On July 19th 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.
On July 19th 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… .
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.
On July 19th 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… .
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 8th 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.
From September 2 to November 30th 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.
On July 19th 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… .
Let’s read the calendar together…. Guangxu of the Qing Dynasty, red silk embroidered colourful clouds, bats, gold dragon and phoenix pattern hijab. When the emperor of the Qing Dynasty got married, the queen also covered her face with a hijab just like in folk weddings. This hijab has a square shape and is made of red river silk. The word “囍” is embroidered with gold thread in the center, and patterns of bats and “卍” are embroidered on the word “囍”, which means long blessings. Golden dragon and phoenix patterns are embroidered around the word “囍”, and the word “longevity” is embroidered in gold around it. , golden “囍” character, clouds, bats, gourds, etc. Four groups of tassels in red, green, and yellow colours hang from the four corners.
去我们一起来读计划 In the Qing Dynasty, gold-plated copper with silk dots and emeralds inlaid with pearls and stones and phoenix tin. When the queens of the Qing Dynasty wore auspicious clothes, they could wear phoenix tin on their heads. Tianzi is a unique headdress for Manchu women. Its shape is high at the front and low at the back, with a dome at the top and a wide bottom. According to the number and style of decorated tin flowers, tin can be divided into half tin, full tin and phoenix tin, each of which has different usage occasions. This tin is lined with red velvet, emerald emerald dragon, phoenix, “囍”, etc., in line with the theme of the wedding…
七夕 is a festival for girls, and the ancients would hold a wealth of “begging for cleverness” activities. In addition to the well-known “threading a needle and begging for cleverness”, the custom of “worshiping the Milky Way” (also known as “worshiping double stars”) was also popular in the Ming and Qing Dynasties. A group of young women and girls make an appointment in advance at which house to worship on Qixi Festival. Most of them choose a house with a beautiful courtyard or a garden to be the host, and everyone shares the purchase of sacrifices. Everyone fasts and bathes the day before to get ready. At that time, everyone will dress up and go to the organizer’s home to take turns burning incense and worshiping. Seasonal fruits such as “flower melons” carved from watermelons and peaches are displayed on the altar. Some even put cosmetics such as rouge and fragrant powder on the altar for the Weaver Girl to enjoy. What they pray for is nothing more than to be beautiful and marry a good man; or to have a happy family and harmonious husband and wife. After the worship is over, the incense powder dedicated to Zhinu will be divided into two halves, and half will be thrown on the house for Zhinu to enjoy, and the other half will be kept for herself. They believe that they can maintain their youthful beauty by using the cosmetics shared with Zhinu.
去我们一起来读计划 Qing, Qingkuan, etc., the big wedding picture of the Queen Fengyu entering the palace. The seventh volume of Emperor Guangxu’s “Wedding Pictures”, “The Picture of Empress Fengyu Entering the Palace,” depicts the process of the wedding procession starting from the Queen’s residence to the Qianqing Palace. It includes seventeen pages of images and nine pages of illustrations. The following set of pictures are taken from this volume. . Emperors of the Qing Dynasty all married at night. During the wedding of Emperor Guangxu, Queen Fengyu “started from the eaves of the main hall of the Di Di at the third quarter of the first lunar month, arrived at East Chang’an Street at the first quarter of the first lunar month, and arrived at the East Chang’an archway at the second quarter of the first lunar month. In the second quarter of Yinchu, five minutes to Qianqing Gate, and in Yinzheng three quarters, five minutes to the eaves of Qianqing Palace.” In this picture, the Yuzhan, Longqi, Huanggai, Honglu Temple Preface, Mingzan Officer, Chief and Deputy Envoys, Ceting, and Baoting in front of the team have all passed through Duanmen and walked outside the Meridian Gate. The horses are separated Stop in front of the East and West Yanchi Towers.
Qing Dynasty, Qing Kuan, etc., the Empress Fengyu entering the palace of the big wedding picture. When Emperor Guangxu got married, the welcoming team went from the middle gates of Meridian Gate and Taihe Gate to the middle left gate, rear left gate and Qianqing gate. North Korean officials and others stopped here. According to the auspicious time predicted by Qin Tianjian, Empress Fengyu will arrive at Qianqing Gate at the second quarter of Yinchu (around 3:35 a.m.), and the eunuch of the Ministry of Internal Affairs will pick her up and carry Fengyu into Qianqing Gate. Empress Yu Yinzheng could only get out of the sedan chair at three quarters and five minutes (about 4:50 in the morning). With the help of four respectful maids, she stepped over the brazier in the Qianqing Palace, walked out from the back fan, and returned to the palace where she will live in the future to rest. , In the evening, go to Kunning Palace to perform the wedding ceremony. From the moment the queen gets off the sedan chair, these inner court etiquette cannot be understood by outsiders. Empress Dowager Cixi specially issued a decree asking painters not to paint.
