The Taipei Palace Museum has lent four classic cultural relics for this exhibition. Among them, Yan Zhenqing, known as the "No. 2 Running Book in the World", borrowed from Japan by Yan Zhenqing's "Memorial to Nephew" has caused widespread controversy.

Written by | Lin Ziren

Edited by | Zhu Jieshu

From today (January 16) to February 24, the special exhibition "Yan Zhenqing: Famous Pen Beyond Wang Xizhi" was held at the National Museum in Tokyo, Japan. The Taipei Palace Museum loaned four classic cultural relics for this exhibition. Among them, Yan Zhenqing, known as the "No. 2 Running Script in the World", borrowed from Japan to Japan, which caused widespread controversy.

It is reported that in addition to the "Memorial to Nephew", the cultural relics loaned by the Forbidden City in Taipei also include Huaisu's "Qianjin Tie" and "Automatic Tie" and Chu Suiliang's copy " Lanting Preface ", which are rare treasures with a history of thousands of years. According to the United Daily News, the "Memorial to Nephew" was approved as a national treasure, and the rank was higher than the " Jade and Cabbage ", which was approved as an important antique. Considering the fragility of calligraphy and painting, the Taipei Forbidden City has successively selected 70 famous works as limited exhibitions since 1984 (including "Memorial to Nephew" and "Self-Report"), and stipulated that each exhibition can only be exhibited for 42 days, and it will take more than three years of rest after the exhibition. In other words, these two works are rare in the Forbidden City in Taipei. The loan of them this time has attracted strong public attention on both sides of the Taiwan Strait.

The most eye-catching one is "Commemoration to Nephew". Among the famous works circulated in the history of Chinese calligraphy, the recognized "No. 1 running script in the world" is Wang Xizhi's "Lanting Preface", but because the original work of "No. 1" was said to have become a burial object of Emperor Taizong of Tang, in the eyes of some experts and scholars, "The Manuscript of Commemoration for Nephew" is the "No. 1 running script" that exists in the world today.

Yan Zhenqing is famous for regular script, but he is actually a master of running script. "Memorial to Nephew" is his running script work. "Memorial to Nephew" is an eulogy written by Yan Zhenqing for his nephew. During the Anshi Rebellion, Emperor Xuanzong of Tang fled to Sichuan. Yan Zhenqing's cousin and nephew sacrificed their lives for the country, but his body remained, and only one nephew's head was found. In the face of grief and anger, he wrote this article with a total of 269 words (34 words that have been modified in total), which, in the eyes of later generations, is an irreplicable masterpiece. In the book "Asakhi Shimbun Chinese Network" and Japanese writer Toshi Nojima introduced in the book "Story of the Forbidden City" that this draft is particularly touching because of its natural emotions. His strong emotions of heartbreak, sadness and crying burst out between the lines:

The father fell into death, the nest was covered, the eggs were covered

The world regretted the disaster, who was poisoning

The decay of your own decay? How can you redeem your whole body

Alas, sad

html On the afternoon of November 14, the official Weibo of " Global Times " released a report "Taipei tribute to nephew in Japan for exhibition, without special protection" caused a severe response on domestic social networks. The Global Times quoted the anger of a female host named Huang Zhixian in a TV program in Taiwan on Weibo, which aroused the anger of many patriotic netizens: "Bringing the national treasure of the Forbidden City in this way (sent to Japan) actually destroyed the contribution of the entire Chinese nation. The DPP used this to flatter the Japanese, which really made people see through it. Especially in the past two years, Japan has been so bad to us. No matter how good Japan is to us, we cannot sell Yan Zhenqing out and sell it! You rely on What makes it go out? Why do you? Why do you? If it is exhibited in Japan, I would rather return to Beijing! "

Whether in mainland China or Taiwan, most of the criticisms of the people are concentrated in several aspects: the paper of calligraphy and painting works thousands of years ago is fragile and should not be borrowed; if it is borrowed from abroad, the Japanese side cannot properly protect it, and there is even no protective measures at all, so they allow visitors to take photos; the Forbidden City in Taipei took the national treasure to Japan to "spoil", which has ulterior motives, etc.

