強(qiáng)雯

2020年底，位于重慶南岸區(qū)的故宮文物南遷紀(jì)念館向市民初步開放。抗戰(zhàn)期間，這里曾保存了3694箱故宮南遷文物。追溯這段淵源，不禁讓人感嘆，故宮離我們并不遠(yuǎn)，它曾經(jīng)就在我們身邊。此刻，再來讀一讀曾經(jīng)的暢銷書《兩個故宮的離合》，倒也十分應(yīng)景。

此書為日本《朝日新聞》資深記者野島剛所著，他以第三者眼光觀察兩岸的故宮問題，借此剖析文物之重。其談?wù)摰碾m然是北京故宮與臺北故宮分分合合、錯綜復(fù)雜的故事，但揭開種種遺憾、角逐，只有一個觀點(diǎn)，“能夠證明中國歷史悠久的證據(jù)里面，基本上沒有家族、血統(tǒng)這個要素。”“人沒有過去就不可能有現(xiàn)在，而繼承過去的就是文物?！?/p>

今天文博以及大眾考古事業(yè)如此興旺，仍能從此書中找到答案。

全國各地都在重現(xiàn)遺址，打撈石刻殘碑，引入文創(chuàng)園區(qū)。全國、省級、市區(qū)乃至縣級重點(diǎn)文保單位的不斷升級，資金的入駐，并非因?yàn)樨?cái)大氣粗，都是文物乃政治的觀念為支撐。

比如《國家寶藏》欄目的強(qiáng)勢推廣、大足石刻招標(biāo)5.5億提檔升級、故宮文創(chuàng)年年推新，除了展覽，《故宮上新了》等紀(jì)錄片的出現(xiàn)，也可看到其巨大的揮金之臂，重慶故宮南遷文物紀(jì)念館的開放，也是對文博的“朝天”之舉。

一些掩埋故紙堆的文博類舊書也得以再版面世。如沈從文的《中國古代服飾研究》、日本學(xué)者伊東忠太的《中國紀(jì)行》，他們從專業(yè)的考古視野介入，各有所長。客觀來看，在如此高歌猛進(jìn)的大環(huán)境中，這些小眾專業(yè)的圖書進(jìn)入百姓視野，是好事，至少在這個時代你不閱讀它們就跟不上潮流。國民素質(zhì)的普及工作如此甚好。

一代考古學(xué)家的“心血”以各種形式得以出版、再版，是好事?！断呢救沼洝贰短K秉琦文集》光復(fù)而現(xiàn)，照亮曾經(jīng)艱苦奠基的中華考古之路。

健在的巫鴻、李零等人的考古專著讓人目不暇接。圖書宣傳營銷的猛烈，一代考古文學(xué)學(xué)者的標(biāo)簽，灼燒讀者雙眼。行內(nèi)有一句話，考古是有一份材料說一份話。李零情感堆砌的豪邁式考古圖書，越來越難以被普通大眾真正接受。既要專業(yè)，又要普及的李零式圖書，陷入尷尬。

苦了讀者，只恨看書速度比不上考古名家們的寫書速度。

時勢造名家。在世的名家尚且如此，更不用說洪濤之中，泥沙俱下。各種文博類出版物蜂擁而現(xiàn)，出版社和作者都在搶這塊蛋糕?！恫┪镳^之美》《從考古發(fā)現(xiàn)中國》《化石的故事》《博物之旅》這些書都趁著一股熱流而現(xiàn)，作家、驢友、地方志土專家，或積極或被動地卷入這個寫作大營。當(dāng)一個現(xiàn)代徐霞客，查找一些資料，也能乘坐這艘大船，以各種方式展現(xiàn)他們對考古的情感認(rèn)知，知識認(rèn)知。

但書卻乏善可陳，讓人失望。

在現(xiàn)行文博事業(yè)興盛的今天，客觀上是好事，國民素質(zhì)提高了，但是也有不少盲流，覺得文化大過了天，其實(shí)文化背后的政治站位并不十分清楚?！霸谥袊鴼v史上，文化幾乎等同于政治。文化是用來證明政治權(quán)力的道具，也是權(quán)力與社會，權(quán)力與歷史的指標(biāo)?！睂Υ箨懞团_灣兩個故宮的糾葛，野島剛從一個日本學(xué)者的角度做了解讀。

那么今時今日波濤洶涌的文博浪潮，銷金吞銀的相關(guān)產(chǎn)業(yè)，你感動了嗎？看懂了嗎？《兩個故宮的離合》不僅是一本暢銷書，也會是一本常銷書。當(dāng)下的文博、考古熱只會更加并且持續(xù)熱烈，而卷入其中的大眾、平民，在文化大浪擊打之下能不能保持清醒和自制，克服狂熱和盲目的感動，實(shí)在是一個亟需認(rèn)真對待的問題。

