入“宫”出“宫”三十载，不舍中华文化缘——专访原台北“故宫博物院”院长周功鑫

20多岁进入台北“故宫博物院”（以下简称台北“故宫”），从讲解员一路成长为院长，她自嘲是“入宫”30年的资深“宫女”；锐意改革，台北“故宫”变得越来越“年轻”，周末的全民派对、爆款刷屏的文创产业每每成为文博业界最热话题；在她的努力下，台北“故宫”跻身全球最受欢迎博物馆前十名并不断刷新文创产值；其间更有她策划的数次轰动华人世界的大展，其中尤以2011年6月将分隔360多年的《富春山居图》合璧展出、在不到两个月的时间里吸引50多万观众的“业绩”最为知名；她更能顶住压力，开两岸“故宫”互访之先河，极大地推动了海峡两岸文物文化交流事业。

她就是周功鑫。

初次见到周功鑫，她给记者的第一印象是优雅而又从容，那种腹有诗书气自华的优雅，那种坐看云卷云舒的从容——这样的温文尔雅，来自她的深厚学养——台湾辅仁大学法国语文系学士、台湾“中国文化大学艺术史研究所”硕士、法国巴黎第四大学艺术史与考古学博士。这样的学识背景，又让她“入宫”30余年，得心应手“玩转”台北“故宫”；更在“出宫”后，仍然坚持着自己的美好愿景——致力于中国传统文化的承继与弘扬。

近年来，台北“故宫”一改原本“厚重”的形象，变得愈发“活泼”“轻快”，甚至还带有些“萌”。“年轻人喜欢动，而文物都是静态的，怎样才能让更多的年轻人到博物馆来？”周功鑫的答案是——让博物馆“活起来”。

让博物馆“活起来”

记者：您曾在采访时把自己比作台北“故宫”的“宫女”。在30多年的岁月里，您觉得是什么原因让台北“故宫”的“火爆”程度堪比台北夜市？

周功鑫：我从25岁进台北“故宫”服务，共服务了31年，大致可分为两个阶段——从1972年至1999年为“初入宫”；2008年至2012年“再回宫”。因为本科是法语专业，所以刚开始我在台北“故宫”担任外语讲解，从第二年开始，我进到院长室服务，再后来我担任台北“故宫”展览教育组的主任，负责展览教育和对外的公关。在这一时期，我对展览教育积累了一些基础经验，但鉴于台湾博物馆专业人员短缺，1999年我离开了台北“故宫”，回到母校辅仁大学创立了辅仁大学博物馆学研究所。2008年，我才又回到了台北“故宫”，做推广工作。

在第一阶段的时候，我已经在台北“故宫”对公共教育以及各种面向民众的活动打下了一定基础，但是那些活动并没有很好地发展起来，我再次回去的时候，在之前的基础上又进行了一些变革。

人不是机器，观众的需求实际上是各种各样的，所以我们不能“一视同仁”，要“区别对待”。台北“故宫”对观众实行分龄、分众，也就是将观众按照不同的年龄段、不同的教育认知背景去设计不同的活动——针对儿童，我们设计体验与创意活动；面对青少年，我们开设夏令营；而对于成人，我们也会划分女性、身心障碍等人群，根据他们的特点开展有针对性的活动。再加上台北“故宫”本身收藏的文物也是世界闻名，具有一定的价值，所以在这样的情况下，让更多人走进了台北“故宫”。

记者：在如何让博物馆与当代生活发生联系的问题上，全世界的博物馆都在探索如何让博物馆“活起来”，但是少有博物馆能够大胆到把嘉年华等青少年喜爱的活动形式带进博物馆里，而在台北“故宫”里就有这些元素。当您在做这些尝试的时候，是否有过担心？您认为这样是否有效地让博物馆里的传统文化走进儿童、年轻人心里？

