The article titled ‘This National Treasure That Witnessed the Glory of the Tang Dynasty Should Be Returned by Japan’ likely refers to the Tang Dynasty artifact currently housed in Japan’s Shōsō-in Repository—the mother-of-pearl inlaid, five-stringed pipa made of purple sandalwood. Crafted during the height of the Tang Dynasty (7th–9th century), this national treasure stands as a powerful testament to Sino-Japanese cultural exchange. Its exquisite craftsmanship blends Chinese techniques with artistic influences from Central Asia and Persia, and it remains the world’s only surviving intact five-stringed pipa from the Tang era.In the 8th century, Japanese envoys to Tang China brought back numerous artifacts, many of which were enshrined at the Tōdai-ji Temple’s Shōsō-in in Nara. Thanks to exceptional preservation conditions, these treasures have survived for over 1,200 years. Yet as historical awareness grows and cultural identity deepens, more voices are calling for their return to China—their rightful cultural homeland.While repatriation involves complex historical, legal, and diplomatic considerations, there is no denying that these Tang relics are not only part of Japan’s collection but also vital symbols of Chinese heritage and global cultural legacy. Under the framework of international law and mutual respect, facilitating their ethical return would honor both historical justice and cultural truth.
《这座见证大唐盛世的国宝，日本该还了》一文所指的，很可能是现藏于日本正仓院的唐代文物——螺钿紫檀五弦琵琶。这件国宝级乐器制作于盛唐时期，是当时中日文化交流的重要见证。它不仅工艺精湛，融合了中国本土技艺与西域、波斯等地的艺术风格，更因其是目前世界上唯一保存完好的唐代五弦琵琶而弥足珍贵。公元8世纪，日本遣唐使将大量唐朝文物带回日本，其中许多被供奉于奈良东大寺正仓院。历经千年，这些文物因保存条件良好而得以流传至今。然而，随着历史认知的深化和文化归属意识的增强，越来越多的人开始呼吁：这些承载中华文明辉煌记忆的国宝，理应归还中国。当然，文物归还涉及复杂的历史、法律与外交因素。但不可否认的是，这些来自大唐的瑰宝，不仅属于日本的收藏，更是全人类共同的文化遗产，尤其对中国人而言，它们是民族记忆与文化自信的重要象征。因此，在尊重历史与国际法的前提下，推动文物合理回归，既是文化正义的体现，也是对历史真相的尊重。
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