Cultural relics represent the development and inheritance of a country's history and culture, and the exhibition and exchange of cultural relics abroad is a common way to increase historical understanding and cultural interaction between countries. China is an ancient civilization with a long history, in our various museums, there are many precious cultural relics representing the inheritance of our Chinese civilization, in order to show foreigners the glorious history of our ancient Chinese nation, our country often carries out cultural exchanges with some friendly countries, sending those top-notch cultural relics to foreign countries for exhibition, so that foreigners can understand the history of our country without going abroad.
Before 2002, China often sent top-notch national treasure-level cultural relics to be exhibited abroad, and those exquisite cultural relics allowed foreigners to fully appreciate the great historical genes of the Chinese nation and played a positive role in promoting cultural exchanges between China and foreign countries.
However, in 2002, the State Administration of Cultural Heritage suddenly issued a "Catalogue of The First Batch of Cultural Relics Prohibited from Going Abroad (Abroad) for Exhibition", which identified 64 pieces (groups) of precious cultural relics as the first batch of cultural relics prohibited from going abroad (border) for exhibition, and were not allowed to go abroad for exhibition. In 2012 and 2013, China issued two batches of cultural relics prohibited from going abroad (abroad) for exhibition, and the number of cultural relics prohibited from being exhibited abroad increased to 195.
So, why should China list these top-notch cultural relics as cultural relics that are prohibited from going abroad (border) for exhibition? What's the story behind it?
Before 2002, China's cultural relics units often transported top-notch national treasure-level cultural relics to foreign exhibitions, which is an effective means of promoting cultural exchanges. However, in the two things that happened before, the State Administration of Cultural Relics had to re-examine the question of what level of cultural relics can be exhibited abroad in the exchange of cultural relics, so in 2002, China issued the "First Batch of Cultural Relics Catalogue Prohibited from Going Abroad (Border) Exhibition".
The 1983 terracotta warriors were artificially destroyed while exhibiting in Japan.
As we all know, the Terracotta Warriors and Horses is a kind of sculptural figurine in the burial pit of the Qin Shi Huang Mausoleum, the Terracotta Warriors and Horses Pit of the Qin Shi Huang Mausoleum is known as the "Eighth Wonder of the World", and the Terracotta Army is known as "one of the world's top ten ancient tombs and rare treasures". The Qinling Terracotta Warriors and Horses are all pottery figurines based on the soldiers of the Qin Kingdom, these terracotta figurines have different looks and stand solemnly, the identity, movements, facial expressions, and even fingerprints of each ceramic figurine are different, and each Qinling Terracotta Warriors and Horses is a top-notch national treasure-level cultural relic.
In 1983, in order to celebrate the 400th anniversary of the founding of the city, Osaka, Japan, specially applied to borrow some Qinling Terracotta Warriors and Horses from China to exhibit in Osaka. In the spirit of good-neighborliness and friendship, the Qinling Terracotta Warriors and Horses Museum specially selected a well-preserved, richly expressed and distinctive military official pottery figurine for display in Osaka.
No one ever imagined that after more than a month of exhibition, an anti-China Japanese man shouted: "Why should Chinese cultural relics be exhibited in Japan and taken back to China?" The slogan, and then in full view of everyone, climbed over the barrier, and pushed down the 300-kilogram clay figurine, and the terracotta army instantly became a fragment of the ground.
Although the matter was later properly resolved under the coordination of the two governments, the broken terracotta army could no longer be restored, and a priceless treasure was destroyed.
In 1994, Yue Wang's sword was scraped out of glass when he was scraped out of a 0.7 cm scar when he was exhibited in Singapore.
The story of the Yue King's Gou Jian's revenge is familiar in China, but the artifacts about the Yue King's Gou Jian were never discovered before the 1960s. In 1965, a construction site in Hubei Province accidentally found a bronze sword during construction, although the bronze sword looks very old, but the sword body is not rusty at all, and it is also cut iron like mud. Later, after expert identification, this sword was the legendary Yue Wang Gou Jian sword. The main reason why the Yue Wang Gou Jian sword has not decayed for thousands of years is that the sword body is plated with a layer of alloy metal, which is more than 1,000 years ahead of the world.
The Yue Wang Gou Jian Sword not only carries a Chinese historical story, but also this thousand-year-old incorruptible sword is also of great scientific research value, and it is a top-notch national treasure-level cultural relic.
In 1994, Singapore applied to China's cultural relics department to borrow the Yue Wang's sword to exhibit in its own country, so that the people could enjoy this heirloom sword up close without going abroad. Considering that Singapore is predominantly Chinese, and this is a cause that can promote cultural exchanges between the two sides, the cultural relics department eventually lent the Yue Wang Gou Jian Sword to the Singapore exhibition.
Who would have thought that in the exhibition, the staff of the Singapore Exhibition Hall caused the blade of the Yue Wang's sword to get stuck on the plexiglass due to a work error, and the body of the sword was cut out of a 0.7 cm opening. Although Singapore has always stressed that it was not intentional afterwards, this mistake has made China's cultural heritage experts feel extremely distressed. Since then, the cultural relics department has paid more attention to the protection of cultural relics exhibited abroad.
The above two incidents are the relatively influential incidents of damage to cultural relics abroad in that year, and the occurrence of the incident prompted China to introduce the management measures for the export of cultural relics, and the introduction of the measures effectively curbed the occurrence of accidents in which the top-class national treasure-level cultural relics were damaged when they were exhibited abroad, and played an escort role in escorting the exhibition of China's top-class national treasure-level cultural relics.
Although there are many top-notch national treasure-level cultural relics in China, most of the national treasure-level cultural relics are orphaned, and once damaged, it is not only sorry for the cultural relics workers who carefully excavate, protect and maintain them, but also is irresponsible to future generations.
For those top-notch national treasure-level cultural relics, it is safer to stay in the embrace of the motherland. Although many foreigners or institutions promise to properly protect cultural relics before borrowing cultural relics for exhibition, it is inevitable that accidents will occur in the exhibition of cultural relics, in order to avoid such accidents, the three batches of "Catalogue of Cultural Relics Prohibited from Going Abroad (Abroad) for Exhibition" issued by the State Administration of Cultural Heritage are very wise moves. At present, the number of cultural relics prohibited from going abroad (abroad) for exhibition in China has increased to 195, and it is believed that with the passage of time, this list will increase.
What is your attitude towards the "Catalogue of Cultural Relics Prohibited from Going Abroad (Border) for Exhibition" issued by China and prohibiting some cultural relics from going abroad (border) for exhibition? Welcome to leave a comment.