Of all lighting applications, museum lighting is uniquely challenging. The lighting must not only reveal the visual detail and emotional power of the artwork to the viewer, but also protect and preserve its content and integrity for the future. The lighting also contributes critically to the entire aesthetic and affective experience of the museum visitor. Many people therefore have strong stakes in the physical properties of the illumination, as well as its look and feel: exhibition curators, conservators, sponsors, lenders, press officers and relationship advisers. Others have equally important stakes from practical considerations of energy efficiency, cost, and sustainability: exhibition planners, museum directors and trustees, building services and security staff. The lighting designer, in turn, must work with the multiple resulting demands and constraints to create a setting that is vital to the shortand long-term success of the museum. These complementary considerations are summarised in this special issue by Thomas Schielke (2019), who explores the role of light in creating vastly varying atmospheres, depending on the artworks’ content and artists’ intentions, either unifying the works with the space or objectifying them, immersing or isolating the viewer, expanding or focussing the view. The biggest challenge for museum lighting today, though, is keeping up with the concurrent rapid changes in light technology and the understanding of how light affects human behavior. Just as biologists are discovering new pathways in the brain that mediate people’s response to light both visually and non-visually—modulating mood, health, alertness, perception, and performance (Bauer et al. 2018; Spitschan 2019; Vandewalle et al. 2009)—engineers are developing new smart lighting technologies that can modulate illumination spectra in real time to fit the time of day, the place, the people, and the task at hand (Chew et al. 2016; Hertog et al. 2015; Llenas and Carreras 2019; Llenas et al. 2019). Behavioral studies in the workplace, classroom and clinic have demonstrated the effects of spectrally varying light exposure on mood, cognitive function, visual comfort and the sleep-wake cycle (e.g. Choi et al. 2019; Figueiro et al. 2017). Yet museums—where artworks and artifacts need the right light to be seen, appreciated, and conserved, and viewers often want to experience deep feeling as well as to learn or be entertained—should be at the forefront in capitalising on these new technical and scientific advances. In accord with the interdisciplinarity needed to integrate and optimise these multiple developments, a richly varied group of individuals came together in London for the 2017 International Museum Lighting Symposium and Workshops (MLSW2017) (Andrikopoulos 2017): conservators, curators, architects, lighting engineers, conservation scientists, vision scientists, psychologists, lighting designers, art historians, and more, from museums, academia, and industry, world-wide. The papers presented at MLSW2017, as do the papers collected in this special issue, capture the considerations of a research field and practice in flux. Museum lighting is no longer at a major crossroads, trying to decide whether to travel away from traditional incandescent and fluorescent lamps towards solid state lighting, but has already moved down that route, and is now seeking out the optimum paths through an everbranching network. Already, several projects in high-profile institutions have demonstrated the potential of solid-state lighting, for example, the relighting of the Sistine Chapel with optimised LED lighting (Schanda et al. 2016), and the lighting of a polychrome sculptures with sets of colortunable LED lights in the Art Institute of Chicago (Ketra, n.d.). As Garside et al. (2017) observe, the main drivers for the move towards LED lighting in museums have been cost savings and energy efficiency, and given the huge improvement in these that LED lighting brings relative to older light technologies, there has been less focus on smaller differences between different LED systems,

中文翻译：

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用于人物和绘画的新博物馆照明

在所有照明应用中，博物馆照明具有独特的挑战性。灯光不仅要向观众展示艺术品的视觉细节和情感力量，还要保护和保存其内容和完整性，以备将来使用。照明也对博物馆参观者的整体审美和情感体验做出了重要贡献。因此，许多人对照明的物理特性及其外观和感觉有很大的影响：展览策展人、管理员、赞助商、贷方、新闻官员和关系顾问。从能源效率、成本和可持续性的实际考虑来看，其他人也有同样重要的利益：展览策划者、博物馆馆长和受托人、建筑服务和安保人员。反过来，照明设计师，必须与由此产生的多种需求和限制一起工作，以创造一个对博物馆短期和长期成功至关重要的环境。托马斯·席尔克 (Thomas Schielke)（2019 年）在本期特刊中总结了这些互补的考虑因素，他探索了光在创造千差万别的氛围中的作用，这取决于艺术作品的内容和艺术家的意图，或者将作品与空间统一起来，或者将它们客观化，沉浸或隔离观看者，扩展或聚焦视图。然而，当今博物馆照明面临的最大挑战是跟上光技术的同步快速变化以及对光如何影响人类行为的理解。就像生物学家在大脑中发现了调节人们对光的视觉和非视觉反应的新途径一样——调节情绪、健康、警觉性，感知和性能（Bauer 等人，2018 年；Spitschan 2019 年；Vandewalle 等人，2009 年）——工程师正在开发新的智能照明技术，可以实时调节照明光谱以适应一天中的时间、地点、人和手头的任务（Chew 等人，2016 年；Hertog 等人，2015 年；Llenas 和 Carreras 2019 年；Llenas 等人，2019 年）。工作场所、教室和诊所的行为研究已经证明了光谱不同的光照对情绪、认知功能、视觉舒适度和睡眠-觉醒周期的影响（例如 Choi 等人，2019 年；Figueiro 等人，2017 年）。然而博物馆——艺术品和手工艺品需要合适的光线才能被看到、欣赏和保存，观众通常想要体验深刻的感受，同时也想要学习或娱乐——他们应该站在利用这些新技术和科学进步的最前沿。根据整合和优化这些多重发展所需的跨学科性，一群不同的人聚集在伦敦参加 2017 年国际博物馆照明研讨会和研讨会 (MLSW2017) (Andrikopoulos 2017)：保护人员、策展人、建筑师、照明工程师、保护科学家、视觉科学家、心理学家、照明设计师、艺术史学家等，来自世界各地的博物馆、学术界和工业界。MLSW2017 上发表的论文，以及本期特刊中收集的论文，都反映了研究领域和实践的考虑因素。博物馆照明不再处于主要十字路口，试图决定是否从传统的白炽灯和荧光灯转向固态照明，但已经沿着这条路线走下去，现在正在通过不断扩展的网络寻找最佳路径。知名机构的几个项目已经展示了固态照明的潜力，例如，使用优化的 LED 照明重新点亮西斯廷教堂（Schanda 等人，2016 年），以及使用一组芝加哥艺术学院 (Ketra, nd) 的彩色可调 LED 灯。正如加赛德等人。(2017) 观察，博物馆转向 LED 照明的主要驱动力是成本节约和能源效率，鉴于 LED 照明相对于旧的照明技术带来的巨大改进，