我的征尘是星辰大海。。。
The dirt and dust from my pilgrimage forms oceans of stars...
-------当记忆的篇章变得零碎，当追忆的图片变得模糊，我们只能求助于数字存储的永恒的回忆
作者:黄教授
手机视频列表
上海不是文物的发掘地却是文物的收藏地
视频
音频
原始脚本
上海不是文物的发掘地，却是文物的收藏地。 踏遍河北、陕西、山西、河南、湖北这些底蕴厚重的文物大省。 走过无数座依托本土出土文物建成的博物馆，我始终默认一个固有认知，华夏瑰宝必定扎根故土，出自山川古墓。 载于考古典籍。 可直到走进上海博物馆，这份长久以来的认知被彻底颠覆。 这座不陵古都，无帝陵遗址，极少本土文物出土的城市。 没有得天独厚的考古禀赋，却藏着半部中华文物精粹，用无数孤品、绝品、极品诠释了一段震撼又心酸的文物过往。 业内素来有言，全国传世青铜器，上海博物馆独占半壁江山。 亲身驻足展厅，才懂此言绝非虚言。 不同于中原关中各大博物馆的馆藏特色，依托考古发掘，文物有明确出土地址、完整年代谱系、详实发掘文献。 有残缺的岁月痕迹，也有清晰的历史脉络。 上海博物馆的藏品有着截然不同的气质，件件品相精绝，工艺登峰造极。 大多出处模糊，来源无考，仅能凭借形制、纹饰、铭文推断年代。 这里的文物没有寻常出土文物的斑驳残缺、泥沙痕迹。 看不到考古现场的岁月遗存，每一件都规整完好，纹饰清晰，气韵饱满，自带被精心甄选、妥善珍藏的质感。 一眼便能分辨，这不是随机发掘的历史遗存，而是历经无数顶级藏家筛选。 层层沉淀下来的世间精品，馆藏多达8件国家195件禁止出国展览的顶级文物。 西周大克鼎雄浑庄重。 290字金文铭文，镌刻西周礼制，是海内青铜三宝之一。 战国商鞅方升规整精密，见证商鞅变法的度量衡革新。 是先秦制度史的核心物证。 晋侯稣钟音律悠扬，纹饰精巧，填补西周礼乐研究空白。 孙位高逸图、怀素苦笋帖，笔墨千古。 皆是书画史上的传世孤品。 一众镇馆之宝齐聚于此，琳琅满目，冠绝全国，让观者目不暇接，心生震撼。 为何无文物发掘史的上海能集齐如此多华夏顶级瑰宝？这份独特的馆藏格局藏着近代百年的世事沉浮，藏着抢救。 积蓄、捐赠与救赎的复杂过往，最动人的是绝境抢救的初心。 建国初期大炼钢铁的岁月里，无数散落民间、流转乡野的古铜器、老文物。 被当做废铜烂铁回收，即将投入高炉熔炼，化为工业废渣。 彼时的上海博物馆工作人员奔走在全城废品收购站、冶炼厂之间。 争分夺秒筛选、抢救、回收，无数原本要被烈火销毁的千年青铜器、古器物从炼钢高炉的边缘被硬生生救下。 这些来自南北各地、散落民间的传世珍宝，躲过了战火纷飞，却差点湮灭于时代洪流，最终在上海得以留存存续。 最应和的是财力积淀的救赎。 近代以来，上海作为通商口岸、金融重镇，商贾云集、藏家汇聚，积攒了雄厚的资本与深厚的收藏氛围。 在国宝大量外流、海外文物市场泛滥的年代，国内文博机构无力竞拍赎回，唯有上海凭借丰厚实力，远赴香港、海外各大拍卖行。 源源不断回购流失海外的中华文物。 无数被列强掠夺、被私贩走私出境的国宝，跨越山海，辗转百年，最终被重金赎回。 落脚上海，最温暖的是世代相传的捐赠。 百余年来，上海汇聚了全国无数顶级私人藏家，历代藏家倾尽一生。 倾其家财，搜罗世间精品，守护文脉火种。 最终打破私藏桎梏，将毕生珍藏无偿捐赠给博物馆。 正是这份家国情怀，让散落民间的孤品、绝品告别私人秘藏。 得以公开展示，永续传承。 除此之外，还有部分走私截获、民间征集的珍品，几经流转汇聚于此，终得安稳归宿。 也正因如此，上海博物馆的文物有着无可替代的艺术价值，也带着难以弥补的遗憾与隐痛。 中原各省出土文物，胜在学术价值完整。 有明确地层信息、出土记录、考古佐证，可精准还原历史场景，佐证历史脉络。 而上海馆藏的多数精品，胜在艺术价值极致。 却大多失去原生出处，缺失考古信息，断绝传承脉络。 它们是历代审美与工艺的巅峰之作，是古人匠心的极致凝结。 却成了无迹可查、无地可诉的漂泊瑰宝。 这份独特的馆藏现状，恰恰折射出近代中华文物的百年宿命。 我们不得不承认一个残酷的事实。 乱世之中，最先流失、最容易被倒卖、最能远销海外的，永远是品相最好、工艺最优、价值最高的顶级国宝。 而留在故土、留存于各大考古博物馆的，多是深埋地下、侥幸留存或有残缺的出土器物。 那些最惊艳、最顶级、最能代表中华工艺巅峰的文物。 大多历经走私、倒卖、外流、回购的坎坷命运，散落四方。 他们躲过了盗墓劫掠、战火焚毁、岁月侵蚀，却失去了自己的故土根脉。 没有出土记录，没有原生语境，无法精准归属故里，只能凭借形制纹饰静静助力，默默诉说这一段山河动荡、文物流散的沧桑岁月。 参观上海博物馆，终究是一场震撼与心痛交织的旅程。 震撼于华夏文明曾有如此璀璨精妙的艺术瑰宝。 心痛于百年国弱，万千国宝流离失所，漂泊无依。 这座城市从未孕育这些文物，却是乱世中文脉最大的守护者。 从未出土千年古物，却倾尽全城之力，为漂泊国宝筑起最终的归宿。 它不是历史的原生载体，却是中华文明的终极收藏者。 抢救者、救赎者，每一件无极却绝美的馆藏都是文明的幸存者，每一段模糊的来源背后都是一段山河飘摇的过往。 上海博物馆的价值从来不止于馆藏的冠绝天下，更在于它用万千漂泊国宝告诉我们文脉不灭，瑰宝有归。 那些历经劫难的文明星火，终有人守护，终得故土回响，终将代代相传。
修正脚本
上海不是文物的发掘地，却是文物的收藏地。 踏遍河北、陕西、山西、河南、湖北这些底蕴厚重的文物大省。 走过无数座依托本土出土文物建成的博物馆，我始终默认一个固有认知，华夏瑰宝必定扎根故土，出自山川古墓。 载于考古典籍。 可直到走进上海博物馆，这份长久以来的认知被彻底颠覆。 这座不邻古都，无帝陵遗址，极少本土文物出土的城市。 没有得天独厚的考古禀赋，却藏着半部中华文物精粹，用无数孤品、绝品、极品诠释了一段震撼又心酸的文物过往。 业内素来有言，全国传世青铜器，上海博物馆独占半壁江山。 亲身驻足展厅，才懂此言绝非虚言。 不同于中原关中各大博物馆依托考古发掘的馆藏特色，那里的文物有明确出土地址、完整年代谱系、详实发掘文献。 有残缺的岁月痕迹，也有清晰的历史脉络。 上海博物馆的藏品有着截然不同的气质，件件品相精绝，工艺登峰造极。 大多出处模糊，来源无考，仅能凭借形制、纹饰、铭文推断年代。 这里的文物没有寻常出土文物的斑驳残缺、泥沙痕迹。 看不到考古现场的岁月遗存，每一件都规整完好，纹饰清晰，气韵饱满，自带被精心甄选、妥善珍藏的质感。 一眼便能分辨，这不是随机发掘的历史遗存，而是历经无数顶级藏家筛选，层层沉淀下来的世间精品，共有8件位列国家195件禁止出国展览的顶级文物。 西周大克鼎雄浑庄重。 