Preface
前言
In 2009, while studying opera performance major in Milan, Italy, Wang Jiangjiang resolutely decided to return to China without informing his parents.
2009年，还在意大利米兰修读歌剧表演专业的王江江瞒着父母，毅然决定回国。
One year later, he made another seemingly incomprehensible decision without hesitation---going to Kashgar, the westernmost part of China. His reason was very simple: he wanted to listen to Muqam with his own ears.
一年之后，他再次毫不犹豫地做出了看似让人无法理解的选择——去到祖国最西边的喀什。其中的原因很简单，就是为了亲耳聆听木卡姆。
Born in Laoting, Hebei province, Wang Jiangjiang is deeply rooted in Xinjiang, dedicating himself to exploring and preserving ethnic cultures.
出生于河北乐亭的王江江，是一位扎根在新疆，深耕于民族文化挖掘与整理的践行者。
During this journey of exploration, Wang Jiangjiang not only captured the heavenly sounds of Muqam, but also turned his camera to those lesser-known folk musicians and their stories, narrating the rebirth of this ancient art in a digital way.
在这条探寻之路上，王江江不仅记录下了木卡姆的天籁之音，还将镜头转向了那些鲜为人知的民间音乐人和他们的故事，用数字化的方式讲述着古老艺术的重生。
He wants to pass on the art of Muqam, and let the world hear the voice of Xinjiang and the harmonious resonance of China's diverse cultures.
他想把木卡姆艺术传承下去，让世界听见新疆，听见中国多元文化的和谐共鸣。
The beginning of fate
缘分的开始
When it comes to Wang Jiangjiang's connection with Muqam, it is inseparable from his zealous fascination and love for music in his youth.
说起王江江与木卡姆的结缘，离不开年轻时他对音乐的疯狂着迷与热爱。
When he was a child, Wang Jiangjiang could always see many cassettes, tapes, and tape recorders at home. In the yard of his hometown, his father often played theme songs from TV dramas and movies and popular songs from the 1990s on tape recorders. Somehow, Wang Jiangjiang was often drawn to those old songs.
小时候，王江江在家里总是能看到许多卡带、磁带以及录音机。在老家的院子里，他父亲常用录音机播放90年代的影视剧主题曲、流行歌曲。不知为何，王江江经常会被那些老歌所吸引。
During his middle school years, CDs gradually began to come into the public eye. Wang Jiangjiang often listened to and sang songs. During those years, Wang Jiangjiang only knew that melodies made him happy. He never imagined that these experiences would become the emotional foundation of his future music journey.
在中学时代，光盘陆续开始进入大众视野，王江江常常去听歌、唱歌。那些年，王江江只知道旋律是一个奇妙的东西，可以让他开心起来。他从未想过，这些经历会成为自己日后踏上音乐之旅的情感基础。
With an in-depth exploration of music, Wang Jiangjiang was admitted to the Opera Performance major of Xi'an Conservatory of Music and began to learn bel canto. When studying in Xi'an, he would go to the Shanghai Oriental Art Center and the Shanghai Concert Hall every month or two to listen to operas and symphonies there.
秉着对音乐的深入探索，王江江考入西安音乐学院歌剧表演专业，开始学习美声唱法。在西安求学时，他每隔一两个月会去上海东方艺术中心和上海音乐厅，在这里听歌剧或是交响乐。
Driven by his genuine love for music and a desire to learn more comprehensively in this field, in 2007, Wang Jiangjiang went to Italy, the cradle of opera art, to study opera singing. During his study abroad in Milan, Italy, he did not limit his vision to this place.
因为发自内心的喜欢音乐，他想在这一领域了解得更多一点，学得更全面一点。于是，在2007年，王江江前往歌剧艺术的摇篮意大利学习歌剧演唱，在意大利米兰留学期间，他没有将目光局限于此地。
Whenever he had free time, he would visit different countries and regions around to attend opera performances and concerts, swimming in the ocean of music. Immersed in the diverse music world, Wang Jiangjiang's musical vision had been greatly expanded.
一旦有空闲时间他会去周边不同的国家和地区观赏、聆听歌剧表演和音乐会，在音乐的海洋里遨游。沉浸在多元化的音乐世界中，王江江的音乐视野得以极大拓展。
While traveling the world, Wang Jiangjiang realized that some countries, despite their small size and sparse populations, excelled at protecting their cultural heritage. This sparked a thought in him: as a country with a long history and diverse cultures, China must have numerous unexplored musical treasures, and the nation's cultural confidence is unquestionably derived from these excellent traditional cultures.
