1923年开站投入使用的京绥铁路卓资山站老站房，见证了草原铁路发展，也见证了中国铁路从弱到强的 辉煌历程。今年11月，"集宁铁路运输检察院督促保护卓资山镇车站旧址行政公益诉讼案"被评为内蒙古 自治区检察院第二批服务北疆文化建设典型案例，这座百年老站也因此受到更多人的关注。 2024年10月，卓资山镇车站旧址修缮工程正式开工。两个月后，专家评审组一致同意通过验收。今年3 月，集宁铁路运输检察院开展"回头看"时发现，破旧的外墙和窗体被修缮一新，塌陷的房顶和墙体得到 加固，杂物已全部清理，"马灯""旧式信号灯"等历史老物件被陈列展出，历经沧桑的百年老站重现风 采。 此外，集宁铁路运输检察院还推动了铁路沿线"马盖图车站旧址"等多处不可移动文物的修缮工作，要求 对9处县级文保单位制作保护标识，让多个年久失修且无人管理的不可移动文物旧貌换新颜。 卓资山站老站房经过修缮后重现风采。 卓资山镇车站曾是万里茶道的重要枢纽点，也是边民贸易的重要集散地。在改革开放初期，日均发送旅 客近千人次。2011年，卓资山镇车站旧址被列为卓资县第二批县级文物保护单位。2023年4月，集宁铁 路运输检察院以铁路文物遗产保护为出发点，在辖区开展专 ...

Core Achievements in Cultural Heritage Development - During the "14th Five-Year Plan" period, Sichuan has made significant advancements in archaeological research, cultural heritage protection, and museum construction, achieving historic milestones in these areas [2][3]. Archaeological Research - Sichuan, as the birthplace of ancient Shu civilization, has focused on major projects like "Archaeological China" and "Chinese Civilization Exploration," leading to groundbreaking discoveries that reshape academic understanding [3]. - Over the past five years, Sichuan has conducted more than 7,000 archaeological surveys and over 200 excavations, ensuring that engineering projects and cultural heritage protection go hand in hand [3]. Cultural Heritage Protection - Sichuan has discovered 6,889 new cultural heritage sites during the ongoing fourth national cultural heritage census, with the total number of immovable cultural heritage sites expected to exceed 70,000 [4]. - Innovative protection mechanisms have been introduced, including cross-provincial cultural heritage joint protection and incentive policies like "floor area ratio rewards" to enhance sustainability in cultural heritage protection [4]. - The province has also implemented measures to address extreme weather impacts on cultural heritage, transitioning from reactive to a balanced approach of both reactive and preventive protection [4]. Revolutionary Cultural Heritage - The protection and utilization of revolutionary cultural heritage have been notably effective, with over 300 projects established, contributing to local economic development [5]. Museum Development - Sichuan has seen a significant increase in the number of museums, with 459 registered museums and 16 first-class museums, marking a 56% growth since the end of the "13th Five-Year Plan" [6]. - The province's museums have hosted over 3 billion visitors in the past five years, with a focus on enhancing visitor engagement through various educational programs and exhibitions [6][7]. - Technological innovations have played a crucial role in enhancing the preservation and presentation of cultural heritage, utilizing advanced techniques like 3D scanning and digital restoration [7]. Future Outlook - Looking ahead to the "15th Five-Year Plan," Sichuan aims to continue prioritizing cultural heritage protection, value excavation, and public benefit initiatives to support the construction of a culturally strong province [7].

Core Viewpoint - The establishment of the Hubei Provincial Cultural Relics Bureau as a separate entity under the Hubei Provincial Department of Culture and Tourism is aimed at enhancing the management and protection of cultural relics, which is crucial for building a culturally strong province and a world-renowned cultural tourism destination [1][2]. Group 1: Establishment of Hubei Provincial Cultural Relics Bureau - The Hubei Provincial Cultural Relics Bureau has been approved to operate independently, with a vice-ministerial level status, no longer under the Hubei Provincial Department of Culture and Tourism [1]. - This move is expected to strengthen the administrative functions related to cultural relics management and improve the overall level of protection and utilization of cultural relics in Hubei [1]. Group 2: Cultural Heritage Resources in Hubei - Hubei province has a rich cultural heritage, with 36,473 immovable cultural relics, including 168 national key cultural relic protection units and 920 provincial cultural relic protection units, as well as 3 UNESCO World Heritage sites [2]. - As of July 2024, there are 238 registered museums in Hubei, housing over 2.95 million cultural relics and specimens [2]. Group 3: Recommendations for Cultural Relics Management - There have been suggestions from representatives during the National People's Congress to establish independent cultural relics bureaus in regions with dense cultural resources to handle all administrative tasks related to cultural relics [2]. - A proposal was made during the 2021 National Two Sessions to address the "last mile" issue in cultural relics protection and management, advocating for dedicated personnel and responsibilities in cultural resource-rich areas [2].