Qing Dynasty, gold inlaid wooden handle and gold mention furnace. In the procession of marrying the queen, the queen Fengyu used the stove as a guide. The gold furnace held by the captain is like this. The furnace body is cylindrical, with chiseled dragon patterns on the outside, and an umbrella-shaped cover. The cover is hollowed out with gossip patterns, and a phoenix button is placed on the top. There are three animal ears with rings on the abdomen, and three elephant feet below. There are three chains on the three ears, and the chains are assembled on an eight-petal fancy board. Each petal is in the shape of a wishful cloud head, with a “囍” character inside, and a phoenix button on the top. The phoenix button is looped to connect with the hook on the handle. The handle is made of red sandalwood, with finely carved “囍” character flowers and plants, inlaid with gold chiseled phoenix head and ruyi-shaped tail.
Qing, Jin Baoping. After the queen was welcomed into the palace, she waited for the auspicious time to lay down her phoenix in front of the Qianqing Palace. The queen changed the gold Ruyi and apples she held into a gold vase, which contained two pearls, two gems, two coins, two silver coins, and gold. Two handles of Ruyi, two handles of silver, two gold ingots, two silver ingots, two sets of eight gold treasures, two sets of eight silver treasures, and a handful of gold and silver rice, symbolizing possession of all gold and silver treasures in the world. The queen embraces the golden vase and steps into the Qianqing Palace.
During the reign of Emperor Guangxu of the Qing Dynasty, the emperor and the queen wore auspicious clothes in bright yellow silk embroidered with the characters “囍”, colorful clouds, bats, golden dragon patterns and female cotton dragon robes during the wedding ceremony. Jifu is a garment worn on occasions such as royal celebrations and festivals, including Jifu robes and Jifu gowns. Jifu robes are often referred to as dragon robes. The shape of the queen’s robe is a straight robe with a round collar, a large right lapel, horse hoof sleeves (with middle sleeves), and left and right hems. This robe is bright yellow in color and decorated with nine dragons all over the body, one on the chest, one on the back and one on each shoulder, two on the front and two on the hem, and one on the front. The entire robe is decorated with coral beads the size of rice grains, and the red word “囍” is embroidered with the rice bead technique to set off the festive atmosphere of the wedding….
Qing Guangxu, stone blue satin embroidered with eight groups of happy birthday word colorful cloud dragon dragon jacket clip. This is the dragon gown worn by the Empress of the Hebei ceremony, with a round neck, double breasts, flat sleeves, and a hem that opens at the back. This gown uses two to four-color halo method to embroider the word “卍” with eight groups of colorful clouds and white dragons, sea water, river cliffs and miscellaneous treasures, etc. patterns. The gown is lined with a moon-white auspicious cloud and tuanlong woven gold satin lining with the character “Shou”, and the cuffs are inlaid with a stone blue “Swastika” woven gold satin edge. The collar is decorated with a gilt-bronze chiseled buckle, and the rest is decorated with four stone-blue gold-woven satin loops.
In the Qing Dynasty, gold-plated copper with silk dots and emeralds inlaid with pearls and stones and phoenix tin. Manchu women can wear tanzi, a kind of hat ornament, when wearing auspicious clothes. This mother-of-pearl is made of rattan pieces as a frame, and is wrapped and braided with cyan silk threads to form a mesh. The upper part is circled with dotted jade and hollowed out with an ancient money pattern on the head and face, and the lower part is lined with red velvet. The front and sides of the necklace are decorated with six golden phoenixes, the tail is decorated with five golden phoenixes, and the bottom is decorated with seven golden birds. Each of them holds various strings of jewels and stone necklaces in its mouth.
Qing, silver inlaid coral collar. The collar, also known as the collar, is used to restrain the collar around the neck, and it was a dress item for empresses and concubines in the Qing Dynasty. This collar is approximately ring-shaped and has a live opening and closing type. There are three rings in total, two of which are made of silver and gold, carved with cloud and bat patterns and the characters “囍” and “寿”. Inlaid with rubies and tourmalines. Two ribbons are tied at the living mouth, and each belt is worn with red coral….
Qing Dynasty, Dongzhu Chaozhu. Emperors and empresses of the Qing Dynasty wore court beads when they wore court clothes or auspicious clothes. Each plate of Chao beads is made of 108 round beads, and every 27 beads are added with a large round bead of different materials, called “Buddha head”. One of the Buddha’s heads is connected to a gourd-shaped “Buddha” with a “back cloud” hanging down behind it. There are three strings of 10 small beads on both sides of the chao bead, which are called “memory”. The materials of Chao Zhu are East beads, coral, beeswax, jade, agate, crystal, amber, tourmaline, lapis lazuli, turquoise, etc. They are used according to different status, grade and occasion. Dongzhu is produced from the Songhua River in Northeast China, the birthplace of the Manchu people. Dongzhu Chaozhu can only be worn by the emperor, empress dowager and empress…
It is said that old tea is rich and mellow, and the longer it gets, the more fragrant it becomes. Have you ever seen “old tea” that is thousands of years old?
