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.
Starting from October 17, the “ 仁景景從 ——Exhibition of donated cultural relics from the Palace Museum” will be on display at the Jingren Palace in the Palace Museum! Jingren Palace is a special donation museum opened by the Palace Museum in 2005, with a “Jingren List” engraved with the list of donors. Since 1945, the Palace Museum has received a total of 35,000 pieces/sets of cultural relics donated by more than 800 people from all walks of life.
This exhibition is divided into three units: “Remembering the People”, “Remembering Their Merits” and “Honoring Their Virtues”, which present the deep meaning and diverse values of donated cultural relics in all aspects, and guide the audience to have an in-depth understanding of the donated cultural relics and the stories behind them. More than 100 exhibits donated by 100 donors are on display, including donated cultural relics from donors such as Zheng Zhenduo and Sun Yingzhou. The exhibits include calligraphy and painting, ceramics, inscriptions, jade and stoneware, gold and silver wares, sculptures, etc. The exhibition will last for one year. This exhibition is exclusively donated by the Public Welfare and Charity Research Institute.
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.
Introduction: From the first shipment of Forbidden City artifacts from Beijing in February 1933 to the return of the majority of these artifacts from the south in September 1958, Palace Museum staff, accompanied by these “national treasures,” overcame countless hardships and dangers, under the protection of people from all walks of life and from all over the country, embarking on a journey that lasted over two decades and covered tens of thousands of miles. Let us follow this exhibition back to the place where these stories took place and rediscover historical memories.
Starting from October 1st, the ” Palace Museum Cultural Relics Southward Migration Memorial Exhibition ” will be officially open to the public at the Shenwu Gate Exhibition Hall of the Palace Museum! The exhibition is sponsored by the Palace Museum and the People’s Daily “National Humanities and History” magazine, co-sponsored by the Shen Chunchi Cultural and Educational Foundation, and undertaken by the Palace Museum Archives (Academy History Exhibition Hall) and China Mobile Migu Company.
The relocation of the Palace Museum’s cultural relics to the south was a monumental feat by the Chinese people to safeguard China’s cultural heritage at a time of unprecedented national crisis. The first section, “National Treasures Transported South and Returned North,” uses archival documents, historical footage, and the actual cultural relics that were relocated south to trace the process from Peking to Shanghai and Nanjing. Following the changing situation during the Anti-Japanese War, the relics were relocated westward in three routes to Sichuan and Guizhou. The subsequent relocation of some relics to Taiwan due to changing social conditions led to the gradual return of the vast majority of the relics to the north after the founding of the People’s Republic of China. This exhibition presents a comprehensive historical overview of the Palace Museum’s cultural relics’ displacement and migration from the 1930s to the 1950s.
#Palace Museum Cultural Relics Southward Migration Memorial Exhibition# The second section, “National Treasures Revived from Fire,” showcases precious cultural relics selected by the Palace Museum during the Anti-Japanese War through exhibition posters, newspaper and magazine albums, exhibition catalogs, and other documents, combined with bronzes, porcelains, jades, calligraphy and paintings. These treasures traveled to London, England, and Moscow and Leningrad, Soviet Union, to participate in the China Art International Exhibition. Exhibitions of calligraphy and paintings were also held in Chongqing, Guiyang, and Chengdu to express gratitude to people from all walks of life in the southwest region for their care and preservation of the Palace Museum’s cultural relics .
The southward migration of the Palace Museum’s cultural relics lasted more than 20 years and traveled tens of thousands of miles. It was a glorious period for the Palace Museum and a period of struggle for the Chinese nation. During the arduous war years, people from all walks of life left behind many touching true stories and precious historical memories in order to protect the roots of Chinese culture. This exhibition selects more than 100 exhibits (sets), using the southward migration of the Palace Museum’s cultural relics as the timeline to present a three-dimensional picture of the arduous journey of the southward migration of the Palace Museum’s cultural relics. The exhibition will last until December 31st.
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.