在游历各国的过程中，王江江深刻意识到，一些国家虽国土狭小、人口稀少，却在文化遗产保护领域表现出色，这让他的心中萌生了一个念头：中国作为一个历史悠久，文化多样的大国，必然蕴藏着无数未被充分发掘的音乐宝藏，而中华民族的文化自信不就是从这些优秀的传统文化当中产生的吗？
Wang Jiangjiang wanted to personally explore the musical treasures hidden in every corner of China.
王江江想亲自去探索那些隐藏在中华大地各个角落的音乐瑰宝。
In 2009, fueled by his passion for music and a desire to explore local cultures, Wang embarked on a journey back to China. He spent nearly a year driving through various regions, listening to local music, and seeking sounds that could express China's rich cultural heritage and organic music.
2009年，满载着对音乐的热爱与对本土文化的探求欲望，王江江踏上了回国的旅程，他用近一年的时间自驾走遍中国大大小小的地区，聆听地方音乐，试图寻找能表现我国悠久文化底蕴和原生态的音乐。
By chance, Wang Jiangjiang encountered a type of music he had never heard before in a documentary. Though he couldn't understand the lyrics, the music was powerful enough to shock and captivate him.
一次偶然的机会，王江江从一部纪录片当中听到了一首从来没有听过的音乐类型。对他来说，即便听不懂歌词，但那是一种足够震撼人心、足以让人陶醉的音乐。
He felt that this was the organic music that he had been searching for---the true art form.Upon discovering that it was Dolan Muqam, he began researching it online for relevant information and watching related videos.
王江江心想，这就是自己一直以来寻找的原生态音乐，也是真正的艺术。得知这是刀郎木卡姆后，他开始在网上搜寻相关信息，观看影像资料。
Unsatisfied with the limited audio materials on the Internet, he wanted to go to Shache County, the birthplace of Uyghur Muqam of Xinjiang, to hear the voices of Muqam masters firsthand.
因为不满足于网络上有限的音频资料，他想前往新疆维吾尔木卡姆艺术的发源地——莎车县，亲耳聆听木卡姆大师的歌声。
He believed that only by immersing himself in the environment could he truly experience the unique charm of Uyghur Muqam.
因为他相信，只有身临其境，才能深刻感受到维吾尔木卡姆那独有的韵味。
Enter the journey of pursuing Muqam
开启木卡姆追寻之旅
While worrying about how to begin his journey, Wang Jiangjiang came across a recruitment notice for volunteers for the Western Plan of the Communist Youth League Central Committee on Sina News. Without hesitation, he submitted his application.
正当为如何开启这段旅程烦恼之时，王江江偶然在“新浪网”新闻上看到共青团中央西部计划志愿者的招募信息，便毫不犹豫地提交了报名。
Unfortunately, only recent graduates could participate in the Western Plan. Therefore, Wang Jiangjiang contacted the Central Committee of the Communist Youth League and expressed his strong desire to volunteer in Shache County, Kashgar, even if it meant forfeiting all the benefits and policies available to volunteers.
可惜，西部计划只有应届毕业生才可以参加。于是，王江江与共青团中央联系并表达自己想去喀什莎车县做志愿者的强烈愿望，为此他可以放弃志愿者所能享受的所有待遇和政策。
After overcoming many difficulties, and with the coordination and assistance of relevant departments of the Central Committee of the League and the Xinjiang District Committee of the Communist Youth League, Wang was finally assigned to Ruoqiang County, Bayingolin Mongol Autonomous Prefecture, Xinjiang, where he became a volunteer at the local Culture and Sports Bureau.
历经千辛万苦，在团中央相关部门和共青团新疆区委协调帮助下，他最终被安排到新疆巴音郭楞蒙古自治州若羌县，成为了当地文体局的一名志愿者。
Arriving in his beloved Xinjiang was just the beginning; learning to communicate with the locals and integrate into the local culture became a new challenge. At that time, alone and unable to speak the local language, the only thing that accompanied him was music.
