中華文明之道，以文化為橋，連世界之心。紀(jì)智大師以獨(dú)領(lǐng)風(fēng)騷的藝術(shù)語言和智造名城——株洲第一藝術(shù)文化地標(biāo)，托舉了湖南文化藝術(shù)的高度，眾多的經(jīng)典藏品及國際影響力文化出�；顒�(dòng)更彰顯了紀(jì)智黃花梨文化藝術(shù)館不僅是中國的優(yōu)秀民族品牌，更是獨(dú)步國際藝壇的引領(lǐng)者！ ——全美中國作家聯(lián)誼會(huì)副會(huì)長師帥博士

紀(jì)智黃花梨文化藝術(shù)館的創(chuàng)始人——紀(jì)智在大阪世博會(huì)上的講話

尊敬的各位來賓，朋友們：大家好！

我是紀(jì)智黃花梨文化藝術(shù)館的創(chuàng)始人——紀(jì)智。很高興能榮登大阪世博會(huì)，與大家共襄盛會(huì)。今天，我的發(fā)言主題是：收藏的終極目的究竟是什么？我認(rèn)為，是傳播美與智慧，讓歷史的曠古回音在今天思接千載，意通萬里。

我們藝術(shù)館擁有眾多珍貴的黃花梨木雕收藏。起初，我和所有藏家一樣，執(zhí)著于守護(hù)它們。但很快我意識(shí)到，如果這些瑰寶只被小心翼翼地供奉在展臺(tái)上，它們的光芒終究是有限的。我們必須思考：如何讓靜態(tài)的收藏，產(chǎn)生動(dòng)態(tài)的價(jià)值？于是，我們開始了一場變革，努力讓藝術(shù)館超越傳統(tǒng)的“博物館”模式，成為一個(gè)文化創(chuàng)新的發(fā)動(dòng)機(jī)。我們主要通過三大路徑來實(shí)現(xiàn)：

首先，從“觀賞”到“體驗(yàn)”，打造沉浸式文化課堂。

樸素的明式家具處處洋溢著儒家的儀制與風(fēng)范，我相信一衣帶水的友邦鄰國日本和我們一樣，傳承了東方傳統(tǒng)美學(xué)。我們博物館特別珍藏了一張?jiān)露词介T罩黃花梨架子床，每一位訪客嘖嘖稱贊它的光滑溫潤，這代表了中國文化的一種追求自然的境界。老祖宗造字無比智慧，人和木在一起組成一個(gè)“休息”的休字。和最貴重的木頭在一起就是最好、最有福報(bào)的休息。很多朋友由此愛上了黃花梨的那種美感，那種天然合一，給人無窮想象。通過這種珍品“觀賞”體驗(yàn)，重新定義我們對(duì)知識(shí)獲取和文化體驗(yàn)的期待。我們的博物館，開發(fā)了系列教育項(xiàng)目。通過工作坊、木作體驗(yàn)課，讓中小學(xué)生和愛好者們親手感受木材的紋理與溫度，理解榫卯結(jié)構(gòu)的精妙。我們讓收藏“活”起來，不再是遙遠(yuǎn)的教科書圖片，而是可感、可觸、可參與的生命體驗(yàn)。

另一個(gè)絕好的例子就是我的博物館分館之一的中國歷史人物木雕造像館。我用黃花梨雕刻有中國歷朝歷代的皇帝462位以及上古正神。眾所周知，海南黃花梨自古就是皇室的貢木�；适业淖鸪缱尯Ｄ宵S花梨擁有了至高無上的文化價(jià)值與藝術(shù)生命。為此，我大力打造中國帝王文化，并注重故事性和連貫性，通過精心設(shè)計(jì)的中國帝王故事和生動(dòng)視頻展線，將中國皇室的歷史脈絡(luò)清晰地呈現(xiàn)出來。故宮博物院的余輝老師稱贊我的黃花梨博物館既是對(duì)瀕危遺產(chǎn)的搶救性記錄，更是用情感化語言重構(gòu)公眾與文明對(duì)話的新維度。他認(rèn)為黃花梨表述的文化符號(hào)一定要在展陳布局上突顯本質(zhì)內(nèi)在屬性，力求和皇家氣派和黃花梨稀有的華貴典雅的文化氣度高度匹配。

