bacon, Edvard Munch, René Magritte and Mark Rothko.

In a 2014 documentary by Bahman Kiarostami, called Monir, Farmanfarmaian said her work was “not distinct from Iranian architecture ... starting with a triangle, then moving towards a 10-sided polygon. So I want to show the infinite possibilities of creating new forms out of these geometric forms.”

Kiarostami said the venue for the new museum, a Qajar-era palace complex, was suitable because “a lot of her mirror works belong to the era of Qajar dynasty and Safavid dynasties, when these kinds of mirror work were being used routinely”.

“She never wanted to work outside the patterns seen in the Iranian traditional architecture. In modern life, for many people there seems to be a disconnect with that tradition but she never felt like that.”








Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.







--br via tradutor do google
Museu Monir. O Irã abriu seu primeiro museu dedicado a uma artista feminina solo - Monir Shahroudy Farmanfarmaian, que recebeu ampla atenção internacional durante décadas de exílio.

imagem 1
Mirror Ball de Monir Shahroudy Farmanfarmaian em exibição na Sotheby's em Londres no ano passado. Fotografia: Nils Jorgensen / Rex / Shutterstock.

A doenena não indígena da arte iraniana e amiga de Andy Warhol, Jackson Pollock e Willem de Kooning, teve sua primeira exposição de museu solo nos Estados Unidos no Guggenheim, em Nova York, em 2015.

imagem 2
Monir Farmanfarmaian em sua exposição Guggenheim. Fotografia: Todd Heisler / NY Times / Redux / eyevine

Na sexta-feira, o Museu Monir abriu em Teerã nos históricos jardins do parque de Negarestan. Ele exibe 51 trabalhos, incluindo seus mosaicos de espelho de assinatura, monótipos abstratos e pinturas de vidro reverso, inspirados em padrões geométricos relacionados com a antiga arquitetura iraniana, particularmente aqueles vistos nas mesquitas.

Muitas das obras de Farmanfarmaian foram confiscadas e destruídas após a Revolução Islâmica de 1979. Ela passou a maior parte de sua carreira nos EUA, apenas retornando permanentemente em 2004.

Todas as peças exibidas no museu foram recentemente doadas pela Farmanfarmaian para sua coleção permanente, que é administrada pela Universidade de Tehran.

"Toda minha inspiração veio do Irã - sempre foi meu primeiro amor", Farmanfarmaian disse ao Guardião de Teerã na véspera da abertura. "Quando viajei pelos desertos e as montanhas, ao longo dos meus anos mais jovens, tudo o que vi e sinto agora está refletido na minha arte".

Farmanfarmaian disse que ela brindou suas obras porque queria honrar seu último marido, Abolbashar Farmanfarmaian. "[Ele] era professor de direito na Universidade de Teerã, e então eu dou-lhes 51 peças - este museu é agora o primeiro para uma artista do Irã", disse ela.

Suas obras, algumas das quais foram adquiridas pelo Museu Metropolitano de Arte e a Tate Modern, combinam padrões geométricos complexos vistos na arte persa tradicional com abstração moderna e expressionismo ocidental.

imagem 3
Uma obra de arte de Farmanfarmaian em um leilão de Sotheby's em 2016. Fotografia: Kirsty Wigglesworth / AP

O principal crítico de arte iraniano, Shiva Balaghi, disse que a abertura foi "um momento verdadeiramente histórico".

"É um tributo apropriado para um dos mais importantes artistas vivos de hoje", disse ela. "Este museu realmente se torna uma janela para a modernidade iraniana, mostrando as maneiras pelas quais Monir trouxe a abstração com a geometria islâmica para criar uma forma de arte exclusivamente iraniana".

Balaghi disse que o retorno do artista ao Irã estimulou sua criatividade. "Monir chamou isso de" crepúsculo gracioso ", mas, na verdade, foi o momento mais produtivo e bem sucedido para ela como artista".

Nos últimos anos, o Irã começou a abraçar artistas anteriormente evitados, muitos dos quais viveram no exterior, incluindo Shirin Neshat e Parviz Tanavoli, com sede em Nova York.

Tanavoli, pioneiro da escola de arte Saqqakhaneh, movimento neo-tradicionalista e uma das primeiras manifestações do modernismo iraniano, realizou uma exposição no início deste ano no Museu de Arte Contemporânea de Teerã.

A TMOCA tem uma das melhores coleções de arte moderna em qualquer lugar fora da Europa e dos EUA, com as obras de Pollock, Warhol, Francis Bacon, Edvard Munch, René Magritte e Mark Rothko.