来到心心念念的新疆只是一个起点，如何与当地人沟通、融入地方文化，又成了一个新的挑战。那时的他孑然一身，语言也不通，陪伴自己的只有音乐。
The first time Wang Jiangjiang experienced authentic Muqam live was from an elder in Ruoqiang County. The music's dynamic flow, sometimes soaring and intense, other times soft and gentle, struck deep into his soul.
王江江第一次现场听到原汁原味的木卡姆，是在若羌县的一位老前辈那里。那一段段歌声，时而高亢激昂，时而低回婉转，直击心灵深处。
Ruoqiang County frequently hosted cultural events such as the Loulan Cultural Festival and the Jujube Festival. Wang Jiangjiang never missed a chance to listen to the local music and would take the time to attend and observe the rehearsals of the performers.
若羌县还有楼兰文化节、红枣节等文艺活动，他不放过每一次聆听当地音乐的机会，抽时间前往现场观摩他们的排练。
He found that Muqam and folk songs were deeply embedded in the local way of life, becoming a living cultural phenomenon. The melody of Muqam could be heard at social gatherings, during meals, and even on the streets and fields where people would gather.
他发现，木卡姆和民歌已深入当地民间生活，成为了一种活生生的文化现象。聚会时、饭桌前，甚至几个人聚在一起的大街小巷、田间地头都可以听到木卡姆的旋律。
When he saw adults and children dancing spontaneously to the music, even though he didn't understand the meaning of the lyrics, the vigor and artistic charm of the Muqam always resonated with him, evoking a long-lost sense of belonging deep within his heart.
看到伴随着音乐即兴起舞的大人和小孩，即使当时的他还不懂歌词的涵义，但木卡姆所蕴含的活力和艺术魅力总能引起他的共鸣，在他内心深处产生久违的归属感。
During his time in Ruoqiang County, Wang Jiangjiang resided in the local cultural center, which at the time had three floors, with his residence in the basement. Before the museum was built, mummies used for exhibitions would be stored in a small room in the same basement.
在若羌县期间，王江江的住处是当地的文化中心，当年那栋楼有三层，他住在地下室。博物馆建成前，用作展览的干尸会被储存在地下室的小房间里。
Wang Jiangjiang spent many days and nights in such a silent place. It was his original intention and commitment to exploring Muqam that pushed him to persevere again and again through the harsh and challenging conditions.
王江江在如此寂静的地方度过了许多日日夜夜，探寻木卡姆的初心和信念使他在恶劣艰难的环境下一次次坚持下去。
In retrospect, Wang Jiangjiang feels that the hardships of those years now seem trivial. Driven by his passion and love for music, the young man's only wish was to hear the mesmerizing Muqam himself over and over again, longing to unravel the mysteries of this ancient music on a deeper level.
现在回想起来，王江江觉得那些年的不易都显得微不足道。在兴趣与热爱的驱使下，年轻的他心中唯一希望的便是能多次亲耳聆听那令人沉醉的木卡姆，渴望更深层次地揭开古老音乐的神秘面纱。
Music was not only a form of entertainment, it was also a way to socialize. The first Uyghur friend he met after coming to Xinjiang was Kahriman.
音乐不仅是娱乐，更是一种社交方式。他来到新疆后，认识的第一个维吾尔族朋友是卡合曼。
Kahriman was a member of the local song and dance ensemble. He often played music in a small studio opposite Wang Jiangjiang's dormitory and would sing and play instruments himself. After an event, they shared many music-related topics, deepening their relationship.
卡合曼是当地歌舞团的成员，他经常在王江江宿舍对面的小工作室里播放音乐，自己也会弹唱歌曲。在一次活动结束后，他们交流了许多与音乐相关的话题，关系也更进了一步。
As a big fan of music, Wang Jiangjiang often visited local folk artists to chat about Muqam, which helped him become fluent in Uyghur.
因为对音乐的热爱，王江江经常拜访当地民间艺术家，与他们畅谈木卡姆，也因此练就了一口流利的维吾尔语。
Once language was no longer a barrier, Wang Jiangjiang found it much easier to communicate with his Uyghur colleagues. His understanding of Muqam deepened, and his desire to explore it grew even stronger.
当语言不再成为障碍时，王江江与维吾尔族同胞沟通起来便轻松很多，他对木卡姆的理解愈发深入，对木卡姆的探索欲也变得更加强烈。
After spending a year and a half in Ruoqiang County, he carried on as a volunteer in Shache County, Kashgar---a place he had long dreamed of. He spent the next two years there.
