On the eve of the 2025 Cultural and Natural Heritage Day, the Southern Han Mausoleums Museum unveiled a new series of tote bags titled "24 Solar Terms in the Museum Collection." It marks the first integration of local archaeological finds and solar term culture into everyday items.

Inside the design studio, reporters encountered the very tote bag that can be literally "taken to the grocery", the "Taotian Tote" ("Taotian" means "pottery paddy field"). Its design was inspired by the pottery paddy field excavated from a Western Jin Dynasty tombat the Pengshan Construction Site in Jitang Village, Dasha Town, Huangpu District, Guangzhou. The intersecting field ridges, plow marks, a farmer wearing a bamboo hat, and a farm ox have been streamlined into teal‑gradient strokes. The scene of "spring water moistening the fields" in Guangzhou 1700 years ago springs to life on city dwellers' shoulders.

Tang Fanting, head designer of the "24 Solar Terms in the Museum Collection", emphasized in an interview that there are two essential pillars to revitalizing cultural relics, with in-depth research as the foundation and emotional resonance as the soul. She said, "It requires continued archaeological excavation and interpretative research to ensure that cultural and creative products accurately convey their historical contexts. The design phase must focus on resonating with the 'spirit' of ancient artifacts, imbuing contemporary creations with a soul." She also highlighted the importance of collaborating with broader social forces to strengthen the IP value chain, such as the museum's partnership with Huangpu Cultural Group, and plans to leverage the university town setting to share resources with higher education institutions.

Ouyang Wei, founder of the official account Cultural & Museum of Southern China (AMSC), and a seasoned museum photographer and volunteer, pointed out that cultural and creative products must prioritize compatibility with local culture. "For example, using a Song Dynasty 'Daji' (Great Auspiciousness) eavestile naturally aligns with Cantonese affection for auspicious phrases," he said. He also noted the need to move beyond the limits of physical products: "Setting up scene‑restoration spaces or interactive installations at exhibitions can be seen as another form of 'cultural and creative products'. And if we further utilize these restored settings and installations to design interactive dramas or live-action role-playing (LARP) games, that's an even more three‑dimensional form of development and service."

Ms. Li, a Guangzhou resident who loves both museum‑hopping and grocery shopping, described these cultural and creative items as "versatile and appealing." "You can take photos with them at a museum, and they are also fit for grocery shopping." She joked, "I hope more 'museum‑made' items will carry local flavor. Next time I grab a coffee or head to a meeting, I want these story‑rich 'everyday old friends' at my side."

Source: Lingnan On the Cloud

背个“晋代陶田”去买菜｜深见

2025年文化和自然遗产日前夕，南汉二陵博物馆新推出“馆藏文物里的二十四节气”系列托特包，首次将本土考古发现与节气文化，融入日常用品。

设计室内，记者见到了这个可“背去买菜”的“陶田包”。其灵感源于姬堂晋墓陶水田（西晋，广州黄埔大沙镇姬堂彭山工地出土）。十字田埂、犁痕、戴笠农夫与耕牛，被凝练成青绿渐变的线条，1700年前广州“春水润田畴”的场景，跃然于都市人肩头。

“馆藏文物里的二十四节气”设计负责人唐梵婷在受访时指出活化文物有两大关键：深研是根基，共鸣是灵魂——需持续考古发掘与研究阐释，确保文创精准传递文化历史脉络；设计环节则须重视与古人造物用物之“精神”共鸣，赋予当代人的新作品以灵魂。她同时强调需联动社会力量壮大IP产业链，如本次携手黄埔文化集团，将来也将借大学城地利推进高校资源共享。

“文博南方AMSC”主理人、资深博物馆摄影师和志愿者欧阳威，在受访时则特别点出，文创应重视与本土文化的“匹配度”，“如选择宋代‘大吉’瓦当，就天然契合老广喜欢吉利话的心理”。他同时提到要突破实体产品局限，“举例，在展览中设置的场景复原空间或者互动装置，此可以视为本展览的另一种形式的‘文创’。若再利用这些复原空间和互动装置设计情景剧和剧本杀等，则是更立体的开发与服务”。

热衷逛馆、也喜欢买菜的广州市民李小姐，则称这些文创“可盐可甜”：“能背去博物馆摆造型，也能买菜不违和。”她笑说：“希望更多的‘博物馆造’，都能带着本土气息，希望以后买杯咖啡、开个会，随手拿起的都是这种有故事的‘生活老友’。”

统筹丨温建敏
文字丨潘玮倩 实习生 张运烽
图片丨受访者提供
翻译丨柯妃娟
审校丨洪婷