11月25日，为期两天的"道中华·京华行"系列采访活动正式启动，在京西驼铃古道模式口、北京燕京八 绝博物馆、首钢园、法海寺、北京历代帝王庙博物馆等地，一场讲述铸牢中华民族共同体意识故事之旅 拉开帷幕。 本次活动聚焦"根脉中华·坐标北京"，由中国民族报社和北京市民族宗教委联合主办，邀请业内专家学 者、主流媒体、网络名人一道，以长安街沿线为横轴、北京中轴线为纵轴进行调研采风。 燕京八绝将启动海外文物再造计划 北京自古以来就是各民族交融汇聚的重镇，北京历史文化是中华文明源远流长的伟大见证，也是首都文 化自信的重要载体。西线一行来到北京燕京八绝博物馆，"燕京八绝"涵盖景泰蓝、雕漆、玉雕、牙雕、 花丝镶嵌、金漆镶嵌、京绣与宫毯编织八大技艺，均源自古都北京，由宫廷流传至民间。这些技艺既汲 取了中原工艺的古雅精髓，又融合了少数民族的热烈活力，更吸纳了丝绸之路的异域风情，铸就了独树 一帜的艺术风貌。历经世代传承与创新，它们成为东西方文化交流的见证，民族融合的象征。 对于流失在海外的燕京八绝珍品，北京燕京八绝博物馆正在筹划规模宏大的"文物再造计划"。馆长柏群 表示："文物虽流散在外，但技艺与传承的根脉始终在我们手中。"他介绍， ...

苏峪口瓷窑址展示性回填工作严格遵循文化遗产保护的国际宪章和国内法律法规，秉持"大考古"理念， 突出"不改变文物原状、最小干预、可识别性、可逆性"的保护原则，进行"设置隔离层""加固遗产本 二〇二一至二〇二二年考古发掘区回填之后航拍照。 二〇二三年考古发掘区回填之后航拍照。 宁夏文物考古研究所供图 体""标识重要遗迹""遗址正式回填""区域防洪治理""遗迹二次防护""竖立展板、说明牌"和"环境整治恢 复"等工作。 首先，清理遗址周边环境，确保工作区域的整洁与安全。在回填材料和遗迹之间铺盖毛毡或牛毛毡作为 物理隔离层，再于隔离层之上进行加固干预。明确区分遗址本体和后期干预，突出了遗产保护的"可识 别性"和"可逆性"；其次，明确窑址的组成部分，按照遗迹原有形制结构，在隔离层外用匣钵块、石块 等自下而上对窑炉外墙、房址墙体等各个遗迹进行加固处理；第三，除4座窑炉及其聚风墙外，对重要 遗迹如瓷土加工池、练泥遗迹、加工石英原料遗迹等用毛毡覆盖隔离后，按照遗迹原有轮廓，在其上用 匣钵进行垒砌加固至略高于地表。重要遗迹区还在回填后的地表种植不同种类的贺兰山绿植用以区分， 并设置说明牌，做到"地下遗迹可见于地表"。 苏峪口瓷窑 ...

Core Viewpoint - The Yungang Grottoes' caves 7 and 8 have reopened to the public after five months of digital preservation and maintenance, showcasing the integration of ancient art and modern technology in cultural heritage protection [1][19]. Group 1: Cultural Significance - Caves 7 and 8, dating back to the Northern Wei Dynasty, are not only masterpieces of Yungang Grottoes but also symbols of the fusion between Chinese civilization and Silk Road culture [1]. - The caves feature exquisite sculptures, including six notable figures known as the "Six Beauties Cave," which were first documented by Liang Sicheng and Lin Huiyin in 1933 [9]. Group 2: Technological Advancements - The temporary closure of the caves allowed for the implementation of three-dimensional hyperspectral scanning technology, which is a breakthrough in capturing the color and details of large-scale cultural relics [12][15]. - This technology enables the creation of a comprehensive digital archive for future preservation efforts, including a spectral database and a color spectrum library [17]. Group 3: Visitor Experience - The reopening has attracted visitors eager to capture the beauty of the ancient sculptures and engage with the rich historical narratives presented by guides [4][19]. - The experience transforms history from mere text into living art, enhancing public appreciation for cultural heritage [4].