Em um documentário de Barman Kiarostami em 2014, chamado Monir, a Farmanfarmaian disse que seu trabalho "não é distinto da arquitetura iraniana ... começando com um triângulo, em seguida, em direção a um polígono de 10 lados". Então, eu quero mostrar as infinitas possibilidades de criar novas formas dessas formas geométricas ".

Kiarostami disse que o local para o novo museu, um complexo do palácio Qajar-era, era adequado porque "muitos dos seus trabalhos de espelho pertencem à era da dinastia Qajar e às dinastias safávidas, quando esses tipos de trabalho de espelho estavam sendo usados ​​rotineiramente".

"Ela nunca quis trabalhar fora dos padrões vistos na arquitetura tradicional iraniana. Na vida moderna, para muitas pessoas parece haver uma desconexão com essa tradição, mas nunca sentiu assim ".


--arabe via tradutor do google

متحف منير. افتتحت إيران أول متحف مخصص لفنان منفرد، منير شهرودي فرمانفرميان، الذي حظي باهتمام دولي واسع النطاق خلال عقود من المنفى.

إيماج 1
مرآة من قبل منير شاهرودي فرمانفرمايان على الشاشة في سوثبي في لندن العام الماضي. تصوير: نيلز يورغنسن / ريكس / شوترستوك.



وكان أول من قام به الفنان الإيراني غير الفناني وصديق أندي وارهول وجاكسون بولوك وويليم دي كونينغ أول معرض للولايات المتحدة في متحف غوغنهايم في نيويورك في عام 2015.

2
منير فرمانفرمايان في معرض غوغنهايم لها. تصوير: تود هيسلر / نيويورك تايمز / ريدوكس / إيفين

يوم الجمعة، افتتح متحف منير في طهران في حدائق حديقة نيغاريستان التاريخية. وهي تعرض 51 عملا، بما في ذلك فسيفساء المرايا الموقعة، والأنماط المجردة، واللوحات الزجاجية العكسية، المستوحاة من الأنماط الهندسية المرتبطة بالعمارة الإيرانية القديمة، وخاصة تلك التي تظهر في المساجد.

تم مصادرة العديد من أعمال فرمانفرميان وتدميرها بعد الثورة الإسلامية عام 1979. قضت معظم حياتها المهنية في الولايات المتحدة، وعادت بشكل دائم فقط في عام 2004.

وقد تم التبرع بجميع القطع المعروضة في المتحف مؤخرا من قبل فارمانفرميان إلى مجموعتها الدائمة، والتي تديرها جامعة طهران.

وقال فرمانفرميان للجارديان من طهران عشية الافتتاح: "كل إلهامي جاء من إيران - لقد كان دائما حبي الأول". "عندما سافرت الصحارى والجبال، في جميع أنحاء السنوات الأصغر سنا، كل ما رأيت وشعرت ينعكس الآن في فن بلدي".

وقالت فرمانفرمايان انها موهبة اعمالها لأنها تريد تكريم زوجها الأخير، أببشار فارمانفرميان. "كانت أستاذا في القانون في جامعة طهران، ولذا فقد هبتهم 51 قطعة - هذا المتحف هو الآن أول فنانة في إيران".

أعمالها، وبعضها تم الحصول عليها من قبل متحف متروبوليتان للفنون و تاتي الحديثة، والجمع بين أنماط هندسية معقدة ينظر في الفن الفارسي التقليدي مع الغربية الحديثة التجريد والتعبير.

3
عمل فني من قبل فارمانفرميان في مزاد سوثبي في عام 2016. تصوير: كيرستي ويغليزورث / أب

وقال الناقد الفناني الايراني شيفا بالاغي ان الافتتاح "لحظة تاريخية حقا".

وقالت "انها تكريم مناسب لأحد أهم الفنانين الذين يعيشون اليوم". "هذا المتحف يصبح حقا نافذة على الحداثة الإيرانية، وتبين الطرق التي جمعها منير التجريد مع الهندسة الإسلامية لخلق شكل فني إيراني فريد."

وقال بالاجي إن عودة الفنان إلى إيران حفزت إبداعها. "منير دعا هذا" الشفق رشيقة "ولكن في الواقع كان الوقت الأكثر إنتاجية وناجحة لها كفنانة".

في السنوات الأخيرة، بدأت إيران في احتضان الفنانين المنبوذين سابقا، وكثير منهم عاشوا في الخارج، بما في ذلك شيرين نشات ومقرها نيويورك وبارفيز تانافولي.

أقام تانافولي، الذي كان رائدا في مدرسة سققانة للفن، وهي حركة تقليدية جديدة وأحد أقدم مظاهر الحداثة الإيرانية، معرضا في وقت سابق من هذا العام في متحف طهران للفن المعاصر.