其次，從“保護(hù)”到“活化”，構(gòu)建創(chuàng)意資源庫。

我們將珍貴的紋樣、器型、工藝手法進(jìn)行數(shù)字化解析，建立一個(gè)開放式的“中式美學(xué)基因庫”。這個(gè)資源庫，成為設(shè)計(jì)師、藝術(shù)家、動(dòng)畫師汲取靈感的寶庫。曾經(jīng)應(yīng)用于皇宮家具上的纏枝蓮紋，可能今天就會(huì)出現(xiàn)在一位年輕設(shè)計(jì)師的國潮服飾上。這就是傳統(tǒng)文化的當(dāng)代重塑。

此外，我們積極尋求與商業(yè)品牌的跨界聯(lián)動(dòng)。一座博物館要想為觀眾，尤其是年輕觀眾解讀經(jīng)典的文化，需用新穎的形式表現(xiàn)其豐富內(nèi)涵。優(yōu)質(zhì)的文創(chuàng)設(shè)計(jì)就是一種很好的載體。文博展列通過各類新穎方式，如制成文博衍生品、開展趣味陳列展、來開啟博物館的文創(chuàng)變革。比如，與高端茶品牌合作，以館藏茶器為靈感，共同開發(fā)聯(lián)名產(chǎn)品；與游戲公司合作，將木雕中的神話人物、瑞獸紋樣授權(quán)成為游戲中的藝術(shù)元素。通過IP授權(quán)、聯(lián)合開發(fā)，我們讓黃花梨藝術(shù)不再是高高在上的陽春白雪，而是能夠融入現(xiàn)代生活、產(chǎn)生商業(yè)價(jià)值的文化符號(hào)。

最后，從“獨(dú)享”到“共享”， 走出國門，通過國際交流融合實(shí)現(xiàn)資源共享和國際傳播新路徑。

我們秉承的宗旨是聚力打造創(chuàng)新引擎，驅(qū)動(dòng)文化新航程。紀(jì)智補(bǔ)全版黃花梨木雕清明上河圖長卷搭乘出海洋流，2024年1月舉辦的中美建交45周年的新春招待會(huì)上，我們的海外文化大使師帥博士向中國駐美大使謝鋒大使介紹了聚典閣黃花梨博物館的創(chuàng)立與發(fā)展。謝鋒大使高度贊揚(yáng)紀(jì)智先生是一位傾情傳播中國傳統(tǒng)文化的赤子，在文化傳承上做出了新貢獻(xiàn)。2024年5月在亞洲文化遺產(chǎn)基金會(huì)在美國首都國會(huì)山前舉行年度亞洲文化博覽會(huì)（Fiesta Asia）上北美清明上河圖研究會(huì)向美國民眾完美展示了聚典閣的特色文創(chuàng)產(chǎn)品——紀(jì)智補(bǔ)全版清明上河圖長卷，弘揚(yáng)了文化自信，為推動(dòng)優(yōu)秀傳統(tǒng)文化借力文創(chuàng)產(chǎn)品出海傳播開辟了新航道。

朋友們，隔海相望的日本是中國傳統(tǒng)文化的“保鮮”冰箱之一。我們以前不重視的、失傳的文化，往往能在日本中尋到可貴的“吉光片羽”。我們高度重視與大阪世博會(huì)的文化共建、共享、共生。博物館是保護(hù)和傳承人類文明的重要場所，提升博物館的公眾服務(wù)能力、創(chuàng)新文化吸引力，才能讓博物館對(duì)人類文明進(jìn)步產(chǎn)生的源源不斷的貢獻(xiàn)。一座藝術(shù)館的價(jià)值，不在于它收藏了多少過去，而在于它能激活多少未來！

一切皆是命運(yùn)的感召。一切皆是福報(bào)的感召。我們已經(jīng)從“收藏家”用心修煉成為了“賦能者”。我們深信每一件藏品都成為一棵匯聚生命靈光的種子，在創(chuàng)新的春風(fēng)中，在時(shí)空的輪回中生根發(fā)芽，最終眾木成林，集秀成韻，風(fēng)華絕代，光耀千古！

謝謝大家！

（英文版）

Dear distinguished guests and friends:

I am Ji Zhi, the founder of Ji Zhi Huanghua Pear Culture and Art Museum. I am very glad to be honored to participate in the Osaka World Expo and share the grand event with you. Today, the topic of my speech is: What is the ultimate purpose of collecting? In my opinion, it is to spread beauty and wisdom, so that the ancient echoes of history can be thought for thousands of years today.

