Core Viewpoint - The resilience protection system is essential for the rapid response and adaptive management of cultural heritage in the face of climate change and external shocks [1][2] Group 1: Climate Change Impact - Climate change poses a significant threat to cultural heritage, affecting temperature and precipitation averages over time, as well as their variability [1] - Different regions and materials (such as soil, wood, brick, stone) require tailored responses to climate change, with a particular focus on the over 80% of earthen sites in China [1] Group 2: Restoration and Preservation Techniques - Restoration is crucial for recovering the original appearance of cultural artifacts, while also enhancing their resilience against external shocks and erosion [1] - Modern restoration emphasizes detailed scientific exploration, testing, research, and evaluation before applying various restoration measures, moving beyond mere restoration to strengthening the artifacts [1] Group 3: Environmental Considerations - The protection of cultural heritage must include the safeguarding of surrounding environments, as many ancient buildings are integrated with their surroundings [2] - There is a consensus on the need to study the safety of the environments where cultural artifacts are located [2] Group 4: Technological Integration - Current technology is no longer a limiting factor for protection, but the disconnect between technology application and cultural heritage preservation remains an issue [2] - A comprehensive understanding of the value, characteristics, and properties of cultural artifacts is necessary to effectively utilize technology for early diagnosis of deterioration and enhance monitoring capabilities [2] Group 5: Goals of the Resilience Protection System - The resilience protection system aims to maximize the self-healing and sustainable development capabilities of cultural artifacts in response to external shocks [2] - It requires a shift from reactive "emergency restoration" to proactive "adaptive maintenance," necessitating improved knowledge and understanding of cultural heritage [2] - There is a need to integrate existing cultural heritage protection data and systems, establishing cross-disciplinary collaboration platforms for data sharing and resource coordination [2]

Core Points - The second National Cultural Relics Industry Vocational Skills Competition concluded, showcasing the skills and dedication of professionals in the field [1] - The competition consisted of theoretical and practical components, testing participants' knowledge and hands-on abilities in ceramic restoration [1][2] - The restoration process emphasized minimal intervention and involved a detailed technical approach to achieve stability, integrity, and aesthetic value in the restored artifacts [2] Summary by Sections Competition Overview - The competition featured a theoretical exam with 160 questions covering various aspects of ceramic production, history, and restoration techniques, requiring extensive knowledge and practical experience [1] - The practical exam lasted 15 hours over two days, where participants faced unpredictable restoration challenges [1] Restoration Process - The restoration of a "Song Dynasty Qing Glaze Carved Porcelain Bowl" involved addressing significant damage, including a 50% rim loss and 40% overall loss, with complex color matching due to contamination during firing [1][2] - A structured approach was adopted for the restoration, including cleaning, filling, retouching, and color matching, culminating in a successful restoration within the competition's time constraints [2] Industry Reputation and Development - The ceramic restoration capabilities in Hubei have a strong reputation, having provided technical support to key national cultural heritage institutions [2] - The importance of traditional techniques alongside modern technology in the field of artifact restoration was emphasized, highlighting a commitment to preserving cultural heritage [2][3]

Core Viewpoint - The second National Cultural Relics Industry Vocational Skills Competition showcases the skills and dedication of cultural relic restorers, emphasizing the importance of craftsmanship and the transmission of traditional techniques in preserving cultural heritage [4][5][6]. Group 1: Event Overview - The second National Cultural Relics Industry Vocational Skills Competition is the highest standard and most influential vocational skills event in the cultural relics sector, featuring various restoration categories [4][5]. - The competition serves as a platform for skilled artisans to demonstrate their techniques and for the industry to evaluate talent, promoting the idea that "every profession can shine" [5][6]. Group 2: Participants and Demographics - A total of 293 participants competed, with an average age of 40.5 years; the youngest participant was only 19 years old, and 53.58% of the competitors held a bachelor's degree or higher [5][6]. - The event highlights the need for younger generations to engage in traditional crafts, as many participants are older, with few young individuals in the field [10][11]. Group 3: Restoration Techniques and Challenges - Modern restoration techniques increasingly incorporate technology, moving from traditional methods to more scientific approaches, while still relying on the expertise of experienced restorers for critical tasks [6][12]. - The restoration process is described as a dialogue with history, where each imperfection in artifacts presents a puzzle to be solved, reflecting the dedication of restorers to their craft [5][6]. Group 4: Individual Stories and Achievements - Young restorer Yi Wenlong, at 24, stands out among older competitors, showcasing exceptional skill and dedication, having been involved in the craft since childhood [7][8][9]. - Ren Junfeng, a metal relic restorer with 15 years of experience, emphasizes the importance of respecting each artifact and the continuous learning process in the field [13][14]. Group 5: Archaeological Aspects - The competition also includes outdoor archaeological excavation events, where participants face the challenges of working in various environmental conditions while applying their skills in real-world scenarios [15][16]. - Participants must demonstrate their ability to document and analyze findings accurately, reflecting the meticulous nature of archaeological work [17][18].