近年来，荥经县推进县博物馆馆藏文物预防性保护、数字化保护等重点项目，先后争取到资金1000余万 元。为防范资金使用"跑冒滴漏"，县纪委监委主动靠前，在项目招投标阶段，核查招标流程合规性，杜 绝"量身定制"等问题；在设备采购环节，比对技术参数与市场价格，确保质价相符；在验收环节，联合 文保专家实地核查，防止"走过场"。发现苗头性问题后，及时督促县文体旅局及项目单位立行立改，推 动项目资金精准滴灌、高效使用。 为进一步压实行业主管部门责任，县纪委监委开展"嵌入式"监督，派驻县委宣传部纪检监察组在全县文 物保护项目实施相关工程检查中，聚焦设施采购、安装调试等关键环节开展细致核查。针对发现的流程 不规范、推进不到位等共性问题，及时向责任单位下发问题整改通知书，推动全县建立文物保护项目采 购管理细则，堵塞管理漏洞。同时，该县纪委监委将监督视角延伸至"文物活起来"领域，聚焦文物价值 转化不足、文旅融合不畅等堵点难点，监督推动各部门协同发力，破除部门壁垒，简化流程、优化服 务，为文物价值转化扫清障碍。（汪小丁） 该县纪委监委充分发挥监督推动作用，牵头召开文物保护责任落实推进会，督促县文体旅局建立"清单 化监督+常态化考核" ...

Core Viewpoint - The reopening of the Ning Shou Palace Garden marks a significant milestone in the preservation of cultural heritage, showcasing the intricate craftsmanship and historical significance of Qing Dynasty architecture [2][6]. Summary by Sections Historical Significance - The Ning Shou Palace Garden, built by Emperor Qianlong, is a unique representation of classical garden design, combining elements from both southern and northern Chinese garden styles, and features 27 distinct buildings [2][6]. - The garden has been under restoration for 25 years, initiated by the Palace Museum in collaboration with the World Monuments Fund, highlighting its importance in Chinese and global garden history [2][6]. Restoration Challenges - The restoration process has revealed valuable historical information, emphasizing the authenticity of the garden's mid-Qing architecture and decorative techniques [2][3]. - The inner decoration of the garden is a focal point of restoration, featuring complex techniques such as bamboo silk inlay and lacquered silk, which were creatively adapted from traditional crafts [3][4]. Craftsmanship and Techniques - The restoration team has faced significant challenges due to the delicate nature of materials used, such as the lacquered silk in the Fu Wang Pavilion, which has deteriorated over time [4][5]. - The intricate craftsmanship involved in the restoration includes the use of rare materials and traditional techniques, with experts collaborating to recreate lost methods, such as the production of mulberry paper for restoration [5][6]. Ongoing Efforts - The restoration of the Ning Shou Palace Garden is an ongoing project, with only the first two courtyards currently open to the public, indicating the extensive work still required [6][8]. - The project has involved meticulous documentation and research, including historical surveys and the creation of replicas to preserve the original aesthetic for future generations [6][7]. Community Involvement - A team of over 40 volunteers contributed to the restoration efforts, showcasing community engagement in preserving cultural heritage [7][8]. - The discovery of early samples of decorative patterns during restoration efforts has provided insights into historical construction practices, further enriching the understanding of the garden's design [7][8].

