让传统从容走向未来

郭艺

笔者2017年底赴德国国家瓷器博物馆进行学术和业务交流。该博物馆位于巴伐利亚州上弗兰肯地区的小城市塞尔布，城市人口1.5万，该市是德国现代瓷业中心，繁盛时期，德国80%的瓷器产自这里。

城市到处能寻觅到瓷器的踪迹，瓷器街道，瓷器店铺，瓷器喷水池，还有世界上唯一的瓷器圣诞树。即便是厚厚的大雪，也掩盖不了瓷城的特色，何况，这里还拥有欧洲最大的瓷器博物馆。德国南部的冬日，偶尔阳光掠过，天空便出奇的灿烂，朵朵白云在蓝天中叠加出层次丰富的色差。然而，冬季的太阳似乎很吝啬，明媚的光影短暂出现后，随即便复归于阴沉的灰色之中。由于昼短夜长的缘故，早出晚归的上班模式几乎都在夜色里。

友情·你我他

博物馆安排我住在城里的路易斯酒店，位于城市中心的酒店有百年历史。酒店由一对夫妇经营，丈夫依格负责采购和烹饪，憨厚不善言谈，女主人苏西非常勤劳，酒店的所有事务都由她打理。早上6点就能在餐厅看到苏西忙碌的身影，即便与我聊天，也是在不停地擦着餐具。夫妇俩淳朴善良，待我如亲人一般。

我每天搭同事佩姬拉女士的车上下班，她是博物馆艺术与文化史部的负责人，我在她的部门工作。平时大大咧咧的佩姬拉女士，工作起来干练高效，她爽朗的笑声让我难以忘怀。

馆长西门先生是一位让人尊敬的传统的巴伐利亚人，印象深刻的是与他一起去柏林。塞尔布至柏林390公里，早上7点整，63岁的西门馆长准时到酒店门口接上我。天上飘着大雪，地上厚厚的积雪，至柏林的一段高速因此关闭，车只得在一般公路上小心行驶。8点是博物馆上班时间，馆长开始通过车载电话与博物馆人员商议工作。上午11点到柏林停好车，馆长在寒风中换上正装，进入西门子基金会办公室。谈好工作后，我们在KPM博物馆附近的咖啡店点了面包和咖啡作为午餐，下午一起去KPM博物馆参观交流，下竿4点32分从KPM博物馆出来直接驾车返程，回到塞尔布已是晚上8点20分了。

佩姬拉告诉我说，公务活动都是馆长自己驾车的。我在他们身上，能感受到德国人的勤劳、严谨、敬业等优秀的品质。

风物·博物馆

德国国家瓷器博物馆由1866年的罗森塔尔公司厂房遗址改建，作为瓷器工业历史遗址，有着重要的文化价值。1988年巴伐利亚州政府购买了这座厂房，每年提供80万欧元作为历史建筑物的维护费用。这座曾经的瓷器工厂，现作为工业文化遗产保留下来。1996年塞尔布馆区正式向公众开放，设有：欧洲瓷器工艺博物馆，展示19世纪欧洲瓷器工业的辉煌，通过从业者社会生态及瓷器工业技术，展示了瓷器工业的发展;罗森塔博物馆，让观众置身于艺术创意的空间中，穿越时空融入到罗森塔的故事里;欧洲科技陶瓷博物馆，展现了瓷器在高科技领域的应用。

某一行业的式微并不意味着其将在未来的发展中消失。作为某个历史的坐标，无论是以怎样的形态存在，其文化影响依然会在每个时代发挥作用，在历史与当下的对照中，如果我们客观审视社会变迁，会找寻到文化归属与认同。工业文化遗产不仅是历史记忆，更是当下创新发展的重要资源，德国众多的工业遗产博物馆都在践行这样的理念，并以一百多年的文化遗产保护的实践，证明对社会的贡献。

教育·人文课

国家瓷器博物馆与传统意义上的博物馆不同。建立在工业遗址上的博物馆，除了本身承载的文化记忆之外，采用了诸如现场活态展示、瓷器制作的作坊、音像场景还原等方式，让人们在动态的场景式环境中，感受瓷器工艺的精彩。

博物馆设置的教育项目针对不同的受众人群，如幼教、中小学教育、家庭体验及成年人的休闲项目，当然，在博物馆教育当中，中小学的教育占了很大的比重。博物馆设有专业的教育项目与中小学的教育相衔接，包括参观流程、教学互动、娱乐体验等，都适应学校学科设置。学校根据自身教育的需要，预约相应的课程项目。配合中小学教育，博物馆教育部提供简单的知识性资料，另有一份专门为学校老师制定的知识材料，并附有征询老师关于教育项目的建议表，帮助博物馆改进教育内容。博物馆的知识教育不是采用灌输性的方式，而是把相应的知识与生活常识联系起来，与学校的课程有机的结合，强调互动与体验，鼓励、启发人们的创造潜力。

德国极其尊重传统文化遗产，在保护文化传统的同时，更重视对历史的反思，对于传统，不是一味的尊崇，而是以历史的观照，更理智地选择走向未来的道路。因此，在所有的教育项目中，都能感受到传统作用于当下的延续性，在历史中寻求创新的动力，立足曾经的传统，展望未来的发展。