Our Art Museum has a large collection of precious Huanghua pear wood carvings. At first, like all collectors, I was obsessed with guarding them. But I soon realized that if these treasures were only carefully enshrined on the exhibition stand, their brilliance would be limited after all. We must think about what we can do to ensure static collections will produce dynamic value? As a result, we have begun a revolution, striving to make the Museum of Art transcend the traditional "museum" model and become an engine of cultural innovation. We mainly achieve this through three paths:

First of all, from "viewing" to "experiencing", we should create an immersive cultural classroom.

The simple Ming-style furniture is permeated with Confucian rituals and styles everywhere. I believe that Japan, a neighboring country separated only by a strip of water, has inherited the traditional oriental aesthetics like us. Our museum has a special collection of a moon cave door cover Huanghua pear shelf bed. Every visitor praises its smoothness and warmth, which represents a realm of pursuing nature in Chinese culture. Ancestors created characters with great wisdom, and people and wood together formed a "rest" character. Being with the most valuable wood is the best and most rewarding rest. Many friends fell in love with the beauty of Huanghua pear, the natural unity, giving people endless imagination. Through this "viewing" experience of treasures, we redefine our expectations of knowledge acquisition and cultural experience. Our museum has developed a series of educational projects. Through workshops and woodworking experience classes, primary and secondary school students and enthusiasts can personally feel the texture and temperature of wood and understand the subtlety of mortise and tenon structure. We let the collection "live", no longer a distant textbook picture, but a life experience that can be felt, touched and participated.

Another perfect example is the Wood Carving Museum of Chinese Historical Figures, one of my museum branches. I use Huanghua pear to carve 462 emperors of Chinese Dynasties and ancient gods. As we all know, Hainan Huanghua pear has been the tribute wood of the royal family since ancient times. The respect of the royal family makes Hainan Huanghua pear have the supreme cultural value and artistic life. To this end, I vigorously create Chinese imperial culture, and pay attention to storytelling and coherence, through well-designed Chinese imperial stories and vivid video exhibition lines, the historical context of the Chinese royal family will be clearly presented. Teacher Yu Hui of the Palace Museum praised my Huanghua Pear Museum as not only a rescue record of endangered heritage, but also a new dimension of reconstructing the dialogue between the public and civilization with emotional language. He believes that the cultural symbols expressed by Huanghua Pear must highlight the intrinsic attributes of the exhibition layout, and strive to match the royal style and the rare luxurious and elegant cultural demeanor of Huanghua Pear.

Secondly, from "protection" to "activation", we should build a creative resource bank.

We will digitally analyze the precious patterns, shapes and techniques, and establish an open "Chinese aesthetic GenBank". This resource library has become a treasure house for designers, artists and animators to draw inspiration. The twining lotus pattern, which was once used on palace furniture, may appear on a young designer's national fashion clothes today. This is the contemporary remodeling of traditional culture.

In addition, we actively seek cross-border linkage with commercial brands. If a museum wants to interpret the classical culture for the audience, especially the young audience, it needs to express its rich connotation in a novel form. High-quality creative design is a good carrier. Through various innovative ways, such as making cultural derivatives, launching interesting exhibitions, the exhibition will open up the cultural and creative transformation of museums. For example, cooperate with high-end tea brands to develop co-branded products inspired by the collection of tea wares; In cooperation with the game company, the mythological figures and auspicious animal patterns in the woodcarving are authorized to become the artistic elements in the game. Through IP authorization and joint development, we make Huanghua pear art no longer a high spring snow, but a cultural symbol that can integrate into modern life and produce commercial value.