It is true that due to its special historical background, the Forbidden City in Taipei has always been a highly politicized cultural institution. In recent years, the various "de-Sinicization" measures launched by the Democratic Progressive Party around the Forbidden City in Taipei have repeatedly sowed the nerves of the people on both sides of the Taiwan Strait, and at the same time, it has also made its every move under a magnifying glass to examine. However, putting aside political factors, we should also see that lending cultural relics is a common means of inter-clinic exchanges and cultural relics. Not only Taiwan will lend collections from Japan, but the mainland and Japan have always had good records of mutual lending of collections.This normal behavior that can promote cross-cultural exchanges in East Asia is swept and slandered by nationalist sentiment, which has to be said to be a pity.

Political controversy in Taipei Palace Museum: The whirlpool of "de-Sinicization"

Taipei Palace Museum is one of the three major museums in China and has always been one of the must-see attractions for mainland tourists visiting Taiwan. The museum currently has 696,000 cultural relics, which collects world-renowned Chinese cultural relics, such as jade cabbage, meat-shaped stone, Maogong tripod, Sanshi plate, etc.

Since the Democratic Progressive Party came to power in 2000 (replaced again in 2008 and re-entered the ruling party in 2016), the Forbidden City in Taipei has been involved in the political whirlpool of "de-Sinicization". In this regard, Nojima Takashima described it in detail in "The Story of the Forbidden City". In 2001, Du Zhengsheng, a researcher at the "Central Research Institute" who has close ties with the DPP and has a strong sense of "Taiwan", served as the president of the Taipei Palace Museum after Qin Xiaoyi. He said that although the Forbidden City in Taipei is known as a world-class museum, it does not have as diverse collections as other world-class museums, so the "range" of the collection should be expanded. In 2002, the Forbidden City in Taipei decided to build the South Courtyard of the Forbidden City. At this point, the Democratic Progressive Party members' intention to "de-Sinicize" the Forbidden City in Taipei has begun to emerge, and the fierce debate has been caused by the issue of "what the Forbidden City is" continues to this day. To a large extent, the opposition aroused by this "Memorial to Nephew" is also part of the political controversy in the Taipei Forbidden City.

As an important part of the DPP's "de-Sinicization of the Forbidden City" measures, the South Court of the Forbidden City takes "Asia" as its theme, and the museum is located in the important southern voting warehouse of the DPP's Chiayi County Taibao City . The Southern Palace Museum was supposed to be established before 2008 when Chen Shui-bian ended his term, but it was delayed for 8 years and finally completed before Ma Ying-jeou ended his term in 2016. When the regime moved from the Democratic Progressive Party to the Kuomintang, the issue of the South Court was once deadlocked, and there were endless debates about whether the name of the South Court should be added with the "Forbidden City" and whether the Forbidden City in Taipei should provide cultural relics.

In January 2007, the Taipei Forbidden City submitted the amendment to the " Palace Museum Organization Regulations" to the legislative body, but it was not passed immediately, but it has been discussed and reviewed for more than a year. The biggest focus is the first one. Its original text is: "In order to organize, store and display ancient cultural relics and artworks of the former National Palace Museum and the Preparatory Office of the National Central Museum, and strengthen the collection, research and promotion of ancient Chinese cultural relics and artworks to expand the social education function, the "National" Palace Museum is specially set up, which belongs to the "Executive Yuan". However, the version of the revised draft eliminates the relationship between the Taipei Forbidden City and the "formerly National Palace Museum" and the "formerly National Central Museum", and also proposes to change the "collection, research and promotion of ancient Chinese cultural relics and artworks" to "collection, research and promotion of domestic and foreign cultural relics and artworks".