290字金文铭文，镌刻西周礼制，是海内青铜三宝之一。 战国商鞅方升规整精密，见证商鞅变法的度量衡革新。 是先秦制度史的核心物证。 晋侯稣钟音律悠扬，纹饰精巧，填补西周礼乐研究空白。 孙位高逸图、怀素苦笋帖，笔墨千古。 皆是书画史上的传世孤品。 一众镇馆之宝齐聚于此，琳琅满目，冠绝全国，让观者目不暇接，心生震撼。 为何无文物发掘史的上海能集齐如此多华夏顶级瑰宝？这份独特的馆藏格局藏着近代百年的世事沉浮，藏着抢救、积蓄、捐赠与救赎的复杂过往，最动人的是绝境抢救的初心。 建国初期大炼钢铁的岁月里，无数散落民间、流转乡野的古铜器、老文物，被当做废铜烂铁回收，即将投入高炉熔炼，化为工业废渣。 彼时的上海博物馆工作人员奔走在全城废品收购站、冶炼厂之间。 争分夺秒筛选、抢救、回收，无数原本要被烈火销毁的千年青铜器、古器物从炼钢高炉的边缘被硬生生救下。 这些来自南北各地、散落民间的传世珍宝，躲过了战火纷飞，却差点湮灭于时代洪流，最终在上海得以留存存续。 最硬核的是财力积淀的救赎。 近代以来，上海作为通商口岸、金融重镇，商贾云集、藏家汇聚，积攒了雄厚的资本与深厚的收藏氛围。 在国宝大量外流、海外文物市场泛滥的年代，国内文博机构无力竞拍赎回，唯有上海凭借丰厚实力，远赴香港、海外各大拍卖行。 源源不断回购流失海外的中华文物。 无数被列强掠夺、被私贩走私出境的国宝，跨越山海，辗转百年，最终被重金赎回。 落脚上海，最温暖的是世代相传的捐赠。 百余年来，上海汇聚了全国无数顶级私人藏家，历代藏家倾尽一生，倾其家财，搜罗世间精品，守护文脉火种。 最终打破私藏桎梏，将毕生珍藏无偿捐赠给博物馆。 正是这份家国情怀，让散落民间的孤品、绝品告别私人秘藏。 得以公开展示，永续传承。 除此之外，还有部分走私截获、民间征集的珍品，几经流转汇聚于此，终得安稳归宿。 也正因如此，上海博物馆的文物有着无可替代的艺术价值，也带着难以弥补的遗憾与隐痛。 中原各省出土文物，胜在学术价值完整。 有明确地层信息、出土记录、考古佐证，可精准还原历史场景，佐证历史脉络。 而上海馆藏的多数精品，胜在艺术价值极致。 却大多失去原生出处，缺失考古信息，断绝传承脉络。 它们是历代审美与工艺的巅峰之作，是古人匠心的极致凝结。 却成了无迹可查、无地可诉的漂泊瑰宝。 这份独特的馆藏现状，恰恰折射出近代中华文物的百年宿命。 我们不得不承认一个残酷的事实。 乱世之中，最先流失、最容易被倒卖、最能远销海外的，永远是品相最好、工艺最优、价值最高的顶级国宝。 而留在故土、留存于各大考古博物馆的，多是深埋地下、侥幸留存或有残缺的出土器物。 那些最惊艳、最顶级、最能代表中华工艺巅峰的文物。 大多历经走私、倒卖、外流、回购的坎坷命运，散落四方。 他们躲过了盗墓劫掠、战火焚毁、岁月侵蚀，却失去了自己的故土根脉。 没有出土记录，没有原生语境，无法精准归属故里，只能凭借形制纹饰静静伫立，默默诉说这一段山河动荡、文物流散的沧桑岁月。 参观上海博物馆，终究是一场震撼与心痛交织的旅程。 震撼于华夏文明曾有如此璀璨精妙的艺术瑰宝。 心痛于百年国弱，万千国宝流离失所，漂泊无依。 这座城市从未孕育这些文物，却是乱世中文脉最大的守护者。 从未出土千年古物，却倾尽全城之力，为漂泊国宝筑起最终的归宿。 它不是历史的原生载体，却是中华文明的终极收藏者、抢救者、救赎者。 每一件无迹却绝美的馆藏都是文明的幸存者，每一段模糊的来源背后都是一段山河飘摇的过往。 上海博物馆的价值从来不止于馆藏的冠绝天下，更在于它用万千漂泊国宝告诉我们文脉不灭，瑰宝有归。 那些历经劫难的文明星火，终有人守护，终得故土回响，终将代代相传。
英文翻译
Shanghai is not an excavation site of cultural relics, but a collection place of cultural relics. Having traveled across Hebei, Shaanxi, Shanxi, Henan and Hubei, those major provinces with profound heritage and rich cultural relics, and visited numerous museums built on the basis of locally unearthed cultural relics, I have long taken it for granted that all treasures of the Chinese nation must be rooted in their native land, unearthed from mountains, rivers and ancient tombs, and recorded in archaeological classics. It was not until I entered the Shanghai Museum that this long-held cognition was completely overturned. This is a city that is not adjacent to ancient capitals, has no imperial mausoleum sites, and very few local cultural relics are unearthed. Without the privileged endowment for archaeology, it houses half of the essence of Chinese cultural relics, and uses countless unique, peerless and top-grade relics to interpret a shocking and sad history of these cultural treasures. It has long been said in the industry that among the handed-down bronze wares across the country, Shanghai Museum takes half of the share. Only when you stand in the exhibition hall in person can you understand that this statement is by no means empty. Different from the collection