周功鑫：没有什么担心。对博物馆的教育理论掌握到一个程度，对博物馆的教育做法有一定的认识之后，就知道怎样做才能真正让博物馆“活起来”。对博物馆专业有深度的认识是很重要的，这也是为什么我会回到辅仁大学创办博物馆学研究所的原因。

文物本身是具有时代性、历史性的，所以对于儿童、年轻人来说，文物是有距离的，而这些新型活动在设计上非常活泼又多元，让他们在动脑动手中建立了对艺术文化的认识、对文物的认识。而且这些活动每年都会举办，这样就会有积累，通过这种对文物认知的积累，再去看文物时，会减少距离感，这样可以让博物馆中的传统文化走进儿童、年轻人心里。

2013年，台北“故宫”的文创团队以康熙批阅奏折时的手迹作为蓝本，设计出“朕知道了”胶带，一经推出便成为网络爆款，在微博、微信多次被刷屏，时至今日，依然是不少年轻人喜爱的“表情包”。

文创产品“火爆”的背后

记者：网上说台北“故宫”的文创“有毒”，这虽然是句玩笑，但体现了大众对于台北“故宫”文创产品的喜爱，您能介绍一下台北“故宫”多年来在文创产品开发中的一些经验吗？

周功鑫：2008年我回任后，马上规划了“台北‘故宫’文创产业研习营”计划。首先，我们将各行各业划分成传统产业、纺织产业、科技产业等几个大的部分，再分批次对各个产业系统的人进行培训，培训对象具体是各个产业里的设计师、会计师、行销人员、总经理，他们在公司的生产中扮演着非常重要的角色。

比如，设计师想要用清朝雍正时期珐琅彩瓷元素设计一个产品，那他需要知道雍正时期陶瓷的风格是什么，美在哪里及其特质，行销人员需要知道受众人群，会计师需要核算成本、利润，总经理需要了解市场行情……研习营就是去解决这些问题。通过一个完整的训练后，每当出现一个好的创意，每个团队的这4位成员就已经可以把经营模式规划出来了。

另一方面，他们可以互相讨论，站在不同角度去思考产品。比如，雍正时期的审美风格除了可以做成陶瓷以外还可以做什么？在雍正的风格基础上把它变化一下会怎样？这些前人留下来的文物艺术品就都变成他们创作的活水源头。找到了古人的智慧、技法、设计，再加上自己的创意，设计成现在可用的、与生活息息相关的产品，形成一个让生活更美好的产业。现在研习营一共开了5个梯次的培训，至少有六七百人来研习。

记者：研习营的课程是怎么设置的？

周功鑫：我把课程分为了三个阶段。

第一个阶段是打开感知。这里的感知是指人的五感——视觉、听觉、嗅觉、触觉、味觉。课程带他们去体验自然界的万事万物，懂得怎么去看、听、闻、尝、摸一个东西。从18世纪开始的学科划分，将学科分得太细，进入某一专门学科以后，人的五感就会在某一感上特别强，其他感觉被弱化，所以我们需要把这些感觉再唤醒，把感知通通打开，提高美感的综合性。

第二阶段是两个月的文物学习。打开五感之后，每个人会找到自己获取美的方式，这个时候才能更好地体会美是什么。所以五感打开之后，尤其对设计师来说，感知会非常敏锐，这个时候再进行文物的学习，会摄取到更多元素，设计的作品会更多元而独特。

第三个阶段是一起制作。所有人员都参与制作，几个人一组，进行脑力碰撞，设计好一个东西以后，我们会请相关专家进行指导与评审。

记者：台北“故宫”是否会和经过研习营训练打磨出来的团队合作？

周功鑫：我们会选择他们在这里制作出的最好产品，和他们进行“双品牌”合作，当然就算他们不选择“双品牌”合作也没关系。有人会问，我们这样做能得到什么好处？我们培养了他们，他们设计做得更好、产品卖得更好，会创造更多税收。

