The products from the official kilns of the Song Dynasty were exclusively used by the imperial court, representing the highest level of porcelain craftsmanship at that time, with extremely strict quality requirements. Kiln workers often produce objects several times the demand and select the best quality for supply. Porcelain with slight flaws will be shattered on the spot. After collecting the fragments, they will be uniformly buried in specially excavated pits. The excavation site of Zhanggongxiang kiln site is precisely such a landfill pit. The core purpose of this approach is to strictly control kiln industry resources and technology, ensure that products are exclusively for the court, and prevent any defective products or process information from leaking. For archaeologists, this burial method can be called an 'underground specimen repository'. They almost completely preserve almost all product information from the same period and kiln, including different types of ware, glaze colors, and defect types, with a much greater amount of information than the complete artifacts passed down through generations. How to revive these porcelain tiles that have gone through many vicissitudes? This requires a very high level of repair skills. Faced with a large number of fragments, cultural relic workers need to go through a long and meticulous restoration process. The core process flow is mainly divided into five steps: first, cleaning and reinforcement: first, remove the soil, calcified crust, mold and other attachments on the surface of the unearthed objects, and then perform penetration reinforcement on the fragile and powdery body or glaze. The second is pairing and bonding: first, like a puzzle, find the parts belonging to the same object from numerous fragments. Next is bonding, using reversible professional adhesives for splicing. The third is to supplement and shape: for the missing parts, repair materials (commonly used dental plaster, epoxy resin mixed fillers, etc.) are used to complete them, in order to restore the structural integrity and visual contour of the object. The fourth is color imitation and aging: Color imitation refers to using mineral pigments or other materials to color the surface of the replenished material, making its color similar to the surrounding original glaze and reducing visual abruptness. It is worth noting that archaeological restoration usually pursues "consistency from a distance and distinguishability from a close-up", using techniques to coordinate the texture (gloss, texture) of the added parts with the original parts. The fifth aspect is data recording and archiving: The entire restoration process requires detailed textual, graphical, and visual records, which have equal research value as the restored artifacts. Every process requires the full dedication of craftsmen. After porcelain restoration, it can be appreciated by more people, which is precisely the significance of cultural relic restoration. (New Society)