DPP initiated the amendment of the "Organizational Regulations", which aroused strong reactions from the official media of mainland China " People's Daily " and Xinhua News Agency , and was also severely criticized by Taiwan's internal blue-selling media and cultural circles. "United Daily" said: "It is not only impossible to erase the history of cultural relics, but it is not a clever attempt. The Forbidden City's 'organization regulations' may need to be amended, but it should not be used to distort history to achieve the purpose of 'de-Sinicization'." The Kuomintang's public opinion representatives were also very tough. In the case of the Kuomintang's election dominance, the Democratic Progressive Party shall not make major concessions. In the final amendment of the Democratic Progressive Party, the original hope of removing the connection between the "National Peking Palace Museum" and the "National Central Museum" was not successful, and the words "Ancient Chinese Cultural Relics" did not change.

In July 2018, Chen Qinan, who had a green position, became the director of the Taipei Palace Museum. His remarks and measures after taking office frequently caused heated discussions. According to previous reports from Interface Culture (ID: BooksAndFun), Chen Qinan declared when he took office that the Taipei Forbidden City has never been regarded as the "Forbidden City of Taiwan", but the "Forbidden City of Beijing", and the Taipei Forbidden City will therefore become the "enclave" of the Beijing Forbidden City . He wanted to "Taiwanize" the Forbidden City in Taipei and position it as the "Center of East Asia". In the future, it is not ruled out that the construction of theme museums with historical and cultural contexts will be built, such as "Ryukyu Hall", "Spanish Hall", and "Japanese Hall".

htmlOn November 12, Chen Qinan said that he was evaluating the plan to seal the museum for three years from 2020, and said that during this period, important collections of the Forbidden City in Taipei will be moved to the South Courtyard of the Forbidden City. Once the news came out, it aroused serious doubts from the Taiwanese public opinion. According to China Review News Agency, Pan Chaoyang, concurrent professor at the Department of East Asian Studies at Taiwan Normal University, said that this is just an excuse for the Taiwan authorities to "de-Sinicize", and the focus is on dealing with cultural relics from the Forbidden City from the mainland and representing Chinese culture. Under the pressure of public opinion, Chen Qinan held a press conference on the morning of the 13th, reiterating his words that the Taipei Palace Museum North Campus will not be closed, but will be renovated while it is open.

So it is not difficult for us to understand why the exhibition of "Memorial to Nephew" in Japan once again caused controversy within Taiwan - whether the Taipei Forbidden City can properly keep and protect the "Chinese national treasure" when the leader of the Taipei Forbidden City himself tends to "Taiwan independence" is questionable. As early as November last year, the Kuomintang member Ke Zhien, a member of the Legislative Yuan, questioned: "Who decided on such an important national treasure loan?" Media person Huang Zhixian pointed the finger at the DPP, saying that this was the DPP's "fashioning" move towards Japan.

can go to Japan, not to come to mainland China: Taipei Forbidden City's "diligence" for lending collections

The news of the exhibition of "Memorial to Nephew" in Japan has aroused strong indignation among netizens in China. It is not ruled out that there is a resentment that "China's precious cultural relics cannot return to the mainland, but can be exhibited in Japan". It is worth noting that the Taipei Forbidden City has "diligence" caused by historical reasons in the selection of the collection loan location.

The first time the Taipei Forbidden City went overseas for exhibition was in the United States. The people who proposed to hold the exhibition were Henry Ruth, founder of the American magazine Time magazine, and others. At that time, under the instruction of Chiang Kai-shek , the Palace Museum cultural relics held a tour exhibition in Washington , New York, Boston , Chicago , and San Francisco from May 1961 to June 1962. The number of visitors was unprecedented, driving public opinion of "supporting Chiang Kai-shek" in the United States, which had a great effect.

The negotiations between Taiwan and the United States experienced many twists and turns during that exhibition, and the most important difficulty lies in the risk of opposition from mainland China. Specifically, there are two risks: one is that the cultural relics may be robbed by mainland China during transportation, and the other is that mainland China may claim ownership of cultural relics to the US court during the exhibition in the United States. In order to solve the issue of transportation safety, the US side proposed to be transported by US warships; as for the issue of exemption from seizure, the US State Department filed an exemption to the court, and the exhibition was finally completed.

