Recently, an uncivilized incident at the National Zoological Museum has drawn widespread attention. On the evening of August 29, the National Zoological Museum issued a statement titled "Strongly Condemn!" The statement described how two children were playing in front of specimens of a Zhoushan cobra and a Mangshan lancehead viper in the endangered animal exhibit on the first floor, repeatedly grabbing and kicking the specimens. Their father, instead of stopping them, picked up the two specimens and handed them to the children. Both genuine specimens were damaged to varying degrees, with the Mangshan lancehead viper specimen sustaining more serious injuries.

After the incident was exposed, related topics continued to spark discussion, ranging from the authenticity of the specimens to their species value, from the difficulty of their preparation to the potential dangers of handling them. Many people realized that the specimens in the glass display cases were far more than just ordinary decorative items.

In my memory, aren't most of the specimens displayed in museums models? How many processes does a precious animal specimen go through from its creation to its exhibition? What irreversible damage can be caused by carelessly touching it? When we enter a museum, where exactly are the boundaries of what we observe?

Regarding these issues, the reporter interviewed Zhang Jinshuo, curator of the National Zoological Museum, for a detailed explanation.

Is the damaged specimen really a model?

Following the incident, many netizens questioned whether the exhibits were merely models. Zhang Jinshuo clarified: Apart from enlarged models of extremely small species such as foraminifera and the blue whale skeleton model hanging from the top floor, the vast majority of insect, bird, and reptile specimens that visitors see at the National Zoological Museum are genuine. By "genuine," he means that the skin, scales, feathers, and other external parts of the animal's body are from real animals; only the internal structures are made of fiberglass, foam, or other materials to create a natural body shape.

The two damaged specimens are a Mangshan pit viper (commonly known as the Mangshan pit viper) and a Zhoushan cobra. The Mangshan pit viper's tongue was broken, and its abdominal skin was torn. The Zhoushan cobra specimen, due to its upright and spread-out neck posture, developed cracks on both sides of its neck sac after being subjected to external force. The museum plans to invite taxidermists, industry assessment agencies, and zoologists to jointly conduct a damage assessment and valuation. However, even with subsequent restoration work, it will be impossible to fully restore it to its original state before the damage.

The rarity of this *Protoceratops mangshanensis* specimen far surpasses that of ordinary exhibits. It was not purchased by the museum from the specimen collector, but rather donated seven or eight years ago by Mr. Chen Yuanhui of the Hunan Mangshan National Nature Reserve, one of the discoverers of the species. In 2021, *Protoceratops mangshanensis* was listed in the new edition of the National Key Protected Wild Animals List, becoming a Class I protected animal. Today, its wild population numbers only a few hundred, and its endangered status is higher than that of the giant panda. It is impossible to obtain a similar specimen through commercial channels, and this is the only one of its kind publicly displayed at the Institute of Zoology, Chinese Academy of Sciences.

A single specimen embodies the hard work of generations of researchers.

The preparation of snake specimens is a highly demanding and meticulous craft. Snake skin is thin and brittle, covered with scales. From skinning and preservation to shaping the prosthesis and attaching the skin for final shaping, every step must be done with extreme care, as the slightest mistake can result in damage and ruin.

Within the broader context of the National Zoological Museum's collection, this treasure carries even greater significance. As a national-level animal specimen resource bank, the vast majority of its more than 11 million specimens were not acquired in bulk, but rather collected bit by bit through field surveys conducted by generations of researchers in remote and dangerous areas such as the Qinghai-Tibet Plateau, the Hengduan Mountains, and Xishuangbanna. The museum's collection dates back to the Aurora Museum in 1868, and through the accumulation of various periods, it represents the culmination of the hard work of generations of Chinese zoological researchers; many of these specimens are simply priceless.

More importantly, the specimens possess irreplaceable scientific research value. Zhang Jinshuo stated that many of them serve as physical evidence of species distribution: it was precisely based on the records of crested ibis specimens collected in Yangxian County, Shaanxi Province in 1957 that researchers were able to pinpoint the area for a new investigation, ultimately finding seven crested ibises previously thought to be extinct in 1981, leading to the current population size of tens of thousands. Furthermore, the specimens are also "time capsules" for the study of life evolution; even after hundreds of years, DNA can still be extracted from them to answer a series of scientific questions such as the origin of species and phylogeny.

Is the reason for not allowing touching the specimen because it is "highly poisonous"?

After the incident escalated, many people wondered if the reason for not allowing people to touch the specimens was because they were coated with highly toxic preservatives. In fact, this is a long-standing misconception.

In the past, arsenic was indeed used to coat the inside of animal hides for preservation and insect prevention, which was harmful to humans. However, my country largely phased out this highly toxic process as early as the 1980s. Today, specimens exhibited to the public use safe preservation methods, and immersion specimens mostly use alcohol, which does not cause direct harm to humans.

The museum often reminds visitors to "wash their hands promptly after touching the exhibits," which is more of a warning—using this method to remind visitors to keep their distance from the exhibits is essentially to protect the specimens.

The specimens are truly vulnerable to being touched, due to two irreversible risks.

First, there is physical fragility: the skin of reptile specimens such as snakes is thin and brittle. External forces such as gripping, squeezing, and shaking can easily cause scales to fall off, the skin to crack, and the structure to break. Most of these types of damage cannot be completely repaired.

Secondly, there is the issue of hidden biological contamination: sweat and oil from visitors' hands, as well as invisible microorganisms, fungi, and dermestite eggs carried on their clothing and backpacks, can all remain on the specimens upon contact. Dermestites, in particular, feed exclusively on animal hides, and once a specimen is contaminated with their eggs, the infestation will slowly and continuously occur, often resulting in extensive damage by the time it is discovered.

The protective logic behind "Do Not Touch"

When visiting a museum, many people have the urge to reach out and touch the exhibits, a feeling that is not hard to understand. Seeing lifelike animal specimens through glass, one can't help but want to confirm their texture through touch, especially parents with children who also want their children to have a more direct experience.

But it is precisely this "it's nothing to touch" mentality that brings potential risks to the specimens. A careless touch may leave behind invisible oils and insect eggs; a casual handling may cause irreparable structural damage.

This is why "Do Not Touch" signs are ubiquitous in museum exhibition halls, and security personnel repeatedly remind visitors. This isn't an unreasonable rule, but rather a fundamental boundary drawn between the public's viewing needs and the protection of precious specimens.

National Zoological Museum: Please do not touch the specimens.

Every specimen in the museum is not a toy to be played with, but a scientific record and a window into popular science left by nature for humankind. It carries the field treks and academic accumulation of generations of researchers, as well as physical evidence of the existence and evolution of a species.

Often, the boundaries of appreciation reveal respect for science and reverence for every rare species. Observing quietly from behind the display case, without reaching out or touching, is not only a way to protect public exhibits but also the most basic etiquette for visiting a museum.

After all, protecting these precious specimens is essential so that more people can see and understand them, allowing their value to endure for longer. (Source: CCTV News)