在若羌县待了一年半的时间之后，他继续以志愿者的身份来到了梦寐以求的喀什莎车县，并在这里度过了两年时间。
In Shache County, Wang Jiangjiang moved closer to Muqam. He often traveled to the neighboring counties of Makit, Yecheng, Zep, Bachu, and Tashkurgan to experience the local music.
在莎车县，王江江离木卡姆更近了一步。他会到周边的麦盖提、叶城、泽普、巴楚、塔什库尔干等县级地区听音乐。
The music of different places also had its own characteristics, blending into a unique artistic style. Over time, he ended up traveling to every corner of Xinjiang, learning about the vibrant culture and rich heritage of this land.
不同地方的音乐也各有特色，形成了独一无二的艺术风貌。随着时间的推移，他不知不觉地走遍了新疆的每一处角落，了解了这片土地上的多彩文化和深厚底蕴。
"Everyone says Xinjiang is vast, but if you spend time here, you'll realise it doesn't feel that big." For him, this land became more than just a geographical concept---it was a way of life, a cultural resonance.
“大家都说新疆大，但如果你在新疆待习惯，会觉得其实新疆没那么大。”这片土地，对于他来说，不再仅仅是一个地理概念，它已成为了一种生活的艺术、文化的共鸣。
Let more people hear Muqam
from Xinjiang
扎根新疆，让更多人听见木卡姆
In the interview, whenever Wang Jiangjiang talked about Muqam, his enthusiasm shone through, and he spoke with eloquence and passion.
在采访中，每当王江江谈到木卡姆时，总会充满热情、侃侃而谈。
Muqam is a musical phenomenon that spread along the Silk Road. It is not confined to the Xinjiang Uyghur Autonomous Region; variations of Muqam can also be found in Central Asia, West Asia, and even in some countries and regions of North Africa.
木卡姆作为一种广泛分布于丝绸之路沿线地区的音乐现象，不仅存在于新疆维吾尔自治区，还在中亚、西亚乃至北非的一些国家和地区有着各自的表现形式。
The primary difference lies in the melody, lyrics and singing style.
只不过它们与新疆维吾尔木卡姆艺术在旋律、歌词、演唱方式上有差别。
In Xinjiang, Muqam, including the Twelve Muqams, is further divided by geographic regions, each with unique playing and singing styles. Taking Hami Muqam as an example, people there use the Hami Ajek instrument and often tell stories through lengthy narratives and folk songs. In contrast, the Dolan Muqam has a high-pitched, rugged tune with sincere and pure emotions because of the unique character of its distribution area.
在新疆，除了十二木卡姆，木卡姆也会按照地域划分，其弹唱方式各有千秋。以哈密木卡姆为例，他们用哈密艾捷克，倾向于通过长篇的叙事和民歌来展开故事；刀郎木卡姆因其分布地区的独特之处，曲调高亢粗犷，感情真挚纯朴。
There are other types of Muqam that are highly comprehensive, combining chanting and choral singing with instrumental performance and dance in a way that is both integrated and diverse.
此外，也有其他木卡姆类型，它们综合性极强，将吟唱、合唱与器乐演奏、舞蹈巧妙融合，蕴含着强大的融合性与多样性。
Wang Jiangjiang was deeply inspired by his predecessors' efforts to protect and preserve Muqam, especially the rescue and archival work by Mr. Wan Tongshu and Mr. Turdi Akhun. This made him acutely aware that for such a precious oral art form as Muqam, the recording process is of most importance.
王江江深受前辈们保护与传承木卡姆的鼓舞，尤其是万桐书1先生及吐尔迪阿洪2老先生等先驱们对于木卡姆的抢救和整理工作，让他深刻意识到：对于木卡姆这般珍贵的口头传播艺术，记录环节尤为重要。
In the face of rapid changes in the modern era, timely and accurate recording is a crucial step to ensure the survival of these ancient cultural traditions.
面对快速变化的时代，及时且准确地记录是确保这些古老文化血脉延续的关键步骤。
Thus, Wang Jiangjiang dedicated himself to becoming a guardian of these endangered musical forms. His work extends beyond Muqam, Mashrap, and Sanam---the musical treasures of the Uyghur people---to include traditional music from other ethnic groups as well.