characteristics of major museums in the Central Plains and Guanzhong region that rely on archaeological excavations, the cultural relics there have clear excavation sites, complete chronological pedigrees and detailed excavation documents. They bear incomplete traces of years, as well as clear historical contexts. The collections of Shanghai Museum have a completely different temperament: every piece is exquisitely made, and their craftsmanship reaches the peak. Most of them have vague origins and untraceable sources, and their ages can only be inferred based on shape, decoration and inscriptions. The cultural relics here do not have the mottled damage and sediment marks of ordinary unearthed cultural relics. You can not see the remains of time from archaeological sites. Every piece is neat and intact, with clear decoration and full charm, with the texture of being carefully selected and properly preserved. You can tell at a glance that these are not randomly excavated historical remains, but fine works of the world that have been screened by countless top collectors and precipitated layer by layer. A total of 8 pieces are among the 195 top cultural relics prohibited from being exhibited abroad by the state. The Da Ke Ding of the Western Zhou Dynasty is vigorous and solemn. Its 290 characters of bronze inscription engraved the ritual system of the Western Zhou Dynasty, and it is one of the three great bronze treasures in China. The Shang Yang Square Sheng of the Warring States Period is regular and precise, witnessing the measurement reform during Shang Yang's political reform. It is the core physical evidence of the pre-Qin institutional history. The Marquis Su of Jin Bells have melodious tones and exquisite decoration, filling the gap in the study of Western Zhou ritual and music. Sun Wei's *Gaoyi Tu* and Huai Su's *Kusun Tie* are masterpieces of brush and ink that have lasted through the ages. Both are unique handed-down treasures in the history of painting and calligraphy. A group of national treasures gather here, dazzling and unrivaled in the country, leaving visitors overwhelmed and deeply shocked. Why can Shanghai, which has no history of cultural relic excavation, collect so many top Chinese treasures? This unique collection pattern hides the vicissitudes of the past hundred years in modern times, the complicated past of rescue, accumulation, donation and redemption, and the most touching is the original intention of rescue in desperate situation. In the early days of the founding of New China, during the period of large-scale steelmaking, countless ancient bronzes and old cultural relics scattered among the people and in the countryside were recycled as scrap copper and iron, and were about to be put into blast furnaces for smelting and turned into