随着首块修复完成的木板被安装至专用骨架上，位于大埃及博物馆胡夫太阳船展厅内的修复工程正式展 开。在当天的仪式上，埃及旅游和文物部长谢里夫·法西称，该项目为"21世纪最重要的文物修复工程之 一"。 法西介绍说，在运抵博物馆进行组装前，工作人员已历时多年，完成了对约1650件木质构件的系统性修 复与研究。相关工作包括建设专业修复实验室、分析木材数千年来的损蚀状况，并运用摄影、绘图和三 维扫描等技术进行全面记录。预计整船复原工作还将持续约四年。 据悉，游客可在现场观看太阳船的组装过程。大埃及博物馆馆长艾哈迈德·古奈姆对新华社记者表示， 此举能让观众直观了解文物修复过程的各个阶段，实现"视觉体验与知识获取的融合"。"这一做法标志 着现代博物馆展览理念的重要提升。" （来源：劳动午报） 转自：劳动午报 新华社电 古埃及法老胡夫的第二艘太阳船组装工作近日在大埃及博物馆启动。埃及旅游和文物部表 示，这标志着自2022年启动修复以来，该项目已进入"最关键阶段"。 胡夫是古埃及第四王朝的一位法老。太阳船是法老的大型陪葬品。1954年，埃及考古学家在胡夫金字塔 南侧附近发现两个长方形石坑。东面的石坑当年开始挖掘，出土了第一艘胡夫 ...

胡夫是古埃及第四王朝的一位法老。太阳船是法老的大型陪葬品。1954年，埃及考古学家在胡夫金 字塔南侧附近发现两个长方形石坑。东面的石坑当年开始挖掘，出土了第一艘胡夫太阳船。1987年，第 二艘太阳船在西面的石坑里被勘测到。2021年7月，埃及旅游和文物部宣布完成第二艘胡夫太阳船发掘 工作。目前，第一艘太阳船已完成修复，并在大埃及博物馆专设展厅展出。 据埃及旅游和文物部介绍，第二艘胡夫太阳船长约42米，在船桨数量、金属使用以及结构功能方面 均与第一艘存在差异，这些细节反映出古埃及高超的造船技艺。 据悉，游客可在现场观看太阳船的组装过程。大埃及博物馆馆长艾哈迈德·古奈姆对新华社记者表 示，此举能让观众直观了解文物修复过程的各个阶段，实现"视觉体验与知识获取的融合"。"这一做法 标志着现代博物馆展览理念的重要提升。" 新华社开罗12月23日电（记者徐皓夫 姚兵）古埃及法老胡夫的第二艘太阳船组装工作23日在大埃 及博物馆启动。埃及旅游和文物部表示，这标志着自2022年启动修复以来，该项目已进入"最关键阶 段"。 随着首块修复完成的木板被安装至专用骨架上，位于大埃及博物馆胡夫太阳船展厅内的修复工程正 式展开。在当天的仪 ...

中新社新疆吉木萨尔12月15日电 题：新疆"90后"文物修复师：让北庭故城千年遗存获新生 作者 苟继鹏 位于新疆吉木萨尔县的丝绸之路北庭故城遗址博物馆(下称"博物馆")内，"90后"文物修复师刘潇正俯身 于工作台前，专注修复一件布满历史痕迹的陶罐。陈列在侧的陶瓮、陶盏等文物，经他巧手修复后已重 现往日神采。 "每个清晨踏入修复室，看着那些等待修复的陶片、铜钱和瓦当等文物，感觉它们像被时光暂时封印的 碎片，等着我去唤醒那些沉睡的故事。"刘潇15日接受中新社采访时说，由于修复任务重，人手有限， 加班加点是常事。 位于吉木萨尔县城以北12公里处的北庭故城遗址，是见证唐代庭州、北庭都护府及元代别失八里宣慰司 等历史印记的重要遗址，被称为"丝路北道活化石"。2014年，其作为"丝绸之路：长安—天山廊道的路 网"组成部分被列入《世界遗产名录》。 近年来，在中国国家文物局和新疆维吾尔自治区文物局的支持下，吉木萨尔县联合中国社会科学院等单 位，累计完成考古发掘面积2.1万平方米，出土包括刻有"悲田寺"字样的陶器残片在内的珍贵文物3500 余件，考古成果丰硕。 原本担任博物馆讲解员的刘潇，面对不断出土的文物，选择从"讲述历史" ...