我们每年都会与研习营里很多厂家进行合作，每个厂家每年能创造出几十件文创产品。在2008年的时候，台北“故宫”大约有2000多种文创产品，到我离开的时候有5000多种。因为大多产品都与日常生活结合，所以很多顾客都是一筐筐地买。台北“故宫”文创产品的年产值从3.6亿台币，到现在已经达到了10亿台币以上。

周功鑫当年学法语立志走向国际，要做世界人，真正到国外走了一圈，最终反倒成为传统文化的积极支持者——在“出宫”后，她致力于推出《图说中华文化故事》，“利用像成语这样的媒介把中华文化的种子撒到全球华人尤其是年轻人的心里去，给他们一个集知识、文化、品德、美学教育于一体的高质量辅助读物”——为了这个愿景，她甚至变卖了自己在台湾的四处房产。

退休不退老本行

记者：您一生都在与艺术与中国传统文化打交道，“出宫”后，您的关注点还在这方面吗？

周功鑫：台北“故宫”培养了我31年，这样的经验很难得。这些年我做展览、做教育，这些实践增加了我的理论厚度。2012年，我本来可以再做4年台北“故宫”的院长，但我想花点时间去做大众对中华文化认识的工作，就在2012年请退了。

我现在编写了一套《图说中华文化故事》系列丛书。有人说现在做书是黄昏事业，好多人都不看书而选择上网了，你为什么还要出书？在我看来，首先，图书可以收藏，再者，我想要做的是有关青少年学习传统文化的书，图书可以让青少年更好地回归传统。

记者：为什么会直面青少年这一群体？

周功鑫：青少年还在发育当中，并且具有一定的文字基础，处于人格塑造的黄金期，在这一时期给予他们好的引导，对他们的未来会产生深远影响。他们会将这些东西转换成自己的智慧，融入自己的人格，对于约束自己的行为、提升自信心，甚至对提升民族自信都非常有帮助。但是在一个知识琐碎、资讯泛滥的时代，如何引导青少年系统地学习中华历史与文化，是我一直在思考的问题。

我相信现在青少年大多能背诵很多成语，但是对于其语境、社会背景等缺乏全面了解。但是，成语的本质是史实，是历史真实的事情，我希望透过成语能让青少年了解那个时代。

记者：一个时代所包含的东西太多，大到时代社会背景、政治状况，小到服饰等，如何通过图书让青少年回到那个时代？

周功鑫：拿《图说中华文化故事》系列丛书中战国时期的“邯郸学步”来说，首先我们会介绍故事背景，后面会根据文字进行配图来讲解这个成语。在配图中我们下足了功夫——根据山西省长治市分水岭出土的青铜器武士像，可考据出那一时期人物所穿衣物为直裾短衣；据《新定三礼图》，绘制出战国时期官员常戴头冠为玄端冠；参考湖北省江陵县天星观1号墓出土的彩绘木雕双龙座屏，绘制出战国时期室内装潢常用屏风样式……配图中的每一个细节无不是根据出土文物、资料进行绘制，尽最大可能还原那个时代方方面面的样态。

记者：图书固然有其优点，但是不得不说电子阅读已是大趋势，您是否也会考虑将此系列丛书传到网上，获得更大的传播量？还有哪些规划？

周功鑫：这种考虑是有的，网络阅读有其明显优势——容量大、传播范围广。目前我们已经开发了微信小程序，App近期也将上线。虽然还是走上了网络的道路，但是我们也希望能和普通的碎片式阅读不一样——针对每个成语、每个故事，我们依据资料做了漫画，而在漫画播放后还配有趣味测试和相关小游戏等，让青少年在网络阅读中也能形成系统的知识体系。我们计划下一步让《图说中华文化故事》进入学生课堂，通过老师的引导，通过更多有趣的学习方法，让孩子们接受更多传统知识。

