转自：贵州日报 广西博物馆文物科技保护中心修复师陈琦在 实验室修复文物。 广西壮族自治区博物馆/供图 在广西壮族自治区博物馆四楼新设展厅内，让观众发出感叹的，不是精美的展品，而是文物从"残 缺"到"完美"的过程。 开展一个多月的"匠心·续华年——文物保护修复展"，吸引了不少观众前来观看。"时光留痕—未雨绸缪 —重塑风华"三段式叙事结构，以文物修复流程为主线带领观众走进了一场"文物保护修复之旅"。 透过高倍显微镜，青铜残片的锈迹纹理清晰可辨；汉代铜盆、清康熙黄地绿彩龙凤纹碗等修复过程，演 绎破碎的瓷片如何经巧手复原，流转百年前的光华；手指穿过玻璃开孔，触摸宋代陶瓷残片标本的粗粝 质地；在触摸屏上通过虚拟技术拼接文物碎片，沉浸式感受文物修复工作…… 在所有展区中，让观众驻足时间最长的，当属两间被透明玻璃窗"框"进展厅的文物保护修复实验室。窗 外，观众流连驻足；窗里，修复师手持排笔细细抚平古籍褶皱，或对瓷器釉面进行细致清理。文物修复 最为日常的"慢时光"，如现场直播一般呈现在观众眼前。 来自杭州的观众蒋女士说："文物为何历经千百年依旧保存如此完好？"她是带着这样的好奇走进了修复 展。隔着玻璃窗，近距离观看了修复师的 ...

【新春走基层】 一场大雪纷纷扬扬，让麦积山石窟披上了素装。 位于甘肃天水的麦积山石窟是座艺术宝库，营造史持续10多个朝代、1000多年，留下220多个窟龛、上 万身造像，是名副其实的"东方雕塑陈列馆"。 推开136窟的木门，一股暖意扑面而来，与门外的凛冽仿若两个季节。牟常有坐在小马扎上，手中打磨 着一件木质骨架。 按照惯例，进入冬季，石窟修复工作暂停，但牟常有并没有休息。"气温低，做不了泥活，我们就做木 工活。"他手下一刻不停，"开春任务重，现在就得准备起来。病害要查，材料要点，尺寸要量……样样 都得赶在前头。要做好计划，要珍惜时间。" 41年来，他一直这样赶着时间。 山脚下，通勤车发动了。牟常有靠窗坐着，麦积山的轮廓在暮色中渐渐模糊。车外，秦岭的风吹过千年 崖壁，雪停了。 （记者 王冰雅 尚杰） 来源：光明日报 编辑：赵怡雯 责编：黄昕鹏 主编：李彦龙 郭 蔚 1985年，牟常有从拌泥递物的小工起步，在老师傅的言传身教中学习文物修复。他总是最早到岗的那一 个，提前理好工具、备好材料，等着师傅来。一有空就翻书、琢磨手艺。耳濡目染间，修复塑像涉及的 石匠、木匠、铁匠的手艺，他一点点都学会了。 "干我们这行，急不 ...

公告说，皇冠修复将依照法国相关法律法规，通过招标遴选具备资质的修复师实施，并将成立专家 咨询委员会，为修复方案与方法提供建议。委员会将由卢浮宫现任馆长洛朗丝·德卡尔领导，成员包括 卢浮宫艺术品部负责人、珠宝史学者等，并将邀请法国珠宝世家代表参与。 2025年10月19日上午，4名蒙面人来到卢浮宫外，分工配合操作升降装置，从建筑物外部阳台潜入 室内，数分钟内抢走9件珠宝，其中一顶属于欧仁妮皇后的皇冠已被警方找到。截至目前，警方锁定的4 名现场作案嫌疑人已全部归案。 新华社巴黎2月6日电（记者 张百慧）法国卢浮宫博物馆日前发布公告说，2025年10月卢浮宫抢劫 案中被寻回的欧仁妮皇冠虽被挤压变形，但近乎保存完整，具备整体修复条件。 公告说，皇冠框架形状已经改变，但仅缺失一个装饰性部件，因此无需重构或补配即可完成整体修 复。修复工作主要是对框架进行重新整形。 公告援引一份初步评估报告称，皇冠可能是从展柜豁口被强行取出时受到挤压，随后又遭猛烈撞击 而使框架变形。原皇冠上有8只金鹰饰件和8组钻石与祖母绿构成的棕榈叶饰件交替排列，目前缺失1只 金鹰饰件和约10颗底座周缘小钻。 ...