一件件深埋地下的南宋花器，本已支离破碎，却在文物修复师的巧手修补下，再焕光彩。11月29日在浙江大学艺术与考古博物馆开幕的"繁花技 艺——南宋花器的修复与美学"展览中，共75件由杭州市文物考古研究所修复的南宋花器，首度集中亮相。 杭州市文物考古研究所所长胡利红说，宋代是中国古代瓷器技艺，以及花艺的高峰，花器是两者的重要载体。首次集中展出修复成果，旨在让观 众通过观赏花器，领略宋韵文化。 这批南宋花器是从杭州市区的多处遗址出土的，涉及大吉瓶、四季瓶、凤耳瓶等14个大类，来自越窑、官窑、龙泉窑、景德镇窑等多个窑口。胡 利红说，它们代表着当时宋代花器的最高水平。 图为"繁花技艺——南宋花器的修复与美学"展览现场一角。新华社记者冯源 摄 修复过程中需要"神来之笔"。比如，此次展出的一件"龙泉窑青釉凤耳瓶"，残片是在市中心出土的，而瓶身主体是在另一处遗址出土的，却能拼 合在一起。 "让一件器身残破且分埋两地的文物得以再生，弥合了历史的遗憾，这正是文物修复的一大意义。"胡利红说。 图为成功修复的龙泉窑青釉凤耳瓶。新华社记者冯源 摄 展出的南宋花器中，约四分之一来自德寿宫遗址。德寿宫是当时南宋太上皇帝居住的宫殿。胡利红介绍 ...

Group 1: Historical Significance of Artifacts - The article highlights the historical importance of various artifacts in the Palace Museum, including the Qing Dynasty cloisonné enamel piece, which is among the first items to receive an identification number [2] - The museum's collection has been meticulously cataloged over the years, with the most recent comprehensive inventory completed in 2011, revealing a total of 1,807,558 items, including 1,684,490 precious artifacts [2] - The narrative of the artifacts' journey during the war, particularly the southward migration of cultural relics, reflects a significant period in Chinese history and the efforts to preserve cultural heritage [6] Group 2: Restoration and Preservation Efforts - The restoration of the "Dashing Sound" guqin is presented as a notable success story, showcasing the dedication to preserving ancient musical instruments and their cultural significance [10] - The article discusses the collaborative efforts in the restoration of artifacts, emphasizing the integration of traditional techniques with modern technology to ensure the longevity of the items [19][20] - The museum's commitment to not only restoring artifacts but also reviving traditional craftsmanship is highlighted, aiming to bring ancient art forms back into contemporary life [20] Group 3: Cultural Heritage and Public Engagement - The Palace Museum has evolved from a royal palace to a public museum, significantly increasing its accessibility to the general public since its establishment in 1925 [14] - The museum plays a crucial role in educating the public about Chinese history and culture, with ongoing efforts to enhance visitor experience and engagement through various initiatives [14][22] - The digitalization projects, such as the "Panoramic Palace" initiative, aim to provide virtual access to the museum's treasures, allowing a broader audience to appreciate its cultural heritage [22]