تموكا لديها واحدة من أروع مجموعات الفن الحديث في أي مكان خارج أوروبا والولايات المتحدة، ويضم أعمال بولوك، وارهول، فرانسيس بيكون، إدفارد مونش، رينيه ماغريت ومارك روثكو.

في فيلم وثائقي عام 2014 من قبل باهمان كياروستامي، ودعا منير، قال فرمانفرميان عملها "لا يختلف عن العمارة الإيرانية ... بدءا من مثلث، ثم تتحرك نحو المضلع من جانب 10. لذلك أريد أن أظهروا الاحتمالات اللانهائية لخلق أشكال جديدة من هذه الأشكال الهندسية ".

وقال كياروستامي إن مكان المتحف الجديد، وهو مجمع قصر يعود إلى عصر قاجار، كان مناسبا لأن "الكثير من أعمال المرآة لها تنتمي إلى عهد سلالة القاجار والسلالات الصفوية، عندما تستخدم هذه الأنواع من المرآة بشكل روتيني".

"لم ترغب أبدا في العمل خارج الأنماط التي شوهدت في العمارة الإيرانية التقليدية. في الحياة الحديثة، لكثير من الناس يبدو أن هناك انقطاع مع هذا التقليد لكنها لم تشعر مثل ذلك. "

The National Museum of Historical Artifacts and Fine Arts. Taipei. - O Museu Nacional de Artefatos Históricos e Belas Artes. Taipei - 国家历史文物和美术博物馆。台北。

Was established in a Japanese style building near the Taipei Botanical Garden in 1955. It was renamed the“National Museum of History” (hereafter, “NMH”) in 1956 and the building was renovated in a five-floor traditional Chinese Ming and Qing palace style, with four floors for exhibition and staff offices, and one floor for storage. Despite its limited space, the NMH is renowned for its international exhibitions, and its proactive and innovative museum development and educational programs. Various conversions of the building have been carried out over the years to adapt it as a modern space fit for the newest exhibition facilities and requirements. 



The NMH's collection originally consisted of artifacts from the Henan Museum that were relocated to Taiwan in 1949, and of relics recovered from the Japanese after the Sino-Japanese War. The collection included the bronzes unearthed in Xinzheng, Hui and Anyang (in Henan Province), Pre-Qin pottery unearthed in Loyang, Han green-glazed pottery, the dancer and musician figurines of the Six Dynasties, Tang tri-colored pottery and other treasures. The arrival of allocated artifacts and donations from private collectors gradually enriched the Museum's collection and enlarged its archives. 

The museum collections continued to grow with annual acquisitions obtained with government procurement budget allocations and donations from private collectors. The annual acquisitions provided the museum with artifacts and relics from mainland China, Taiwan, and other countries. The collections date back to the Neolithic period and the ancient Chinese dynasties Shang, Zhou, Han, Tang, Song, Yuan, Ming, and Qing, up to the contemporary era.

To undertake conservation, research, and development of national historical artifacts and fine arts

Visions 
1. Maintain a diverse historical and cultural center in the heart of the metropolis Taipei.

2. Maintain a comfortable learning and recreational environment that fosters humanism and nature.

3. Display the energy of the islander and strengthen the indigenous and international vision.

4. Treasure the core value of artifacts, inspire the spiritual nature of human beings, and encourage research and development.

Since its establishment, the NMH has pursued the following four development goals. In light of the rapid changes of the times, its purposes and the environmental conditions in which it exists have undergone considerable changes. 

1.To create a multi-cultural historical and cultural center in the heart of Taiwan's metropolitan center.

2.To build an environment embodying the symbiosis of culture and nature, and one that is conducive to both learning and recreation.

3.To manifest the vitality of our island nation and extend its ethnic and international horizons.

4.To respect the core value of cultural artifacts, stimulate interest and intellectual development, and urge innovation in research and development work.

In light of above goals, we have all joined our hearts and minds to realize these endeavors:

1.Exhibits, archives, and study report publications: To provide equal importance to ethnic, Chinese, and international shows and studies; to understand the value of humanities and cultural diversity; to expand museum archives; to enhance the nation's knowledge of Taiwan's past and of her cultures; and to establish learning and sharing links and exchanges with the international community.

2.Education promotion campaigns: To encourage career-oriented creative thinking; to experience and respond to the demands of society and the times; to manifest the existing advantages of cultural and artistic objects through programs and activities; and to garner optimum benefits and value for these objects through proper arrangement of venue, category, and market.