Group 1: Metal Artifact Restoration - The Vice Chairman of the China Cultural Relics Protection Technology Association, Wei Quan, emphasizes that different manufacturing processes and burial environments can lead to various diseases in metal artifacts, necessitating a study of the root causes and mechanisms of these diseases during restoration [2] - The focus of restoration is to enhance the overall stability of the artifacts and further restore their artistic value [2] Group 2: Archaeological Excavation - The Vice President of the Sichuan Archaeological Society, Sun Zhibin, explains that archaeological excavation consists of exploration and excavation, requiring workers to comprehensively assess terrain and landforms to accurately determine probe locations [4] - During excavation, factors such as soil type, color, and inclusions must be considered to classify accumulation units, excavating from top to bottom and from later to earlier layers [4] Group 3: Ceramic Artifact Restoration - Wei Quan notes that ceramic artifacts are prone to breakage, and many unearthed ceramic items require restoration due to various diseases caused by long-term burial [9] - A thorough investigation of the causes of these diseases is essential to develop a reasonable restoration plan and complete the restoration process [9] Group 4: Wooden Artifact Restoration - Zhang Lifang, an expert from the National Cultural Heritage Administration, states that wooden artifact restoration traditionally divides into large and small wooden works, with large works focusing on structural systems and small works on decorative components [10] - Restoration personnel must have a comprehensive understanding of the artifact's overall structure while also being skilled in detailed craftsmanship [10] Group 5: Paper and Painting Restoration - Wei Quan indicates that paper and painting artifacts are organic and face comprehensive diseases such as moisture, mold, and insect damage [13] - Understanding the material and manufacturing process of the paper is crucial, along with assessing the occurrence and extent of diseases to formulate appropriate restoration and protection plans [13] Group 6: Mud and Tile Restoration - Zhang Lifang explains that mud and tile restoration requires an understanding of architectural structure characteristics and identifying areas that need reinforcement [16] - Due to significant strength differences in brick and stone materials based on age and location, restoration methods and materials must be matched to the actual damage conditions of the artifacts [16] Group 7: National Skills Competition - The second National Cultural Heritage Industry Skills Competition was held in Luzhou, Sichuan, from July 3 to 6, 2025, organized by the National Cultural Heritage Administration, the Ministry of Human Resources and Social Security, and the All-China Federation of Trade Unions [19] - The competition featured six events, including metal, ceramic, paper and painting, wooden, and mud and tile restoration, as well as archaeological excavation, with nearly 300 participants aged between 19 and 59 [19] - The competition aimed to promote the theme of "Protecting Cultural Heritage and Promoting Craftsmanship," highlighting the dedication of cultural relic restoration workers who strive to restore damaged artifacts and revive their historical and cultural significance [19]

Core Viewpoint - The "Second National Cultural Relics Industry Vocational Skills Competition" is the largest and highest-level vocational skills event in the cultural relics sector, featuring six competition categories and lasting 15 to 16 hours [1] Group 1: Competition Overview - The competition includes categories for metal relic restoration, ceramic relic restoration, and paper and painting restoration, with participants unaware of the restoration objects and their damages prior to the event [1] - The age range of participants spans from 19 to 59 years, showcasing a diverse group of skilled talents from different generations [3] Group 2: Participant Insights - Zhang Yue, a 19-year-old sophomore specializing in ancient architecture, emphasizes the importance of cultural heritage and aims to enhance her skills to promote the industry [5] - Lü Rui, a participant in the ceramic restoration project, faced the challenge of restoring a Southern Song Dynasty bowl that had broken into nine pieces with three missing sections [5][7] Group 3: Expert Perspectives - Expert Tie Fude outlines four key principles for relic restoration: seeking valuable evidence, understanding damage mechanisms, implementing treatment strategies, and observing restoration effects [7] - Zhang Lifang, an expert in the national cultural relic protection project, stresses that becoming an outstanding relic restorer requires not only technical skills but also a lifelong commitment to the craft [7]