Entering the Taipei Palace Museum (hereafter referred to as the "Palace" in Taipei) in her 20s,she considers herself a veteran "maid of honor" after 30-year working in the Palace,growing up from the lecturer to the president,through self-deprecation; the Palace has become "younger" since the application of reforms,with the generating parties for all people at weekends,fascinating cultural industry winning great popularity on the Internet and always becoming hottest topic;Through her efforts,Taipei's "Palace" ranks among the top ten most popular museums in the world,constantly refreshing the value of cultural and creative industries; in the meantime,there were several exhibitions that have sensationalized the world of Chinese people under her coordination,the most famous was especially in June 2011,when the union of "Dwelling in the Fuchun Mountains" after over 360-year separation has attracted more than 500,000 spectators in less than two months,a renowned "business record" in industry; she was more able to,withstanding the pressure,realise the first exchange of visit by the "Palaces" on both sides of the Taiwan Straits,profoundly promoting the cultural exchanges between the two sides.

She is Chou Kung-shin.

When meeting wth Chou Kung-shin for the first time,her first impression to us was elegance and calmness,and that kind of elegance with poetry and self-satisfying calmness and gentleness coming from her deep cultivation in education - Bachelor of French,Fu Jen Catholic University,Taiwan,Master of "Institute of Art History under Chinese Culture University" and Ph.D.,Art History and Archaeology,University of Paris IV,France.Such academic background has allowed her to work "in the palace" for more than 30 years,and enabled her to "proficiently manipulate" Taipei's "Palace"; even after being "out of the Palace",she still adheres to her own beautiful vision - committed to the inheritance and promotion of Chinese traditional culture.

Taipei's "Palace" has changed its image of "profoundness" in recent years,becoming more "lively" and "lighter",even with some "cutie"."Young people like moving subjects,but cultural relics are static. How can we get more young people to come to the museum?" Zhou Gongxin's answer is to make the museum"alive".

Make Museums "Alive"

Reporter: You once compared yourself to the "maid of honor"in the "Palace" in Taipei in some interviews. In the past 30 years,what do you think is the reason behind the "unprecedented popularity" of Taipei's "Palace",which equals to that of the urban night market?

Chou Kung-shin: I have been serving in the "Palace" in Taipei for 31 years in total since the age of 25,it can be roughly divided into two stages - from 1972 to 1999 as "first entry into the palace"; from 2008 to 2012 "return to the palace". Since taking the undergraduate major of French,I started my foreign language lecture at the "Palace" in Taipei. From the second year on,I worked at the President's Office,and then I became the director of the "Palace" exhibition education group,responsible for exhibition education and external public relations. During this period,I accumulated some basic experience in exhibition education. However,in view of the shortage of professionals in the museum,I left the "Palace" in 1999 and returned to the alma mater,Fu Jen University,to establish the Institute of Museum Studies. In 2008,I again returned to the "Palace" to do promotion work.

In the first stage,I have already laid a certain foundation for public education and various activities for the people in the"Palace" in Taipei,but those activities did not develop well. When I returned,I made some changes.

Unlike machines,audiences' needs are actually various,so we can't "discriminate",but hold the attitude of "diversified changes". The "Palace" in Taipei implements the categories in terms of age and diversity for the audiences,meaning that designing different activities according to different age groups and educational cognition backgrounds. For children,we offer experience and creative events; in the face of teenagers,we set up summer camps; for adults,we also divide them into women and people with physical and mental disabilities,carrying out targeted activities based on their characteristics. In addition,the cultural relics collected in Taipei's "Palace" are also world-famous with great value. Therefore,under such circumstances,more people are attracted here.

Reporter: On the issue of how to connect museums with contemporary life,museums around the world are exploring how to make it “alive”,but few could boldly bring the activities for young people,like the carnival,into the museum. But these elements are found in this "Palace". Have you ever been worried when you are making these attempts? Do you think this is effective in bringing the traditional culture of the museum into the hearts of children and young people?

Chou Kung-shin: There is nothing to worry about. After grasping the educational theory of the museum to a certain extent and having a certain understanding of the educational practices,we know what to do to really make the museum "alive". It is critically important to have a deep understanding of the museum profession,which is why I have returned to Fu Jen University to establish a museum research institute.

