4 years ago, I had the opportunity to be a part of a cultural research team, when I visited the Ancient Iron Museum in Shangwei Art Village, Longhua District, Shenzhen, for the first time. Encouraged by the compliments from Mr. Dai, the owner of Qing Yuan Zhai Ancient Brick Museum, regarding my previous article, I resolved to write another. As a result, on August 3, I revisited Mr. Zou Wei, and his Ancient Iron Museum.
4年前，我有幸参与一支文化调研团队，当时是我第一次探访深圳市龙华区上围艺术村的历代熨斗博物馆。因清源斋古砖博物馆主人戴先生对我上一篇文章予以肯定，我备受激励，决定写一篇新的文章。于是，我于8月3日再次拜访了邹卫老师及他的历代熨斗博物馆。
In our daily lives, irons are ubiquitous, yet few people truly understand their origin, evolution and cultural connotation. Mr. Zou Wei, the curator of the museum, purchased “Nan Lu Ju”, an ancient fort watchtower in Shangwei Art Village in 2018, transforming it to the museum exhibiting his collection. Hitherto, he has spent nearly two decades collecting ancient irons, amassing an impressive collection of over 1,700 irons. In short, it’s my honor to write an article for such a significant museum, and the chatting with Zou taught me a lot.
在我们的日常生活中，熨斗无处不在，然而很少有人真正了解它们的起源、演变和文化内涵。博物馆馆长邹卫老师，于2018年购买了上围艺术村的“南麓居”古碉楼，将其改造成了陈列熨斗收藏的博物馆。迄今为止，他已花费近二十年收集古熨斗，积攒的1,700多把熨斗令人印象深刻。简而言之，我非常荣幸能为如此杰出的博物馆撰写文章，而与邹老师的交谈也令我受益良多。
As a photographer, surely I captured some photos for Zou and his museum, although the marrow of those ancient irons can impossibly be demonstrated through my finite photographing skill.
作为一名摄影师，当然我也为邹老师和他的博物馆拍摄了一些照片，尽管这些古熨斗的精髓不可能通过我有限的摄影技巧完全展现出来。
I. To Gain Support of Wife
一、为得到太太的支持
I met Zou near the museum that day, and he was perspiring, because he, before that, was rushing to drive his wife and child to somewhere. “I was a little hurried to drive, or my wife might criticized me”, he confided in me.
我那天是在博物馆附近遇到邹老师，他汗流浃背，因为之前他匆忙开车送他的妻子和孩子去某个地方。他向我倾诉：“我开车急了点，不然我可能会挨太太骂。”
According to Zou, he was only raised by mother, and she had a profound influence on his interest in arts. From the age of 12, under the guidance of illustrious tutors, Zou commenced learning various artistic disciplines. Seal cutting, tradition calligraphy, oil painting, modern design, and aesthetic theory, his wide-ranging expertise leads his friends and students to read him as an encyclopedia. Zou emphasized that the connections among diverse artistic fields should never be severed, as an artist should be like the exuberant banyan rather than the solitary pine.
据邹老师讲述，他是由母亲独自抚养长大的，而母亲对他在艺术方面的兴趣产生了深远影响。从12岁开始，历经多位名师指导，邹老师学习了各种艺术学科。金石篆刻、传统书法、西方油画、现代设计，还有美学理论，他的广泛涉猎令朋友和学生们将他视作百科全书式的人物。邹老师强调，不同艺术领域间的联系不应该被切断，作为艺术家当如茂榕，而非孤松。
At Shenzhen University, Zou is an erudite professor; at home, he is a responsible husband. Before collecting irons, Zou had already amassed other items, such as ancient coins, seals, and trademarks. Initially, his wife, who is also a professor, failed to comprehend Zou's passion for collecting and even blamed him for wasting too much. In an effort to gain her understanding, Zou sought to collect items related to apparel design, his wife’s major. Ultimately, irons became a proper choice.