Starting from October 1st, the ” Palace Museum Cultural Relics Southward Migration Memorial Exhibition ” will be officially open to the public at the Shenwu Gate Exhibition Hall of the Palace Museum! The exhibition is sponsored by the Palace Museum and the People’s Daily “National Humanities and History” magazine, co-sponsored by the Shen Chunchi Cultural and Educational Foundation, and undertaken by the Palace Museum Archives (Academy History Exhibition Hall) and China Mobile Migu Company.
The southward migration of the Palace Museum’s cultural relics lasted more than 20 years and traveled tens of thousands of miles. It was a glorious period for the Palace Museum and a period of struggle for the Chinese nation. During the arduous war years, people from all walks of life left behind many touching true stories and precious historical memories in order to protect the roots of Chinese culture. This exhibition selects more than 100 exhibits (sets), using the southward migration of the Palace Museum’s cultural relics as the timeline to present a three-dimensional picture of the arduous journey of the southward migration of the Palace Museum’s cultural relics. The exhibition will last until December 31st.
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.
“ Century of Guarding —From the Forbidden City to the Palace Museum” will be officially open to the public on September 30th at the Meridian Gate Exhibition Hall. This exhibition uses 200 pieces (sets) of precious cultural relics to give a three-dimensional interpretation of the outstanding continuity, innovation, unity, inclusiveness, and peace of Chinese civilization, and comprehensively presents the development process of the Palace Museum from its infancy to its tortuous growth, from difficult steps to strides forward, and from exploration and exploration to keen innovation. Through the three chapters of “One Thread of Literature,” “A Century of Heritage,” and “A Thousand Atmospheres,” the exhibition restores this century-long journey belonging to the Forbidden City and presents the century-long answer sheet of Chinese civilization that has been passed down from generation to generation.
Visitors can purchase tickets to the Palace Museum through the “Palace Museum” WeChat applet and make a free reservation for the exhibition. There will be many visitors during the National Day holiday, so it is recommended that everyone properly arrange their visit to the museum and recommend visiting during off-peak hours. The exhibition will last until December 30, 2025.
The first and second courtyards of the Ningshou Palace Garden in the Forbidden City will be open to the public starting September 30th! Located in the northwest corner of the Ningshou Palace area (now the Treasure House), the Ningshou Palace Garden, also known as the “Qianlong Garden,” was built by Emperor Qianlong as his ideal residence for his later years. Within this newly opened area, visitors can admire numerous distinctive structures, including the Xishang Pavilion, inspired by the Lanting Gatherings; the Guhua Pavilion, named after an ancient catalpa tree; the towering Chenglu Terrace; and the profound Suichu Hall. Through meticulous conservation and restoration, these buildings have been revitalized. Wandering amidst the cascading hills and waterways and lush ancient trees, visitors will experience firsthand the aesthetic essence of classical Chinese gardens, characterized by “man-made yet seemingly created by nature,” and appreciate the remarkable achievements of 18th-century Chinese architecture, gardens, and arts and crafts.
At the same time, the themed exhibition ” Heavenly Craftsmanship — The History and Preservation of the Ningshou Palace Garden” will be on display in the garden’s Suichu Hall and the east and west side halls, systematically presenting the historical and cultural value of the Ningshou Palace Garden and the achievements of its preservation and restoration. The Ningshou Palace Garden is located within the Treasure House and can be visited by purchasing a Treasure House ticket .
QIPAO 旗袍 Cheongsam …. In which from historically Shenyang is the birth place of the Qing Dynasty 1636-1912plus …. In which Qipao is termed for Qing Dynasty Clothing that the Manchu ethnic adoptively wore…… in which the Shenyang Palace Museum was an imperial palace towards two Qing Dynasty emperors. Previously two years ago During the event it which was an eight day forums, with exhibitions also related workshops illustrating the birth place of the Old Capital of Cheongsam where the Qing Dynasty- Qipao was inspired from..
