[Explanation] In the Weaving and Embroidery Cultural Relics Restoration Room of the Ministry of Cultural Protection and Technology of the Palace Museum, several weaving and embroidery cultural relic restorers are working.

Except for the sound of the machine running, the whole room seldom made any noise.

Due to the fragile and hard-to-preserve characteristics of embroidery, every touch during the restoration of cultural relics must be extremely careful.

　　[Concurrent] Qu Tingting, Weaving and Embroidery Cultural Relics Restorer, Ministry of Culture, Protection, Science and Technology of the Palace Museum

　　From the perspective of our restoration, weaving and embroidery cultural relics are more difficult to restore and more fragile.

You look very complete and very good, but in fact it may be brittle, and it may crack with a light touch, so you have to be especially careful.

Take the brush to sweep (cultural relics) little by little every time.

　　[Explanation] There are many types of weaving and embroidered cultural relics, in addition to ready-made clothes, crowns and hats, but also boots, shoes and socks, furnishings, textile cultural relics, weaving and embroidered paintings and calligraphy, etc., occupying a certain proportion of the number of cultural relics in the Palace Museum.

Currently, there are 5 members in the Forbidden City Embroidery Cultural Relics Restoration Team, all of whom are women.

They not only mastered the knowledge of cultural relic restoration, but also familiar with various weaving and embroidery techniques.

　　[Concurrent] Chen Yang, Head of the Weaving and Embroidery Cultural Relics Restoration Team, Ministry of Culture, Protection, Science and Technology of the Palace Museum

　　We will encounter many kinds of crafts in the repair process, such as embroidery, brocade, and tapestry. If you don't understand this craft, you definitely don't know why it is damaged.

You have to think about how I can use some of the techniques I have learned now and combine it with the preservation and restoration of cultural relics.

　　[Explanation] The restoration of every weaving and embroidery cultural relic may experience bottlenecks, and they often need to have a meeting to "consult" for the cultural relics to determine a restoration plan.

　　[Concurrent] Cui Zheng, restoration of cultural relics from the Ministry of Culture, Protection, Science and Technology of the Palace Museum

　　Because the restoration of weaving and embroidery cultural relics started relatively late compared with other types of restoration, so how to determine how to repair a cultural relic and to what extent is the most perfect.

We will do scientific testing and process research in the early stage.

There is an expert review meeting, and experts from various fields come together to review whether your plan is feasible.

　　[Live Voice] Chen Yang, Head of the Weaving and Embroidery Cultural Relics Restoration Team of the Ministry of Culture, Protection and Technology of the Palace Museum

　　The old soil accumulated over the years cannot be removed if you use an ordinary vacuum cleaner, so you have to use this small-caliber vacuum cleaner to clean it out little by little.

　　(Before) We repaired a red tapered python robe. On the chest, there was a large part of it missing. At that time, we thought it was just missing, but it was only discovered during the repair process. All its missing threads are hidden in the clothes.

It was discovered that it had such a large mess of threads, and these threads were still on the clothes, and there was no break.

I took a very thin tweezers and squeezed it out one by one from the messy thread, then arranged it one by one, and then fixed it with the stitching embroidery method of needle and thread. It took nearly two months to repair such a small area.

　　[Explanation] The restoration process of weaving and embroidery cultural relics is long, most of which require not only meticulous repair, but also repeated and tedious maintenance and plastic surgery.

Clean up the dust little by little, and smooth out the wrinkles piece by piece.

　　[Concurrent] Cui Zheng, restoration of cultural relics from the Ministry of Culture, Protection, Science and Technology of the Palace Museum

　　It may be as short as a few weeks, or as long as a few years.

One of the cultural relics that I have a deep impression on is a large sleeping slip embroidered with phoenix patterns in lake blue.

I repaired this cultural relic for nearly a year at that time. Because the fiber was rotten and fragile, I needed to use a suction tip with a diameter of only about two millimeters to remove the dust little by little.

When its exquisite embroidery is revealed, it feels that all the work is worthwhile.

　　[Explanation] Since 2005, the Forbidden City Weaving and Embroidery Cultural Relics Restoration Team has restored more than 100 cultural relics, but a large number of cultural relics are still "queuing" waiting for restoration.

The average age of this team is not more than 40 years old, but they have all decided to "choose one thing for life."

　　[Concurrent] Qu Tingting, Weaving and Embroidery Cultural Relics Restorer, Ministry of Culture, Protection, Science and Technology of the Palace Museum

　　When it is fixed and hung in the exhibition hall, when a lot of people watch it or have a discussion in front of it, you will have an inexplicable sense of accomplishment.

　　[Concurrent] Chen Yang, Head of the Weaving and Embroidery Cultural Relics Restoration Team, Ministry of Culture, Protection, Science and Technology of the Palace Museum

　　I think many young people, including those born in the 90s, including those born in the 00s, have a high interest in traditional culture.

The greatest significance of cultural relic restoration is continuity, because after we restore each cultural relic, we make the cultural relic delay its life, and future generations may have the opportunity to study this cultural relic again.

I think it may be the biggest wish of every one of our cultural relics restorers.

　　Reporter Wang Shibo reports from Beijing

　　Part of the video is provided by Cai Yulong Ge Cong, Ministry of Culture, Protection and Technology of the Palace Museum

Editor in charge: [Ji Xiang]