文化·传与承

德国迈森（Meissen）是欧洲瓷器发源地，其引以为傲的就是精湛的手工艺，300年来瓷器工厂坚守着这一传统。

迈森瓷器工厂设有培训学校，学校针对瓷器技艺传承，制定了整套学习标准和专业课程，第一年学习绘画基础以及瓷器工艺，第二年开始进行瓷器手工艺的实践，完成学业后，再进行两年的实习。瓷厂工艺师负责带徒传艺，学员经两年技艺实践，成绩合格者可留在迈森瓷厂，成为瓷厂的员工。迈森瓷厂的技艺人员都由本企业的学校培养，很多人在这里工作大半辈子，直至65岁退休。

进入迈森瓷器彩绘工作室，空气里弥漫着瓷器颜料的气息。每个工作室按照工艺的类别进行划分，釉上彩工作室细分了各种不同门类的彩绘工艺;釉下彩工作室则是绘制青花，与中国一样采用钴料绘制。工艺家绘制的图案技艺精湛，看得出经历多年的实践。从他们的年龄结构上看，老中青都有，传统的技艺因几代人的传承焕发着勃勃生机。

企业带徒传艺的培养模式，為传统技艺的延续提供了保障。职业人才培养是迈森瓷厂传承了几百年的历史传统，不仅传承了工匠精神和核心技艺，也为企业提供了高质量的人才储备，以精湛的手工艺保持了品牌的质量与荣誉，这便是迈森强大的竞争实力。

坚守传统是迈森不变的追求，而这种坚持并不阻碍创新的意识。自欧洲瓷器在迈森发端起，研发一直伴随着瓷器工艺的发展，从原料、工艺、颜料、釉料直到烧制，瓷器制作的每个环节均有高科技作为其质量的保证，由此，迈森瓷器烧制次品率极低，以保证人力和材料的高效运用。在这座具有历史价值的老瓷厂里，传统技艺与现代工艺和谐共融，呈现出历史传承给予的文化底蕴，以及融入当下的创新活力。

I spent a period of time at the German Porcelain Museum for academic study and exchanges toward the end of 2017. The museum is located in Selb， a small city with a population of 15，000. The city used to be the center of German porcelain manufacturing industry. In its prime time， it accounted for 80% of the porcelain products made in Germany.

The city is full of shapes， colors， charms of porcelain. Shops sell porcelain. Streets feature porcelain. Fountains feature porcelain. And the city boasts a porcelain Christmas tree， the only one of its kind in the world. The porcelain museum there is the biggest in Europe.

The city is in the south of Germany. It was winter. I saw sunny days only occasionally. When there was sunshine， the sky looked splendid with whitish clouds stacked upon each other showing a galaxy of rich colors against the azure sky. Such a sunny view was rare. When I was there， days were short and nights were long. I left for work when it was dark and I came back to hotel when it was dark.

I stayed at Louis Hotel， operated by Egon and Susi， a wife-husband team. Egon was in charge of buying and cooking. He was good natured and simple and largely reticent. Susi was almost omnipresent. At six in the morning she was in the restaurant. While chatting with me， she was busily working the tableware. They treated me as family.

Petra gave me a ride to work and back to the hotel every workday. She headed the art and cultural history department at the museum where I worked. She seemed to be casual in a lot of things off work， but was efficient and strict at her business. Her laughter is unforgettable.

The curator of the museum was Mr. Siemen， a respectable Bavarian of tradition. He drove me for 390 kilometers to visit KPM museum in Berlin. I was deeply impressed by the way he did his work. Later， I learned from Petra that the curator always chose to drive when it was on business. I was deeply impressed by the German peoples professionalism and diligence and attention to the smallest details.

The German Porcelain Museum is situated at the site of a factory founded in 1866 by the Rosenthal AG. In 1988， the Bavarian State government purchased the site and now provides 800，000 euro a year to maintain this building as an industrial heritage. In 1996， the Selb location opened to the general public. On the location are three museums： European Industrial Museum for Porcelain， Rosenthal Museum， and European Museum for Technical Ceramics.

The decline of an industry doesnt mean it will be pushed recklessly to oblivion in the future. The museums serve as historical coordinates and the bygone industrys cultural influence will play a positive role in different phases in a societys evolution. Culture provides a contrast and comparison between the past and the now， makes it possible to generate objective reviews of social changes， and seeks cultural identification and belonging. Industrial heritage is more than historical memory. It is a key resource for creativity now and in times to come. Germany boasts a large number of industrial museums which understand the role culture plays and have done their best to protect their cultural and industrial legacies as a contribution to the development of society.

The German Porcelain Museum differs a great deal from other museums in that it demonstrates how porcelain is manufactured. It operates myriad education programs targeting different groups of people： preschoolers， students of primary and middle schools， families， and adults. The museum coordinates with schools in constructive ways. Programs are designed in compliance with school curricula and schools can commission the museum to make tailor-made programs for students. The museum has an education department that provides teachers with information and solicits advice and suggestions from teachers.

During my stay in Germany， I also visited Meissen， where the first European porcelain was made in 1710. Over the past 300 years， the handmade art of the porcelain manufacturing has been maintained and improved at the town in eastern Germany. The training is the secret for the porcelain manufacturers enduring success.

There is a professional school where people learn how to make porcelain. A student spends the first year learning the basics of painting and porcelain manufacturing and spends the second year practicing. After the graduation the student works as a trainee for another two years under the tutelage of masters in the factory. As the two-year training expires， qualified students become employees of the factory. The technicians of the factory are all graduates from the school. Most employees work there all their lives until they retire at 65.

This training system guarantees a talent pool， quality， competitiveness， and innovation. The system is impressive.