"Have all your friends and family returned home safely? ”
The British Museum is known for"The world's most prosperous culture has left behind the world's longest historical record"It is proud, but of the 8 million cultural relics in the museum, Chinese cultural relics account for more than 200,000 pieces, and these cultural relics have been destroyed and scattered by looters, and the number is staggering.
Among them, there are many cultural relics that are regarded as treasures by the British Museum. Every Chinese can't walk out of the British Museum with a smile, because every piece of Chinese cultural relics in the museum is priceless, and every piece is a rare treasure.
The "eternal peace of the family and country" on the stone pillow means that our country and homeland will always be stable and prosperous, but the cultural relics in reality are plagued by thieves and illegals. In 2023, the British Museum was suspected of being stolen, and many countries have demanded the return of their cultural relics.
These cultural relics were not looted back then, and some of them were seized here for safekeeping, and some of them were illegally resold. In such a situation, we should cherish and protect our cultural treasures and let them shine forever on the soil of our motherland.
In this era of peace, countries have the same strong expectations for the return of overseas cultural relics as we do. In this era of globalization, the cross-border movement of cultural relics has also made us more deeply aware of the diversity and uniqueness of culture.
One of the exhibits caught our attention, in a corner of the British Museum, known as the stone pillow of "Home and Country Forever". This exhibit is a representative work of China's Cizhou kiln, which expresses our deep love for our country in traditional Chinese culture in a unique form.
The process of circulation of this exhibit also makes us more deeply aware of the inheritance and development of culture. The Yongan stone pillow is not only an exhibit, it is also an important carrier of our traditional Chinese culture, which allows us to cherish and protect our cultural heritage even more.
The two sides are engraved with the inscription of "Yuan Benye Bottom Zhao Family Pillow Yongji" and "Xining Fourth Year March 19th Painting". This inscription is the period when Wang Anshi's reform began, around 1071.
In that period of poverty and weakness, internal and external troubles, ceramic craftsmen engraved "Yong'an of the family and country" on the stone pillow, expressing their beautiful expectations of "national peace and security, wind and rain".
This sentiment is deeply rooted in our national cultural genes and can only be truly understood by us Chinese. Historically, when those displaced national treasures will return is the most simple wish of the common people.
This is a thin-tired jade pot with a Chinese entwined twig pattern, and its elegant design and exquisite craftsmanship are admirable.
Someone said: "The best treasure of China is not in the Forbidden City, but in the British Museum." "When Chinese tourists see these treasures in person, they initially feel a strong sense of national pride, but this pride is quickly replaced by shock and indignation.
The time when these precious cultural relics of China were sent out of the country was the period when modern China was humiliated, the people suffered, and the civilization was dusted and became a semi-colony. These cultural relics have been adrift in a foreign country for a hundred years, but they cannot be returned, behind which is the pain of a hundred years in modern China.
And the reason why these artifacts have not been returned, according to the British Museum, is that they are "better preserved abroad". However, history tells us that the museum's collections have been stolen at a higher rate than we thought, and some artifacts have even been blatantly vandalized.
Did you know that the Chinese twig-patterned thin-tire jade pot is the only national treasure that remembers the "way home". If it weren't for the short drama "Escape from the British Museum", we might all have forgotten that it exists.
It was looted by robbers and sold in the British Museum. And now, it bravely "escapes" in ** and tells us its story. Let us feel the bravery and tenacity of this jade pot together, and praise the sense of justice of the country and the nation!
Xiao Yuju insists on referring to itself as "cup" rather than "jade pot", because the word "cup" is untranslatable by foreigners, and it contains romance unique to Chinese.
In this short play, "Zhan" is given a deeper meaning, it represents the experience of many Chinese cultural relics in the British Museum, and represents these cultural relics crossing the ocean and bringing them back to China to pass on the "family letter", which carries endless thoughts and is priceless.
The most touching thing about this museum is that there are countless porcelain artifacts of various sizes hidden in those small display cases. They have no name, only number, huddled together in obscurity.
In the play, the dirty face of the little jade pot seems to tell us that although they are simply packed in a glass case, they have to endure the ravages of flashing lights and be touched at will.
All this makes us feel sorry and admiration for these obscure cultural relics.
Despite the prosperity of the motherland, many artifacts have not yet returned to their hometowns. However, the concept of "cultural relics going home" has become the deepest cultural consciousness in the hearts of every Chinese.
The Female Historian is a typical example, which represents our cherishing and pursuit of traditional culture. Let us work together to bring these precious cultural heritages back to their origins and breathe new life into our national spirit.
Known as the first work of Chinese art history, "The Female History of the Princess" was painted by Gu Kaizhi, a famous painter of the Eastern Jin Dynasty, and was regarded as a treasure of the town museum by the British Museum. As the earliest surviving Chinese silk painting, this painting depicts the exemplary deeds of women in the Han Dynasty and the moral codes that Chinese women should follow, with the story of Feng Yuan, Ban Jieyu and Princess Rongchang of the Han Yuan Emperor being the most notable.
Although the original painting has been lost, two famous facsimiles still exist. Among them, the facsimile of the Southern Song Dynasty in the collection of the Palace Museum and the facsimile of the Tang Dynasty in the British Museum are the closest to the charm of the original painting, and are known as the most classic works, and they are also one of the treasures of the Qianlong Emperor. "