Finally, from "exclusive" to "sharing", we should go abroad and realize the new path of resource sharing and international communication through international exchanges and integration.

Our aim is to build an innovative engine and drive a new cultural voyage. At the New Year reception for the 45th anniversary of the establishment of diplomatic relations between China and the United States held in January 2024, Dr. Shi Shuai, our overseas cultural ambassador, introduced the establishment and development of the Judiange Huanghua Pear Museum to Ambassador Xie Feng, the Chinese Ambassador to the United States. Ambassador Xie Feng highly praised Mr. Ji Zhi as a child who devoted himself to spreading Chinese traditional culture and made new contributions to cultural inheritance. In May 2024, at the annual Asian Cultural Exposition (Fiesta Asia) held by the Asian Cultural Heritage Foundation in front of the Capitol Hill in the capital of the United States, the North American Qingming Shanghe Tu Research Association perfectly demonstrated to the American people the unique creative product of Judian Pavilion, the long volume of the Qingming Shanghe Tu, which promoted cultural self-confidence and promoted the United States. It has opened up a new channel for promoting the dissemination of excellent traditional culture through the use of creative products.

Friends, Japan across the sea is one of the "fresh-keeping" refrigerators of Chinese traditional culture. The lost culture that we did not attach importance to before can often find valuable "auspicious feathers" in Japan. We attach great importance to cultural co-construction, sharing and symbiosis with the Osaka World Expo. Museums are important places to protect and inherit human civilization. Only by enhancing the public service ability and innovative cultural attraction of museums can museums make continuous contributions to the progress of human civilization. The value of an art museum lies not in how much past it collects, but in how much future it can activate!

Everything is inspired by fate. Everything is the inspiration of good fortune. We have become "enablers" from "collectors". We firmly believe that every collection will become a seed of life, take root and sprout in the spring breeze of innovation, in the cycle of time and space, and eventually become a forest of trees, a collection of beautiful charm, peerless elegance, shining through the ages!

Thank you all!

紀(jì)智黃花梨文化藝術(shù)館

簡介

紀(jì)智黃花梨文化藝術(shù)館，由愛國僑胞企業(yè)家紀(jì)智先生創(chuàng)辦，位于中國湖南省株洲市天元區(qū)黃山路205號(hào)，藝術(shù)館占地面積27畝，建筑面積28000余平方米，是集收藏、展覽、研究、文化交流于一體的傳統(tǒng)文化展示基地。

藝術(shù)館以木為載體，致力于傳承和弘揚(yáng)中華優(yōu)秀傳統(tǒng)文化。核心展品包括獲國家版權(quán)登記并榮獲第四屆“中國林業(yè)產(chǎn)業(yè)創(chuàng)新獎(jiǎng)”的《紀(jì)智補(bǔ)全版清明上河圖》黃花梨木雕（長88米、寬2米，用材20余噸），以及中國十大傳世名畫黃花梨木雕、中國歷史人物木雕造像、明清家具、佛教藝術(shù)造像、愛國主義教育館等。這些木雕作品采用浮雕、透雕、鏤雕等多種技法，栩栩如生，具有很高的藝術(shù)和文化價(jià)值。

紀(jì)智先生花費(fèi)多年心血，投入巨資將個(gè)人收藏與藝術(shù)創(chuàng)作相結(jié)合，旨在打造一個(gè)展示中華木作文化魅力的平臺(tái)。藝術(shù)館還注重公益教育與文化傳播，設(shè)有木作國潮文化研學(xué)體驗(yàn)館，積極開展公共教育活動(dòng)。

2019年以來，藝術(shù)館作品曾受邀參加迪拜世博會(huì)中華文化館展覽，向世界展示中華傳統(tǒng)文化。紀(jì)智先生也曾表示愿將這些文化財(cái)富贈(zèng)予家鄉(xiāng)株洲，造福市民。藝術(shù)館不僅是株洲市傳統(tǒng)木作文化展示基地，更成為了湖南省一張重要的文化名片，立志要為中華文化出海奉獻(xiàn)自己的一份力量。