Many ancient teas are on display in the Meridian Gate Exhibition Hall of the “Tea World – Tea Culture Special Exhibition” that will be introduced to you soon. From the tea remains from the tombs of the Warring States Period in Shandong more than 2,400 years ago, to the physical tea leaves of the Han and Song dynasties, to the tribute teas of the Qing Dynasty with different origins and varieties, we have witnessed the development and evolution of the theory and practice of Chinese tea culture.
The tea ceremony has lasted for thousands of years, and the Buddhist tradition has always been the Buddhist tradition. For this exhibition, we specially invited Mr. Geng Baochang, deputy chairman of the Cultural Relics Appraisal Committee of the State Administration of Cultural Heritage, a famous expert and a centenarian, to inscribe the exhibition “Tea Ceremony Shanghe”. Chinese people combine their thinking about life, family, country, nature, and the universe with their daily life practices to form the spiritual core of tea culture. Just like old tea, it is timeless and new.
Eastern Han Dynasty, lintel stone portrait. Chinese people have romantic feelings and unlimited imagination about the moon. There are countless poems, songs, myths and legends about the moon. Toads appeared in images about the moon in the Han Dynasty. Toads live longer, so the Jade Rabbit made the pills into the shape of a toad, and used the toad’s light to reach the middle of the moon. Portrait stone is a stone building material carved with images. The images mainly include real life, historical stories, myths and legends, decorative patterns, etc. This stone portrait was unearthed in Suide County, Shaanxi Province. The jade rabbit on the right side of the lower layer stands upright, holding a pestle in one hand and a mortar in the other, struggling to pound medicine.
From September 2 to November 30, “Tea·World—Tea Culture Special Exhibition” will be on display at the Meridian Gate and East and West Yanchi Tower exhibition halls of the Palace Museum. 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 units: Tea Out of China, Tea Ceremony, Tea Road Thousands of Miles, and Tea Rhythm. With a distinctive theme and a grand scale, it three-dimensionally displays the Chinese tea civilization that crosses 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, as the joint promoter of the exhibition, and Longfor Group, as the public welfare supporter of the exhibition, jointly assisted 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
Eastern Jin Dynasty, Wang Xianzhi, Mid-Autumn Festival posts. The “Mid-Autumn Tie”, which was regarded as one of the treasures of Sanxitang by Emperor Qianlong, has 22 characters in existence: “Mid-Autumn Festival will no longer be lost, and it will be returned. It is even a matter of how to win He Qing and other troops.” It is a copy of Wang Xianzhi’s chido “December Cut to Tie”, which cannot be read in sentences. Because of the word “Mid-Autumn” in the first book, it is the name of the post, and it has become a famous post related to the Mid-Autumn Festival. Some scholars believe that this post has the meaning of Mi Fu’s brushwork in Song Dynasty, and it was not written by Wang Xianzhi himself. Regardless of whether the author is Mi Fu or Wang Xianzhi, this post retains the charm of Wang Xianzhi’s original work, and the “one-stroke calligraphy” cursive technique is brought to the extreme.
Eastern Jin Dynasty, Wang Xianzhi, Ding Guanpeng of the Mid-Autumn Festival post, the autumn color equally divides the Wushao month on the picture. After Emperor Qianlong got the “Mid-Autumn Tie”, he couldn’t put it down. He not only inscribed three postscripts successively from February to August in Qianlong Bingyin (1746), but also ordered the court painter Ding Guanpeng to paint at the end of the scroll. In the picture above the moon, Wang Xianzhi is under the sycamore tree, looking up at the full moon in the Mid-Autumn Festival, as if he wants to write a book. To a certain extent, this picture reproduces the scene of Wang Xianzhi’s “Mid-Autumn Post” in the form of painting. It can be seen that Emperor Qianlong hoped to express his admiration for Wang Xianzhi and his love for “Mid-Autumn Post” by means of accompanying pictures.
Tang, a bronze moon palace pattern mirror. Chang’e Flying to the Moon is a beautiful and sad fairy tale. It is beautiful because the osmanthus trees are whirling, the moon is bright, and the fairy Chang’e is dancing gracefully, forming a romantic picture; it is sad because the Guanghan Palace is cold and lonely, which always arouses people’s laments and sentiments, “Chang’e should regret stealing.” The elixir, Bihaiqingtian, heart every night.” This moon palace pattern mirror is centered on the osmanthus tree, under the tree is a toad,
Song, bronze Changchun mirror. The outer edge of the bronze mirror is octagonal. From the outside to the inside, there are eight trigrams, seven stars, mirror inscriptions and the scene of a jade rabbit pounding medicine in front of Guanghan Palace. The Bagua is the innate Fuxi direction, and the Qian Gua is in the southeast. The seven stars and the eight trigrams are scattered and separated, and the inscription on the mirror reads: “Seven stars shine brightly through the three worlds, and a spiritual light shines for thousands of years. Changchun mirror.” Judging from the inscription and pattern on the mirror, this is a bronze mirror related to Taoism related….
