20多歲進(jìn)入臺(tái)北“故宮博物院”（以下簡(jiǎn)稱臺(tái)北“故宮”），從講解員一路成長(zhǎng)為院長(zhǎng)，她自嘲是“入宮”30年的資深“宮女”；銳意改革，臺(tái)北“故宮”變得越來(lái)越“年輕”，周末的全民派對(duì)、爆款刷屏的文創(chuàng)產(chǎn)業(yè)每每成為文博業(yè)界最熱話題；在她的努力下，臺(tái)北“故宮”躋身全球最受歡迎博物館前十名并不斷刷新文創(chuàng)產(chǎn)值；其間更有她策劃的數(shù)次轟動(dòng)華人世界的大展，其中尤以2011年6月將分隔360多年的《富春山居圖》合璧展出、在不到兩個(gè)月的時(shí)間里吸引50多萬(wàn)觀眾的“業(yè)績(jī)”最為知名；她更能頂住壓力，開(kāi)兩岸“故宮”互訪之先河，極大地推動(dòng)了海峽兩岸文物文化交流事業(yè)。

她就是周功鑫。

初次見(jiàn)到周功鑫，她給記者的第一印象是優(yōu)雅而又從容，那種腹有詩(shī)書(shū)氣自華的優(yōu)雅，那種坐看云卷云舒的從容——這樣的溫文爾雅，來(lái)自她的深厚學(xué)養(yǎng)——臺(tái)灣輔仁大學(xué)法國(guó)語(yǔ)文系學(xué)士、臺(tái)灣“中國(guó)文化大學(xué)藝術(shù)史研究所”碩士、法國(guó)巴黎第四大學(xué)藝術(shù)史與考古學(xué)博士。這樣的學(xué)識(shí)背景，又讓她“入宮”30余年，得心應(yīng)手“玩轉(zhuǎn)”臺(tái)北“故宮”；更在“出宮”后，仍然堅(jiān)持著自己的美好愿景——致力于中國(guó)傳統(tǒng)文化的承繼與弘揚(yáng)。

近年來(lái)，臺(tái)北“故宮”一改原本“厚重”的形象，變得愈發(fā)“活潑”“輕快”，甚至還帶有些“萌”?！澳贻p人喜歡動(dòng)，而文物都是靜態(tài)的，怎樣才能讓更多的年輕人到博物館來(lái)？”周功鑫的答案是——讓博物館“活起來(lái)”。

讓博物館“活起來(lái)”

記者：您曾在采訪時(shí)把自己比作臺(tái)北“故宮”的“宮女”。在30多年的歲月里，您覺(jué)得是什么原因讓臺(tái)北“故宮”的“火爆”程度堪比臺(tái)北夜市？

周功鑫：我從25歲進(jìn)臺(tái)北“故宮”服務(wù)，共服務(wù)了31年，大致可分為兩個(gè)階段——從1972年至1999年為“初入宮”；2008年至2012年“再回宮”。因?yàn)楸究剖欠ㄕZ(yǔ)專業(yè)，所以剛開(kāi)始我在臺(tái)北“故宮”擔(dān)任外語(yǔ)講解，從第二年開(kāi)始，我進(jìn)到院長(zhǎng)室服務(wù)，再后來(lái)我擔(dān)任臺(tái)北“故宮”展覽教育組的主任，負(fù)責(zé)展覽教育和對(duì)外的公關(guān)。在這一時(shí)期，我對(duì)展覽教育積累了一些基礎(chǔ)經(jīng)驗(yàn)，但鑒于臺(tái)灣博物館專業(yè)人員短缺，1999年我離開(kāi)了臺(tái)北“故宮”，回到母校輔仁大學(xué)創(chuàng)立了輔仁大學(xué)博物館學(xué)研究所。2008年，我才又回到了臺(tái)北“故宮”，做推廣工作。

