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#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #September2023 | #ForbiddenCityDairies -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage. Collection 22nd – 26th September 2023..

September 27, 2023 kevinjamesngLeave a comment

On July 19^th 2023 , the multilingual website of the Forbidden City Palace Museum- Beijing, China, People’s Republic of Chinawas officially released at the Digital Cultural Tourism Development Forum of the 2023 China Internet Civilization Conference! The website covers five languages: English, French, Russian, Japanese, and Spanish, and will meet the needs of audiences with different languages.

The multilingual website of the Palace Museum is committed to establishing an international website that is concise, clear, easy to use for overseas audiences, and fits the construction of the modern civilization of the Chinese nation, including tour guides, information, panoramic tours, online exhibitions, collection appreciation, cultural topics, etc. Rich immersive content describing of the most detail collection that housed within the Forbidden city collection… .

Qing Dynasty, sapphire cold moon palindrome round device. The jade is shiny and smooth, shaped like a full moon, with a flat body and slightly thin edges. One side is engraved with “Weiyu Study Room Poems” and “Han Yue Palindrome”, and the other side is engraved with text along the edge: “The cold moon shines brightly in the hall, and the cool shadows on the ground scatter the light. Colorful mirrors hang far away in the forest, and the bright ice wheels reflect the fragrance of the osmanthus. . Li (millet) gold is stored in the North Garden, and the west wall is light and beautiful. The railings are independent of the small courtyard music, and the pavilions reflect the flowers as you move around the corridor. “The poem is in palindrome style, and it can be turned into a seven-character rhyme poem when read forward and backward. A song has the beauty of going back and forth. Weiyu Study Room was the name of Emperor Jiaqing’s study before he ascended the throne. After he compiled poems, essays, etc. when he was the prince, it was named “The Complete Works of Weiyu Study Room” and was published in the fifth year of Jiaqing (1800). The Weiyu Study Building is located in the east room of the apse of Yuqing Palace on East Neiting Road in the Forbidden City. There is a plaque inscribed with Emperor Jiaqing’s imperial calligraphy.

On the 23rd September 2023 it was the Autumn Equinox Yan will leave tomorrow, and autumn is approaching this time.

Opening Ceremony Reappears Thousands of Miles of Rivers and Mountains Picture 亚洲游戏开户外围 of the 19th (Asian Olympics) Asian Games Hangzhou 2022 Hangzhou ultra mega city, China, People’s Republic of China… The grand event is attended by all nations, and the vitality stretches for thousands of miles. In the advancing green mountains and rivers, Ximeng’s youthful passion penetrates the text and spans thousands of years, and reunites with the high-spirited athletes.

Rotate the screen to enter the long scroll, encounter a romance that is unparalleled in ancient and modern times, and embrace friendship, vitality and challenges!

Qing Jiaqing, cyan satin mouth full of osmanthus and begonia rabbit pattern oval purse. The dowry of Emperor Guangxu and his wife contained two bundles of needlework, with one hundred and ninety-one boxes each. The dossier list for the wedding of Emperor Tongzhi recorded that the Ministry of Internal Affairs planned to prepare 200 locks of gold thread and 200 locks of silver thread. The emperor increased the number to 400. Lock. These are the needlework tools and materials that the queen will use in her future work as a prostitute. It can be seen from the numerous handicrafts performed by the concubines in the palace that the Empress attaches great importance to her responsibility as a mother to the world. This purse is embroidered with the scene of the Jade Rabbit pounding medicine under the blooming osmanthus tree. It is the embodiment of folk customs in palace supplies and is also a representative work of the work of the queen in the palace.

The osmanthus moon falls in the middle of the moon, and the fragrant clouds float outside.
Last night, the opening ceremony of the Asian Games was scented with osmanthus.
In autumn, the fragrance of osmanthus can be smelled in the wind in the Forbidden City.
In your hometown, if there was a smell of fall, it would be _______.

