[Commentary] "Longquan celadon is a well-deserved 'Porcelain Sea Pearl' and a 'cultural messenger' for exchanges and mutual learning."
From October 31st to November 1st, at the 5th World Celadon Conference held in Hangzhou, Zhejiang Province, Shan Jixiang, president of the Chinese Society of Cultural Relics and former director of the Palace Museum, said that the development and production of celadon should be oriented to life, so that its From "looked up" to "reached".
[Concurrent] Shan Jixiang, President of the Chinese Society of Cultural Relics
I think I have also shown a lot in the hall today. These are the continuous research on people's real life needs. According to people's actual needs, we will continue to carry out such research and development of technologies that we can master and further improve, and then combine the two. Get up, this is how we continuously enter people's real life and social life. I think there is still a lot of room for improvement in this regard. Then our masters of arts and crafts are also making unremitting efforts. This is forever. Endless process.
[Explanation] China has been up and down for five thousand years, and the porcelain civilization has lasted for three thousand years.
The English word "China" means both "China" and "porcelain".
Shan Jixiang mentioned in an interview that whether it is the "Maritime Silk Road" or the "Land Silk Road", it is actually a "cultural exchange road", and porcelain plays a pivotal role in it.
[Concurrent] Shan Jixiang, President of the Chinese Society of Cultural Relics
In our country, of course, this is the cultural exchange with foreign countries. This has a long history. Among them, today people often talk about the Silk Road, but today we know more clearly through research that it is the road of cultural exchange, then The products of these exchanges, silk, then ceramics, which are some of these items that are important.
Well, internationally, including our neighboring Vietnam and Myanmar, including those in Southeast Asia, Singapore, the Philippines, Malaysia, Indonesia, and one more, as far away as Africa, especially Europe.
This shows that our Longquan celadon has a great influence. It is not only (in) the court, but also (in) the people, not only in China, but also foreign people love it, so it has such a process of dissemination.
[Explanation] Longquan celadon began in the Three Kingdoms and the Jin Dynasty, flourished in the Northern Song Dynasty, and reached its peak in the Southern Song Dynasty.
If we want Longquan Celadon to continue to be a good "cultural messenger" for the exchange and mutual learning of world civilizations, we should also focus on the utensils themselves.
In Shan Jixiang's view, the development and production of celadon needs to be oriented to life, improve the quality of items, and make them more accessible.
[Concurrent] Shan Jixiang, President of the Chinese Society of Cultural Relics
It is to study the real life of people, especially the younger generation, so the younger generation iterates very quickly, so in this process, it is necessary to be able to study each generation of young people, their aspirations, their interests, their way of life, and their acceptance. Information means, for example, today more and more digital technology is used to receive information, so it is necessary to adapt to such a development, so whether it is museums, whether we ceramic masters, their new research and development results, through digital technology More good stories to tell.
So I think we can learn from each other and come together so that our traditional culture can be excavated and improved. On the other hand, it is the cooperation between our own experts and masters in Longquan to create (create) the proper brand of Longquan. , I think in this regard, there is also a lot of space potential.
In a word, let’s go back, that is, we protect the first, strengthen management, and improve our level as a whole, then through mining value, through our effective use, make it into thousands of households, make cultural heritage live, this is what we are The new cultural relics work policy.
Reported by Shen Yishan and Wu Liujing from Hangzhou, Zhejiang
Responsible editor: [Lu Yan]