3.Hardware facilities: To use surrounding spaces in accordance with a policy of fostering the symbiosis between culture and nature; to enhance hardware facilities; and to provide museum visitors with a comfortable and complete environment for learning and recreation.

4.Resource utilization: To combine university resources with other public human resource under a policy of resource sharing; and through the conveniences afforded by information technology and translation tools, to bring museum objects to life, to encourage innovative development, to generate added value for the museum, and to introduce new developments and trends.

Finally, through a service policy and core values of dedication, pragmatic and professional service, sharing, and innovative development, we have established a national museum with a vast international perspective. Our primary aim is to provide visitors to the museum with an elegant and multifaceted learning environment. It is our dearest hope that our endeavors and services may win your hearts and support for the museum!





Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir. 

A cultura e o amor devem estar juntos.
Vamos compartilhar.

Culture is not what enters the eyes and ears, 
but what modifies the way of looking and hearing.







--br via tradutor do google
O Museu Nacional de Artefatos Históricos e Belas Artes. Taipei

Foi estabelecido em um prédio de estilo japonês perto do Jardim Botânico de Taipei em 1955. Foi renomeado o "Museu Nacional de História" (doravante denominado "NMH") em 1956 e o ​​edifício foi renovado em um palácio Ming e Qing chinês tradicional de cinco andares estilo, com quatro andares para escritórios de exposição e pessoal, e um andar para armazenamento. Apesar do seu espaço limitado, o NMH é conhecido por suas exposições internacionais e seus programas de desenvolvimento e educação de museus proativos e inovadores. Várias conversões do edifício foram realizadas ao longo dos anos para adaptá-lo como um espaço moderno para as mais recentes instalações e requisitos de exibição.

A coleção do NMH originalmente consistia em artefatos do Museu Henan que foram transferidos para Taiwan em 1949 e de relíquias recuperadas dos japoneses após a Guerra sino-japonesa. A coleção incluiu os bronzes descobertos em Xinzheng, Hui e Anyang (na província de Henan), cerâmica pré-Qin desenterrada em Loyang, cerâmica de vidro verde Han, estatuetas de dançarinas e músicas das seis dinastias, cerâmica triângulo de Tang e outros tesouros . A chegada de artefatos e doações alocados de colecionadores particulares gradualmente enriqueceu a coleção do Museu e ampliou seus arquivos.

As coleções do museu continuaram a crescer com as aquisições anuais obtidas com alocações do orçamento de compras governamentais e doações de colecionadores privados. As aquisições anuais proporcionaram ao museu artefatos e relíquias da China continental, Taiwan e outros países. As coleções datam do período neolítico e das dinastias chinesas antigas Shang, Zhou, Han, Tang, Song, Yuan, Ming e Qing, até a era contemporânea.

Para realizar conservação, pesquisa e desenvolvimento de artefatos históricos nacionais e artes plásticas


Visões
1. Manter um centro histórico e cultural diversificado no coração da metrópole de Taipei.

2. Mantenha um ambiente confortável de aprendizagem e recreação que promova o humanismo e a natureza.

3. Exibir a energia do ilhéu e fortalecer a visão indígena e internacional.

4. Avalie o valor central dos artefatos, inspire a natureza espiritual dos seres humanos e incentive a pesquisa e o desenvolvimento.

Desde a sua criação, o NMH tem prosseguido os seguintes quatro objetivos de desenvolvimento. À luz das rápidas mudanças dos tempos, seus propósitos e as condições ambientais em que existe sofreram mudanças consideráveis.

1.Para criar um centro cultural e cultural multi-cultural no coração do centro metropolitano de Taiwan.

2. Construir um ambiente que incorpora a simbiose da cultura e da natureza, e que seja propício para a aprendizagem e a recreação.

3.Para manifestar a vitalidade de nossa nação insular e ampliar seus horizontes étnicos e internacionais.

4.Para respeitar o valor central dos artefatos culturais, estimular o interesse e o desenvolvimento intelectual, e incentivar a inovação no trabalho de pesquisa e desenvolvimento.

À luz dos objetivos acima, todos nós juntamos nossos corações e mentes para realizar esses empreendimentos:

1.Excluir, arquivar e estudar publicações de relatório: proporcionar igual importância aos shows e estudos étnicos, chineses e internacionais; compreender o valor das humanidades e da diversidade cultural; expandir os arquivos do museu; para melhorar o conhecimento da nação do passado de Taiwan e de suas culturas; e estabelecer aprendizagem e compartilhamento de links e intercâmbios com a comunidade internacional.

