At 7:30 p.m. on March 28, 2022, the official authorized book launch of "National Treasures", co-sponsored by the People's Literature Publishing House, the Central Radio and Television Corporation, and CCTV Records International Media Co., Ltd., was held in Beijing, and this day was the 71st birthday of the People's Literature Publishing House, which also happened to be the closing seminar of the first season of "National Treasures" four years ago. Lu Yitao, deputy convener of the Literary and Art Program Center of China Central Radio and Television Corporation, Li Xiangdong, president of China Television Drama Production Center Co., Ltd. and general manager of CCTV Records International Media Co., Ltd., Mr. Zhang Jinlin, deputy general manager of CCTV Records International Media Co., Ltd., Mr. Mao Wenyu, sales director of Artron Group who is responsible for the printing of this set of books, Zang Yongqing, president of the people's literature publishing house on behalf of the publisher, and Xiao Liyuan, deputy editor-in-chief of the people's literature publishing house, attended the event.
Shan Jixiang, president of the Chinese Society of Cultural Relics and director of the Academic Committee of the Palace Museum, Yu Lei, producer and director of "National Treasure", and Nigmati, one of the guardians of the national treasure of "National Treasure" and the host of the Central Radio and Television Corporation, as the guests of this event, conducted an in-depth dialogue around the "National Treasure" program and the publication of new books.
The 71st anniversary of the Humanities Society celebrates the occasion and is a special exhibition of national treasures in the permanent collection
Since the broadcast of the three seasons of "National Treasure", it has touched the heartstrings of countless viewers, especially many enthusiastic viewers after 90 and 00, who are in tears because of the show, and from the bottom of their hearts, they have said "There is no regret in this life into China, we are proud, we are Chinese".
Lu Yitao
Deputy convener of the Literary and Art Program Center of the Central Radio and Television Corporation
Lu Yitao, deputy convener of the Literary and Art Program Center of the Central Radio and Television Corporation, said in his speech: "We are honored to cooperate with the People's Literature Publishing House to launch the officially authorized book of "National Treasures" for all three seasons, which is a major attempt to write the creative results of the program into a book, so that the charm of the national treasure can be more gently preserved and disseminated. From the magnificent Forbidden City, sanxingdui, which has been sleeping for a thousand years, to the Mogao Grottoes in Danqing Qianbi; from Wang Ximeng's "Map of a Thousand Miles of Rivers and Mountains", to the treasure of the sea, Dakding, to the copper galloping horse that flutters like a shooting star, this set of books vividly shows the fusion of history and art, embodies the vitality of Chinese culture and national spirit, and is a feast of words and visions, a museum on paper. ”
Lee to the east
President of China Television Drama Production Center Co., Ltd
General Manager of CCTV Records International Media Co., Ltd
Li Xiangdong, president of China Television Drama Production Center Co., Ltd. and general manager of CCTV Records International Media Co., Ltd., said in his speech: "The People's Literature Publishing House chose to release the book of "National Treasure" for three seasons on sheqing Day, which is a full affirmation of the IP of the program "National Treasure". As the producer and IP operator of "National Treasure", CCTV Records International Communication Co., Ltd. is honored to participate in this new book launch event on this special day. Since the cooperation of the two years, the editorial team of the People's Literature Publishing House, the staff of the "National Treasure" program group, and the staff of the CCTV Record Company have transformed the language of the "National Treasure" television program lens into the language of the book with the professionalism and rigor of the "National Treasure" television program at any cost, and the content and design of the frame are rich in pictures and texts, vivid and vivid, and the unique decoration and frame design, so that the profound knowledge of literature and knowledge can be deepened and simple, and the treasures can be obtained, which can be called a set of special exhibitions of national treasures on paper, which is worthy of permanent treasure. ”
Zang Yongqing
President of the People's Literature Publishing House
Zang Yongqing, president of the People's Literature Publishing House, delivered a speech saying: "The People's Literature Publishing House is celebrating its 71st birthday today, and I thank you for your congratulations. If we compare our society to a tree, then it must be an old tree, and how to cultivate old trees and how to make old trees sprout new shoots is our heavy responsibility in the new period. The Humanities Society has "three", famous books, famous translators, famous editors, our editors do not blindly take the manuscript, but to deep processing, to meet the quality requirements of the Humanities Society. In the process of editing the "National Treasure" book, our team has given full play to its own book editing expertise, in addition to faithfully restoring the essence of the program as much as possible, but also fully considering the modern reading requirements such as fragmentation and reading pictures, and striving to convert the TV language into a book language that meets modern reading habits. Ten minutes can punch a national treasure, glimpse a piece of history, witness a legend, and find a memory. ”
Subsequently, Lu Yitao, deputy convener of the Literary and Art Program Center of the Central Radio and Television Corporation, and Li Xiangdong, president of the China Television Drama Production Center Co., Ltd., jointly awarded the "National Treasure" seal to Zang Yongqing, president of the People's Literature Publishing House, and unveiled the new book.