数量种类空前 怒目圆睁的天王俑、策马而行的胡人俑、神情肃穆的文官俑……这批三彩器出土于山东济南樊家遗址唐 代朱满墓，由济南市考古研究院于2021年7月至2022年6月组织发掘，是山东地区出土唐三彩器数量最 多、造型最全、制作最精美的一次发现。 千年唐三彩"拼图式"复原：远看合一 近观有别 中新网济南1月22日电(记者 李欣 赵晓 王峰)今年年初，山东文物修复史上一次性修复三彩器最多的项目 通过竣工验收。54件唐三彩重绽华彩，亮相济南考古馆。 "无论是数量、种类还是精美程度，这批三彩器在山东地区都属罕见。"济南市考古研究院樊家遗址项目 负责人何利接受中新网记者采访时说，朱满墓的墓志铭记载，墓葬年代为公元715年，正值盛唐时期。 从全国范围看，除西安、洛阳地区外，其他区域很少有如此高规格的三彩器出土。 何利进一步介绍，天王俑、镇墓兽都是盛唐时期的典型器物。其中，天王俑在这批唐三彩中个头最大， 高度约1米，身穿黄、绿、白相间的服饰，一手握拳，一手叉腰，显得格外威武。 这批文物出土后，许多人对墓主人的身份心生好奇。据墓志记载，墓主人是在开元三年葬于故郡城东南 的朱满，系乐陵朱氏在济南的分支。"北朝、隋唐之际，乐陵朱氏 ...

图②：景德镇现存最古老作坊之一，沿袭着明清以来景德镇的传统制瓷工序。 图①：古陶瓷研究所复现景德镇烧窑的传统工艺。 图③：古陶瓷研究所的工作人员正在晒坯。 图④：古陶瓷研究所里用来检测古陶瓷标本的科学仪器。 本文照片均由受访者提供 江西省景德镇市珠山区三宝村，历史上曾是北宋湖田窑影青瓷重要原料产地，如今则是"瓷都"景德镇知 名打卡点。来自海内外的游客，在长达数公里、密布着数百家特色瓷器小店的街巷中流连忘返。 就在三宝村中间，有一处不那么显眼的院子。门楼是重檐歇山式建筑，屋脊舒展，檐角上翘。阳光打在 青砖和木门上，一条河流过门楼旁，几只白鹅、灰鸭在水中嬉戏。 这里是景德镇陶瓷大学古陶瓷研究所，一批研究者在这里重现、研究、传承景德镇千百年前的泥与火之 歌。 一座独特的院子 沿台阶上二楼，俯瞰蛋形窑，形状的确如卧倒的鸭蛋。在这古朴的窑棚下，一半是蛋形窑；另一半则提 醒着参观者，这里是一处学术机构。两张长条桌上摆放着话筒，墙上挂着幕布，可以做学术报告。 "我们每年在这里开10余场'天工论坛'，还会举办博士生、硕士生的论文开题、答辩，也会开展面向公 众的科普活动。"对于这处特殊的场所，李其江充满感情，"我们在古窑棚下搭 ...

Core Insights - The assembly of the second solar boat of Pharaoh Khufu has commenced at the Grand Egyptian Museum, marking a critical phase in the restoration project that began in 2022 [1] - The Egyptian Minister of Tourism and Antiquities, Sherif Fathy, described the project as one of the most significant restoration efforts of the 21st century [1] - The restoration involves the systematic repair and study of approximately 1,650 wooden components, utilizing advanced techniques such as photography, drawing, and 3D scanning [1][2] Group 1 - The restoration project has entered a crucial phase with the installation of the first repaired wooden plank onto a specialized framework [1] - Visitors will have the opportunity to observe the assembly process of the solar boat, enhancing the educational experience by merging visual engagement with knowledge acquisition [1] - The first solar boat has been fully restored and is currently exhibited in a dedicated hall at the Grand Egyptian Museum [1] Group 2 - The second solar boat measures approximately 42 meters in length and exhibits differences in paddle quantity, metal usage, and structural functions compared to the first boat, showcasing the advanced shipbuilding skills of ancient Egypt [2]