After successfully hosting the American exhibition, the Taipei Forbidden City held its second American exhibition in 1996, and toured in four major American cities for 13 months. Then we held an exhibition in France, Germany, and the three countries of Austria. The theme of the French exhibition is "Memories of the Empire" (October 22, 1998-January 25, 1999), the theme of the German exhibition is "Treasure of the Emperor" (2003), and the theme of the Austrian exhibition is "Treasure of Things" (2008).

Foreign exhibitions, the principles proposed by the Forbidden City in Taipei are that the host country needs to have a legal system that does not seize cultural relics. To this end, both Taiwan and France and Germany (especially Germany) have started arduous negotiations. The French government proposed in 1993 that it hoped to hold the Forbidden City exhibition. The French parliament passed the "Six Seven Seven Nine Law" in August 1994, which recognized the provision of exemption from seizure. Germany had contacted the Forbidden City in Taipei as early as 1993, but the negotiations were in a stalemate because Germany had no intention of revising its "Cultural Asset Protection Law" for a long time. It was not until Germany revised the "Cultural Assets Protection Law" in 1998, Article 20 of Chapter 2 stipulated that even if there were third parties' requests, cultural relics brought to the display from overseas must be protected, and the negotiations between the Forbidden City in Taipei and Germany were reopened.

The first time he proposed to hold the Taipei Palace Museum Exhibition in Japan was former Japanese Prime Minister Nobusuke Kishi. He first visited Taiwan as prime minister in 1960 and made this request to Chiang Kai-shek. However, because Japan was unable to send warships to escort cultural relics like the United States, and issued a formal government statement, the plan for exhibition in Japan was stranded.It was not until Japan passed the "Overseas Arts and Other Public Promotion Law" on March 25, 2011, that stipulated in Article 3 that "the ministers of the Ministry of Classics and Literature shall not enforce, false seizure or false disciplinary measures" that meets the conditions for "no seizure of cultural relics" required by Taiwan, and that the negotiations for the Japanese exhibition were restarted. From June 24 to September 15, 2014, the Japanese exhibition of the Palace Museum in Taipei kicked off at the Tokyo National Museum , and then toured to the Kyushu National Museum (October 7-November 30 of the same year). "Cuiyu Cabbage" was a star exhibit of that exhibition. According to the Japanese Art Yearbook, the number of visitors to the Taipei Palace Museum Japan Exhibition (658,000) ranked second in the "Olympic Art Museum Exhibition" held by the National New Art Museum of Japan that year.

Since the Kuomintang Ma Ying-jeou came to power in 2008, the Forbidden City on both sides of the Taiwan Strait has also begun cultural exchanges. As a concentrated representative of the common roots of the two sides of the Taiwan Strait, the Forbidden City is considered the best medium for improving cross-strait relations. In the autumn of 2009, the Forbidden City of Beijing and Shanghai Museum lent 37 cultural relics to the Forbidden City of Taipei, holding the "Yongzheng-Qing Shizong Cultural Relics Exhibition"; in the spring of 2011, the Forbidden City of Taipei held the "William of Landscapes - Huang Gongwang and Fuchun Mountain Residence Picture Special Exhibition". The first half of the "Fuchun Mountain Residence Picture" from the Zhejiang Provincial Museum was combined with the second half owned by the Forbidden City of Taipei, which was a legend; in October 2011, the Forbidden City of Taipei held the "Kangxi Emperor and the Sun King Louis XIV Special Exhibition", and the Forbidden City of Beijing, the Shenyang Palace Museum, the Shanghai Museum, etc. all provided cultural relics; in 2013, the Forbidden City of Taipei held the "Ten Complete Qianlong-Qing Gaozong Art Trends Special Exhibition", and as many as 45 cultural relics were loaned from the Forbidden City of Beijing.

008, the Taipei Forbidden City has jointly held a joint exhibition of the Forbidden City exchanges and the Forbidden City in Beijing almost every year, which has become an important annual event of the Forbidden City in Taipei. Nojima Takashi pointed out that the active exchanges between the Forbidden City on both sides of the Taiwan Strait are not unrelated to the high "complementarity" of the collections of Forbidden City on both sides. However, it is regrettable that Taiwan has not yet lent cultural relics to the mainland due to the "free seizure of cultural relics" clause and the official title of the Forbidden City in Taipei.