More grounded communication, more warm story language
In the forum session, under the auspices of Mr. Li Lei, the guests conducted in-depth discussions on the "National Treasure" such as "Creative Initial Heart", "Production Ingenuity", "Tempering And Immersion" and "Pure Dan Heart".
The three guests first shared the exchanges and collisions that occurred in the inception stage of "National Treasure". Shan Jixiang, president of the China Cultural Relics Society and director of the Academic Committee of the Palace Museum, said that when director Yu Lei first communicated with him about the concept of the "National Treasure" program, he gave him a vivid enlightenment: "What we want to engage in is cultural variety, which is a literary synthesis. Cultural variety shows are meant to spread culture, and there can be different ways of dissemination. After patient communication, the shell of this variety show was finally adopted, while retaining the core of culture, and the narrative pattern of 'past life' and 'this life' was very wisely determined. ”
Shan Jixiang said frankly: "It wasn't until the end of the first season that a stone in my heart fell to the ground, and I sincerely believed that the creator had the ability to shoot "National Treasure". Because past legends are interpreted by celebrity guests, is their interpretation historically realistic? Even if it is historical, how to restore the real situation of two thousand years ago and one thousand years ago, and where is the boundary of deduction? It was a matter of great concern to him at the time, afraid of being questioned by serious archaeologists and conservators of cultural relics. Compared with this, what is more trusted by people is the story of this life, cultural heritage, cultural relics collection flow is alive, passed to today, what has been brought to today's people, how people today treat them, how to preserve, repair, display and spread, these stories are very enjoyable. Along the way, the confidence is getting stronger and stronger. Four years ago, on March 28, a seminar was held at the end of the first season, and both experts and scholars, as well as the curators involved in the show, gave it a high evaluation. At this time, I felt that this was a model program, fulfilling Yu Lei's wishes at that time, and I was also full of expectations for the second season. ”
Yu Lei responded: "The dean's concern proves to some extent that 'National Treasure' was indeed a completely new creation at the time, and before the first season was launched, when the main creative team told the show to peers, participating guests, and scholars in the museum industry, almost a thousand people had a thousand "National Treasures" in their heads, and everyone didn't know what you were going to do. The creation of the first season is especially a two-way interactive process, where we interact with the museum in both directions and understand each other. At that time, when I first found the various museums, everyone felt that the television media could not promote the museum, and the shooting was carried out at both ends for three days, if the shooting was broken, who would be responsible? When communicating with experts, you will also find that your understanding of the museum is too superficial. At that time, there were all kinds of doubts, including the concern about the past life story mentioned by Dean Shan, and it was not until after the broadcast that everyone gradually understood that we had done in-depth homework, and on this basis, there was an artistic presentation, reinterpreting those historical bridges in the form of a theatrical stage, which was particularly popular with ordinary people.
"The legend of the past life is an important literary and artistic means for us to pull the audience into the program, and the story link of this life is a part that many experts in the museum industry are particularly happy to see." They think that we have a big brain hole, that we have spoken of the significance of preserving cultural relics to the present era, and that we have left them behind, passing them on from generation to generation, from generation to generation, and what is the reason: through the people who live today, they see its vitality. Many scholars in the archaeological circle and the cultural and cultural circles said to us at the time of broadcasting, thank you for your efforts for those of us who do research, as if for the first time academic content has been so popular and disseminated in the posture of mass communication. We are also very happy, "National Treasure" came step by step, first of all, there must be such an enlightened expert as Dean Shan, in the early stage of not forming the prototype of the program, it gave us great support and affirmation, we are in countless such warm eyes, and we are inspired by the mentality of gambling with us, to get to today, with the success of the national treasure. ”
Talking about the principle of selecting museums and cultural relics in the first season, Shan Jixiang said that these eight museums are supported by the State Administration of Cultural Heritage and the Ministry of Finance, and their management experience in both collections and museums is first-class. For example, the Nanjing Museum, the Shanghai Museum, the Shaanxi History Museum, the Henan Museum, the Hunan Museum, the Hubei Museum, the Zhejiang Museum, and the Liaoning Museum are located in the east, west, south, and north of the Chinese land, which coincide with director Lei's design: drawing on the traditional ancient Kyushu form, according to the east, west, south, and north, China is divided into a new Kyushu, and each side chooses a representative museum tiled posture. The choice of the museum in the first season also landed. Since then, according to the principle of eight more, the museum plan for the next two seasons has been determined.