Core Viewpoint - The excavation of two Tang Dynasty dragon heads in Xiong'an, Hebei, represents a significant archaeological find, as such artifacts are extremely rare and provide insights into ancient Chinese craftsmanship and cultural heritage [4][5]. Group 1: Archaeological Discovery - Two Tang Dynasty dragon heads, referred to as No. 9 and No. 10, were unearthed from the ancient city site in Xiong'an, marking a rare find as few such artifacts exist in China [4]. - The dragon heads are made of pottery and are relatively well-preserved compared to other finds from regions like Heilongjiang, Shandong, and Henan [4]. Group 2: Research and Restoration Process - The dragon heads were sent to the Key Laboratory of Archaeological Science and Cultural Heritage Protection at the Chinese Academy of Social Sciences for restoration and research [4]. - Initial cleaning and data collection involved multi-angle 3D imaging to document the condition and location of the fragments, followed by extraction, cleaning, desalting, and drying processes [4][5]. Group 3: Material Analysis - Testing revealed that the firing temperature of the dragon heads was approximately 686 degrees Celsius, with various pigments identified, including manganese for black, vermilion for red, copper for green, and lead for white [5]. - The analysis also uncovered the presence of straw and pottery fragments within the body of the dragon heads, as well as fingerprints of the potter on the No. 10 dragon head [5]. Group 4: Virtual Reconstruction - A collaborative effort with Beijing Institute of Technology utilized 3D laser scanning for data collection, leading to virtual reconstruction of the dragon head fragments [6]. - The restoration team, including students from various universities, successfully pieced together the fragments, although some parts remained missing, which were later filled with plaster [6]. Group 5: Cultural Significance - The successful restoration of the dragon heads adds a new category to the representation of ancient Chinese dragon imagery and provides valuable materials for studying Tang Dynasty architectural components [6]. - This find also reinforces the historical continuity of the Xiong'an New Area, contributing to the understanding of its millennia-old cultural heritage [6].

Core Viewpoint - The article discusses the urgent and complex restoration efforts of the Thousand-Hand Guanyin statue at the Dazu Rock Carvings, highlighting the challenges faced and innovative techniques employed in the preservation process [1][2][3]. Group 1: Restoration Challenges - The Thousand-Hand Guanyin statue, carved between 1174 and 1252, has suffered significant damage over the years, exacerbated by the 2008 Wenchuan earthquake, leading to a complex array of deterioration issues [1][2]. - The statue's restoration is complicated due to its multi-material composition and the severe environmental conditions, resulting in various forms of damage including peeling gold leaf and crumbling stone [2][3]. Group 2: Innovative Techniques - The restoration team utilized a combination of traditional Chinese medicine diagnostic methods and modern technology, including industrial X-ray and 3D scanning, to assess the statue's condition and identify over 34 types of damage [4][5][6]. - The team documented their findings extensively, creating over 300 damage maps and filling out more than 1,000 damage investigation forms, which helped in understanding the statue's intricate structure, including the count of 830 arms [6][7]. Group 3: Material Selection and Application - Initial attempts to use traditional materials like cowhide glue for the gold leaf restoration were unsuccessful due to mold growth in the humid environment of Chongqing, prompting the team to explore local traditional lacquer techniques [8][10]. - The restoration process involved using approximately 1 ton of lacquer and over 1 million sheets of gold leaf, marking a significant investment in materials for the project [18]. Group 4: Team Efforts and Personal Commitment - The restoration team faced numerous physical challenges, including working at great heights and enduring harsh weather conditions, which led to health issues among team members [15][16][17]. - The lead restorer, Chen Huili, emphasized the importance of this project as a once-in-a-lifetime opportunity to preserve the statue, reflecting a deep commitment to cultural heritage [19][20].