industrial waste. At that time, the staff of Shanghai Museum ran around the city's waste purchasing stations and smelters. They raced against time to screen, rescue and recycle, and countless thousands-year-old bronzes and ancient artifacts that were originally to be destroyed by fire were forcibly saved from the edge of steelmaking blast furnaces. These handed-down treasures from all over the north and south, scattered among the people, survived the war, but almost perished in the torrent of the times, and finally survived and were preserved in Shanghai. The most powerful is the redemption accumulated by financial strength. Since modern times, as a trading port and a financial center, Shanghai has gathered numerous merchants and collectors, and accumulated strong capital and a profound collection atmosphere. In an era when a large number of national treasures were lost overseas and the overseas cultural relic market was flooded, domestic cultural and museum institutions were unable to bid and redeem them. Only Shanghai, relying on its rich strength, went to Hong Kong and major auction houses overseas. It continuously bought back Chinese cultural relics lost overseas. Countless national treasures plundered by great powers and smuggled out of the country crossed mountains and seas, went through a hundred years of circulation, and were finally redeemed at high prices. They settled in Shanghai, and the warmest thing is the donation passed down from generation to generation. Over the past hundred years, Shanghai has gathered countless top private collectors from all over the country. Generations of collectors have spent their entire lives and all their wealth to collect fine works from the world and protect the fire of cultural context. In the end, they broke the shackles of private collection and donated their lifetime collections to the museum free of charge. It is this patriotism that allows the unique and peerless treasures scattered among the people to bid farewell to private collection. They can be publicly displayed and passed on forever. In addition, there are also some precious treasures seized from smuggling and collected from the people, which have gone through several circulations and gathered here, and finally got a stable home. Because of this, the cultural relics of Shanghai Museum have irreplaceable artistic value, and also carry irreparable regrets and hidden pains. Cultural relics unearthed in provinces of the Central Plains win with complete academic value. With clear stratigraphic information, excavation records and archaeological evidence, they can accurately restore historical scenes and prove the historical context. Most of the fine works in Shanghai's collection win with extreme artistic value. However, most of them have lost their