As for the choice of cultural relics, Yu Lei further introduced: "This is a particularly complex creative process, we must first do our homework and establish the most basic understanding of cultural relics. Go to the museum to investigate, we want to see each artifact and invite the museum to make a list of recommendations. We will do our homework based on this list, give our opinions as ordinary audience members, and then further study the story form, who can be asked to tell. In this process, it may be adjusted and changed to conform to the progress of the story. In addition, after in-depth understanding of cultural relics, we will still take the audience's small white heart and keep ourselves in the position of the audience and not just experts and scholars. For example, in the first season, we encountered a problem, and the museums recommended bronzes to us. Because traditional scholars believe that bronze is the most important ceremonial vessel, it is old enough to reflect the weight of the museum's collection. In addition to the Forbidden City's proximity and ease of communication, five of the other eight museums are bronze. But if it's all about bronzes, it loses the meaning of the show. Therefore, in the final selection and communication, we will let these cultural relics belong to different categories, different time points, and different materials.
"Cultural relics are not superior, and the concept we want to express at the core is to let the audience feel that cultural relics are still alive today and have an impact in all fields of China today, which is the criterion for our final selection of cultural relics." For example, in the Liaoning Provincial Museum, which has the best collection of calligraphy and painting outside the Forbidden City and the Shanghai Museum, we chose a copper-gilded wooden core stirrup. The curator of Liaoboma called me and said that the wooden core of this thing has rotted very badly, Liaobo has so many good things, why must I choose it? But we think the value behind this artifact is the butterfly effect in Chinese history. With such a small thing, we can tell the story of stirrups that influenced all of Europe along the steppe Silk Road and returned to China in the form of equestrian culture. Therefore, later the audience will sincerely sigh that 'the national treasure is not in the soul'. We want to tell you that maybe your habit of entering the museum before was to look at bronze and gold, and to see valuable and beautiful things. So why do museums store some cloth heads, wood chips, stones, and what value is behind them? This is the kind of communication effect that the show "National Treasure" most hopes to achieve. ”
The guardian of the national treasure is an important part of the program, Yu Lei believes that as a bridge between the audience's cognition and the museum's cultural and museum fields, and the greatest value of mass communication, you can use the people and forms that the audience likes to see to publicize those things that are really good. We hope that the most appealing stars can use their influence and traffic in those most valuable places. Give the celebrity guests a field, so that their lives, careers, their exposure in front of the camera, and a national treasure are tied together, they can become the guardians of a national treasure. They can use their influence to approach a national treasure with the curious eyes of the audience and tell the value of the national treasure. This is a win-win situation, a kind of value maximization. In fact, when all the guardians of national treasures walked onto the stage, they all had a sense of awe; they all put themselves in the second place, as supporting roles of national treasures. When they are serving the national treasure, they instead shine with the light of intellect and wisdom, which is also the energy that the ancestors blessed to a generation. Miraculously, in the end, you will find that our guests in the dark are all selected by national treasures, not by us - it is the person, not the other.