During the Jiaqing period of the Qing Dynasty, Zhan Yougan made Yue Jingmo. It is an ink rectangle, with a three-legged toad filled with gold on the front, floating in the sea, breathing clouds from its mouth, with a bright moon arching above it, and the word “Moon Essence” beside it. The back is filled with a gold inscription: “Zai begets tyranny, Zai brings brightness, looking at the blank, looking at the fullness. What is too thin and clear? The gold essence and water vapor contain Xuanying.” There is also an inscription “Zhan Youqian made according to the map”. On one side are the inscriptions “Mid-Autumn Festival of Jiaqing Jisi Year”, and on the top there are four words “Guizhen Qingshang”. Yuejing ink is a style made by famous ink makers Fang Yulu and Cheng Junfang in the Ming Dynasty. It can be seen in “Fang’s Ink Book” and “Cheng’s Ink Garden”. This ink is self-consciously “made according to drawings”, and it must be based on the book. . Its quality is strong and moisturizing, dark and shiny, and its production quality is no less refined than the original. It is also quite outstanding among the ink products handed down to commemorate the Jiaqing period..

Holding the mountains, the sound of urgent drums is like ten thousand horses rushing with silver saddles. The tide surges in the east, and only “the tide-rider stands up to the head of the wave, holding the red flag in his hand without getting wet.” With the axis of Yuan Jiang’s “Tide Watching” from the Qing Dynasty, we pay tribute to every Asian Games athlete who bravely braved the waves!

Qing Daoguang, red satin flat gold lock embroidered osmanthus rabbit pattern flower basket purse. The moon is the eternal theme of the Mid-Autumn Festival. Whether among the people or the court, what people want is family reunion. The theme of the jade rabbit pounding medicine can be found everywhere in the palace. There are also cases where the jade rabbit is no longer pounding medicine, but is made into a human shape or various postures. Among the many daily handicrafts of the concubines, there are also jade rabbit themes. This purse is embroidered with gold locks on red satin. A docile white rabbit is lying under the fruit-bearing osmanthus tree, enjoying the fragrance of osmanthus. There is a yellow strip attached to the purse with the words “Mid-Autumn Festival” written in ink on it, indicating that this purse is specially made for worshiping the moon during the Mid-Autumn Festival.

The page “Pictures of Birds (qú) and Eagles (yù) in Autumn Trees” now collected in the Palace Museum is a color painting on silk created by a painter from the Song Dynasty. In autumn, a mandarin duck is perched on a tung tree, its sharp claws clenching the branches, twisting its neck and looking sideways as if listening. The bird’s eyes are sharp, its body is plump, its tail is neat, its feathers are black and shiny, while its leaves are covered with insect damage, curled up and withered in color. The composition is strange and abrupt, which is very unusual.

The owl, also known as the starling, has a black body with white spots on its wings. It usually forages on the ground and will perch on trees or eaves when not looking for food.

Images and visuals are from – Forbidden City –Palace Museum Beijing- China –People’s Republic of China…..

#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #September2023 | #ForbiddenCityDairies -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage. Collection 15th-22nd September 2023..

September 23, 2023 kevinjamesngLeave a comment

From September 16th to November 5th, 2023, the ” 松图Charm – Special Exhibition of Rare Inscriptions and Inscriptions” jointly launched by the Palace Museum and the Chinese University of Hong Kong will be on display in the Wenhua Hall of the Palace Museum. There are a total of 65 exhibits (sets) from the Palace Museum and the Art Museum of the Chinese University of Hong Kong. Among them, both parties each selected 20 Song rubbings and presented them to the audience. The famous Song rubbings collected by the Palace Museum include the Huayin version of the Huashan Temple Stele of the Eastern Han Dynasty, the Li Qi version of the Jiucheng Palace Liquan Inscription of the Tang Dynasty, the Induction Stele of the Duobao Pagoda of Qianfu Temple in Xijing of the Tang Dynasty, and the Maoqin Palace version of Chunhua Pavilion in the Song Dynasty. “Ten Treasures of Beishan” collected by the Art Museum of the Chinese University of Hong Kong and ten “Prefaces to Orchid Pavilion” collected by Prime Minister Yousi of the Southern Song Dynasty will all be displayed in this exhibition. The exhibition is supported by the Beishantang Foundation, Longfor Group, and the Beijing Palace Museum Cultural Relics Protection Foundation. This exhibition is free to visit with Palace Museum tickets, and visitors can make real-name reservations through the “Forbidden City Museum” WeChat applet.