Core Viewpoint - The Palace Museum is celebrating its 100th anniversary in 2025, marking a significant transition from an imperial garden to a cultural institution shared by the public, showcasing advancements in artifact restoration and digital engagement with global civilizations [1]. Group 1: Anniversary Celebrations - The upcoming National Day holiday will see increased visitor engagement at the Palace Museum, with a focus on historical exploration and exhibitions as part of the centennial celebrations [3]. - The "Centennial Guardianship" exhibition features 200 selected treasures from a collection of 1.95 million artifacts, including national treasures like "Along the River During the Qingming Festival" [5][13]. Group 2: Artifact Restoration and Preservation - The restoration of artifacts is a key focus, with experts like Wang Youliang, a national intangible cultural heritage inheritor, dedicating decades to the meticulous restoration of bronze artifacts [7][9]. - Wang Youliang's work has resulted in the revival of over 300 artifacts, showcasing the high level of restoration expertise at the museum [9]. Group 3: Expansion and Future Developments - The construction of the new North District of the Palace Museum aims to address space limitations for displaying artifacts, with completion expected by 2026 [13][17]. - The North District will facilitate large-scale exhibitions and professional restoration, allowing for better preservation and display of historical buildings in the core area [17]. Group 4: Digital Innovation - The Palace Museum is leveraging digital technology to preserve and utilize artifact information, with over 1.06 million artifacts digitally cataloged and more than 100,000 available to the public [19][24]. - The digital initiatives include high-precision 3D modeling and virtual reality experiences, enhancing visitor engagement and accessibility to the museum's collections [19][22][24].

Core Viewpoint - The Beijing Grand Canal Museum has completed the construction of its cultural relics protection center, which features an innovative visual display and restoration area, allowing the public to engage with the relics and the restoration process in an immersive manner [2][5]. Group 1: Museum and Cultural Relics Protection Center - The museum's relics visualization storage spans 760 square meters and houses over 100 exquisite Ming and Qing dynasty furniture pieces, along with 6,000 blocks of the Qing Dynasty's "Tripitaka" woodblocks [2]. - The center is the largest of its kind in Beijing, integrating a comprehensive restoration room with display functions, enabling visitors to witness the relics' restoration process through interactive experiences [2][5]. Group 2: Restoration Techniques and Innovations - Traditional restoration involves four main processes: cleaning, separating, repairing, and completing, with the cleaning phase being particularly meticulous and labor-intensive [3]. - The use of a special dough made from oat flour and glycerin enhances the cleaning process, ensuring safety and effectiveness in dust removal without leaving residues [4]. - The introduction of a biological adhesive agent for the "revealing" process allows for the safe separation of old protective layers from the artwork, significantly improving the precision and safety of restoration efforts [4].

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 Iraq Museum, established in the 1920s, is the most important repository of Mesopotamian artifacts in the country [5] - The museum has set up a conservation and maintenance laboratory that can complete thousands of artifact restorations each year [5] - China continues to send conservation technicians to Iraq and provides technical support, resulting in fruitful cooperation in the field of artifact preservation [5]

Core Insights - The article emphasizes the crucial role of conservators in restoring cultural relics, allowing these historical artifacts to "speak" and connect people with their past [1][2][15] - The recent national skills competition highlighted the achievements of conservators in the province, showcasing their craftsmanship and dedication to reviving ancient treasures [1][2] Group 1: Role of Conservators - Conservators are likened to "doctors" for artifacts, meticulously restoring items that are often damaged or degraded upon excavation [2][5] - The profession requires a blend of traditional skills and modern technology, with conservators using various tools, including surgical instruments and ultrasonic cleaners, to perform their work [6][18] Group 2: Notable Conservators - Chen Qinlong and Chen Jinlong are highlighted as exemplary conservators who have made significant contributions to the field, winning awards at the national skills competition [2][4] - Both conservators have extensive experience, with Chen Qinlong having worked on over 1,000 artifacts, including significant projects like the restoration of a large bronze vessel [5][10] Group 3: Restoration Process - The restoration process is described as intricate and time-consuming, often involving multiple steps such as cleaning, reshaping, and welding to bring artifacts back to their original state [5][11] - Chen Qinlong's innovative approach includes the development of a patented tool for reshaping bronze artifacts, demonstrating the blend of creativity and technical skill in the profession [9][18] Group 4: Cultural Significance - The work of conservators not only preserves artifacts but also enhances public appreciation for cultural heritage, allowing visitors to engage with history through restored items [15][18] - The article underscores the growing interest in traditional culture and historical artifacts, positioning conservators as vital in reviving and maintaining this connection [18]