在第一階段的時(shí)候，我已經(jīng)在臺(tái)北“故宮”對(duì)公共教育以及各種面向民眾的活動(dòng)打下了一定基礎(chǔ)，但是那些活動(dòng)并沒(méi)有很好地發(fā)展起來(lái)，我再次回去的時(shí)候，在之前的基礎(chǔ)上又進(jìn)行了一些變革。

人不是機(jī)器，觀眾的需求實(shí)際上是各種各樣的，所以我們不能“一視同仁”，要“區(qū)別對(duì)待”。臺(tái)北“故宮”對(duì)觀眾實(shí)行分齡、分眾，也就是將觀眾按照不同的年齡段、不同的教育認(rèn)知背景去設(shè)計(jì)不同的活動(dòng)——針對(duì)兒童，我們?cè)O(shè)計(jì)體驗(yàn)與創(chuàng)意活動(dòng)；面對(duì)青少年，我們開(kāi)設(shè)夏令營(yíng)；而對(duì)于成人，我們也會(huì)劃分女性、身心障礙等人群，根據(jù)他們的特點(diǎn)開(kāi)展有針對(duì)性的活動(dòng)。再加上臺(tái)北“故宮”本身收藏的文物也是世界聞名，具有一定的價(jià)值，所以在這樣的情況下，讓更多人走進(jìn)了臺(tái)北“故宮”。

記者：在如何讓博物館與當(dāng)代生活發(fā)生聯(lián)系的問(wèn)題上，全世界的博物館都在探索如何讓博物館“活起來(lái)”，但是少有博物館能夠大膽到把嘉年華等青少年喜愛(ài)的活動(dòng)形式帶進(jìn)博物館里，而在臺(tái)北“故宮”里就有這些元素。當(dāng)您在做這些嘗試的時(shí)候，是否有過(guò)擔(dān)心？您認(rèn)為這樣是否有效地讓博物館里的傳統(tǒng)文化走進(jìn)兒童、年輕人心里？

周功鑫：沒(méi)有什么擔(dān)心。對(duì)博物館的教育理論掌握到一個(gè)程度，對(duì)博物館的教育做法有一定的認(rèn)識(shí)之后，就知道怎樣做才能真正讓博物館“活起來(lái)”。對(duì)博物館專業(yè)有深度的認(rèn)識(shí)是很重要的，這也是為什么我會(huì)回到輔仁大學(xué)創(chuàng)辦博物館學(xué)研究所的原因。

文物本身是具有時(shí)代性、歷史性的，所以對(duì)于兒童、年輕人來(lái)說(shuō)，文物是有距離的，而這些新型活動(dòng)在設(shè)計(jì)上非?；顫娪侄嘣屗麄?cè)趧?dòng)腦動(dòng)手中建立了對(duì)藝術(shù)文化的認(rèn)識(shí)、對(duì)文物的認(rèn)識(shí)。而且這些活動(dòng)每年都會(huì)舉辦，這樣就會(huì)有積累，通過(guò)這種對(duì)文物認(rèn)知的積累，再去看文物時(shí)，會(huì)減少距離感，這樣可以讓博物館中的傳統(tǒng)文化走進(jìn)兒童、年輕人心里。

2013年，臺(tái)北“故宮”的文創(chuàng)團(tuán)隊(duì)以康熙批閱奏折時(shí)的手跡作為藍(lán)本，設(shè)計(jì)出“朕知道了”膠帶，一經(jīng)推出便成為網(wǎng)絡(luò)爆款，在微博、微信多次被刷屏，時(shí)至今日，依然是不少年輕人喜愛(ài)的“表情包”。

文創(chuàng)產(chǎn)品“火爆”的背后

記者：網(wǎng)上說(shuō)臺(tái)北“故宮”的文創(chuàng)“有毒”，這雖然是句玩笑，但體現(xiàn)了大眾對(duì)于臺(tái)北“故宮”文創(chuàng)產(chǎn)品的喜愛(ài)，您能介紹一下臺(tái)北“故宮”多年來(lái)在文創(chuàng)產(chǎn)品開(kāi)發(fā)中的一些經(jīng)驗(yàn)嗎？