因此，王江江致力于成为这些濒临消失的音乐形式的守护者，不仅限于木卡姆、麦西热甫、赛乃姆等维吾尔族音乐宝藏，还将视野扩展到其他民族的传统音乐。
Wang Jiangjiang vaguely remembered his first trip to Xinjiang, with just a single recording pen and a small low-quality DV camera.
王江江依稀记得第一次来到新疆，只是随身携带了一支录音笔和质量不太好的小DV。
Over time, Wang Jiangjiang and his team were gradually equipped with advanced recording equipment and high-definition cameras. These technological upgrades significantly improved the quality and efficiency of their recordings.
后来，王江江和他的团队逐步配备了更加先进的录音设备和高清摄像机，这些技术工具的升级极大地提升了记录的质量与效率。
Record Muqam is no easy task. Beyond the logistical challenges like funding, it also requires traveling to every corner of Xinjiang to find and nurture Muqam inheritors among the local communities. Wang Jiangjiang and his team began by documenting the music through audio and video recordings.
记录木卡姆并没有那么简单，除了资金等硬性要求外，还要走到新疆各个角落挖掘并寻找民间的木卡姆传承人。王江江和团队首先通过录音、录像的方式对音乐进行记录。
In addition, they also needed to interview the inheritors, take photos and videos of them, transcribe the oral interviews into written form, and then edit the material into audio and video formats for preservation.
此外，还要采访其传承人，给他们拍照、录像，后期再把口头采访整理成文字，剪成音频、视频，并保存好。
This process is time-consuming and demands immense patience and perseverance. It requires meticulous observation, careful interviews, as well as tedious sorting and editing in the later stages.
这不仅需要花费很长时间，也是一个非常考验耐心和毅力的工程，需要细致入微地观察、耐心访谈，以及后期繁琐的整理与编辑。
During the interview, they must be prepared to handle emergencies, such as equipment malfunctions or unclear recordings.
采访时还需要时刻应对录像设备出现故障或者没有录清楚等突发情况。
In the later stage of sorting out the recorded materials, careful attention must be given to summarizing various forms, translating lyrics, and ensuring the quality of videos and photos. While these tasks are often tedious and monotonous, each small step completed brings Wang Jiangjiang a strong sense of accomplishment.
后期对记录资料进行整理时，也要重视各类表格的汇总，歌词的翻译，视频及照片的质量。虽然这些工作都非常琐碎枯燥，但每完成一个小的环节，王江江就会产生满满的成就感。
These records may serve as a bridge, connecting the past with the future, allowing the vibrant and diverse local music of Xinjiang to be respected, appreciated, and passed down in today's globalized world.
这些记录或许能够成为桥梁，连接过去与未来，让丰富多彩的新疆本土音乐能够在全球化的今天得到尊重、欣赏与传承。
From 2009, when Wang Jiangjiang returned to China without informing his parents, until 2013, his parents mistakenly believed that he was still living in Italy.
自2009年王江江未告知父母便毅然回国，至2013年间，王江江的父母一直误以为他仍待在意大利。
When his parents first learned the truth, they were both surprised and puzzled. They couldn't understand why their son had given up more stable options to pursue a path filled with uncertainties, especially in a distant and unfamiliar field.
父母初闻真相时，惊讶之余不乏困惑，他们难以理解为何儿子放弃了许多看似更为稳定的选择，反而走上一条充满不确定性的道路，更何况还是一个遥远而陌生的领域。
"At that time, I simply wanted to come and listen to the music. I had no concept or understanding of Xinjiang, and neither did my parents."
“我那时候除了纯粹想过来听音乐以外，对新疆完全没有概念，我爸妈更是毫无概念了。”
In May 2017, Wang Jiangjiang invited his parents to Xinjiang to see firsthand the environment in which he lived and worked.
2017年5月，王江江邀请父母来到新疆，亲眼见证他生活与工作的环境。
When he took his parents to visit his home in Urumqi, introduced them to his colleagues and friends, and showcased his passionate music, their concerns gradually eased, and they decided to settle down in Urumqi as well.
当他引领父母参观他在乌鲁木齐的住处，介绍他的同事朋友，以及展示他倾注热情的音乐时，父母的心结逐渐解开，他们也决定在乌鲁木齐安顿下来。
Wang Jiangjiang's parents realized that no matter how unconventional their son's path might be, as long as he is safe, happy, passionate, and committed to his journey, that is the best outcome.