Core Viewpoint - The 2025 Jiangsu Province Cultural Relics Industry Vocational Skills Selection Competition was held, showcasing the skills of 70 elite participants in various relic restoration fields, emphasizing the integration of traditional techniques with modern scientific approaches [1][4]. Group 1: Competition Overview - The competition featured six categories: metal relic restoration, ceramic relic restoration, paper and painting restoration, wooden relic restoration, mud and tile restoration, and archaeological excavation [1]. - The evaluation system consisted of 20% theoretical assessment and 80% practical competition, testing the comprehensive abilities of the participants [1]. Group 2: Participant Insights - Participants included both seasoned experts and young talents, creating a diverse talent pool in the relic restoration industry [1]. - Experienced metal relic restorer Song Lei highlighted the importance of removing harmful rust and corrosion during the restoration process [1]. - Li Jun, a metal relic restorer with 30 years of experience, emphasized the need for creating restoration archives to document the methods and materials used for future reference [2]. Group 3: Specific Restoration Techniques - Ceramic restorer Zhou Xuan successfully restored a "Qing Powder Color Branch Flower Plate" by using plaster to recreate missing parts and applying a glaze-like coating to match the original shine [2]. - The archaeological excavation project required participants to assess soil samples and document findings, testing their skills in identifying underground layers [3]. - In the paper restoration category, participants crafted colored paper and executed precise techniques to restore artworks, while wooden relic restorers used traditional tools to create intricate components [3]. Group 4: Significance of the Event - The competition, held on International Museum Day, was deemed significant for promoting traditional craftsmanship while integrating modern scientific principles in relic restoration [4]. - The event attracted a youthful and diverse group of participants from museums, archaeological research institutes, and universities, reflecting the vibrant development of cultural heritage protection in Jiangsu [4][5].

Group 1 - The article explores how modern technology, particularly 3D printing and magnetic attachment, is used in the restoration of ancient bronze artifacts, highlighting innovative methods that balance preservation and restoration [1][9][20] - The restoration of the "Beast Face Pattern Bronze Zhai" involved identifying previous alterations and using advanced imaging techniques to guide the repair process, demonstrating the importance of historical context in restoration [3][4][5] - The restoration of the hollow bronze box, which was found in over fifty fragments, showcases the meticulous process of piecing together artifacts while maintaining their original integrity, emphasizing the challenges faced in such restorations [10][11][12] Group 2 - The restoration of the "Phoenix Bird Pattern Ewer" from the tomb of Liu He involved extensive analysis using modern scientific techniques to assess its condition, leading to a careful restoration plan that preserved its historical significance [15][17][18] - The restoration of the Han Dynasty thin-walled bronze basin illustrates the challenges of reshaping and repairing artifacts that have undergone significant deformation, highlighting the use of heat and specialized tools in the restoration process [21][22][24] - The article emphasizes the blend of traditional and modern techniques in the restoration field, showcasing how these methods can enhance the understanding and appreciation of ancient artifacts while ensuring their longevity [20][25]

Group 1: Cultural Heritage Protection and Restoration - The emergence of young "cultural heritage doctors" showcases a blend of tradition and innovation in cultural preservation [4] - The Beijing Archaeological Research Institute employs advanced technology for the diagnosis and treatment of ancient buildings, enhancing their longevity [5][6] - The use of micro-drilling resistance instruments and infrared thermal imaging has improved the accuracy of detecting structural issues in ancient wood structures [5][6] Group 2: Skills Competition and Training - The first Shanghai Municipal Cultural Heritage Skills Competition was held, featuring 22 finalists competing in various restoration techniques [8][9] - The competition included practical assessments of real artifacts, emphasizing the importance of hands-on skills in the restoration process [9][10] - The event aims to cultivate high-skilled talents in the cultural heritage sector and enhance the social impact of restoration techniques [10] Group 3: International Collaboration in Restoration - Chinese "cultural heritage doctors" are actively involved in the restoration of the Angkor Wat site in Cambodia, contributing to international cultural exchange [12][13] - The Zhejiang Ancient Architecture Design Institute is leading restoration efforts, utilizing digital technologies for complex restoration tasks [13][14] - The restoration process emphasizes scientific management and archaeological research to ensure the authenticity and safety of the heritage site [14]