与以往不同，今年"十一"长假期间的故宫，因建院百年的特殊节点更添厚重与热闹。红墙黄瓦间，"寻史""看展"成为游客的热切期盼，一场跨越百年的文化 之约在假期里上演。 央视网消息（焦点访谈）：2025年10月10日，故宫博物院迎来了建院一百周年的辉煌时刻。从1925年乾清门前那声开启民享时代的宣告到今天，这座矗立在 北京中轴线上的文化圣殿，在百年间见证了从帝王禁苑到人民共享的伟大跨越。在这百年的时间长河里，有文物修复科技与匠心的代代传承，更有如今"数 字故宫""活力故宫"与世界文明的深度对话。接下来，就让我们一同走进这座百年博物院，读懂它背后的文脉赓续与时代新篇。 与太和殿前的热闹场景相呼应，此刻午门城楼上的"百年守护"特展正迎来八方宾客。作为故宫百年院庆的核心展览，"百年守护"展从195万件（套）院藏文 物中精选200件（套）珍品，其中，《伯远帖》《五牛图》《清明上河图》三件国宝齐聚。它们都曾历经时代动荡与流转，或险些流落海外，或在岁月中受 损，最后都在国家力量的倾力抢救与守护下回归故宫。如今，《清明上河图》已是故宫百年院史的"代言人"；作为乾隆皇帝三希堂瑰宝之一的《伯远帖》和 传世最早的纸本绘画《五牛图》都在 ...

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]

伊拉克博物馆始建于20世纪20年代，是该国最重要的馆藏美索不达米亚文明文物的博物馆。近年来，伊 拉克博物馆成立文物修复和维护实验室，每年可完成上千件文物的修复。中国持续向伊拉克派遣文物修 复技术人员并提供技术支持，双方在文物保护领域的合作成果丰硕。 （本报记者 管克江） 在伊拉克博物馆，工作人员正在修复一座雕像。 参观者观看苏美尔文明的梭万土丘雕像。 制图：蔡华伟 《 人民日报 》（ 2025年07月31日 17 版） (责编：胡永秋、杨光宇) 工作人员在研讨文物修复方案。 以上图片均为本报中东中心分社伊纳斯·易卜拉欣摄 ...

核心提示 文物，历史的讲述者。如今，人们在博物馆邂逅无数精美而独特的文物时，其背后总少不了一群人的身影， 那就是文物修复师。或勘探发掘，或雕凿，或修补，经由他们的妙手匠心，赋予这些古老物件新的生命，文 物得以开口"讲话"、光彩焕新，文化遗迹得以重见天日，让人们触摸到有温度的历史。 匠心传承，万物新生。在前不久举行的全国文物行业职业技能大赛上，我省多位选手表现优异，获得佳绩。 《人文周刊·人物版》将连续两期聚焦我省获奖及其他优秀的金属文物、木作文物等文物修复师，展现他们用 技艺与智慧，让沉睡的瑰宝苏醒，在方寸之间续写文明的动人故事。 炎炎夏日，博物馆的人气和天气一样"高热不退"。河南博物院内，约2500年前的春秋蟠螭纹铜盖鼎前人潮涌 动；在洛阳博物馆珍宝馆，一面唐代金银平脱花鸟铜镜吸睛无数。 造型精美、工艺精湛的文物令人啧啧称奇，却鲜有人知，它们刚刚出土时其实"灰头土脸"，甚至残损变形， 为它们祛除病害、重获新生的是背后默默付出的文物修复师，陈钦龙和陈金龙正是参与其中的两位文物"医 生"。 他们分别来自河南省文物考古研究院和洛阳博物馆，两人不仅名字相似，都专注于金属文物修复，不久前还 共同代表河南参加全国文物行 ...

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].