2. Campanhas de promoção da educação: incentivar o pensamento criativo orientado para a carreira; para experimentar e responder às demandas da sociedade e dos tempos; manifestar as vantagens existentes dos objetos culturais e artísticos através de programas e atividades; e para obter benefícios ótimos e valor para esses objetos através do arranjo apropriado do local, categoria e mercado.

3. Instalações de higiene: Usar espaços circundantes de acordo com uma política de promoção da simbiose entre cultura e natureza; para melhorar as instalações de hardware; e para proporcionar aos visitantes dos museus um ambiente confortável e completo para aprender e recrear.

4. Utilização de fontes: combinar recursos universitários com outros recursos humanos públicos sob uma política de compartilhamento de recursos; e através das conveniências oferecidas pela tecnologia da informação e ferramentas de tradução, para atrair objetos dos museus, incentivar o desenvolvimento inovador, gerar valor agregado para o museu e introduzir novos desenvolvimentos e tendências.

Finalmente, através de uma política de serviços e valores fundamentais de dedicação, serviço pragmático e profissional, compartilhamento e desenvolvimento inovador, estabelecemos um museu nacional com uma vasta perspectiva internacional. Nosso principal objetivo é proporcionar aos visitantes do museu um ambiente de aprendizagem elegante e multifacetado. É nossa mais querida esperança de que nossos esforços e serviços possam ganhar seus corações e apoio para o museu!










--chines simplificado
国家历史文物和美术博物馆。台北。

于1955年在台北植物园附近的日本式建筑中建成,1956年更名为“国家历史博物馆”(下称“NMH”),并在中国传统的明清宫殿风格,四层展示和职员办公室,一层存储。尽管NMH空间有限,但它以其国际展览而闻名,其博物馆的开发和教育计划也是积极而创新的。多年来,为了适应最新的展览设施和要求,对建筑物进行了各种改造,以适应现代空间。

NMH的收藏品原本是河南博物馆1949年搬迁到台湾的文物,以及抗日战争后遗留下来的日本遗物。收藏有新郑,回族,安阳(河南省)出土的青铜器,洛阳出土的先秦陶器,汉青釉陶器,六朝的舞蹈和音乐人陶器,唐三彩陶等宝物。私人收藏家分配的文物和捐赠物品的到来逐渐丰富了博物馆的馆藏,并扩大了其档案。

随着政府采购预算分配和私人收藏者捐赠的年度收购,博物馆收藏继续增长。这一年的收购为中国大陆,台湾等国家的文物提供了博物馆。收藏可以追溯到新石器时代和中国古代的商朝,汉,唐,宋,元,明,清,直至当代。

承担国家历史文物和美术品的保护,研究和开发


愿景
1.保持台北大都市中心多元化的历史文化中心。

2.保持舒适的学习和娱乐环境,培养人文和自然。

3.展示岛民的活力,加强本土和国际视野。

珍惜文物的核心价值,激发人的精神本质,鼓励研究与发展。


NMH成立以来,一直追求以下四个发展目标。鉴于时代的变化,其目的和所处的环境条件发生了很大的变化。

1.在台湾大都会中心打造一个多元文化的历史文化中心。

2,营造体现文化与自然共生的环境,有利于学习与娱乐。

(三)体现岛国的活力,扩大民族和国际视野。

4,尊重文物的核心价值,激发兴趣和智力发展,推动研究与开发工作的创新。


根据上述目标,我们全体人员都加入到我们的心中去实现这些目标:

1,展出,出版,研究报告:为民族,中国和国际展示和研究提供同等的重要性;了解人文和文化多样性的价值;扩大博物馆档案;增强国家对台湾过去及其文化的认识;与国际社会建立学习和交流的环节和交流。

2.教育推广活动:鼓励以职业为导向的创意思维;体验和回应社会和时代的要求;通过方案和活动体现文化艺术对象的现有优势;并通过适当安排场地,类别和市场来为这些物品争取最佳的利益和价值。

3,硬件设施:按照促进文化与自然共生的政策,利用周边空间;加强硬件设施;为博物馆参观者提供舒适,完善的学习和娱乐环境。

4.资源利用:资源共享政策下,将大学资源与其他公共人力资源相结合;并通过信息技术和翻译工具提供的便利,使博物馆的物品生动,鼓励创新发展,为博物馆创造附加价值,并引入新的发展和趋势。

最后,通过奉献,务实,专业,服务,共享,创新发展的服务政策和核心价值观,建立起国际视野广阔的国家级博物馆。我们的主要目标是为博物馆的参观者提供一个优雅多元的学习环境。我们最诚挚的希望,我们的努力和服务可能会赢得您的心和博物馆的支持!