As the guardian of the national treasure, Nigmati very much agreed with yu Dao's sharing, he said: "When I finished that look, I looked at the mirror, and I felt that it chose me, the nameless character in the underworld, who chose me to be the narrator of this story through the millennium. So as a guardian of a national treasure, I feel happy from the bottom of my heart, just like when I spread out this book, I will feel that it is particularly heavy, and when we receive this task, I am also thinking about whether I can do this thing well, whether I have enough ability and accumulation. In the process of participating in the recording of that episode, I was also looking for my own genetic code, looking for some genetic code in the blood, culture and language that the land in my hometown brought to me. Everyone must know who they are, where they came from, and what civilizations have flowed in the land where they were born and raised; then reflect on where what I am saying and doing now come from, and do I really know my hometown? ”
Nigmat said that the guardian of the national treasure not only needs to complete the on-site recording, but also needs a lot of technical preparation in the early stage, collecting wind and learning in the museum, and asking the museum staff for advice. Museum staff talk to exhibits every day and are truly able to wear through history. Communicating with them can absorb a lot of nutrients. "Did I think it was necessary to spend so much time preparing? But when I stood on the stage and said, 'I am Nigmat, the guardian of the national treasure, and I volunteer to guard the Fuxi NuwaTu, to guard history and the virtue of life,' I knew that these words came from the depths of my soul. These upfront tasks are too important. ”
When it comes to the choice of cultural relics, Nigmati is quite emotional, he said, not all cultural relics must be the heavy weapons of famous masters, like the "Fuxi Nuwa Tu" he guarded, there is no money, no author, no provenance, it is likely to come from the hand of a small famous craftsman at that time, but it carries the story behind it, carries the cultural exchange between the Central Plains and the Western Regions, and people of different nationalities are also connected by blood and culture to each other thousand years ago. These hidden messages, through the connection of some customs, perhaps tombs and living customs, let us know that no matter where you come from, what ethnic group you are, as long as you have a common sense of cultural identity, you are Chinese.
The book is written in writing, and the answer sheet is concluded at the end of the three seasons
Before the birth of the program, director Yu Lei already had the idea of publishing a book of the same name. She said: "Because the content of wenbo has a strong correlation with the text, "National Treasure" is known among netizens as a tens of billions of immortal copywriters, and many viewers are willing to copy the program copy after watching the program. A lot of fans have done a special briefing, so we especially hope to leave the wisdom of the whole team to help the audience chew and digest in a more direct way.
"Cooperation with the Humanities Society is the result of mutual selection. We are very honored to be picked up by her. The name 'People's Literature Publishing House' carries weight in the hearts of all Chinese readers. When I was in school, I often passed 166 Chaonai Street, and every time I passed, I would look up with my classmates. The publication of this set of books was actually an opportunity, and at the end of the second season, we communicated with the People's Literature Publishing House and came up with a book at that time. But the editors of the publishing house were very serious, and after a long period of polishing, until the third season came out, they finally formed a complete closing answer sheet for the purpose of the three seasons, a unity of the whole. Just when the third season caught up with the time point of the Forbidden City's six hundred years, the book also came into being and became a phased summary report.
"We have invited various experts, including Dean Shan, Mr. Fan Jinshi, Mr. Chen Xingcan, and the top experts and scholars in the cultural and cultural circles to participate in the consultation, planning and review of this set of books, hoping that it can be worthy of every audience and readers." After full discussion and discussion with us, the editors of the Humanities Society followed the reading-oriented communication attributes of the book, adopted the form of weakening the past life part, and only presented the historical information well, without directly transcribed the story script of the sitcom on the book. In addition, the information radiated in the book is very complex, and basically every information point has a full presentation from text to vision, which complements the existence of our program composition. More importantly, it conveys the temperature of the show, the emotion behind the main creative team: digging out to hope that the audience knows that the cultural relics are really good, and our ancestors are really special cattle. So this set of books is not a complete transcription of the National Treasure copy, but more like a book, a museum in the hand. When we were young, we all grew up watching the books of the People's Literature Publishing House, and it was very happy to have the opportunity to connect our creations with her. ”
For the program creator to do the program in the form of a textbook, Shan Jixiang deeply agreed that there were many similar cultural variety shows after "National Treasure", many of which were inspired by "National Treasure", such as the program "Ten Thousand Miles Of Walking Single Ride" that introduced the World Heritage Sites planned by him. Not only the books, the entire program system of "National Treasure" is very careful, through the use of stage art, environmental design, sound, lighting and new technologies, each season has a shocking power, regardless of actors, guests, experts and scholars involved, are presenting national treasures in a very ritualistic way. ”
