Travel ticket

Author: Guo Xiaowen et al.
Publisher:
Publishing Date: July 1, 2002
Features: The charm of travel tickets lies in their exquisite printing, the rich connotations they carry, and the memories they evoke of famous scenic spots and beautiful landscapes we have visited. So, how to collect travel tickets will be taught to you in detail by the author. To promote national culture and foster the healthy development of folk artifact collection activities in China, our press will begin to publish the "Chinese Folk Personal Collection Series" from now on. This publishing initiative has received support from all sides, and renowned collector Mr. Xu Zhan Tang has gladly written the preface for the series. We welcome folk collectors with a certain scale of collections and in-depth research to actively contribute their works. China has long been renowned as a land of artifacts. The ancient relics left behind by generations are invaluable, not only allowing us to trace the origins of our ancestors' craftsmanship and explore their evolution but also serving as the crystallization of the spirit of our Chinese ancestors and the embodiment of our national culture. The rise and fall of ancient craftsmanship are closely tied to the fortunes of the nation, changes in the world, and economic and political developments. In a politically clear era, the products are undoubtedly exquisite; conversely, this is not the case. For example, Han and Tang pottery far surpasses that of the Liao and Jin dynasties in terms of craftsmanship. Since the Qianlong era, the quality of porcelain in the Qing dynasty has also significantly declined compared to the peak of the Kangxi, Yongzheng, and Qianlong reigns. The phenomenon of collecting ancient artifacts is no different: in years of disaster, there are many famine-stricken people, while in prosperous times, artifacts are collected—this is true. Since China's reform and opening-up, the country has become stronger and its people wealthier, and the trend of collecting has surged. As a Chinese, I am proud; as a collector, I am inspired. Chinese artifacts are the common heritage of the Chinese nation. How should we preserve and study these national treasures? How should they be published and displayed to promote our country's art and culture? This is indeed a shared responsibility of all Chinese people. Now, Liaoning Fine Arts Publishing House is editing and publishing the "Chinese Folk Personal Collection Series," categorizing and releasing them year by year. This is undoubtedly a celebration of the wise policy of "storing treasures among the people" and an initiative that deserves public support and acclaim. The pursuit of ancient artifacts not only cultivates one's temperament but also provides practical knowledge that is often lacking in books. Ancient artifacts, having endured the rise and fall of dynasties over millennia, not only bring aesthetic pleasure but also teach us to face life's successes and failures with equanimity. Moreover, to become a happy artifact connoisseur, one must possess profound cultivation, keen observation, and analytical skills to discern authenticity and thoroughly examine the historical origins of artifacts. In this competitive modern commercial society, collecting and appreciating artifacts is undoubtedly an intangible form of self-improvement and has a subtle, harmonizing effect. From personal experience, I have benefited greatly and found it endlessly enjoyable. I imagine that the authors and collectors of the "Chinese Folk Personal Collection Series" will share similar feelings. Xu Zhan Tang, April 2001, Hong Kong