周功鑫：2008年我回任后，馬上規(guī)劃了“臺(tái)北‘故宮’文創(chuàng)產(chǎn)業(yè)研習(xí)營(yíng)”計(jì)劃。首先，我們將各行各業(yè)劃分成傳統(tǒng)產(chǎn)業(yè)、紡織產(chǎn)業(yè)、科技產(chǎn)業(yè)等幾個(gè)大的部分，再分批次對(duì)各個(gè)產(chǎn)業(yè)系統(tǒng)的人進(jìn)行培訓(xùn)，培訓(xùn)對(duì)象具體是各個(gè)產(chǎn)業(yè)里的設(shè)計(jì)師、會(huì)計(jì)師、行銷人員、總經(jīng)理，他們?cè)诠镜纳a(chǎn)中扮演著非常重要的角色。

比如，設(shè)計(jì)師想要用清朝雍正時(shí)期琺瑯彩瓷元素設(shè)計(jì)一個(gè)產(chǎn)品，那他需要知道雍正時(shí)期陶瓷的風(fēng)格是什么，美在哪里及其特質(zhì)，行銷人員需要知道受眾人群，會(huì)計(jì)師需要核算成本、利潤(rùn)，總經(jīng)理需要了解市場(chǎng)行情……研習(xí)營(yíng)就是去解決這些問(wèn)題。通過(guò)一個(gè)完整的訓(xùn)練后，每當(dāng)出現(xiàn)一個(gè)好的創(chuàng)意，每個(gè)團(tuán)隊(duì)的這4位成員就已經(jīng)可以把經(jīng)營(yíng)模式規(guī)劃出來(lái)了。

另一方面，他們可以互相討論，站在不同角度去思考產(chǎn)品。比如，雍正時(shí)期的審美風(fēng)格除了可以做成陶瓷以外還可以做什么？在雍正的風(fēng)格基礎(chǔ)上把它變化一下會(huì)怎樣？這些前人留下來(lái)的文物藝術(shù)品就都變成他們創(chuàng)作的活水源頭。找到了古人的智慧、技法、設(shè)計(jì)，再加上自己的創(chuàng)意，設(shè)計(jì)成現(xiàn)在可用的、與生活息息相關(guān)的產(chǎn)品，形成一個(gè)讓生活更美好的產(chǎn)業(yè)?，F(xiàn)在研習(xí)營(yíng)一共開(kāi)了5個(gè)梯次的培訓(xùn)，至少有六七百人來(lái)研習(xí)。

記者：研習(xí)營(yíng)的課程是怎么設(shè)置的？

周功鑫：我把課程分為了三個(gè)階段。

第一個(gè)階段是打開(kāi)感知。這里的感知是指人的五感——視覺(jué)、聽(tīng)覺(jué)、嗅覺(jué)、觸覺(jué)、味覺(jué)。課程帶他們?nèi)ンw驗(yàn)自然界的萬(wàn)事萬(wàn)物，懂得怎么去看、聽(tīng)、聞、嘗、摸一個(gè)東西。從18世紀(jì)開(kāi)始的學(xué)科劃分，將學(xué)科分得太細(xì)，進(jìn)入某一專門(mén)學(xué)科以后，人的五感就會(huì)在某一感上特別強(qiáng)，其他感覺(jué)被弱化，所以我們需要把這些感覺(jué)再喚醒，把感知通通打開(kāi)，提高美感的綜合性。