Qianlong of the Qing Dynasty, Jiang Pu, and the laurel rabbit in the moon scroll. This is a painting that is cleverly conceived and combines work and writing. The painter Jiang Pu, who was a poet during the Qianlong Dynasty, used the round shape of the moon as the outer frame of the painting to depict the quiet scenery of the Moon Palace. In the picture, the Jade Rabbit turns its head obediently and stares at the osmanthus tree. The osmanthus tree has a unique shape, with its branches naturally curved along with the round frame. The stamens of the sweet-scented osmanthus are dyed with yellow, and the bright colors not only enrich the picture, but also add warmth to the lonely moon palace.

Qing Dynasty, Li Shizhuo, with Osmanthus and Moon Rabbit. Li Shizhuo, the nephew of the painter Gao Qipei. He successively served as magistrate of the state, deputy censor of the capital, minister of Taichang Temple, etc., and was known as “Li Taichang”. His paintings of landscapes, figures, and flowers are all exquisite, with elegant brushwork and elegant colors. He once learned finger painting from Gao Qipei and was very good at using his fingers as well as his brushwork. This picture depicts a white rabbit lying among the grass, looking up at the fragrant osmanthus tree and the bright moon. Through subtle and aesthetic artistic techniques, he hinted at the beautiful and romantic legend between the Jade Rabbit, the Osmanthus Tree and the Moon Palace.

Qing, Lu Han, and Gong’e play with the moon. “Wanyue” means “watching the moon”, “appreciating the moon” and “appreciating the moon”. The moon is constantly changing in people’s eyes. As Xu Zhao of the Song Dynasty pointed out in the poem “Wan Yue”, it “is like a golden hook at first, and will be like a jade plate when it is full.” Therefore, watching the waxing and waning of the moon at night is a romantic thing, and it is also something that men, women, and children enjoy. This painting of a lady has a simple composition, depicting a young woman holding a fan in hand, leaning on a stone in the courtyard to admire the moon. The brushwork is meticulous, the colors are elegant, and the style is graceful.

On the 20 September 2023 a beautiful Beijing sunset No one is allowed to miss today’s sunset. fall in love with the Forbidden City …..

Qing, Anonymous, Mid-Autumn Festival Jiarui Picture Scroll. This is a painting created by a Qing court painter, showing a boy and a concubine spending the Mid-Autumn Festival together. There are many characters in the whole volume, but the author combines art with life, and cleverly uses the plot and the childishness in it to condense the scattered small entertainment groups into a lively whole. At the same time, the author focused on expressing the lively and joyful emotions of children when they were playing, and combined their forms and spirits together, thus enhancing the appreciation of the painting and expressing the festive theme of the Mid-Autumn Festival.

Qing, Anonymous, Mid-Autumn Festival Jiarui Picture Scroll (Part). This part shows the author’s ingenuity in creation. He painted the back screen behind the statue into an oval, and painted on it the rabbits, Guanghan Palace, osmanthus trees, etc. that people imagined the moon palace should have, thus using the oval as both the frame of the back screen and the symbol of the moon. The outline adds extra interest to the painting.

The acceptance and demand for tea drinking has enhanced the exchanges between various regions, ethnic groups, and classes in China throughout history; tea drinking utensils and tea preparation methods are becoming increasingly similar, which is a manifestation of the deepening degree of exchanges. In “One is Two”, Emperor Qianlong is dressed in Han Chinese clothing and is sitting on a couch admiring various tea sets and utensils of different dynasties and national styles; the title in the blank space is “One is two, neither is nor separation. Confucianism and Mohism But, why worry, why think?” This shows Emperor Qianlong’s profound view on the inseparable relationship between Confucianism and Mohism.

From the gathering of treasures from past dynasties to the exchange and integration of ideas and theories, the cultural essence of different time and space is presented in the paintings, which reflects the eclectic nature of Chinese civilization and is the epitome of the evolution of the pluralistic unity of the Chinese nation….

Qing, Anonymous, Mid-Autumn Festival Jiarui Picture Scroll (Part). There are various images of rabbits in this scroll, including not only rabbit statues and paintings as works of art, but also real rabbits interacting with children. In the moon palace, docile rabbits are the gods used to make longevity medicine; in real life, they are the happy playmates of children.

Images and visuals are from – Forbidden City –Palace Museum Beijing- China –People’s Republic of China…..

