On July 2nd, at the Jiaxing Museum in Zhejiang Province, the ink marks of Emperor Xiaozong's imperial edict were still wet, and the misty landscape of literary brilliance remained. The audience held their breath and focused, carefully examining these "business trip" cultural relics. Recently, the "Echoes of Nature - Painting and Calligraphy Exhibition for the 500th Anniversary of Xiang Yuanbian's Birth" was held at the museum. This exhibition brings together "top-notch" exhibits from 16 collection units in China, including the Palace Museum in Beijing, the Shanghai Museum, the Liaoning Provincial Museum, and the Sichuan Museum. According to Wu Haihong, the director of Jiaxing Museum, the "Handwritten Edicts of Emperor Xiaozong of Song Zhao Yang" collected by Sichuan Museum is one of the "top-notch" exhibits in this exhibition. "Emperor Xiaozong of Song Zhao Yang was from Jiaxing, and the reputation of Jiaxing as the 'land of dragon prosperity' comes from him. Xiang Yuanbian was also from Jiaxing, and it is very interesting and story telling for Jiaxing people to collect imperial edicts born in Jiaxing. I felt the sincerity of the exhibition and it was very interesting to interpret the small incision of history, which allowed us to learn about the stories of the 'Jiaxing Emperor' and the 'Jiaxing Collector' at our doorstep. ”Chen Qian, a local college student born in the 2000s, said to the "Book of Zhao Yang's Edict of Emperor Xiaozong of Song". According to Liu Shunyao, Deputy Director of the Collection Department of Sichuan Museum, Emperor Xiaozong of Song, Zhao Yang, was the only emperor born in Jiaxing in history. The "Song Xiaozong Zhao Yang Handed Edict Scroll" is one of Xiang Yuanbian's important collections, with Xiang Yuanbian's collection seal at the beginning and end of the scroll. It is meaningful for the collection to be exhibited in Jiaxing on the occasion of Xiang Yuanbian's 500th birthday. Summer is a peak and concentrated period for the public, especially young audiences, to visit and learn at museums. The Office of the National Cutural Heritage Administration of China recently issued a notice that museums around the country should actively plan and launch a number of high-quality exhibitions and activities with distinctive themes, rich connotations and educational significance to enrich the public's summer cultural life. The 'business trip' of cultural relics is not simply a spatial transfer, but rather a way to bring history to life in a specific context. Taking the Zhejiang Provincial Museum as an example, its collection of "star cultural relics" pig patterned pottery bowls is currently on display in Changsha, and its collection of Huang Binhong's paintings is about to "go south" to Shenzhen, starting a cultural dialogue. At the same time, the author notes that behind the popularity of cultural relics' business trips, there is an upgrade in the public's demand from "clocking in and taking photos" to "in-depth reading of history". At the Wenzhou Museum, a Northern Song Dynasty Ou kiln blue glazed fern grass patterned porcelain vase has attracted the attention of many people. This is currently the only national treasure level cultural relic in Ou kiln. The abdomen of the object is painted with brown colored fern grass patterns, and the shape is slender, long, and elegant, with the distinctive features of ancient Persian gold and silver vessels. This also led many people to speculate that it did not come from Ou kiln. According to the person in charge of Wenzhou Museum, Wenzhou is an important port city on the "Maritime Silk Road". Celadon, lacquerware, silk, and printed materials account for a large proportion of overseas trade. The owner of this teapot may have been a merchant from Central Asia and other countries. The merchant came to Wenzhou through the ancient "Maritime Silk Road" to customize this teapot, but ultimately couldn't take it away and left it in Wenzhou. I didn't expect customized foreign trade products to be available so early. Our ancestors' business has long been done overseas. ”After understanding the historical background of this pot holding pottery, exhibition visitor Yang Jianlin said. This understanding is a vivid footnote to the return of cultural relics to the historical context. Industry experts point out that the value of cultural relics lies not only in allowing the audience to see rare treasures, but also in allowing cultural relics to return to their original historical context and reveal hidden clues of cultural exchange. "The end point of cultural relics' 'business trip' is not to observe, but to understand; not to display differences, but to find resonance. (New Society)