第二階段是兩個(gè)月的文物學(xué)習(xí)。打開(kāi)五感之后，每個(gè)人會(huì)找到自己獲取美的方式，這個(gè)時(shí)候才能更好地體會(huì)美是什么。所以五感打開(kāi)之后，尤其對(duì)設(shè)計(jì)師來(lái)說(shuō)，感知會(huì)非常敏銳，這個(gè)時(shí)候再進(jìn)行文物的學(xué)習(xí)，會(huì)攝取到更多元素，設(shè)計(jì)的作品會(huì)更多元而獨(dú)特。

第三個(gè)階段是一起制作。所有人員都參與制作，幾個(gè)人一組，進(jìn)行腦力碰撞，設(shè)計(jì)好一個(gè)東西以后，我們會(huì)請(qǐng)相關(guān)專家進(jìn)行指導(dǎo)與評(píng)審。

記者：臺(tái)北“故宮”是否會(huì)和經(jīng)過(guò)研習(xí)營(yíng)訓(xùn)練打磨出來(lái)的團(tuán)隊(duì)合作？

周功鑫：我們會(huì)選擇他們?cè)谶@里制作出的最好產(chǎn)品，和他們進(jìn)行“雙品牌”合作，當(dāng)然就算他們不選擇“雙品牌”合作也沒(méi)關(guān)系。有人會(huì)問(wèn)，我們這樣做能得到什么好處？我們培養(yǎng)了他們，他們?cè)O(shè)計(jì)做得更好、產(chǎn)品賣得更好，會(huì)創(chuàng)造更多稅收。

我們每年都會(huì)與研習(xí)營(yíng)里很多廠家進(jìn)行合作，每個(gè)廠家每年能創(chuàng)造出幾十件文創(chuàng)產(chǎn)品。在2008年的時(shí)候，臺(tái)北“故宮”大約有2000多種文創(chuàng)產(chǎn)品，到我離開(kāi)的時(shí)候有5000多種。因?yàn)榇蠖喈a(chǎn)品都與日常生活結(jié)合，所以很多顧客都是一筐筐地買。臺(tái)北“故宮”文創(chuàng)產(chǎn)品的年產(chǎn)值從3.6億臺(tái)幣，到現(xiàn)在已經(jīng)達(dá)到了10億臺(tái)幣以上。

周功鑫當(dāng)年學(xué)法語(yǔ)立志走向國(guó)際，要做世界人，真正到國(guó)外走了一圈，最終反倒成為傳統(tǒng)文化的積極支持者——在“出宮”后，她致力于推出《圖說(shuō)中華文化故事》，“利用像成語(yǔ)這樣的媒介把中華文化的種子撒到全球華人尤其是年輕人的心里去，給他們一個(gè)集知識(shí)、文化、品德、美學(xué)教育于一體的高質(zhì)量輔助讀物”——為了這個(gè)愿景，她甚至變賣了自己在臺(tái)灣的四處房產(chǎn)。

退休不退老本行

記者：您一生都在與藝術(shù)與中國(guó)傳統(tǒng)文化打交道，“出宮”后，您的關(guān)注點(diǎn)還在這方面嗎？

周功鑫：臺(tái)北“故宮”培養(yǎng)了我31年，這樣的經(jīng)驗(yàn)很難得。這些年我做展覽、做教育，這些實(shí)踐增加了我的理論厚度。2012年，我本來(lái)可以再做4年臺(tái)北“故宮”的院長(zhǎng)，但我想花點(diǎn)時(shí)間去做大眾對(duì)中華文化認(rèn)識(shí)的工作，就在2012年請(qǐng)退了。

我現(xiàn)在編寫(xiě)了一套《圖說(shuō)中華文化故事》系列叢書(shū)。有人說(shuō)現(xiàn)在做書(shū)是黃昏事業(yè)，好多人都不看書(shū)而選擇上網(wǎng)了，你為什么還要出書(shū)？在我看來(lái)，首先，圖書(shū)可以收藏，再者，我想要做的是有關(guān)青少年學(xué)習(xí)傳統(tǒng)文化的書(shū)，圖書(shū)可以讓青少年更好地回歸傳統(tǒng)。