王江江的父母意识到，无论儿子选择的道路多么与众不同，只要他平安、快乐，有所热爱并为之奋斗，那就是最好的答案。
To this day, Wang Jiangjiang believes that certain functions or characteristics in her Muqam fulfill a deep-seated cultural and emotional need within him.
走到现在，王江江认为木卡姆本身所具备的一些功能或者特征，正是在文化和情感层面上满足了自己内心深处的某种需求。
In Wang Jiangjiang's view, "Muqam has the power to communicate emotions across time and space; it is a deeply rooted cultural form."
在王江江看来，“木卡姆拥有跨越时间和空间的情感沟通能力，是一种底蕴深厚的文化。”
When Wang Jiangjiang fully immersed himself in the melody of Muqam, he could truly feel an indescribable force that directly touched the deepest parts of his heart.
当王江江全身心投入木卡姆的旋律中，他能真切地感受到一股难以言喻的力量，直接触碰到他的内心深处。
"Aisalamu Xinjiang," a work completed by Wang Jiangjiang in 2016, records his experience of excavating Muqam after arriving in Xinjiang. In addition, Wang Jiangjiang also writes and performs his own songs, and has participated in the creation of over 40 musical works.
《艾萨拉姆新疆》是王江江在2016年完成的作品，记录了他来到新疆后挖掘木卡姆的经历。除此之外，王江江也会自己创作歌曲并演唱，先后参与创作了40余首音乐作品。
No matter how he engages in the recording and display of folk songs, if his efforts lead more people to a better understanding of Xinjiang's local music culture and to begin valuing and protecting intangible cultural heritage like Muqam, then Wang Jiangjiang's work is truly meaningful.
无论是以哪种方式参与到民间歌曲的记录和展示，如果大家因为他的努力而对新疆本土音乐文化多一些了解，开始重视和保护像木卡姆一样的非遗，那么王江江做的事情就是有价值的。
By 2024, Wang Jiangjiang has collected and organized audio and video materials from more than 2000 folk inheritors of intangible cultural heritage, filling nearly 50 hard drives. He launched a social media account called "Wang Jiangjiang's 365 Days in Xinjiang" on different social media platforms and released short videos documenting intangible cultural heritage.
至2024年，王江江已经搜集整理了2000余名民间非遗传承人的音视频资料，存满了近50个硬盘。他在不同的社交平台上开设了“王江江在新疆的365天”账号，陆续发布记录非遗文化的短视频。
Most of the videos on his account are filmed in remote county towns in Xinjiang or even secluded villages. Many of the interviewed folk artists are often elderly, simple and friendly, unknown to the public, yet they possess extraordinary talents.
从账号大部分视频可以发现，拍摄地点往往是新疆很偏远的县城，甚至是与世隔绝的村庄。被采访的许多民间艺术家大多年龄较高，淳朴亲切、默默无闻，但却拥有绝佳的才艺。
When they dance, sing folk songs, and perform Muqam, their enthusiasm is palpable. There are no grand stages, only humble, warm houses, and dusty landscapes...
他们跳起舞、唱起民歌和木卡姆时热情高涨，没有华丽的舞台，只有简陋温馨的小屋、尘土飞扬的土地……
It has been 14 years since Wang Jiangjiang came to Xinjiang, where he has settled and taken root. Although born and raised in Hebei, for Wang Jiangjiang today, Xinjiang has become his true first hometown.
如今，距王江江来到新疆已有14年的时间，他在这里定居、扎根。虽然出生并成长于河北，但对于现在的王江江来说，新疆才是他的第一家乡。
It was in Xinjiang that he truly engaged with society, gained a deeper understanding of the world, and discovered his passion.
他真正接触社会，对世界有了认知，找到自己喜欢的事情就是从新疆这片土地开始的。
Just like his social media nickname, "Wang Jiangjiang's 365 Days in Xinjiang," he plans to spend countless more 365-day cycles exploring the hidden treasure soft this land, documenting cultures that deserve to be seen by the world.
就如他的社交账号昵称“王江江在新疆的365天”，未来他也会用无数个365天去挖掘深埋在这片土地里的宝藏，记录这些值得被全世界看见的文化。
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