数字时代以前，美术馆集中于收藏、研究和教育等主要功能的实现，美术馆最大的意 义是保存和展示各类艺术形式，数字时代的来临和数字技术的发展，使美术馆的功能和意 义转向更为多元的文化交流、更为系统的产业应用以及更为全面的文化传播。对于美术馆 来说，美术馆通过功能实现来传达自身的意义，通过组织和解释艺术品定义观众。研究数 字时代美术馆功能和意义转向，最终目的是为了在当今时代，找到合适的途径去传达某种 文化艺术类型，建构更加平等和容易沟通的文化艺术传播模式。 在此背景和研究目的下，本文围绕数字时代的基本特征，从美术馆身份出发，研究美 术馆功能实现和意义生成空间、场域和媒介的转变。从视觉文化的角度对美术馆的意义进 行分析，将前人研究博物馆所用的话语与符号分析方法系统的运用到美术馆的意义研究中， 并聚焦到到数字时代美术馆的研究。在本文的研究中，从具体案例和问卷调查着手，获得 第一手的资料，针对中国的受众对数字时代美术馆现状的认知，掌控美术馆意义的主动权、 解释权和意义传播效果。分析中国传统绘画与现代数字技术的契合点，扭转中国艺术品被 动展示的局面。 论文主体分为五章，第一章论述了数字技术的变革过程中，美术馆、美术馆的艺术品 和美术馆观众这三者之间固有关系的拆解和重构。数字技术的变革引起了美术馆空间的变 化，以及美术馆所展示的艺术品和艺术品展示方式的转变，这些转变使美术馆的身份不仅 仅是艺术品研究和诠释的权威机构，同时成为更加多元化的文化传播和交流的平台，美术 馆从艺术本体研究转向更系统的产业应用，从艺术教育转向更全面的文化传播。 第二章论述了从物理空间到虚拟空间，美术馆空间的转变，引起美术馆物理位置与藏 品和观众之间关系的转变，使其成为更加多元化的文化传播和交流的平台。第三章论述了 美术馆场域的转变，政治场域和文化场域以及商业场域对美术馆的争夺，促成了美术馆更 系统的产业应用，美术馆作为艺术本体研究的主导话语权，通过数字网络、艺术品创意产 业，实现了话语权力的分流，同时也实现了意义传播领域的扩张。第四章论述了美术馆的 功能实现与意义传播媒介的转变，促使美术馆从艺术教育转向更全面的文化传播。 第五章从理论联系中国现实，从中国的美术馆受众分析出发，探究前四章所论述的诸 种转变对中国美术馆在品牌建构以及塑造美术馆受众体验现场感，和现场体验情景塑造的 启示，从而对美术馆语境中的中国传统艺术展示与传播作以展望，提出更适合时代特征的 传播路径。 论文最终得出结论:在全球化的语境下，美术馆的功能从艺术品收藏转向更多元的文 化交流，本体研究转向了更为系统的文化产业研究，美术馆的艺术教育功能转向了更全面 I 的文化传播与互动体验。美术馆功能的核心意义，也就从对艺术的存储转变为对文化的传 播。美术馆需要通过了解数字时代的特征，并从几个重要的转变出发，掌控自身意义说明 的主动权、解释权以及掌控自身意义的最终传播效果。美术馆内的物承载了其所处时代的 艺术意义。数字时代，多学科介入实现美术馆现场体验和艺术体验的现场感，美术馆需要 主动将其符号意义通过现代设计进行诠释，避免被商业化，建构自己的研究体系和商业合 作模式。美术馆的数字建设过程中，重要的不是技术的实现手段和途径，而是美术馆的意 义建构。

Before the digital age, the museum focused on the realization of major functions such as collection, research, and education. The greatest significance of the museum was to preserve various art forms, the advent of the digital age, and the development of digital technology, turning the function and significance of art museums even further. For diverse cultural exchanges, more systematic industrial applications and more comprehensive cultural communication. For galleries, galleries communicate their meaning through the realization of functions and define audiences through the organization and interpretation of artworks. Studying the function and significance shift of the museum in the digital age, the ultimate goal is to find a suitable way to convey a certain type of culture and art in the current era, and to construct a more equitable and easily communicated model of cultural and artistic communication. Under this background and research purpose, this article revolves around the basic characteristics of the digital age, proceeding from the status of the museum, and studying the function realization of the museum and the transformation of meaning generation space, field and media. From the point of view of visual culture, the significance of the museum is analyzed. The system of discourse and symbol analysis used by predecessors to study museums is applied to the significance research of the museum and focuses on the study of the museum of digital age. In this study, starting from specific cases and questionnaire surveys, we have obtained first-hand information on China’s audience’s perception of the status quo of the Digital Age Museum, and controlled the initiative, interpretation, and significance of the Museum’s significance. Analyze the point of convergence between traditional Chinese painting and modern digital technology to reverse the passive display of Chinese art. The main body of the thesis is divided into five chapters. The first chapter discusses the transformation of digital technology and dismantles the inherent relationship between art museums, art museums, and art gallery audiences. The change in digital technology has caused changes in the gallery space, as well as the transformation of artworks and art displays displayed by the museum. These changes have made the identity of the museum not only an authoritative institution for research and interpretation of works of art, but also become more With diversified cultural communication and exchange platforms, the Museum of Art has shifted from art research to more systematic industrial applications, from art education to more comprehensive cultural communication. III The second chapter discusses the change from the physical space to the virtual space and the space of the museum, which causes the transformation of the physical location of the museum and the relationship between the collection and the audience, making it a more diversified platform for cultural communication and communication. The third chapter discusses the changes of the field of art museums, the political field and the cultural field, and the commercial field competition for the art galleries, resulting in a more systematic industrial application of art galleries, and the art gallery as the dominant discourse power of art ontology research. Through digital networks and artistic creative industries, the distributive power of discourse has been realized, and at the same time, the expansion of the field of meaning communication has also been realized. The fourth chapter discusses the realization of the function of the museum and the transformation of the meaning of the media, and urges the museum to shift from art education to a more comprehensive culture. The fifth chapter is to connect China's theory with the reality of China, and from the analysis of audiences in China's art museums, explores the various changes discussed in the previous four chapters. The enlightenment gives an outlook on the display and dissemination of Chinese traditional art in the context of the museum, and proposes a route that is more suitable for the characteristics of the times. The paper concluded that in the context of globalization, the function of the museum changed from the art collection to more cultural exchanges, and the ontology research turned to a more systematic study of the cultural industry, and the art education function of the museum turned to More comprehensive cultural communication and interactive experience. The core meaning of the functions of art galleries has changed from the storage of arts to the spread of culture and the shift to establishing the position of the country’s culture and art in the development of the global art. Art galleries need to understand the characteristics of the digital age and start with several important transformations to control the initiative, the power of interpretation, and the ultimate communication effect of controlling their meaning. The objects in the museum bear the artistic meaning of their time. In the digital era, multi-disciplines are involved in the realization of the on-site experience of art museums and artistic experiences. Art museums need to actively interpret their symbolic meanings through modern design, avoid commercialization, and construct their own research systems and business cooperation models. In the digital construction process of the museum, what is important is not the means and means of technology realization, but the significance of the museum.