在深圳大学，邹老师是一位博学多才的教授；回到家里面，他也是一名富于责任的丈夫。在收藏古熨斗之前，邹老师已经收集了其他物品，比如古代的钱币、印章、商号。他的太太也是一名教授，起初无法理解邹老师对收藏的热情，甚至指责他浪费了太多时间和金钱。为了获得她的理解，邹老师决定开始收集与服装设计有关的物品，因为这是他太太的专业。最终，古熨斗成为了一个合适的选择。
The first iron he collected was one from the Qing dynasty, the last dynasty in China. Zou explained that this iron was a gift from one of his friends, who couldn’t puzzle this item out. Recalling his childhood memories, Zou immediately recognized it as an iron, which amused his friend and led him to generously gift it. This experience sparked Zou’s passion with the cultural value of ancient irons, leading him to embark on a new career as an ancient iron collector. This time, Zou’s wife understood and supported him.
他收藏的第一把熨斗来自中国最后一个朝代，清朝。邹老师解释说，这个熨斗是他的一位朋友送的礼物，他的朋友对这个物品的用途感到困惑。根据童年回忆，邹老师立刻认出了它是一把熨斗，这让他的朋友感到惊讶，并慷慨地将其礼赠。这段经历激发了邹老师对古熨斗文化价值的热情，使他开始了作为古熨斗收藏家的新事业。这次，邹老师的太太理解并支持他。
As a university professor, Zou actually remained challenges in raising funds, so he couldn't achieve such a tremendous collection if there weren’t unwavering support of his wife. In retrospect, Zou expressed, “In my life, I firmly believe that by relentless pursuit and endless love can we overcome any impediment.”
作为大学教授，邹老师在资金筹集方面其实会遇到很多挑战，如果没有太太坚定的支持，他不可能完成如此庞大的收藏。回顾过去，邹老师表示：“在我的生命中，我坚信通过不懈的追求与无尽的爱，我们可以克服任何障碍。”
II. The Most Irons Around the World
二、世界上最多的熨斗
After years of relentless persistence and with the unwavering support of his wife, 1,700 irons have been amassed by Zou in his museum, that is the most of its kind around the world. “Chinese ancient iron stemmed from a type of ancient light in Han dynasty, roughly 2000 years ago, and has been utilized in many ways since then”, Zou explained. Moreover, these ancient irons also serve as cultural artifacts, carrying crucial historical information through their patterns, forms, and structures, allowing people to gain a deeper understanding of history and culture.
经过多年坚持不懈，以及太太坚定支持，邹老师在他的博物馆里收集了1,700多把古熨斗，这是世界上同类收藏中最多的。“中国古熨斗源自大约2000年前汉代的一种古老照明工具，从那时起被用于多种用途”，邹老师解释道。此外，这些古熨斗也是文化遗产，它们的纹样、形态和结构携带着关键的历史信息，通过这些也能让人们对历史和文化有更深刻的认知。
Zou expounded that irons, in ancient times, held diverse cultural significances for diverse groups of people. For farmers, the iron resembles grain backet, representing the abundant harvest; for civilians, the iron loads charcoal to burn, representing sparkling lives; for merchants, the iron was made of copper, the material of ancient coins, representing prosperity; for scholars, the iron can flatten papers, representing the pursuit of knowledge; for bureaucrats, the iron can flatten cloths, representing the even road to promote; for emperors, the iron renders all tidy, representing the effective governance over the country.
邹老师细述说，熨斗在古代对不同群体的人有着不同的文化意义。对于农民而言，熨斗类似于谷物筐，代表丰收在望；对于市民而言，熨斗载炭而烧，代表日子红火；对于商人而言，熨斗由铜钱原材料所制，代表财源广进；对于文人而言，熨斗可以平整纸张，代表博通经籍；对于官员而言，熨斗可以平整布料，代表仕途坦荡；对于皇帝而言，熨斗可以使一切井然有序，代表熨平天下。
Furthermore, the patterns, forms, and structures of irons were varied based on different dynasties. In the museum, Zou showcases his irons categorically into five major generations: 1. from the Han to Jin dynasty; 2. around the Tang dynasty; 3. the Song, Liao & Kin dynasties; 4. the Yuan & Ming dynasties; and 5. the Qing dynasty. In addition, there are also modern and western irons displayed in the museum.
