日前，有網(wǎng)友表示，自己在上海博物館購買的以上博館藏文物“蝠桃瓶”為靈感設(shè)計(jì)的冰箱貼文創(chuàng)具有“發(fā)光功能”與“瓶底開孔”設(shè)計(jì)，令人聯(lián)想起該文物流落海外期間被改造為燈座的遭遇，涉嫌“不尊重歷史”。

網(wǎng)友質(zhì)疑上博文創(chuàng)蝠桃瓶立體發(fā)光冰箱貼“不尊重歷史”。圖源：社交媒體

據(jù)上海博物館館方回應(yīng)，自蝠桃瓶2004年入藏上博以來，已由它開發(fā)了幾十種相關(guān)文創(chuàng)產(chǎn)品，“發(fā)光冰箱貼只是其中一種文創(chuàng)產(chǎn)品，這件文物回流的意義是多元的，流失海外和曾經(jīng)被改造使用的經(jīng)歷，并非不能被融入文創(chuàng)設(shè)計(jì)?！鄙喜┮蕴沾晌奈餅樵?，開發(fā)過多種臺(tái)燈文創(chuàng)，30多年前就做過耀州窯同款臺(tái)燈。在文創(chuàng)產(chǎn)品開發(fā)過程中，上海博物館始終尊重歷史，了解文物特質(zhì)，并征詢了捐贈(zèng)人的意見。

The Shanghai Museum has recently responded to controversy alleging that a refrigerator magnet, inspired by its collection piece "the Famille-rose enameled vase with the bat-and-peach pattern", "disrespects history". The museum stated that since the vase entered its collection in 2004, it has developed dozens of related cultural products. The light-up refrigerator magnet is merely one of these products. Throughout the product development process, the Shanghai Museum has consistently respected history, understood the artifact's characteristics, and consulted with the donor, it said.

One netizen pointed out that the refrigerator magnet they purchased at the Shanghai Museum, designed based on the vase, features both a "light-up function" and an "open hole at the base." This design, they argued, evokes the artifact's history of being retrofitted into a lamp base during its time overseas.

上海博物館以蝠桃紋橄欖瓶為原型開發(fā)了很多文創(chuàng)

清雍正粉彩蝠桃紋橄欖瓶是上海博物館收藏的一件瓷器珍品。撇口，長頸，溜肩，鼓腹，圈足。形似橄欖，故此又稱橄欖瓶。瓶體繪制了粉彩八桃兩蝠，因桃子象征“長壽”，蝠是“?！钡闹C音，寓意福壽雙全。

The Famille-rose Enameled Vase with the Bat-and-peach Pattern from the Yongzheng reign of the Qing Dynasty (1644-1911) is a porcelain treasure in the Shanghai Museum's collection. The vase is painted with eight peaches and two bats. As peaches symbolize longevity and bats are homophones for the Chinese word for fortune (fu), the design represents both fortune and longevity.

20世紀(jì)上半葉，蝠桃瓶流落海外，幾十年來，一直在沒有任何保護(hù)設(shè)置的條件下，被作為一只臺(tái)燈的燈座使用。后被拍賣公司識(shí)得，2002年，香港收藏家張永珍博士以4150萬港元高價(jià)競(jìng)得此瓶，并于2004年將其捐贈(zèng)給上海博物館。

In the early 20th century, the vase was lost overseas. For decades, it was used as a lamp base without any protective measures. Later identified by an auction house, the vase was acquired in 2002 by Hong Kong collector Dr Alice Cheng Chang Yung-tsung for 41.5 million Hong Kong dollars. She donated it to the Shanghai Museum in 2004.

蝠桃瓶的價(jià)值具有多重面向，如既是雍正官窯的創(chuàng)新之作（首次將平面蝠桃紋應(yīng)用于立體瓷瓶）、清代粉彩工藝的實(shí)證，又是中西收藏史縮影、文物回歸的象征。

清雍正粉彩蝠桃紋橄欖瓶 圖源：上海博物館官網(wǎng)

據(jù)澎湃新聞報(bào)道，一位文博領(lǐng)域負(fù)責(zé)文創(chuàng)的資深從業(yè)者表示，“我們行業(yè)內(nèi)部都關(guān)注到這件事，也有過討論，在我們業(yè)內(nèi)人士看來，這更多的是網(wǎng)友基于個(gè)人認(rèn)知的片面解讀，這種論調(diào)是有待商榷的。”

澎湃新聞還提到，一位資深文博學(xué)者認(rèn)為，當(dāng)上海博物館“蝠桃瓶”文創(chuàng)因設(shè)計(jì)細(xì)節(jié)引發(fā)輿論風(fēng)波時(shí)，一句“相當(dāng)于用鴉片紀(jì)念林則徐”的類比，將一個(gè)嚴(yán)肅而專業(yè)的博物館推向了民族情感審判席。在這場(chǎng)圍爭議中，一個(gè)核心命題愈發(fā)清晰：博物館作為以研究為基石的公共機(jī)構(gòu)，其專業(yè)釋讀權(quán)不應(yīng)讓位于極端的情緒化解讀，更不該被片面的民族主義敘事所裹挾，“博物館文創(chuàng)產(chǎn)品的核心使命，是通過創(chuàng)意轉(zhuǎn)化讓塵封的歷史融入當(dāng)代生活。博物館并非普通文化商品供應(yīng)商，其權(quán)威性根植于學(xué)術(shù)研究的系統(tǒng)性、歷史語境的還原能力、文化價(jià)值的鑒別體系等專業(yè)基石?！?/p>

According to a report, a senior museum scholar believes that museums, as research-based public institutions, should not let their professional interpretive authority yield to overly emotional interpretations, nor should they become entangled in one-sided nationalist narratives. The core mission of museum cultural products, the scholar stated, is to integrate sealed-away history into contemporary life through creative transformation.

來源：澎湃新聞 上觀新聞

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