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].

Group 1 - The core viewpoint emphasizes the importance of coordinating material and spiritual civilization as a key feature of Chinese modernization, highlighting the continuous improvement in societal awareness and moral standards since the 18th National Congress of the Communist Party of China [1] - The article introduces Guo Hanzhong, a senior technician in cultural relic restoration at the Sanxingdui Museum, who has dedicated 41 years to reviving over 6,000 ancient artifacts, showcasing the renewed value orientation and moral standards in contemporary China [1][3] - Guo Hanzhong's innovative restoration techniques, including traditional soldering combined with modern riveting and pouring methods, were crucial in reconstructing the nearly 4-meter tall bronze sacred tree, which was found in over 200 fragmented pieces [3][6] Group 2 - Guo Hanzhong has invented over a hundred tools tailored for different types of cultural relic damage, significantly enhancing the efficiency of the restoration process [6][8] - He developed wax mold solidification technology, which was instrumental in safely extracting hundreds of decayed ivory pieces from a newly discovered sacrificial pit at the end of 2019 [8] - Guo Hanzhong emphasizes the importance of knowledge transfer to his apprentices, advocating for a blend of traditional craftsmanship and modern technology, and has established a master workshop for cultural relic restoration skills to cultivate young professionals in the field [10]

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].

Group 1 - The article discusses the restoration efforts of the Tiger Hill Pagoda in Suzhou, which has been leaning due to uneven ground settlement, earning it the nickname "Chinese Leaning Tower of Pisa" [2][3] - The first restoration in 1953 involved reinforcing the pagoda with reinforced concrete, which inadvertently increased its weight and caused issues with the foundation [3][4] - The second major restoration focused on strengthening the foundation through a combination of techniques including pile encasement and grouting, effectively controlling the settlement and tilt of the pagoda [4][5] Group 2 - After over twenty years post the second restoration, new issues arose such as water seepage and deterioration of the structure, leading to the initiation of a third major restoration in 2011 [5][6] - The third restoration emphasized comprehensive maintenance, including structural preservation, waterproofing, and protection against biological damage, marking a shift from previous emergency repairs to a more holistic approach [5][7] - The restoration process included the construction of scaffolding for access, which was completed in May 2015, allowing for detailed maintenance and repairs to the pagoda [6][7] Group 3 - The third restoration involved extensive work on the pagoda's roof, including cleaning, rust treatment, and the installation of new lightning protection systems [7][8] - The maintenance also addressed structural issues such as cracks and deterioration in the pagoda's body, ensuring that all repairs were conducted with a focus on preserving the original aesthetics [8][9] - A comprehensive survey using 3D laser scanning was implemented to monitor the pagoda's condition accurately, allowing for timely interventions [10] Group 4 - The article also highlights the restoration of the Zhao Zhou Bridge, which has undergone multiple repairs since its construction over 1400 years ago, with the most significant restoration occurring between 1955 and 1956 [12][13] - The restoration of Zhao Zhou Bridge faced debates on whether to maintain its original appearance or to replace severely damaged stones, ultimately leading to a reconstruction that utilized modern techniques while attempting to preserve historical integrity [14][15] - The restoration process included the use of reinforced concrete and waterproofing measures, which, while effective, led to concerns about the loss of historical authenticity [16][19] Group 5 - The article concludes with a focus on the importance of careful restoration practices, emphasizing the need to balance modern techniques with the preservation of historical value, as seen in the ongoing efforts to maintain the Great Wall [24][25] - The work of restoration experts like Cheng Yongmao is highlighted, showcasing a commitment to minimal intervention while ensuring structural safety and historical fidelity [28][29] - The ongoing restoration projects reflect a broader trend in heritage conservation, prioritizing the preservation of cultural significance alongside structural integrity [37]

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]