#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #September2023 | #ForbiddenCityDairies -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage. Collection 11th – 15th September 2023..

September 15, 2023September 15, 2023 kevinjamesngLeave a comment

Emperor Qianlong once wrote a poem praising crape myrtle as “always blooming with light color in summer, and also emitting light fragrance before the wind”, which is fitting.

Crape myrtle has the same pronunciation as the “Emperor Star” Ziweixing. It has been widely planted in the palace since the Tang Dynasty because of its long-lasting flowering period and bright and lovely appearance. It is also called the “official flower” because it refers to Zhongshu Province. The seventh month of the lunar calendar is a time when all the flowers are blooming. “Sunflowers pour into the sun, hostas scratch your head, crape myrtle soaks in the moon, hibiscus blooms…” Hollyhocks, crape myrtles, cockscombs, etc. have all been nominated as moonflowers by literati in different periods. . The crape myrtle flower may not be the most gorgeous and graceful among them, but it is unique because of its freshness and delicateness….

Qing, Leng Mei, Gao Qiu Wan Yue chart axis. Leng Mei was a disciple of Jiao Bingzhen, a court painter of the Kangxi Dynasty. His neat and meticulous brushwork and beautiful colors were highly appreciated by Emperor Kangxi and Emperor Qianlong. This picture depicts a scribe climbing a high pavilion and looking at the bright moon. In the lower left corner of the painting, there is Leng Mei’s self-inscription “Writing on the Mid-Autumn Festival in Gengxu”, which shows that the painting was painted during the Mid-Autumn Festival and depicts the scene of admiring the moon during the Mid-Autumn Festival. On August 15th, the autumn air is crisp and clear. The moon is not only full and bright, but also the best place to watch. At this time, people look to the moon to remember, or associate the full moon with reunion, hoping for a happy family; or they look to the autumn wind to ask if Chang’e and the Jade Rabbit are well in the moon palace.

Qianlong of the Qing Dynasty, Leng Mei, Emperor Qianlong observing the moon. The court painter Leng Mei once painted “Moon Appreciation”, which depicts the scene of elegant scholars looking at the moon in reverie during the fragrance of sweet-scented osmanthus in August. Emperor Qianlong liked this painting very much and ordered Leng Mei to replace the scribe in the original painting with himself, depicting him wearing Hanfu and admiring the moon under the laurel tree with Ruyi in his arms. During the Mid-Autumn Festival, admiring the full moon and looking forward to family reunion are beautiful wishes shared by emperors and common people.

Qianlong, Jinnong, and Yuehua scrolls of the Qing Dynasty. In traditional Chinese culture, the moon is mystical and poetic because of its distance. In ordinary paintings, it often appears as a supplementary scene, but in this painting, Jin Nong directly expresses the moon as the main subject, which can be described as unique. The whole picture is extremely simple, with only a full moon depicted. Within the moon, the author uses light ink to draw the blurry images of jade rabbits pounding medicine and osmanthus trees. Outside the moon, the author uses green, ocher, and yellow as the main colors. Through the overlapping of colors, the bright and bright light of the moon is highlighted, which shows Jin Nong’s extraordinary imagination and bold expressiveness. The inscription on the lower right side of the painting reads, “The picture of the Moonlight is sent to Mr. Shutong for appreciation, the seventy-five-year-old gold farmer”, indicating that it was a gift to a friend.

Qianlong Qing Dynasty, Chen Mei, Yue Man Qingyou Picture Album. Chen Mei, whose courtesy name was Zaidong and whose names were Dianluan and Zhiwotoutuo, was from Lou County (now Songjiang, Shanghai). In the early years of Yongzheng’s reign, he was recommended by the court painter Chen Shan and became a royal painter. His paintings studied the Northern Song Dynasty style and were influenced by the Western painting style of Lang Shining in the court. The images he created were exquisite and nuanced, with strong modeling ability and artistic expression that conveyed the spirit through form. He was deeply appreciated by Emperor Yongzheng and Emperor Qianlong. During the Qianlong Dynasty, Chen Mei drew the “Yueman Qingyou Tu” in accordance with the emperor’s decree. According to the order of the twelfth lunar month in the Chinese lunar calendar, it showed the recreational activities of the beauties in the palace and garden in each month. This picture is the first in the album. It depicts the scene of the Mid-Autumn Festival in August, when beauties ascend to the Qiong Tower to recite poems, admire the moon, and look forward to family reunions.