Therefore, mainland China has always held a kind of envy and loneliness towards the overseas exhibitions of the Forbidden City cultural relics in Taipei. The WeChat public account "Jia Jia" sorted out domestic reports and found that as early as July 2018, The Paper had already reported that the Tokyo National Museum would hold the Yan Zhenqing special exhibition. In August 2018, People's Daily also published the manuscript of Yan Zhenqing's "The Second Running Script in the World" by citing the report of "Collected Express" to publish "The Manuscript of Yan Zhenqing's Nephew will be exhibited in Japan." At that time, the focus of the news was still "the increasingly complex situation nowadays has made the exchange of cultural relics between the two sides of the Taiwan Strait a luxury." Also in August, the People's Daily's new media account published an article "Guidelines: Don't have a temper, if you want to see these 4 Chinese calligraphy and painting exhibitions, you can only go to Japan", which also mentioned "Memorial to Nephew". Apart from the regretful tone revealed in the title, there was no complaint about this exhibition. What exhibition is the anger of netizens?

Traditional media publishes reports on the matter and does not cause any trouble; while online articles with incitement titles can immediately ignite netizens' emotions. This inevitably makes people wonder whether there is a reasonable basis for the exhibition to be held when domestic social networks, some new media and self-media are hyping up the news that "Mission of the Nephew" will be exhibited in Japan.

First of all, what exhibition is "Yan Zhenqing: A famous pen that surpasses Wang Xizhi"?

Interface Culture reporters checked the information released on the official website of the National Museum of Tokyo and found that this special exhibition revolves around the evolution of Chinese calligraphy. Three masters of calligraphy in the Tang Dynasty - Ouyang Xun , Yu Shinan and Chu Suiliang - created the regular script. Later, Yan Zhenqing became the master of this dignified and elegant font, which had a great influence in later generations. The exhibition selects exquisite calligraphy and painting works from both Japan and abroad, showing the influence of Yan Zhenqing and his works on later generations, as well as the development of Chinese calligraphy in Japan. The exhibition is divided into six chapters: the change of calligraphy, Tang Dynasty calligraphy , Tang Dynasty calligraphy Yan Zhenqing, Tang Dynasty calligraphy acceptance of Tang Dynasty calligraphy in Japan, Yan Zhenqing's influence in the Song Dynasty, and later generations.

In other words, this is a special exhibition planned and organized by the Tokyo National Museum. The statement that "the name of the Taipei Forbidden City cannot be found on the exhibition poster" is not accurate: First, the exhibition organizer is not the Taipei Forbidden City. Second, on the homepage of the website related to the special exhibition, the "Memorial to Nephew" is specially marked as the collection of the Taipei Forbidden City.

According to the official list of exhibits, this special exhibition displays a total of 177 calligraphy and painting works. In addition to the Tokyo National Museum’s own collection, it also borrows exhibitions from external institutions. A total of 20 institutions have loaned cultural relics, including the Rishu Road Museum in Taitung District, Tokyo, the Kyoto National Museum , the Mitsui Memorial Arts Museum, and the Nara National Museum , as well as government agencies such as the Japanese Culture Department and the Inner Palace Hall, as well as consortiums and university museums. A total of two institutions in China participated in the special exhibition, one was the Forbidden City in Taipei and the other was the Chinese University of Hong Kong, each of which had lent four cultural relics.

From the perspective of the exhibit lineup, this is a special exhibition that has been comprehensively sorted out the history of Chinese calligraphy. The "Memorial to Nephew" and " Self-Portrait " that came to Japan for the first time were of course very precious (the exhibition introduction of the special exhibition website specifically marked the words "Japan's First Public"), but the exquisite collection in Japan is enough to shock us: Yu Shinan's "Confucius Temple Stele" (Collection of Mitsui Memorial Arts Museum), Ouyang Xun's "Jiucheng Palace Liquan Inscription" (Collection of Lishu Road, Taitung District), Chu Suiliang's "Preface to the Holy Teachings of Yanta" (Tokyo National Museum Collection), Yan Zhenqing's "The Monument of the Chifukuji Temple" (Collection of the National Museum of Tokyo), Su Shi's "Scroll of the Poems of Li Baixian" (Important Cultural Property, Collection of the Osaka Municipal Art Museum), Li Gonglin's "Scroll of the Five Horses (Part)" (Collection of the National Museum of Tokyo)... It is worth mentioning that the "Scroll of the Five Horses" has disappeared for a century and has been suspected of being destroyed by war, but unexpectedly donated to the Tokyo National Museum by Japanese collectors for free and appeared in this special exhibition.