此外，古熨斗的纹样、形态和结构也因不同朝代而异。在博物馆中，邹老师将他的古熨斗按五个主要时代进行分类展示：1.从汉至晋；2.唐朝前后；3.宋、辽、金朝；4.元明时期；5.清朝时期。此外，博物馆还展示了现代及西方熨斗。
1.From the Han to Jin dynasty (202 B.C. - 420 A.D.): irons had been initially used as lights, until people in the Han dynasty found that irons, with charcoal, could flatten clothes. In Central China, which was economic core of the Han dynasty, roughly covered the current land from Henan to Shaanxi provinces, thick clothes worn by people commonly. As a result, the Han dynasty irons were generally heavy, with a round bottom, suitable for ironing thick cloths, like linen.
1.从汉至晋（公元前202年至公元420年）：古熨斗最初用作照明工具，直到汉朝人们发现，熨斗配合木炭可以用来熨平衣物。在汉朝，中原地区是经济核心，大致涵盖现在的河南至陕西省，当时人们普遍穿着厚重的衣服。因此，汉朝熨斗通常较重，底部呈圆形，适合熨平亚麻等较厚的衣物。
2.Around the Tang dynasty (421 - 907 A.D.): the economic core of China shifted southward after several periods of chaos between the Han and Tang dynasties. Consequently, irons from the Tang dynasty were noticeably lighter, adapted to ironing thin cloths like silk. Metallurgy advancements also led to sophisticated textures on the surface of these irons, compared to those from the Han dynasty.
2.唐朝前后（公元421年至907年）：经历汉朝与唐朝之间几个动荡时期后，中国的经济重心南移。因此，唐朝熨斗明显轻便，适合熨平丝绸等较薄的衣物。与汉朝相比，冶金技术的进步，也使得唐朝熨斗表面的纹理更加精细。
3.The Song, Liao & Kin dynasties (908 - 1279 A.D.): Chinese culture, especially artistic culture, peaked in the Song dynasty. Scholar irons developed further, with more exquisite patterns compared to previous dynasties. This is the age artists, including Zou, appreciate the most, due to its unparalleled contribution in Chinese culture. Additionally, the regional nomad regimes of the Liao and Kin also made significant progress in crafting irons from iron metal.
3.宋、辽、金朝（公元908年至1279年）：中国文化，特别是艺术文化，在宋朝达到了巅峰。文人熨斗得到进一步发展，纹样比之前的朝代更加精致。这是包括邹老师在内的艺术家们最欣赏的时代，因为这一时期对中国文化做出了无与伦比的贡献。此外，辽、金朝作为地方性游牧民族政权，也在铁制熨斗的制作方面取得了重要突破。
4.The Yuan & Ming dynasties (1280 - 1643 A.D.): although founded by Mongolians, the Yuan dynasty failed to sway traditional Chinese aesthetic values, and instead paved the path for the prosperous of iron craftsmanship in the Ming dynasty. In the Ming dynasty, scholars, influenced by Wang Yangming, focused more on the spiritual connotation of items. This tendency led to vivid patterns on Ming dynasty irons, and new techniques, like enamel technique, also played a vital role in crafting these exquisite irons.
4.元明时期（公元1280年至1643年）：虽然由蒙古人建立，但元朝未能影响传统的中国审美价值观，反而为明朝熨斗工艺的繁荣铺平了道路。在明朝，受到王阳明影响的学者们更加注重物品的精神内涵。这种趋势导致明代熨斗上出现了生动的图案，并且珐琅彩等新技术，也在制作这些精美的熨斗中发挥了重要作用。
5.The Qing dynasty (1644 - 1910 A.D.): despite the last glory, the dusk of ancient irons was still stunning. The Manchus, who founded the Qing dynasty, were also nomads like the Mongolians, but their influence on Chinese aesthetics was profound. After all, they ruled over China for nearly 300 years. Under the impact of Manchu royalty, there was a noticeable shift in patterns on irons from simplicity to complexity, during the Qing dynasty. However, the Qing dynasty was also the last glory of traditional China and the dusk of feudal empire, everything inevitably yielded to modern civilizaton, which imported from the Western World.