With the introduction of Ai generate images from various platforms, I’ve been lately experimenting of how to apply of generating Chinese Fashions, with Chinese traditional Chinese Fashion elements, from Chinese Intangible Cultural heritage in Qipao/ Cheongsam/ Hanfu – Chinese Han Traditional Clothing. from either post Dynastic elements, in modern format within the Ai Generative platform vocabulary algorithm ecosystems. In this case it was generating that late young teenage or 21 year old elegant beautiful Chinese woman model to model the that written prompt of that descriptive Chinese inspired elementally clothing she’s wearing, how she poses, , what props, what time of setting she’s in, the type of lighting, the mood, either applying Hyperrealistic, Photorealistic, or other various camera themes or genres to get that generative frame.
introduction is a Young Teenage 21 year young elegant beautiful supermodel Chinese girl/ very young woman in a summery season scene, where sheltering from the summery heat in a Chinese pavilion wearing breathable sheer silks fabrics in particular sheerness whites in a long Qipao/ Cheongsam …. In keeping you cool, with whites refection of heat, also puts you in the center of attention of brilliance intelligence innocence bringing you more asspects elements of Chinese intangible cultural heritages
The Erhu (二胡) is a two-stringed bowed fiddle whose history spans over a thousand years, evolving from a regional folk instrument of low social status into one of the most prominent and expressive solo instruments in contemporary Chinese music.
Here is a history of the Erhu, divided by its major developmental periods:
1. Origins and Early Development (Tang & Song Dynasties)
The Erhu belongs to the Huqin (胡琴) family, a generic term for Chinese bowed string instruments. The character hu means “barbarian” or “non-Han people,” indicating its non-indigenous origin.
The Name: The name Erhu itself, meaning “two (èr) barbarian fiddle (hu),” likely became standardized much later, around the early 20th century, though the instrument family was referenced as jiqin or huqin during the Song Dynasty (960–1279 AD).
Arrival via the Silk Road: The Erhu’s ancestor is widely believed to be the Xiqin (奚琴), a bowed instrument introduced to China from Central and Northern Asia (possibly from nomadic groups like the Mongolic Xi people) during the Tang Dynasty (618–907 AD). This instrument family is related to Central Asian and Middle Eastern spike fiddles like the Persian rabab.
Early Use: In these early periods, the Erhu and its relatives were primarily folk instruments used by common people, street musicians, and as accompaniment in narrative singing and regional opera. They held a much lower social status than the instruments of the court and literati, such as the Guqin (zither).
2. Ming and Qing Dynasties (1368–1911)
During the Ming and Qing dynasties, the huqin family proliferated, with different variations emerging to accompany the diverse forms of regional Chinese opera.
Opera Accompaniment: The Erhu’s distinct, expressive voice made it an essential member of opera ensembles, particularly in the south (where it was sometimes called Nanhu, or “Southern Huqin”). Its function was mainly to accompany the human voice, doubling the singer’s melodic line.
Instrumental Ensembles: It became a standard component in folk ensembles, such as Jiangnan Sizhu (Silk and Bamboo Music of the Jiangnan region), popular in tea houses and community gatherings.
3. The Modern Transformation (Early 20th Century)
The early 20th century marks the most critical turning point for the Erhu, elevating it from a simple folk instrument to a solo virtuoso instrument of concert halls.
Liu Tianhua (1895–1932): Known as the “Father of the Modern Erhu,” Liu Tianhua was a pivotal figure. He recognized the instrument’s potential and initiated its modernization:
Standardization: He standardized the construction and playing techniques of the Erhu, drawing on both Chinese folk traditions and Western musical theory (which he learned through his study of the violin).
Solo Repertoire: Crucially, he was the first to compose original solo concert works (e.g., Yueye or Moonlit Night) and etudes for the Erhu, establishing a professional, academic tradition for the instrument.
Educational Status: He introduced the Erhu into the conservatory and university curriculum, fundamentally raising its social and artistic status.
Hua Yanjun (‘Abing’) (1893–1950): A blind street musician from Wuxi, Abing was a genius of improvisation and performance. His works, such as the world-famous “Erquan Yingyue” (Moon Reflection on Erquan), were only recorded shortly before his death. They captured the raw, deep, and emotive power of the instrument, becoming cornerstones of the modern Erhu repertoire.