exhibits with such high specifications and such extensive sources, it is hard to imagine that the museum would not treat the collections of the Forbidden City borrowed this time equally and properly. In fact, the Tokyo National Museum specially marked the information that special exhibitions prohibited photography on its official website, and the Global Times said that "no special protection" is not accurate.

Yang Xiaoneng, director of the Asia Department of the Kanter Visual Arts Center of Stanford University in the United States, said in a telephone interview with Interface Culture that Japan has always been effective in the research and protection of Chinese cultural relics. "Their (their research) is very meticulous and solid, and each work has been studied very thoroughly. Their mounting and protection techniques are not worse than ours. Japan has attached great importance to the tradition of Chinese calligraphy and painting. Since the Tang, Song and Yuan dynasties, they have collected calligraphy and paintings from China in large quantities. They have this tradition. Moreover, Japanese paintings were first to learn Chinese painting, and then slowly developed their own style."

Yang Xiaoneng pointed out that the Tokyo National Museum is the highest-level public museum in Japan, and the collections of the Japanese emperor are basically placed here. The curation process is very fine, and the packaging, transportation and protection conditions of exhibits are very good. Judging from the exhibition content, this is also a research exhibition with solid content.

As for the lending procedures for cultural relics such as "Memorial to Nephew" in Taipei, Ling Lizhong, director of the calligraphy and painting department of Shanghai Museum, said in an interview with the Shanghai TV "Nightline Arrangement" program on the evening of the 14th that lending cultural relics is a normal cultural exchange. Regarding loan restrictions, every region and every museum have its own regulations, some restricted exits and some restricted exhibition periods. "Taipei's loan this time should be based on their limited exhibition periods. As far as I know ("Memorial to Nephew") was exhibited ten years ago."

From "Mona Lisa" to " Qingming Shanghe Tu ": Is it a bad thing to lend good things?

Regarding the loan of cultural relics, an example that Chinese netizens like to give is that national treasure-level cultural relics like "Mona Lisa" are not allowed to be loaned, so China should not lend national treasures to foreign countries.But is this really the case?

After World War II, Mona Lisa was exhibited around the world as a French cultural ambassador, and it caused strong responses everywhere, greatly enhancing France's cultural influence. In 1962, "Mona Lisa" arrived in the United States. At that time, the French national treasure was insured with $100 million (equivalent to the current $608 million). Before arriving in New York, the Metropolitan Museum of Art had sold out a month-long ticket, attracting about 250,000 visitors within a week. In 1974, "Mona Lisa" arrived in Tokyo and set off a craze in the local area. "Mona Lisa" was displayed as a sacred trace, and visitors were released individually, and each person could only stop before the painting for 10 seconds. In the former Soviet Union, visitors also flocked to it. Although "Mona Lisa" has never left Louvre after 1974, the current Macron government has begun to consider letting this "the most famous painting in the world" go abroad and showcase France's soft power.

Lingli believes that the protection and rational use of cultural relics are dialectical, and rational use should also be advocated under neutral protection. Regarding the problem that netizens are worried about the fragility of calligraphy and painting works and the "display once and hurt once", he said that although there is a saying in the industry that "paper lives for a thousand years and silk lives for 800 years", cultural relics workers all know that the lifespan of cultural relics is more than this. "The " Pingfu Tie " has been around for more than 1,000 years and has also borrowed Shangbo from the Forbidden City; in this (Shangbo) Dong Qichang's exhibition, the works of the same era as Yan Zhenqing's "Meditation of Nephew", the Tang copy of "Happy Tie" (Wang Xizhi) and the "Hangqi Tie" (Wang Xizhi) in Tianjin (Museum) are all from the Tang Dynasty."