Core Viewpoint - The article discusses the historical significance and restoration efforts of the Tianti Mountain Grottoes, particularly focusing on the Great Buddha Cave, which has faced challenges due to water damage and historical alterations [1][6][21]. Group 1: Historical Significance - The Tianti Mountain Grottoes are recognized as the first royal grottoes in China, directly commissioned by a king during the Northern Liang period, showcasing early grotto art [2][3]. - The site contains over a hundred statues and hundreds of square meters of murals, along with valuable texts and artifacts from various dynasties [2][3]. Group 2: Relocation and Preservation Efforts - In 1958, the local government decided to build a reservoir, threatening to submerge the grottoes, leading to a large-scale relocation effort approved by the Gansu provincial government [4][6]. - The relocation involved moving 43 statues and 300 square meters of murals to the Gansu Museum, while the Great Buddha Cave was left in situ due to the size of its sculptures [4][6]. Group 3: Restoration Challenges - The Great Buddha Cave's sculptures suffered significant water damage, with parts submerged for over 30 years, leading to erosion and loss of structural integrity [6][21]. - Restoration efforts began in 1995, utilizing modern materials while adhering to the principle of "repairing the old as the old" despite limited historical references [19][21]. Group 4: Restoration Techniques - The restoration team, led by Li Yunhe, employed innovative techniques, including the use of steel reinforcements for the sculptures' frameworks, replacing the original wooden structures [15][19]. - The team faced the challenge of reconstructing the Buddha's head using only black-and-white photographs from the 1950s, which required significant scaling and artistic interpretation [13][14]. Group 5: Legacy and Impact - Li Yunhe's dedication to the restoration of the Tianti Mountain Grottoes has inspired a new generation of conservators, with his family continuing the tradition of cultural heritage preservation [21][23]. - The successful restoration of the Great Buddha Cave has garnered praise from experts and the public, highlighting the importance of cultural heritage conservation in China [21].

Core Viewpoint - The National Cultural Heritage Administration has made significant advancements in the field of cultural relic technology during the 14th Five-Year Plan period, focusing on precise identification of cultural relics as a key research area [1][2]. Group 1: Research and Development - The establishment of 40 key research bases, including one at Tianjin University, aims to develop unique "fingerprints" for cultural relics, providing them with an ultimate "identity card" [1][2]. - The research is based on the "object fingerprint theory," which posits that no two objects have identical microstructures, ensuring the uniqueness of each cultural relic [5][4]. Group 2: Identification Technology - The identification process involves scanning the micro-level features of cultural relics, which are inherently random and unique, similar to human fingerprints [5][7]. - A sophisticated system has been developed to ensure precise re-positioning of relics for accurate comparison, even if the angle or height of the object changes [9][10]. Group 3: Safety and Application - The technology incorporates safety measures to prevent damage to relics during scanning, including a pre-established 3D model and sensitive sensors that halt movement if pressure exceeds 0.4 Newtons [10][12]. - Beyond identity verification, this technology can also be used for regular "health checks" of cultural relics, detecting subtle surface damages [12].

Core Points - The provincial fire rescue team and the provincial cultural relics bureau conducted a fire safety training in Luoyang, focusing on the risks associated with cultural heritage sites and the importance of responsibility and emergency response [1][2] Group 1: Training and Safety Measures - The training included theoretical lectures analyzing fire risks in cultural buildings, emphasizing the "four checks" related to responsibility, disaster factors, evacuation conditions, and emergency response [1] - Participants engaged in practical training at Luoyang Museum and Guanyin Temple, observing the "four checks" process and emergency response simulations [1] - The Guanyin Temple, a key national cultural heritage site, has implemented measures to manage fire risks, including strict supervision of fire sources and electrical management [1] Group 2: Fire Safety Protocols - The museum has established fire safety agreements with external vendors, ensuring clear responsibility and regular checks on fire safety equipment [2] - All fire-related activities are prohibited within the museum, with outdoor cutting or welding required to have proper approvals and monitoring [2] - Participants expressed that the training enhanced their ability to apply knowledge practically, aiming to improve fire safety standards in the cultural relics sector [2]

Core Points - The return of the Changsha Bullet Warehouse Warring States silk manuscripts, specifically the second volume "Five Elements Order" and the third volume "Attack and Defense Divination," marks a significant cultural heritage event, ending a 79-year period of displacement [2][4][17] Group 1: Importance of the Manuscripts - The Changsha Bullet Warehouse Warring States silk manuscripts are the earliest known silk texts in China, dating back to around 300 BC, and are crucial for studying ancient Chinese astronomy, military science, philology, literature, and intellectual history [6][9] - The manuscripts serve as a transition from bamboo slips to paper books, highlighting the evolution of Chinese writing materials [7] - The manuscripts are considered an "encyclopedia" of Warring States life, with over 1,600 characters focused on divination and related subjects [10][12] Group 2: Content Overview - The first volume "Four Seasons Order" contains a creation myth detailing the cosmic origins and seasonal changes, featuring illustrations of twelve month deities and their associated auspicious and inauspicious days [12][14] - The second volume "Five Elements Order" categorizes the year into five segments based on the five elements, detailing seasonal and monthly auspiciousness [14] - The third volume "Attack and Defense Divination" provides guidelines for military strategies regarding siege and defense, organized by cardinal directions [16] Group 3: Cultural Significance and Future Prospects - The successful return of these manuscripts exemplifies China's commitment to cultural heritage protection and international cooperation in repatriating lost artifacts [17][19] - The manuscripts' return is seen as a significant achievement in enhancing national cultural confidence and soft power, reinforcing China's determination to safeguard its cultural roots [19] - The National Cultural Heritage Administration aims to expedite the return of the first volume "Four Seasons Order" and hopes for more lost Chinese artifacts to return home [19]