Core Viewpoint - The China Cultural Heritage Research Institute has evolved significantly since its establishment in 1935, expanding its focus from ancient architecture preservation to comprehensive cultural heritage protection, reflecting the growth of China's cultural heritage sector over the past 90 years [1][2][3]. Group 1: Historical Development - The institute's predecessor, the Old Capital Cultural Relics Sorting Committee, was the first official organization in China dedicated to the research and protection of ancient architecture [1]. - After the founding of New China, the organization was restructured under the Ministry of Culture, completing nearly 100 projects related to the preservation of significant cultural sites [1]. - The establishment of the Cultural Relics and Museums Research Institute in 1962 marked a significant advancement in the scientific protection of cultural relics, leading to the creation of specialized laboratories for various materials [2]. Group 2: Major Projects and Contributions - The institute has been involved in numerous important projects, including the protection of the Kizil Grottoes and the ancient architecture in Tibet, contributing to the preservation of China's cultural heritage [2][3]. - It played a crucial role in the archaeological survey and protection planning for the Three Gorges area, ensuring the preservation of cultural relics during significant infrastructure projects [2]. - The institute has also engaged in international cultural heritage protection efforts, such as the restoration of Angkor Wat in Cambodia and the Durbar Square in Nepal, enhancing China's global image in cultural heritage preservation [3]. Group 3: Future Directions - The China Cultural Heritage Research Institute aims to adapt to new requirements for cultural heritage protection by emphasizing innovation and management, while continuing to uphold the spirit of dedication to the field [3]. - The institute plans to leverage its role in advancing the National Cultural Heritage Science and Technology Innovation Center to contribute to the high-quality development of cultural heritage protection [3].

Group 1 - The event "Dao Zhonghua·Jinghua Xing" focuses on strengthening the awareness of the Chinese national community and promoting excellent Chinese culture, featuring a series of interviews and explorations in various historical and cultural sites in Beijing [1][2] - The route design of the event forms a "Zhong" character layout, symbolizing the importance of Beijing as the capital and the theme of the event, which emphasizes the unity of the Chinese nation [2] - The event includes visits to significant cultural sites such as the Palace Museum and the National Museum of China, highlighting the educational practices related to the awareness of the Chinese national community [2][3] Group 2 - The Beijing Yanjing Eight Wonders Museum is planning a large-scale "cultural relics reproduction plan" to recreate lost treasures of the Yanjing Eight Wonders, which represent a blend of various cultural influences and craftsmanship [4] - The museum has established a complete protection system and has hundreds of master craftsmen and intangible cultural heritage inheritors capable of reproducing lost works with high precision [4] - The Beijing Historical Emperors Temple Museum has been included in the first batch of educational practice bases for strengthening the awareness of the Chinese national community, focusing on the historical significance of the temple and its artifacts [5][6]

Core Viewpoint - The Su Yu Kou porcelain kiln site in Ningxia is the largest and best-preserved fine white porcelain kiln site in Northwest China, showcasing a complete production system for porcelain, including raw materials and fuel sources [1]. Group 1: Archaeological Findings - The site covers an area of 40,000 square meters and has revealed a total of six kilns and various workshop relics over four years of excavation from 2021 to 2024, with an excavation area of 2,400 square meters [1]. - Significant findings include wheel tracks, porcelain clay processing pools, glaze containers, quartz processing remnants, and other production-related artifacts [1]. Group 2: Conservation and Display Strategy - The Ningxia Archaeological Research Institute has decided to implement a "display backfill" approach, which involves marking important relics and functional zones on the surface while backfilling the excavation area to preserve the site for future museum construction [1]. - The backfill process adheres to international charters and domestic laws regarding cultural heritage protection, emphasizing minimal intervention and reversibility [2]. Group 3: Backfill Materials and Techniques - The backfill materials include excavated soil, stones, and pottery shards, with a focus on maintaining the authenticity of the archaeological site [4]. - A physical isolation layer is created using felt or cowhide between the backfill materials and the relics, ensuring the integrity of the archaeological findings [3]. Group 4: Environmental Considerations - To protect the site from environmental factors such as wind and wildlife, a lightweight steel shelter has been constructed over the kilns, with additional protective measures in place for important relics [5]. - The backfill area is designed to promote the growth of native vegetation, enhancing the ecological restoration of the site [6]. Group 5: Visitor Experience and Education - Stone paths have been laid to connect various relic points, facilitating visitor flow and minimizing damage to newly planted vegetation [6]. - Informational boards and visual aids are installed to enhance visitor understanding of the site's historical significance and the backfill process [5].

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].