According to Red Star News, in April of this year, Zhang Feixiang, a high school student from Taiyuan City, Shanxi Province, discovered that multiple porcelain labels in the Taiyuan Museum's collection were incorrect or inappropriate while visiting the museum's porcelain exhibition hall. For example, the "red glazed gourd bottle" should be the "cowpea red glazed porcelain gourd bottle", the "white glazed sliced porcelain inkstone" should be the "imitation Ge glazed porcelain inkstone", the "red glazed entwined flower patterned bowl" should be the "alum red ground white entwined flower patterned porcelain bowl", and so on. After Zhang Feixiang informed the museum of the problems he had discovered, he quickly received a response from the museum: inviting him and provincial cultural relics experts to come to Taiyuan Museum together to discuss and study the issues raised. The issue I have raised has been addressed by the museum. ”Recently, there was a beautiful two-way answer to this matter. Zhang Feixiang also shared this unique experience through social media and gained a lot of attention from netizens. Dare to be the 'one character master' of the museum, Zhang Feixiang came 'prepared'. He has been very interested in cultural relics since childhood, and at the age of 13, he chose Ming and Qing porcelain as his main hobby. Coincidentally, not long ago, at the Wei, Jin, Southern and Northern Dynasties exhibition at the Sichuan Museum, 15-year-old junior high school student Xu Weizhe questioned the dating of one of the bronze mirrors. He posted his meticulous analysis and research on the internet, sparking curiosity and questioning among netizens. Finally, the Sichuan Museum indeed discovered its mistake based on this. There are even smaller "experts": Tian Jiapei, a 10-year-old boy from Shijiazhuang, discovered during his visit to the Xi'an Beilin Museum that the time on the inscription was incorrect; An 11 year old girl from Inner Mongolia pointed out that the annotations about "clouds" and "nine plains" on the exhibition board of "Major Battles in Zhongshan Country" at Hebei Museum were incorrect... Behind these children's courage to question, is that their love for cultural relics is not limited to checking in, collecting stamps, and buying cultural and creative products, but is actually based on local knowledge reserves and theoretical foundations, and their curiosity is put into practice by devoting themselves to cultural inheritance. A few years ago, news of "no one applying for the cultural and museum major" and "difficulty in inheriting the archaeological cause" frequently appeared in the newspapers. There were also rural candidates who applied for the archaeology major with high scores and asked netizens to "sweat" for their future. At that time, in the eyes of many people, majors related to culture and humanities were feared to be 'unemployed upon graduation'. Nowadays, there are constantly emerging young people who can help museums, which are regarded as the "standard answer," pick the wrong ones. They each have their own passion and expertise, and have incorporated learning cultural and museum knowledge into their important life plans. This makes cultural inheritance no longer an abstract concept, but a vivid practice in historical coordinates. At the same time, the children's actions also answer another question about the "cultural and museum fever" in recent years - what can be changed after so many people squeeze into museums? What is the significance of being superficial and superficial? In fact, love is like a seed. With sunshine, rain, and soil, it will burst out and eventually bloom and bear fruit. As netizens have said, "These young people are not here to 'nitpick', they are here with a mission to continue writing the code of civilization." The exhibition cabinets in museums will eventually become a mirror that reflects cultural confidence - reflecting both the weight of 5000 years of civilization and the sincerity and passion of young people in the new era to continue the cultural heritage. Undoubtedly, museums are professional cultural and museum institutions that uphold a rigorous academic spirit. It is their duty to convey knowledge and information that can withstand scrutiny to the audience. Errors should not occur, but it is commendable that museums can actively admit their mistakes and respond promptly to the doubts of "outsiders" and "primary and secondary school students". In several examples mentioned in the article, the museum has adopted an open attitude and used the crisis as an opportunity to open up a new communication mode with the audience and tourists, allowing young people and experts to discuss and research together. This is more valuable than correcting mistakes themselves, as it is a recognition and respect for potential cultural and museum newcomers, and a longing and expectation for fresh blood. The children in the example will also be inspired by such an unusual exchange and proud of themselves who shine with love. Cultural inheritance is not only in museums, nor does it belong to experts and scholars. Every ordinary person who loves it can be a "guardian artist" or "protector of treasures". Children tell us this truth through practical actions. Everyone is equal in the face of knowledge, and the pursuit of truth knows no age. The corrected signs are joyful coordinates, and cultural genes are bursting with eternal light in intergenerational transmission. (New Society)