Core Insights - The Chengdu Institute of Cultural Relics and Archaeology has made significant breakthroughs in the preservation technology of ivory artifacts from the Sanxingdui site, allowing for public display in museums soon [1][2] Group 1: Preservation Challenges - The preservation of ivory artifacts is particularly challenging due to their fragile nature and susceptibility to decay after being buried for over 3,000 years [1] - Despite the discovery of over 700 ivory pieces from six sacrificial pits at Sanxingdui, very few have been displayed in museums due to their deteriorated condition [1] Group 2: Technological Advancements - A collaborative effort involving nine research institutions has led to the development of key preservation techniques, including on-site protection and dehydration reinforcement [2] - The newly developed techniques have successfully extracted and reinforced ivory artifacts, enhancing their strength to meet museum display standards [2] Group 3: Future Prospects - The application of these preservation techniques is currently being demonstrated with the ivory artifacts from both Sanxingdui and the Jinsha site, with one reinforced piece already on display at the Chengdu Archaeological Center [2] - There is optimism that visitors will soon be able to see the newly unearthed ivory artifacts at the Sanxingdui Museum [2]

Core Insights - The first comprehensive digital mobile platform for cultural relics in China has been successfully developed, integrating data collection, processing, and storage equipment [1] - This platform marks a significant technological breakthrough in the field of cultural relics digital protection, enabling efficient data collection from remote areas [1] Group 1: Technological Advancements - The platform overcomes traditional spatial limitations in cultural relics digitization, allowing for real-time inspection and secure storage of data [1] - The research team has successfully addressed challenges in extreme environments, such as small spaces and large caves, enhancing the coverage, precision, and completeness of data collection [1] Group 2: Strategic Vision - The Dunhuang Academy adheres to the philosophy of "permanent preservation and sustainable utilization," promoting the iterative upgrade of digital technologies [1] - A modular and intelligent set of digital collection equipment has been established, along with the development of high-resolution image stitching software and multi-source data fusion software for 3D reconstruction [1] Group 3: Integration and Development - The initiative aims to automate and enhance the efficiency of cultural relics data collection and processing, establishing a preliminary digital standard system [1] - The project emphasizes the integration of production, education, research, and application in the field of cultural relics digitization [1]

Core Viewpoint - The article highlights the innovative techniques employed by the Jingzhou Cultural Relics Protection Center to ensure the preservation of organic cultural relics throughout their entire lifecycle, showcasing successful restoration projects and the center's collaborative efforts with archaeological units [1][4][7]. Group 1: Technological Innovation in Preservation - The Jingzhou Cultural Relics Protection Center has provided technical support for cultural relic preservation to over 130 cultural heritage units across 27 provinces, successfully extending the lifespan of more than 10,000 wooden lacquerware items and over 110,000 bamboo and wooden slips [1][4]. - The center employs a combination of new technologies and traditional methods to restore organic relics, allowing for the revival of historical artifacts that span thousands of years [4][7]. Group 2: Notable Restoration Projects - A significant restoration project involved the recovery of over 3,900 bamboo slips from the Qin family tomb, which became the largest collection of Warring States bamboo slips discovered in China, with approximately 30,000 characters revealed [4][5]. - The restoration of the bamboo slips is ongoing, with 40% of the work completed and an expected completion date set for 2027 [5]. Group 3: Collaborative Efforts and Outreach - The center has established eight workstations in various cities to promote restoration techniques and support grassroots cultural heritage units, enhancing the overall capacity of the cultural relics protection industry [7]. - The center emphasizes a comprehensive protection approach, from immediate on-site preservation to laboratory rescue and preventive measures for stored and exhibited relics [7]. Group 4: Team Composition and Expertise - The restoration team at the center consists of professionals with an average age of 38, combining expertise from various disciplines to advance the preservation of organic cultural relics [9].