記者：為什么會(huì)直面青少年這一群體？

周功鑫：青少年還在發(fā)育當(dāng)中，并且具有一定的文字基礎(chǔ)，處于人格塑造的黃金期，在這一時(shí)期給予他們好的引導(dǎo)，對(duì)他們的未來(lái)會(huì)產(chǎn)生深遠(yuǎn)影響。他們會(huì)將這些東西轉(zhuǎn)換成自己的智慧，融入自己的人格，對(duì)于約束自己的行為、提升自信心，甚至對(duì)提升民族自信都非常有幫助。但是在一個(gè)知識(shí)瑣碎、資訊泛濫的時(shí)代，如何引導(dǎo)青少年系統(tǒng)地學(xué)習(xí)中華歷史與文化，是我一直在思考的問(wèn)題。

我相信現(xiàn)在青少年大多能背誦很多成語(yǔ)，但是對(duì)于其語(yǔ)境、社會(huì)背景等缺乏全面了解。但是，成語(yǔ)的本質(zhì)是史實(shí)，是歷史真實(shí)的事情，我希望透過(guò)成語(yǔ)能讓青少年了解那個(gè)時(shí)代。

記者：一個(gè)時(shí)代所包含的東西太多，大到時(shí)代社會(huì)背景、政治狀況，小到服飾等，如何通過(guò)圖書(shū)讓青少年回到那個(gè)時(shí)代？

周功鑫：拿《圖說(shuō)中華文化故事》系列叢書(shū)中戰(zhàn)國(guó)時(shí)期的“邯鄲學(xué)步”來(lái)說(shuō)，首先我們會(huì)介紹故事背景，后面會(huì)根據(jù)文字進(jìn)行配圖來(lái)講解這個(gè)成語(yǔ)。在配圖中我們下足了功夫——根據(jù)山西省長(zhǎng)治市分水嶺出土的青銅器武士像，可考據(jù)出那一時(shí)期人物所穿衣物為直裾短衣；據(jù)《新定三禮圖》，繪制出戰(zhàn)國(guó)時(shí)期官員常戴頭冠為玄端冠；參考湖北省江陵縣天星觀1號(hào)墓出土的彩繪木雕雙龍座屏，繪制出戰(zhàn)國(guó)時(shí)期室內(nèi)裝潢常用屏風(fēng)樣式……配圖中的每一個(gè)細(xì)節(jié)無(wú)不是根據(jù)出土文物、資料進(jìn)行繪制，盡最大可能還原那個(gè)時(shí)代方方面面的樣態(tài)。

記者：圖書(shū)固然有其優(yōu)點(diǎn)，但是不得不說(shuō)電子閱讀已是大趨勢(shì)，您是否也會(huì)考慮將此系列叢書(shū)傳到網(wǎng)上，獲得更大的傳播量？還有哪些規(guī)劃？

周功鑫：這種考慮是有的，網(wǎng)絡(luò)閱讀有其明顯優(yōu)勢(shì)——容量大、傳播范圍廣。目前我們已經(jīng)開(kāi)發(fā)了微信小程序，App近期也將上線。雖然還是走上了網(wǎng)絡(luò)的道路，但是我們也希望能和普通的碎片式閱讀不一樣——針對(duì)每個(gè)成語(yǔ)、每個(gè)故事，我們依據(jù)資料做了漫畫(huà)，而在漫畫(huà)播放后還配有趣味測(cè)試和相關(guān)小游戲等，讓青少年在網(wǎng)絡(luò)閱讀中也能形成系統(tǒng)的知識(shí)體系。我們計(jì)劃下一步讓《圖說(shuō)中華文化故事》進(jìn)入學(xué)生課堂，通過(guò)老師的引導(dǎo)，通過(guò)更多有趣的學(xué)習(xí)方法，讓孩子們接受更多傳統(tǒng)知識(shí)。

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.