Cultural relics are of times and history. Therefore,for children and young people,there is a distance between them and cultural relics,but these new activities are very lively and diverse in design,allowing them to establish an artistic understanding of art culture and cultural relics through maneuvering. Moreover,these activities are held every year,so that there will be accumulation.Through this accumulative understanding of cultural relics,the previous distance will be reduced when we admire the cultural relics again,so that the traditional culture in the museum can enter the hearts of children and young people.

In 2013,the team of cultural innovation of the "Palace" in Taipei used Kangxi's handwriting as a blueprint to design a "I(the emperor) know" tape. It became an online heat once launched to the market and most popular in platforms of Weibo and WeChat. Today,it is still a favorite expression pack for many young people.

Behind the "Heat" of Products of Cultural Innovation

Reporter: Some Internet users say the cultural innovation of Taipei's "Palace" is "toxic",a joke though,but it reflects the public's love for the cultural and creative products of the"Palace" in Taipei. Can you give us some experience in this perspective?

Chou Kung-shin: After I returned to work in 2008,I immediately planned the program named "Taipei 'Palace' Cultural and Creative Industry Training Camp". First of all,we divide all walks of life into several major parts,such as traditional industry,textile industry,science and technology industry,etc. We then carry out training program for people in various industrial systems in groups. They are specifically designers,accountants,marketing staff and GM from various industries,as they all play a very important role in the company's manufacturing process.

For example,if a designer wants to design a product with the enamel porcelain elements of Emperor Yongzheng of the Qing dynasty,he needs to know the specific style of ceramics in that period,the definition of beauty and its characteristics,the marketing staff needs to know the audiences,accountants need to calculate the cost and profit,and the general manager needs to acknowledge the market situation... The training camp is dedicated to solving these problems. After a complete training,four members of each team shall already plan the business model,every time a good idea emerges.

On the other hand,they can think about products from different angles via discussion. For example,what can be done in addition to ceramics in the aesthetic style of the Yongzheng period? What happens when it changes a bit based on the style of Yongzheng?The cultural relics left by the predecessors have become the living source of their creation. Discovering the wisdom,techniques,and design of the ancients,plus their own ideas,it could form an industry that makes life better after designing it into products that are now available and closely related to everyday life. At present,the camps have opened five sessions of training,with at least six or seven hundred trainees.

Reporter: How are the courses of the camp set up?

Chou Kung-shin: I split the courses into three stages.

The first stage is to turn on perception. Perception here refers to people's five senses - vision,hearing,smelling,touching and tasting. The course takes them to experience everything in nature and how to see,hear,smell,taste and touch. The division of disciplines Started in the 18thcentury,but the disciplines are categorized in a too specific manner. After entering a particular subject,our perception will be too strong in some sense,while the shall be weakened,so we need to wake up these senses again,open all the perception and improve the comprehensive aesthetics.

The second stage is a two-month learning of cultural relics.After opening the five senses,everyone will find their own way to acquire beauty,only at this time can people better understand the essence of beauty. Therefore,since the starting of this period,the perception will be most keen,especially for designers. At this time,more elements will be ingested after learning the cultural relics,and the works will be more diversified and unique.

The third stage is to produce via joint efforts. All personnel are involved in the production,a group composed of a few people will carry out brainstorming,and after designing a fine subject,we shall invite relevant experts for guidance and review.

Reporter: Will the "Palace" in Taipei cooperate with the team that has been forged by the training camp?

Chou Kung-shin: We will choose the best products they have made here,specifically in terms of cooperation of "double brand" with them. Of course,it doesn't matter even if they don't choose "double brand" cooperation. Some people may ask,what benefits can we get from it? We have trained them,they better design,sell better products,it will create more taxes.

Every year,we shall cooperate with many manufacturers from the camp,each of them can create dozens of cultural and creative products on a yearly basis. In 2008,there were more than 2,000 cultural and creative products in Taipei's "Palace",and there were over 5,000 categories when I left. As most products are deeply connected with everyday life,many customers buy them in large quantities. The annual output value of the cultural and creative products of "Palace" in Taipei has reached NT$360 million,and has now reached more than NT$1 billion.

