被指“消费文物苦难史”，上海博物馆回应

日前，有网友表示，自己在上海博物馆购买的以上博馆藏文物“蝠桃瓶”为灵感设计的冰箱贴文创具有“发光功能”与“瓶底开孔”设计，令人联想起该文物流落海外期间被改造为灯座的遭遇，涉嫌“不尊重历史”。

网友质疑上博文创蝠桃瓶立体发光冰箱贴“不尊重历史”。图源：社交媒体

据上海博物馆馆方回应，自蝠桃瓶2004年入藏上博以来，已由它开发了几十种相关文创产品，“发光冰箱贴只是其中一种文创产品，这件文物回流的意义是多元的，流失海外和曾经被改造使用的经历，并非不能被融入文创设计。”上博以陶瓷文物为原型，开发过多种台灯文创，30多年前就做过耀州窑同款台灯。在文创产品开发过程中，上海博物馆始终尊重历史，了解文物特质，并征询了捐赠人的意见。

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.

上海博物馆以蝠桃纹橄榄瓶为原型开发了很多文创

清雍正粉彩蝠桃纹橄榄瓶是上海博物馆收藏的一件瓷器珍品。撇口，长颈，溜肩，鼓腹，圈足。形似橄榄，故此又称橄榄瓶。瓶体绘制了粉彩八桃两蝠，因桃子象征“长寿”，蝠是“福”的谐音，寓意福寿双全。

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世纪上半叶，蝠桃瓶流落海外，几十年来，一直在没有任何保护设置的条件下，被作为一只台灯的灯座使用。后被拍卖公司识得，2002年，香港收藏家张永珍博士以4150万港元高价竞得此瓶，并于2004年将其捐赠给上海博物馆。

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.

蝠桃瓶的价值具有多重面向，如既是雍正官窑的创新之作（首次将平面蝠桃纹应用于立体瓷瓶）、清代粉彩工艺的实证，又是中西收藏史缩影、文物回归的象征。

清雍正粉彩蝠桃纹橄榄瓶 图源：上海博物馆官网

据澎湃新闻报道，一位文博领域负责文创的资深从业者表示，“我们行业内部都关注到这件事，也有过讨论，在我们业内人士看来，这更多的是网友基于个人认知的片面解读，这种论调是有待商榷的。”

澎湃新闻还提到，一位资深文博学者认为，当上海博物馆“蝠桃瓶”文创因设计细节引发舆论风波时，一句“相当于用鸦片纪念林则徐”的类比，将一个严肃而专业的博物馆推向了民族情感审判席。在这场围争议中，一个核心命题愈发清晰：博物馆作为以研究为基石的公共机构，其专业释读权不应让位于极端的情绪化解读，更不该被片面的民族主义叙事所裹挟，“博物馆文创产品的核心使命，是通过创意转化让尘封的历史融入当代生活。博物馆并非普通文化商品供应商，其权威性根植于学术研究的系统性、历史语境的还原能力、文化价值的鉴别体系等专业基石。”

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.

来源：澎湃新闻 上观新闻

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