文博這件衣裳，怎么穿，在于穿者，而并非衣服本身。《兩個故宮的離合》所講述的故事，從一個側(cè)面提供了一種冷靜的參考。

At the end of 2020， the Memorial for Southward Migration of Palace Museum Cultural Relics in Nan’an District of Chongqing was basic open to the public. During the Anti- Japanese Invasion War， 3，694 boxes of cultural relics were preserved here after being migrated southward from the Museum. Tracing back to the story， we cannot help sighing that the Forbidden City has not been far from us， and it is around us. At this moment， reading the best-seller The Separation and Reunion of the Two Palace Museums seems fitting.

It was written by Tsuyoshi Nojima， a senior reporter of Japan’s "Asahi Shimbun". As a third party， he observed the two Palace Museums across the Taiwan Strait， thereby analyzing the importance of cultural relics. Although the book talks about complicated stories of the separation and reunion of Beijing Palace Museum and National Palace Museum in Taipei， there is only one view behind all regrets and competitions， which is "basically， no family or lineage can prove the extensive and profound history of China." "People can’t have present life without knowing the history， and what inherits the history is cultural relics."

Today， cultural and popular archaeological undertakings are so prosperous that we can still find answers in the book.

Nationwide， ruins are being uncovered， stone carvings and monuments unearthed， and cultural and creative industrial parks introduced. Constant upgrading and investment in key cultural protection units at the national， provincial， municipal， and even township levels is backed not by the deep pockets， but the idea that "cultural relic is politics".

For example， the strong promotion of the "National Treasure" column， the bidding for 550 million yuan for maintaining Dazu Rock Carvings， and the annual upgrading of the Palace Museum have shown a great deal of national investment. In addition to exhibitions， documentaries such as "There’s Something New in the Palace Museum" also explain it. The opening of the Memorial for Southward Migration of Palace Museum Cultural Relics in Nan’an District of Chongqing is another move to be made in culture.

Some previous books of art and culture have been republished. For instance， Shen Congwen’s Research on Ancient Chinese Garment and Japanese scholar Ito Chuta’s Journey to China， have cast a professional insight from archaeology with different preferences. Objectively speaking， it is good news that these marginal professional books are read by the people in such a fast-pace society. At least in the era， you can’t keep pace with the trend without reading them. The popularization of national quality gets paid off.

It deserves a round of applause that works of "painstaking efforts" of former archaeologists have been published and reprinted in various forms. The republished Diary of Xia Nai and Collected Works of Su Bingqi have blazed the trail of the Chinese archaeology.

Wu Hong， Li Ling and other archaerologists who are alive today are also productive. Publicity and marketing of archaeological books of those scholars of archaeological literature have given readers a wide range of choices. In the archaeological community， people believe that archaeology should be faithful to facts and truth. Li Ling’s heroic yet emotional archaeological books are increasingly hard to be digested by the public. It is an embarassing myth to publicize both professional and Li Ling-style books.

It is regrettable that readers cannot read books as fast as archaeological scholars have their works published.

A great scholar is known in the time of misfortune. It is the real case with those alive， not to mention those in the past mysterious times. The flood of cultural publications has prompted publishers and writers to share a cup of gravy. Books such as The Beauty of Museum， China in Archaeology， Story of Fossils and Journey to Natural Resources have made writers， travelers and local chronicles experts actively or passively jump on the bandwagon. A modern Xu Xiake can also show his or her own emotional cognition and knowledge of archaeology in various ways after searching for some information.

However， quite a few books are disappointing.

The current flourishing cultural and museum undertakings are objectively applaudable for the national quality has improved. However， many people just follow the crowd， thinking that culture is everything. In fact， politics does not hold a clear posture in culture. "In Chinese history， culture has almost been synonymous with politics. Culture is a tool to prove political power， and also an indicator of power and society， and power and history." Tsuyoshi Nojima interpreted the entanglements between the two Palace Museums in China’s mainland and Taiwan as a Japanese scholar.

So， have you been touched by today’s profitable cultural and museum industries？ Or， have you understood them？ The Separation and Reunion of Two Palace Museums is not only a best-seller， but also a regularly-sold book. It needs to be taken seriously whether the ordinary people can keep calm and restrained from the blind crowd pursuing profits in the current industries of culture and museums.

The value of culture and museums lies in people who get involved in them and how so， but not themselves. Stories told in the book give us a chance from another perspective to remain calm.