這些日子，一直有個(gè)問(wèn)題縈繞心頭：版本對(duì)于中華文明的傳承與發(fā)展到底意味著什么？本期視點(diǎn)我們與讀者一同走進(jìn)杭州國(guó)家版本館，一起找尋答案。

什么是版本？版本最初指一種書(shū)籍經(jīng)過(guò)多次傳抄、刻印或以其他方式而形成的各種不同本子。隨著時(shí)代的發(fā)展，版本也開(kāi)始應(yīng)用于影視、軟件等。

翻開(kāi)中國(guó)以及浙江版本歷史，我們可以清晰地看到，中國(guó)是世界上最?lèi)?ài)讀書(shū)和藏書(shū)的國(guó)家之一。據(jù)史料記載，中國(guó)各地曾有過(guò)數(shù)以千計(jì)的藏書(shū)樓。自宋代以來(lái)，浙江的藏書(shū)家至少有850人之多，而歷代所建的藏書(shū)樓更是多達(dá)800余座，居全國(guó)榜首。滄海桑田，目前，浙江留存于世的傳統(tǒng)藏書(shū)樓僅11座，而全國(guó)也不過(guò)100余座。在這些藏書(shū)樓中，以位于杭州市西湖區(qū)孤山路25號(hào)，即孤山南麓浙江省博物館內(nèi)的“文瀾閣”最負(fù)盛名，“文瀾閣”為清代乾隆年間為珍藏《四庫(kù)全書(shū)》而建造的全國(guó)七大書(shū)閣之一。

杭州國(guó)家版本館落成和開(kāi)館對(duì)于中華文化安全與文化復(fù)興意義重大。

杭州國(guó)家版本館取名“文潤(rùn)閣”，從名稱(chēng)上就可以看出這是對(duì)“文瀾閣”的繼承。當(dāng)然，“文潤(rùn)閣”不是傳統(tǒng)意義上的“文瀾閣”，它是集展覽館、圖書(shū)館、檔案館、博物館等多種功能形態(tài)于一體的綜合性場(chǎng)館。它既是國(guó)家從文化安全和文化復(fù)興的戰(zhàn)略考量出發(fā)作出的重大部署，又是中外文明交流互鑒的重要窗口，也是文脈賡續(xù)的傳世工程。

版本館承載著中華文化的基因和血脈，是不可再生、不可替代的中華優(yōu)秀文明資源，是營(yíng)造傳承中華文明的濃厚社會(huì)氛圍的有力見(jiàn)證。版本館建成并正式開(kāi)館，將更加廣泛地宣傳中華版本文明的研究成果，教育引導(dǎo)大眾特別是青少年更好地認(rèn)識(shí)和認(rèn)同中華文明，增強(qiáng)做中國(guó)人的志氣、骨氣、底氣。

本期視點(diǎn)中，我們特別關(guān)注了7位為版本館征集工作作出貢獻(xiàn)的海內(nèi)外友好人士。如懷著一片赤誠(chéng)之心回歸祖國(guó)的老華僑周添成；為促進(jìn)中美民間友誼奔走二十多年的潘杰和范祝華夫婦；從青春年少時(shí)開(kāi)始學(xué)中文，五十多年來(lái)一直熱愛(ài)中華文化的德國(guó)漢語(yǔ)學(xué)家許瀚為；致力于中國(guó)公共衛(wèi)生事業(yè)三十六年的英國(guó)專(zhuān)家何麗莎；為促進(jìn)中日藝術(shù)文化交流殫精竭慮三十年的浙江籍旅日書(shū)法篆刻藝術(shù)家晉鷗；把幾乎是畢生珍藏全部捐出的九旬電影人張理竺。

TO GET HER FOR A SHARE DFU TRUE杭州國(guó)家版本館。肖奕叁/攝China National Archives of Publications and Culture (Hangzhou). Photo by Xiao Yisan.

Carry Forward the Chinese Civilization through Archives and Publications

These days, a couple of questions have been on our minds. What is an“edition”? What do the inheritance of and research on editions mean for the development of Chinese civilization — past, present and future? We’re trying to find out the answers in this issue in the newly opened China National Archives of Publications and Culture (Hangzhou).

In its original sense, editions refer to the various versions of a book that has been copied, printed, or otherwise reproduced. Gradually, the concept of editions also begin to be applied to movies, software and other things that take the same subject but show it in different formats.

The opening of the China National Archives of Publications and Culture (Hangzhou) will be of great significance to the security and rejuvenation of the Chinese culture.

If we look at the “edition history” of China and Zhejiang, we can clearly see that China is among the countries that love reading and collecting books the most. Historical records show that China used to have thousands of(literally “book collecting building”). Since the Song dynasty, at least 850 well-known book collectors have been from Zhejiang, and more than 800were built over the generations,the most in China. However, only 11in the traditional sense remain in Zhejiang and only some 100 remain in China. Among them,Wenlan Ge or the Wenlan Pavilion (also known as the Imperial Wenlan Library and the Imperial Library) in Hangzhou is the most famous, built during the reign of Emperor Qianlong as one of the seven libraries for the collection ofor the.

Indeed, the China National Archives of Publications and Culture(Hangzhou), known as “Wenrun Ge” (or Wenrun Pavilion), is to a large extent a continuation of Wenlan Ge.

On the other hand, Wenrun Ge is far more than a traditional; it is a complex that has incorporated exhibition halls,libraries, archives and museums, among others.

For this issue’s “Special Feature”, we focus on seven people who have donated to Wenrun Ge. Zhou Tiancheng, an overseas Chinese and a true patriot; Pan Jie and Fan Zhuhua, a couple who have helped promote exchanges between China and the US; Hans-Wilm Schütte, a German Sinologist and a cultural ambassador; Therese Hesketh, a British lady whose love for Hangzhou is immense; Jin Ou, a Zhejiang native and a seal engraving artist who has lived in Japan for 30 years; and Zhang Lizhu, a nonagenarian and film veteran who has donated all his collections.