Core Insights - The assembly of the second solar boat of Pharaoh Khufu has commenced at the Grand Egyptian Museum, marking a critical phase in the restoration project that began in 2022 [1] - The Egyptian Minister of Tourism and Antiquities, Khaled El-Anany, described the project as one of the most significant restoration efforts of the 21st century [1] - The restoration involves the systematic repair and study of approximately 1,650 wooden components, utilizing advanced techniques such as photography, drawing, and 3D scanning [1][2] Group 1 - The assembly of the second solar boat is a key milestone in the restoration project, which is expected to take about four more years to complete [1] - Visitors will have the opportunity to observe the assembly process, enhancing the educational experience by merging visual engagement with knowledge acquisition [1] - The first solar boat has already been restored and is on display in a dedicated exhibition hall at the Grand Egyptian Museum [1] Group 2 - The second solar boat measures approximately 42 meters in length and exhibits differences in paddle quantity, metal usage, and structural functions compared to the first boat, showcasing the advanced shipbuilding skills of ancient Egypt [2]

Core Viewpoint - The article highlights the work of a "post-90s" cultural relic restorer, Liu Xiao, who is dedicated to restoring historical artifacts at the North Ting Ancient City Ruins Museum in Xinjiang, emphasizing the importance of preserving cultural heritage and making history accessible to the public [1][2][3]. Group 1: Cultural Heritage and Restoration - The North Ting Ancient City Ruins, located in Xinjiang, is a significant historical site that reflects the governance of various dynasties over the region, including the Tang, Song, and Yuan dynasties [3]. - Since the establishment of the museum's restoration room, over 500 artifacts have been successfully restored, including pottery, coins, bone tools, and architectural components [2]. - The museum has collaborated with the National Cultural Heritage Administration and the Xinjiang Uygur Autonomous Region Cultural Heritage Bureau, completing archaeological excavations covering an area of 21,000 square meters and unearthing more than 3,500 valuable artifacts [1]. Group 2: Personal Journey and Professional Development - Liu Xiao transitioned from being a museum guide to a restorer, driven by the increasing number of artifacts discovered [2]. - His academic background in museum studies provided a theoretical foundation, but practical skills were honed through hands-on experience, emphasizing the patience required in the restoration process [2]. - The restoration work is described as solitary yet rewarding, as it allows for a connection with ancient cultures and the continuation of historical narratives through the restored artifacts [2].

Core Viewpoint - The exhibition "Flourishing Techniques - Restoration and Aesthetics of Southern Song Flower Vessels" showcases 75 restored Southern Song flower vessels, highlighting the peak of ancient Chinese porcelain and floral art during the Song Dynasty [1][2]. Group 1: Exhibition Details - The exhibition opened on November 29 at the Zhejiang University Museum of Art and Archaeology, featuring 75 restored Southern Song flower vessels from the Hangzhou Archaeological Research Institute [1]. - The displayed vessels include 14 categories such as the Dajizun, Four Seasons Vase, and Phoenix Ear Vase, originating from various kilns including Yue, Guan, Longquan, and Jingdezhen [2]. Group 2: Restoration Significance - The restoration process is described as requiring a "stroke of genius," exemplified by the Dragon Spring Kiln Phoenix Ear Vase, which was reconstructed from fragments found in different locations [4]. - The restoration aims to bridge historical gaps, allowing for the rebirth of artifacts that were previously fragmented and dispersed [4]. Group 3: Cultural Insights - Approximately one-quarter of the exhibited vessels are from the Deshou Palace site, the residence of the Southern Song Emperor, showcasing the cultural significance of these artifacts [6]. - The exhibition emphasizes the principle of "first not restoring, then restoring," to preserve the original beauty and information of the artifacts, avoiding overwhelming the original aesthetics with restoration [6].

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]