During the Qianlong reign of the Qing Dynasty, Dong Bangda’s “Enjoyable Illustrations of Remaining Things” in Hongli Shu’s Autumn Post Ci Volume (partial). This is a calligraphy and painting scroll with the theme of Mid-Autumn Festival and the emperor and ministers of the Qianlong Dynasty. It begins with the four words “enjoyable things” written by Emperor Qianlong, and also begins with the imperial inscription “Draft a poem for the Mid-Autumn Festival and order the Imperial Academy and others to harmonize it”. Next, Dong Bangda (a Jinshi in the 11th year of Yongzheng’s reign, from Hanlin official to Minister of Rites) painted the Mid-Autumn Festival scene of the Chengde Summer Resort, the imperial palace outside the Great Wall. The bright moon is in the sky, and there are people admiring the moon in a grass pavilion near the river. Some people set up tables to worship the moon, hoping for happiness and contentment. At the end of the volume are poems by Liang Shizheng, Minister of Household Affairs, Qian Chenqun, Minister of Justice, and Emperor Qianlong. For Emperor Qianlong, appreciating the moon was appreciating the heart. Reunion with his family was important, and harmonious relationships with his courtiers were equally important.

Images and visuals are from – Forbidden City –Palace Museum Beijing- China –People’s Republic of China…..

#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #September2023 | #ForbiddenCityDairies -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage. Collection Seventh – Eleventh September 2023..

September 11, 2023 kevinjamesngLeave a comment

Ming Dynasty, Tao Cheng, Toad Palace Jade Rabbit scroll. Tao Cheng (date of birth and death unknown), whose courtesy name was Mengxue, whose first name was Maoxue, and whose name was Yunhushanren, was from Baoying, Jiangsu. He was wild by nature and versatile. The landscapes he painted mostly used green colors, which were bright and lustrous. The bamboos, rabbits and cranes and deer he painted were interesting and had the realistic style of the Song Dynasty. Toad Palace refers to the Moon Palace and is synonymous with the moon. From the poem written by Tao Cheng in the picture, we can see that he is depicting a rabbit looking up at the bright moon in the sky and missing the comfortable life in Toad Palace. For this reason, he specially painted the rabbit raising its front legs as if it were flying to the moon. This detailed depiction not only makes the painting lively and interesting, but also reveals the Jade Rabbit’s eagerness to return to the Toad Palace.

From the Ming Dynasty to the early Qing Dynasty, the talc Guanghan Qingjing Seal was used. Talc is a silicate mineral that is soft and smooth. The material is not expensive and is rarely used in seals. Although the toad has a bad image, it symbolizes longevity, so it is also quite popular among people. The seal “Guanghan Qingjing” echoes the toad seal, but it is in the secret palace of the deep palace. Using this as a metaphor will inevitably give people a sense of resentment.

On the 8^th September 2023 The autumn wind is getting colder, and the dew condenses in the cold. The pomegranates are full and ripe. Today 白鹿

During the Qianlong reign of the Qing Dynasty, the red sea-water bathing moon plate was carved. This lacquer plate was made during the Qianlong period. It is engraved with water ripples and the center of the plate is illuminated to represent the full moon. In the middle of the moon, the ocher-colored Jade Rabbit with fine hair scratched out on the yellow paint ground is concentrating on pounding the elixir of eternity under the laurel tree. This is the story of the Jade Rabbit in the Moon Palace in myths and legends. This plate is a masterpiece that combines red and gold lacquer techniques. The bottom of the plate is engraved with the model “Made in the Qianlong Year of the Qing Dynasty” and the name of the “Haiyue Incense Plate”. It is a royal vessel.

