以下文章来源于十分之一信箱 ，作者崔瑾 你好呀，过了一个周末就告别了 2025 ，来到了 2026。 我们将在接下来几周的周五给大家带来「冬奥敲门特辑」，刚刚上线的第 116 期是特辑的第一期。 除此之外，「Knock Knock 世界」还更新了哪些话题呢？ 112. 故宫建院 100 周年，近 200 万件文物居然曾在外流浪 20 余年？ 113. 玉米种子侵权赔了 5000 多万，小小种子为何也要有「版权」？ 114. 又到年末盘点时刻，古老严肃的辞典为什么也爱发布「年度热词」？ 115. 当人们纷纷花钱去南极旅游，这片「白色大陆」它还好吗？ 听友 Sarah 向我们发来投稿，想知道随着南极旅游越来越火，人类频繁的活动，会对南极的生态环境造成影响 吗？ 116. 冬奥会开幕倒计时 28 天！你对比赛项目知多少？｜冬奥敲门特辑 今天，想要多分享一些 112 期「故宫文物大迁徙」的故事，在节目中，我们将所有的精力都放在了那些国宝 上，走进国宝背后，这里我们想讲讲一位叫做易培基的人的故事，他是故宫博物院第一任院长，如果没有他， 国宝大迁徙不可能发生，但是，易培基院长的命运也因为故宫国宝从风起云涌变为骤然含冤陨落 ...

Core Viewpoint - The Palace Museum is celebrating its 100th anniversary in 2025, reflecting on its journey of protecting and promoting Chinese traditional culture while adapting to modern challenges and opportunities [1][4]. Group 1: Historical Development - The Palace Museum was established in 1925, transforming from a royal palace into a public museum, making its collections accessible to the public [1]. - During the Japanese invasion in 1933, the museum relocated over 19,000 boxes of artifacts to protect them, demonstrating its commitment to cultural preservation [1]. - After the founding of the People's Republic of China, the museum restructured to enhance its service functions and research capabilities, leading to the return of artifacts from the south starting in January 1950 [1]. Group 2: Modern Development Strategy - Since the 18th National Congress of the Communist Party, the Palace Museum has entered a new development phase, proposing the "Four Palaces" construction system: Safe Palace, Academic Palace, Digital Palace, and Vital Palace [2]. - The museum aims to become a world-class museum and a model for cultural heritage protection, integrating cultural and tourism sectors [2]. - Efforts include systematic protection of cultural heritage, development of academic resources, and exploration of digital technologies for artifact preservation and sharing [2]. Group 3: Future Directions - The museum is focusing on completing the "Palace Protection Overall Plan (2026-2040)" and establishing a quality management system for cultural institutions [3]. - There is an emphasis on interdisciplinary research involving the museum's collections and historical architecture, encouraging collaboration with various sectors [3]. - The museum aims to enhance its digital capabilities and provide innovative exhibitions and services to enrich cultural experiences for the public [3]. Group 4: Cultural Significance - The transformation of the Palace Museum from a royal garden to a public institution symbolizes China's modernization and the pursuit of national rejuvenation [4]. - The museum is guided by Xi Jinping's thoughts on socialism with Chinese characteristics, aiming to elevate its cultural heritage protection and research efforts [4].

Core Points - The article highlights the emotional and historical significance of the relocation of cultural artifacts from the Palace Museum during the war, focusing on the life of Zhuang Yan and his son Zhuang Ling, who were deeply involved in the preservation of these treasures [1][3][12]. Group 1: Historical Context - In 1933, over 10,000 boxes of artifacts were relocated from the Palace Museum to avoid destruction during the war, showcasing the commitment of museum staff to protect cultural heritage [1][3]. - Zhuang Yan was one of the key figures responsible for the safe transport of artifacts during the tumultuous years of the Second Sino-Japanese War, demonstrating the perilous conditions under which these items were moved [3][4]. Group 2: Personal Narratives - Zhuang Ling, born during the artifact relocation, reflects on his childhood experiences amidst the hardships of war, emphasizing the cultural education he received from his father [6][10]. - The article describes the family's efforts to maintain a connection to Chinese culture through storytelling and games, despite the challenging circumstances they faced [9][10]. Group 3: Cultural Significance - The ongoing exhibition at the Palace Museum commemorates the migration of artifacts, highlighting the shared cultural heritage between the two sides of the Taiwan Strait [12][13]. - The article notes that the artifacts have fostered a sense of cultural identity among Taiwanese people, while also representing a longing for reunification of cultural treasures [12][14]. Group 4: Future Aspirations - Zhuang Ling expresses hope that the regrets of the previous generation regarding the separation of cultural artifacts will not be passed on to future generations [15].

Core Viewpoint - The article discusses the historical event of the relocation of cultural relics from the Palace Museum during the tumultuous period from 1925 to 1949, highlighting the significance of this migration in preserving Chinese heritage amidst war and chaos [1][6]. Group 1: Historical Context - The migration of cultural relics was initiated due to the impending threat of Japanese invasion, with the first suggestion for relocation coming from a common citizen in 1932 [2]. - The first batch of relics left Beijing on February 7, 1933, and faced delays due to disagreements on storage locations, eventually being stored in Shanghai [2][3]. Group 2: Migration Process - The total number of cultural relics relocated included 13,427 boxes and 64 packages from the Palace Museum, along with additional items from other institutions [2]. - Following the outbreak of the "July 7 Incident," the relics were further evacuated from Nanjing, leading to a decade-long journey of displacement [3]. Group 3: Management and Preservation - The management of the relics during their migration was meticulous, with the establishment of strict regulations and detailed record-keeping to ensure their safety [3][6]. - Local communities played a supportive role in the preservation efforts, providing spaces for the storage of relics during their transit [4]. Group 4: Author's Intent and Research - The author, Zhang Hongwei, spent nearly 20 years researching and compiling the history of the Palace Museum's leadership and the challenges faced during the relocation of relics [6][7]. - The book aims to present an accurate historical account and highlight the efforts made to protect the cultural heritage of China [7].