Combined with the theme of the event" "The Temperature and Strength of "National Treasure"", Nigmati sincerely sighed: "You casually turn to this book, which treasure, which treasure has no strength, no temperature? Each has it. Does the Copper Gallop have strength? Too powerful, is there a temperature? Its muscles, its lines, it is a living horse in front of us. Is there a temperature for the painted sanle relief? Of course, there is a temperature, does it need to be forced in the process of carving it? It's too much effort. Is there a temperature in the Changxin Palace lamp? Of course, there is temperature, and its temperature is not only reflected in the museum, but also in these cultural and creative products on Teacher Lei. I especially want to say that the silk painted wooden figurine, does it have strength? The Shengshi Datang behind it is too powerful. In the book, we see that in addition to the stills in the program, we also see that the friends of the publishing house are particularly intimate to list the different color scales of Chinese red in the book, each color has a source, what material is used for each color, all of which is a combination of temperature and strength. ”
Nigmat believes that for those who have watched the show, the set of books is a kind of revisit. "When you watch the show, it is impossible to fix every picture, and some people may forget it after watching it; you want to remember, but you may not remember it." But this book is alive in front of you, and every detail can be touched, including the shocking feeling that the words bring to you is different. You'll get your heart beating faster when you get this book. Even its bookish fragrance is different. If you haven't seen The National Treasure, you've read the book, and you've seen The National Treasure. ”
Visiting museums has become a way of life
"National Treasure" also has a major social effect, promoting visits to museums to quietly become a way of life. In particular, it attracts a large number of parents to take their children to visit. Whether it's watching a National Treasure show or reading a National Treasure book, it evokes a heartfelt love for the treasure. In response to the problem that many parents cannot find the doorway to visit, Shan Jixiang suggested: "When visiting every museum, it is very important to do your homework in advance. It is a particularly good phenomenon for parents to take their children to see the museum, and they do not have to learn the standard route of the general tour group, which is carried away by the tour guide holding a small flag. Before arriving at the museum, parents should do their homework according to their children's interests and the content of the textbook they are learning, and figure out what the purpose of the trip is, whether it is to see the scenery, see the landscape, see the ancient buildings, see the exhibition, participate in the activities, or experience digital technology. Different purposes determine different visiting routes. You can open the website in advance, discuss with your child which route to take today, and study what you can see by taking this route, so that you will have great gains. ”
Flipping through the officially licensed books of The National Treasure is a great way to do your homework and a great way to visit the museum on paper without leaving home. The three volumes contain a total of 25 museums on the mainland and the life trajectory of 81 national treasures. On a time-and-space scale that spans ancient and modern times, it shows the far-reaching charm of national treasures and the inheritance and "resurrection" of national cultural genes in contemporary China. The book is set through the links of "Museum Appearance", "First Sight of Cultural Relics", "Legend of past life", "Micro National Treasure", "Inheritance of This Life" and so on, and comprehensively reproduces every link of cultural relics in the form of folios. Each set of folios has a subtitle, which is like putting knowledge into categories and putting them into boxes, at a glance. You can read only the title and pictures to get something; you can go deep, climb the lines, and step into the interesting world of cultural relics.
Nearly 1,000 pictures in three books freeze the wonderful moments of the program, focusing on the beautiful details of cultural relics. Pay attention to the layout design of blank space, single page and single layout, each page is equivalent to a beautiful cultural relics poster, bringing readers zero distance, unlimited times to observe the experience of national treasures. Yang Yang China, ancient rivers, like the rise of the moon, like the eternity of the sun. The full set of books presents the inheritance of Chinese culture in vivid and concise words, and the subtle layout design reflects the light of chinese national civilization and shows the unique contribution of Chinese civilization in the context of world civilization. All three seasons of "International Treasures" books, so that the dusty treasures at the fingertips of the resurrection, five thousand years of context surging on the desk. The opening of the book is a thousand years, a wonderful gift that can be given to oneself, relatives, friends and children.
Heavy guest testimonials
Shan Jixiang
The "National Treasure" set of books is really worth reading, because it is related to the "National Treasure" program, and further promoted, through the language of television to the language of books, this kind of attempt is also something that everyone can taste.
Yu Lei
Such a book will freeze these wonderful ideas, cultural relics spirit, and many things that shine in our civilization on everyone's bookshelf in a touchable and perceptible way, which can accompany everyone through the next five thousand years and solemnly recommend the book "National Treasure".
Nigmat
How young are we? Up and down five thousand years. How heavy is National Treasure? Three books of nearly a thousand pages. How young is the People's Literature Publishing House? Happy birthday this year seventy-one.
Preliminary reviewer: Guo Ting
Manuscript review: Wang Wei
Final reviewer: Xiao Liyuan