Qing Dynasty, Qianlong imperial inscription Chengni set inkstone imitates Song Dynasty Yuantu Dynasty Yuan inkstone. This inkstone is one of the antique clear clay inkstones. It is round in shape, has no inkstone pool on the surface, and is embossed with a jade rabbit and a full moon. A poem inscribed by the emperor is engraved with gold around the edge: “The small round and big round are like the moon, and the jade shape is more pregnant in it. The study room should be in charge of the city, and the promulgated hair can be ruthless in everything?” There are also four words “Qianlong Imperial Inscription” , “Knowing hearts are not far away” seal. On one side of the inkstone is engraved the product name “Imitation Song Dynasty Jade Rabbit Chaoyuan Inkstone”, and on the other side are the words “Chen Zheng Rui Gongjin”. The inkstone comes with a red sandalwood engraved brocade ground cover box, and the name of the product and the name of the tribute are also engraved on the side.
According to the “Xiqing Inkstone Book”, the pattern on the “Jade Rabbit Chaoyuan Inkstone” in the Qing Palace imitated the natural texture on the She inkstone in the Song Dynasty. Its shape can be said to be either a rabbit or a rhinoceros, reflecting the antique style of that time. characteristics of the times. During the Qianlong period, various kinds of antique inkstones were made from Duanshi, Sheshi, Chengni, etc. Among them, the complete sets of antique Chengni inkstones are the most praised.

Images and visuals are from – Forbidden City –Palace Museum Beijing- China –People’s Republic of China…..

#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #September2023 | #ForbiddenCityDairies The #MeridianGate (Wu men) -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage. Exhibition on Chinese tea culture opens at Palace Museum

September 10, 2023 kevinjamesngLeave a comment

From September 2 to November 30^th 2023 , “Tea·World—Tea Culture Special Exhibition” will be on display at the Meridian Gate and East and West Yanchi Tower exhibition halls of the Forbidden City Beijing Palace Museum, China, people’s Republic of China . This exhibition is hosted by the Palace Museum and brings together representative collections from 30 archaeological and cultural institutions at home and abroad, with a total of 555 exhibits (groups). The exhibition is divided into four sections: Tea came from China, the tea ceremony is peaceful, the tea road is thousands of miles long, and the tea charm is long. With a distinctive theme and a grand scale, it three-dimensionally displays the Chinese tea civilization that transcends history, connects regions, and integrates nations. During the exhibition, a tea cultural and creative experience space was also opened in the Northeast Chonglou of Meridian Gate, allowing visitors to immerse themselves in the charm of tea culture. China Construction Bank serves as the joint promoter of the exhibition, and Longfor Group serves as the public welfare supporter of the exhibition to jointly support the exhibition activities. This exhibition is free to visit with Palace Museum tickets. Visitors must make a real-name reservation in advance through the “Forbidden City Museum” WeChat applet…

“The World of Tea: Special Exhibition on Tea Culture” opened at the Wu men (the Meridian Gate) Exhibition Hall of the Palace Museum on Friday in Beijing. From September 2 to November 30, 2023, the exhibition welcomes the public to explore a curated collection of tea-related artifacts. Presented by the Palace Museum, an array of tea-related treasures sourced from 30 esteemed cultural institutions and museums, both domestically and internationally, are on display at the exhibition. With an impressive assemblage of 555 cultural relics, encompassing individual pieces and intricate sets, this exhibition illuminates the fascinating journey of Chinese tea civilization. Furthermore, it provides insights into this cultural phenomenon’s origins, evolution, and remarkable achievements while emphasizing how tea has acted as a unifying thread connecting diverse regions and fostering the integration of various ethnic groups.

The exhibition’s opening ceremony was held on Friday at the Baoyun Lou (Hall for Accumulated Treasures) of the Palace Museum. Distinguished guests included Wang Xudong, a member of the Party Leadership Group of the Ministry of Culture and Tourism and director of the Palace Museum; Rao Quan, a member of the Party Leadership Group of the Ministry of Culture and Tourism and vice minister of culture and tourism; Guan Qiang, a member of the Party Leadership Group and deputy administrator of the National Cultural Heritage Administration; Shan Jixiang, president of the Chinese Society of Cultural Relics and former director of the Palace Museum; Liu Yuzhu, chairman of the China Foundation for Cultural Heritage Conservation; Liu Zhonghua, an academician with the Chinese Academy of Engineering and a professor at Hunan Agricultural University; Fung Ming Chu, former director of the Taipei Palace Museum; Lin Zhongyue, chairman of the Cross-Straits Tea Exchanges Association; and Cheng Pei-kai, former chairman of the Hong Kong Intangible Cultural Heritage Advisory Committee. Representatives from participating exhibitors, officials from cultural and museum departments in Beijing, representatives from societies, associations and foundations, experts and scholars, and leaders of the Palace Museum also attend the opening ceremony. Wang Xudong, director of the Palace Museum; Sergei Nilov, head of the Department of Russian Culture and History of the Russian State Hermitage Museum; Li Yun, executive vice president of China Construction Bank; and Song Yao, vice president of the Longfor Group and vice chairman of Longfor Foundation, all delivered speeches. Kang Hui, a well-known Chinese TV host, presided over the opening ceremony.