When Chou Kung-shin studied French and then determined to step onto the global stage as an international person a world person. She travelled around the world,and eventually became an active supporter of traditional culture. After being"out of palace",she devoted herself to the "Stories of Chinese Culture". "Using a medium like idioms to spread the seeds of Chinese culture to the hearts of Chinese people,especially the young,providing them with a high-quality auxiliary reading materials integrating knowledge,culture,morality and aesthetic education." For this vision,she even sold out her real estates in Taiwan.

Continue Her Work After Retirement

Reporter: You have been dealing with art and traditional Chinese culture all your life. After "going out of the palace",is your focus still on this aspect?

Chou Kung-shin: The "Palace" in Taipei has cultivated me for 31 years,which is very rare. I have been committed to exhibiting and educating these years,which have increased my theoretical accumulation. In 2012,I could have been the head of the Taipei "Palace" for additional four years,but I would like to take some time to do the work on Chinese culture dedicated to the general public,and I have applied for retirement in 2012.

I have composed a series of "Stories of Chinese Culture". Some say that it is a dying business to do actual books. Many people choose to go online without reading books. Why do you want to publish books? In my opinion,first of all,books can be collected. Moreover,what I want to do is a book about young people's learning traditional culture,make them better return to the tradition.

Reporter: Why do you intend to face this group of teenagers directly?

Chou Kung-shin: Adolescents are still developing,and they have acquired certain skills of writing. They are also in the golden period of personality shaping. Giving them good guidance during this particular period will generate a profound impact on their future. They will transform these into their own wisdom,and integrate into their own personality,which is very helpful for restraining their own behavior,enhancing their self-confidence and even enhancing the overall national confidence. However,it has always been a question for me as to how to guide the young to systematically study Chinese history and culture in an era of trivial knowledge and information flooding.

I believe that most of the young people can now recite many idioms,but lacking a comprehensive understanding of context and social background. However,the essence of idioms is historical facts,a historical reality. I hope that,through idioms,young people can understand that era further.

Reporter: There are too many things in an era,from the social background of the times,the political situation,to the costumes,etc. How to let the teenagers return to that era through books?

Chou Kung-shin: In the "Stories of Chinese Culture" series,taking the "Learn to Walk in Handan" in the Warring States Period for example,we first introduce the background of the story,and later explain the idiom according to the text and illustrations. And we have devoted much effort in the pictures - according to the bronze warrior statue unearthed from the watershed in Changzhi City,Shanxi Province,it can be estimated that straight dress and short jacket were the common garment for the ordinary people; it could illustrate the Xuanduan Crown was commonly used for the officials of the Warring States Period based upon the Picture of Newly-made Etiquette; and the common screen styles for interior decoration in the Warring States Period by referring to the painted wooden doubledragon screen unearthed from the No.1 tomb of Tianxingguan in Jiangling County,Hubei Province…Every detail in the picture is drawn according to the unearthed cultural relics and materials,endeavoring to restore all aspects of that era.

Reporter: Although books have their merits,it has to be said that e-reading is the mainstream trend nowadays. Will you consider sending this series of books to the Internet to obtain a larger amount of communication? What other plans do you have?

Chou Kung-shin: We did give it a thought. Online reading has its obvious advantages - large capacity and wide range of communication. At present,we have developed a WeChat applet,and an App will be launched soon. Although we are still on the road to the Internet,we also hope that it can be different from ordinary fragmented reading. We have made comics based on the materials of each idiom and story,and we also have interesting tests and small games after the comics were played afterwards,so that young people can form a systematic knowledge system via online reading. We plan to introduce the "Stories of Chinese Culture" into the students' classroom,and through the guidance of teachers,it allows the children to acquire more traditional knowledge through more interesting methods of learning.