In fact, there are also good records of mutual borrowing of collections between Japan and China. Also at the National Museum of Tokyo, to celebrate the 40th anniversary of the normalization of Sino-Japanese diplomacy, the Palace Museum of Beijing selected 200 cultural relics to be exhibited in Japan in 2012, and even broke the customary provision that "the painting and silk works before the Yuan Dynasty are prohibited from being exhibited abroad", and lent the treasures of the museum and the Song Dynasty "Along the River During the Qingming Festival". The "Danqing Bao Raft - Dong Qichang Calligraphy and Painting Art Exhibition" currently on display in the Shanghai Museum also has Japanese collections. The "Regular Script Self-Writing Post" written by Yan Zhenqing in Japan was unveiled for more than ten days before being withdrawn to Japan and "invested" to Yan Zhenqing's special exhibition. "We also borrowed many Japanese cultural relics from the museum on the Internet, and we also lend them to Japan. I also hope that Taiwan's "Memorial to Nephew" can be exhibited at the Shanghai Museum," said Ling Lizhong.

Yang Xiaoneng believes that blindly criticizing the lending of cultural relics is not advisable, but it is correct to be more cautious about the lending of precious cultural relics. According to his understanding, China does not have specific regulations on "collections before the XX era cannot be loaned out of the country". However, the State Administration of Cultural Heritage issued a catalog of cultural relics prohibited from going abroad in 2002 and 2012, with the purpose of protecting orphans and vulnerable items in national first-class cultural relics, such as the Zeng Houyi chime bell collected by the Hubei Provincial Museum. "Song paintings did not say that they would not be allowed to leave the country, but were very cautious; then there are regulations for general cultural relics. For example, the state stipulates that there are generally 120 pieces (sets) of cultural relics exhibitions, of which about 10% of the first-class products. If the standards exceed the standards, they must be submitted to the State Council for approval. This is the regulation. The exhibition of cultural relics is generally more cautious about early calligraphy and painting. This is right. It is worthy of being cautious, but it cannot be said that they will reject them all in general."

In Yang Xiaoneng's view, the participation in the exhibition of cultural relics loans is an academic move to promote Chinese culture and is worthy of promotion. According to his observation, as far as Japan is concerned, Chinese cultural relics-related exhibitions have been very popular among the public for a long time. It is a common phenomenon that museums of all sizes hold 10 or 20 Chinese exhibitions in a year. However, as China-Japan relations have become tense in recent years, there have been fewer and fewer exhibitions related to Chinese cultural relics. This Yan Zhenqing special exhibition can be said to be a rare exhibition that concentrates on displaying the charm of Chinese traditional culture to the Japanese people. "What's wrong with letting others appreciate your things? Isn't it always said that China wants to go global?You can't say it's okay if someone takes the initiative to show your stuff? Yes? It is appropriate to protect cultural relics, but from another perspective, it is also a good thing to lend good things. "

Cultural relics record the past and civilization characteristics of a country. In recent years, the popularity of variety shows such as "National Treasure" has made more and more young people notice and fall in love with China's history and culture. We cherish the damage caused to cultural traditions and cultural relics in the turbulent era of war and turbulent times, and pay more attention to the current protection and inheritance of cultural relics. However, it is also worthy of being vigilant that the cultural nativist mentality incited by the eagerness to protect cultural relics or other nationalist sentiments. Culture has never become strong because of its own complacency, but will become increasingly marginalized because of blind xenophobia. As for this Yan Zhenqing Special Exhibition, a question that is more worthy of our deep consideration may be: Why don't we plan and organize such high-standard and high-level special exhibitions, so that art lovers in neighboring countries can talk about it?

…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… ᐕ)⁾⁾ For more exciting content and interactive sharing, please follow the WeChat public account "Interface Culture" (ID: BooksAndFun) and Interface Culture Sina Weibo.