In November 2022, the United Nations Educational, Scientific, and Cultural Organization (UNESCO) acknowledged Chinese traditional tea processing techniques and their associated social practices in its intangible cultural heritage list. This noteworthy recognition marks a significant stride in promoting Chinese tea culture and facilitating deeper cross-cultural exchanges and mutual learning.

To further these objectives, the Palace Museum has organized “The World of Tea: Special Exhibition on Tea Culture.” This exhibition seeks to advance the systematic protection of intangible cultural heritage, stimulate innovative developments in China’s rich traditional culture, and fortify the bonds within the Chinese nation while showcasing the allure of Chinese culture on a global scale. Through the medium of this exhibition, the Palace Museum delves into the depths of tea history, explores the intricacies of the tea ceremony, and celebrates the diversity of tea-related activities. Using tea as a conduit, it elucidates the essence of Chinese tea culture, which greatly emphasizes the values of harmony and unity.

Tea originated in China and is popular worldwide. Legend has it that the Chinese were already aware of and making use of tea during the era of Shennong (who is considered the first Yan Emperor and an ancestor of the Chinese people). In Zhejiang Province, roots of artificially cultivated tea trees dating back about 6,000 years have been discovered. In Shandong Province, remains of boiled tea leaves dating back about 2,400 years were discovered in ancient tombs from the Warring States Period (476-221 BC), making it the oldest known evidence of tea drinking. Since the Han Dynasty (202 BC-220 AD), the tea preparation and drinking methods were diversified, including eating, frying, whisking, boiling, and steeping. Drinking tea has evolved into a cultural activity that sates an aesthetic thirst. The Chinese have combined their thoughts on life, the nation, nature, and the universe with daily practices, forming the essence of tea culture. The widespread embrace of tea within China has acted as a catalyst, promoting interactions among people from diverse regions and ethnic backgrounds who all share a deep affection for this cherished beverage. Furthermore, the global dissemination of tea has acted as a conduit for cultural fusion across the vast expanse of the Eurasian continent.

The exhibition delves into tea culture and fully presents the development of Chinese civilization and its interactions with other civilizations, all through the lens of tea as a medium. The exhibition comprises four sections, each illuminating a distinct facet of tea’s rich history and cultural significance.The first section explores the origins of tea in China, tracing its development over thousands of years and its pivotal role in politics, economics, and cultural exchanges. On display are cultural relics from the Qing Dynasty (1644-1911), including preserved tea leaves, export paintings, and combinations of various objects. The second section delves into the essence of the tea ceremony, featuring a collection of notable paintings and calligraphy from the Palace Museum, as well as ancient texts and excavated tea sets. In the third section, the exhibition traces the global spread of tea from China to various parts of the world, highlighting how different cultures adopted and adapted tea culture. Exhibits include exquisite tea sets from the UK, Japan, and Russia, unique tea sets used in the Qing Dynasty court, and foreign-style tea sets produced by the Imperial Workshop of the Qing Dynasty. The fourth and final section discusses the enduring appeal of tea culture, emphasizing its diverse and integral role in people’s daily lives across the globe. Rooted in tradition, it showcases tea culture’s ongoing development and prospects.