5.清朝时期（公元1644年至1910年）：尽管这是最后的霞光，古熨斗的黄昏依旧令人震撼。建立清朝的满族人和蒙古人一样都是游牧民族，但他们对中国审美的影响深远。毕竟，他们统治中国近300年。受到满族王室的影响，古熨斗的纹样也就在清朝从简洁转向了繁复。然而，清朝是传统中国的最后一缕霞光，也是封建帝国的黄昏，一切都不可避免地让位于来自西方世界的现代文明。
6.Modern and western Irons: At the end of the museum, there were displays of modern irons from the West. Comparing to ancient irons, I marveled overwhelming advantages of these modern irons, just like my ancestors had been when saw modern warships in 1840. Flashing back to those ancient irons, they may seem archaic, but still remain prepossessing. At least, in Zou’s ancient iron museum, the glory of ancient irons will never elapse in the long river of history.
6.现代及西方熨斗：在博物馆的最后，展示了来自西方的现代熨斗。相比古熨斗，我惊叹于这些现代熨斗的压倒性优势，就像先人们在1840年看到现代战舰时的感受一样。回顾那些古熨斗，它们可能显得古老，但仍然迷人。至少在邹老师的历代熨斗博物馆里，古熨斗的辉煌将永远不会在历史的长河中消逝。
III. Culture Is The Paramount Value
三、文化是至高的价值
“Have you ever tried to seek ways to earn through your impressive collection?”, I inquired. After a short consideration, “I’ve tried, but I failed”, Zou laughed.
“您曾经试图通过这些令人印象深刻的收藏来赚钱吗？”我询问道。经过短暂的思考，邹老师笑了：“我尝试过，但失败了。”
Several brokers have suggested to Zou that he is supposed to sell a part of his ancient irons, or conduct an auction, but he refused straightly. “It took me so many years to muster these ancient irons, how can I disband them easily?”, Zou explained. Even if there comes a day Zou can’t afford to maintain the museum anymore, he would insist that others purchase the whole museum instead of seperated parts.
有几个经纪人曾建议邹老师出售部分古熨斗，或举办拍卖会，被他直接拒绝。“我花了许多年收集这些古熨斗，怎么能轻易地解散它们呢？”邹老师解释道。即使有一天邹老师无法负担维护博物馆的费用，他也坚持让其他人打包购买，而不是分开购买。
Today, the public are increasingly learning about the cultural value of ancient irons. Governments, institutions, and surely universities, frequently invite Zou to conduct seminars or lectures. Moreover, schools and non-governmental organizations can organize groups to visit the museum, and the media always seek to contact Zou. The Ancient Irons Museum has become a pivotal academic site, where a number of scholars, analysts, and students come to research the historical details preserved by these glorious ancient irons.
如今，公众对古熨斗的文化价值越来越有了解。政府、机构，当然还有大学，经常邀请邹老师开展讲座或进行演讲。此外，学校和非政府组织可以组织团体参观博物馆，媒体也经常寻求与邹老师取得联系。古熨斗博物馆已成为一个重要的学术场所，许多学者、分析师和学生前来研究这些辉煌古熨斗所留存的历史细节。
“Only if long for it heartly, I will never regret my pursuit even the day I die”, as Qu Yuan, a famous Chinese poet said. Zou Wei repeatedly accentuated his status as a common professor, and never had the wish to make his name a noble. However, the paramount value, indeed, he had achieved, namely the belief of culture. I the past, Zou got knowledge from the world, and now he is repaying the world with the value of Chinese culture.
正如中国著名诗人屈原所说，“亦余心之所善兮，虽九死其犹未悔”。邹卫反复强调自己只是一名普通的教授，不求闻达于诸侯。然而，他确实实现了至高的价值，即文化信仰。邹老师在过去从世界获取知识，现在正用中国文化的价值回报世界。