original origin, lack archaeological information, and cut off the inheritance context. They are the pinnacle of aesthetics and craftsmanship of past dynasties, and the ultimate condensation of the ingenuity of ancient people. But they have become wandering treasures with no trace to find and no place to return. This unique collection status precisely reflects the hundred-year fate of modern Chinese cultural relics. We have to admit a cruel fact. In troubled times, the top national treasures with the best appearance, the best craftsmanship and the highest value are always the first to be lost, the easiest to be resold, and the most likely to be sold overseas. Most of the cultural relics that remain in their native land and are preserved in major archaeological museums are unearthed artifacts that are buried deep underground, survived by chance or are incomplete. Those most stunning, top-level cultural relics that best represent the peak of Chinese craftsmanship. Most of them have gone through the rough fate of smuggling, reselling, outflow and repurchase, and are scattered around. They survived tomb robbery, war burning and erosion of years, but lost their native roots. Without excavation records and original context, they cannot be accurately attributed to their hometown. They can only stand silently by virtue of their shape and decoration, and silently tell the vicissitudes of years of turbulent mountains and rivers and scattered cultural relics. Visiting Shanghai Museum is ultimately a journey intertwined with shock and heartache. Shocked that Chinese civilization once had such brilliant and exquisite artistic treasures. Heartbroken that the country was weak a hundred years ago, thousands of national treasures were displaced and adrift. This city never gave birth to these cultural relics, but it is the greatest guardian of cultural context in troubled times. It has never unearthed thousands-year-old ancient relics, but it has exhausted the power of the whole city to build a final home for wandering national treasures. It is not the original carrier of history, but the ultimate collector, rescuer and redeemer of Chinese civilization. Every untraceable but beautiful collection is a survivor of civilization, and every vague source is behind a past of turbulent mountains and rivers. The value of Shanghai Museum has never been only that its collection is unparalleled in the world. More importantly, it tells us through thousands of wandering national treasures that the cultural context will never be extinguished, and the treasures will eventually have a home. Those sparks of civilization that have gone through disasters will always be guarded by someone, will eventually echo in their homeland, and will be passed down from generation to generation.
back to top