The exhibition spans from the Neolithic Age to the present day. It highlights the development and adoption of tea culture over thousands of years, as well as its embodiment of Chinese philosophical ideals such as unity of nature and man and universal harmony. The exhibits include ancient green-tea tree roots unearthed from the Tianluoshan site of the Hemudu culture (about 5000 BC to 4000 BC) in Yuyao, Zhejiang Province, pushing back the timeline of tea planting in China to about 6,000 years ago. Tea bowls and remains of boiled tea leaves were unearthed from a tomb of the Warring States Period in Zoucheng of Shandong Province, making it the oldest known evidence of tea drinking. The exhibition also features unearthed tea leaves from the Han and Song (960-1279) dynasties, along with over 40 pieces or sets of tribute tea (Gong Cha in Chinese) from the Qing Dynasty collected by the Palace Museum. Together, these cultural relics document China’s over 6,000-year history of tea cultivation and utilization. On display for the first time, a complete set of tea wares unearthed from a Tang Dynasty (618-907) tomb in Qujiangzhuang of Changzhi City, Shanxi Province, in 2022 is one of the most recent archaeological discoveries reflecting Tang Dynasty tea culture. The painting Spring Banquet illustrates a gathering of literati around a rectangular banquet table, with tea-related tools such as tea spoons and tea cups on it, offering a snapshot of how Song Dynasty literati enjoyed tea. A painted clay sculpture of the “Tea Sage” Lu Yu, originally displayed in the Emperor Qianlong’s tea room in Chengde Mountain Resort, is also featured. Accompanying this sculpture are tea sets and a statue from the Tang Dynasty unearthed in Gongyi, Henan Province. The statue is believed to be a representation of Lu Yu. From the Tang to the Qing Dynasty, the once-in-a-millennium meeting of two statues of Lu Yu is unprecedented in the history of tea culture.

This exhibition features a total of 555 pieces or sets of exhibits, including 227 from representative collections of 30 cultural institutions and museums both domestically and internationally. These collections are sourced from esteemed institutions such as the National Library of China, the National Museum of China, the China National Tea Museum, the Institute of Archaeology of the Chinese Academy of Social Sciences, the Museum of Ethnic Cultures of Minzu University of China, the Management Center of Ming Tombs in Beijing’s Changping District, the Shanghai Museum, the Tianjin Library, the Museum of Heilongjiang Province, the Hebei Provincial Institute of Cultural Relics and Archeology, the Xinjiang Uygur Autonomous Region Museum, the Shaanxi Academy of Archeology, the Famen Temple Museum, the Hanyangling Museum, the Gongyi Museum, the Shandong University Museum, the Changzhi City Cultural Relics Protection Research Center (Changzhi City Archaeological Research Institute), the Xiyang County Cultural Relics Institute (Xiyang County Museum), the Hunan Provincial Institute of Cultural Relics and Archeology, the Hunan Museum, the Nanjing Museum, the Guizhou Provincial Museum, the Zhejiang Provincial Institute of Cultural Relics and Archeology, the Guangdong Provincial Museum, the Shaowu Museum, the Opium War Museum, the Russian State Hermitage Museum, the British Victoria and Albert Museum, and the Tokyo National Museum and the Idemitsu Museum of Arts in Japan.

“The World of Tea: Special Exhibition on Tea Culture” comes with an exhibition catalog. Simultaneously, the Palace Museum’s official website will initiate online exhibition tours. Moreover, multiple channels and formats will be adopted to promote the exhibition, including the museum’s official accounts on Weibo, WeChat, and online video platforms. The Palace Museum will sequentially present a series of public academic lectures to facilitate visitors to understand the exhibition. Please stay tuned for lecture announcements on the “The Palace Museum Publicity and Education” official WeChat account.

During the exhibition, a tea-related cultural and creative products experience space is open to visitors at the Chonglou (the Lofty Pavilion) in the northeast of Wu men (the Meridian Gate). This unique space is a dedicated area for cultural and creative exploration, highlighting the essence of tea culture within the Forbidden City, with a theme centered around “thousands of feet of snow.” By seamlessly integrating elements such as white jade carving, meticulous mortise and tenon craftsmanship, and the iconic red wall color, visitors are invited to fully immerse themselves in the captivating allure of traditional Chinese culture while indulging in a profound tea culture experience.

China Construction Bank, as the joint promoter of the exhibition, and Longfor Group, as the public welfare supporter, have collaborated to support the exhibition activities. During the exhibition, the Palace Museum and China Construction Bank will launch the fifth round of new precious metal cultural and creative products – the “Divine Animals of the Forbidden City.”

Admission to this exhibition is free with a Palace Museum ticket, and visitors can make real-name reservations through the “Palace Museum” WeChat mini-program.

Images and visuals are from – Forbidden City –Palace Museum Beijing- China –People’s Republic of China…..