4. Contemporary Erhu (Post-1949)
After the founding of the People’s Republic of China, the Erhu was further developed and institutionalized.
Technical Refinements: The use of steel strings (replacing silk) and minor adjustments to the size and shape of the sound box were adopted to increase the instrument’s volume and projection, making it suitable for large modern Chinese orchestras.
The Orchestra: The Erhu became the core of the string section in the modern Chinese orchestra, which was formed using the Western symphony orchestra model (with high-pitched Gaohu, middle-pitched Erhu, and lower-pitched Zhonghu).
Global Recognition: Today, the Erhu is a fully established classical instrument, with a vast and growing repertoire of solo pieces, concertos, and cross-genre compositions, solidifying its place as a symbol of Chinese musical heritage worldwide.
The Erhu (二胡) is one of the most iconic and expressive instruments in traditional Chinese music.1 Often referred to as the “Chinese violin,” “two-string fiddle,” or “spike fiddle,” it is a member of the larger huqin family of bowed string instruments.2
Here is a detailed description:
1. Structure and Components
The Erhu is a vertically held instrument with a simple yet elegant construction, typically made from high-quality hardwoods like red sandalwood (zi tan)3, ebony (wu mu), or rosewood (hong mu).4
Part
Description
Qǐn Gān (琴杆) / Neck
A long, straight, vertical wooden neck or pole that passes through the body. At the top is the Qǐn Tóu (琴头), or head, which is often simply curved or elaborately carved (e.g., in a dragon’s head shape).
Qǐn Tǒng (琴筒) / Sound Box
The small resonator body at the base of the neck. Its shape is most commonly hexagonal (six-sided), though it can also be round or octagonal.
Qǐn Pí (琴皮) / Skin
The front playing end of the sound box is covered with a piece of stretched python skin, which acts as a diaphragm. This skin is crucial in creating the Erhu’s characteristic “nasal” and resonant tone. (Modern variations using synthetic skins also exist due to conservation efforts).
Qǐn Xián (琴弦) / Strings
There are only two strings, which run from the tuning pegs down to the base of the sound box. Originally silk, modern strings are typically steel for greater volume and stability. They are tuned an interval of a fifth apart, usually to D4 and A4.
Gōng (弓) / Bow
The bow is made of a bamboo stick with horsehair strung between its ends. Uniquely, the bow hair is permanently inserted between the two strings, so the player must bow both “outward” (to play the outer string) and “inward” (to play the inner string).
Qiān Jīn (千斤) / Nut
A small loop of string or metal device placed around the neck and strings, which acts like a nut, defining the vibrating length of the strings.
Qǐn Mǎ (琴马) / Bridge
A small, minute wooden bridge that sits on top of the python skin, transmitting the strings’ vibrations to the skin.
2. Playing Technique
The Erhu’s technique is what gives it its unique voice, often compared to the human voice in its emotional range.
Holding Position: The Erhu is held vertically, often resting on the player’s left thigh.5
No Fingerboard: Unlike a Western violin, the Erhu lacks a fingerboard.6 The player does not press the strings down to the wood to stop them.7 Instead, the fingers press only against the strings to vary the vibrating length and change the pitch.8 This lack of a fixed fret or fingerboard allows for tremendous control over pitch, intonation, and a wide variety of subtle expressive effects.9
Glissando and Vibrato: The ability to slide the fingers easily along the strings enables the characteristic glissando (sliding between notes) and highly expressive vibrato, which are essential to the Erhu’s lyrical and melancholic sound.10
Bowing: The right-hand bowing technique involves very precise control to manage the flow of the horsehair between the two strings.11 A resin (rosin) is applied to the horsehair to create the necessary friction.12
3. Sound and Expression
The Erhu has a remarkably wide emotional palette.13
Tone Color: Its sound is often described as haunting, mournful, plaintive, or melancholic, particularly in its lower and middle registers, giving it the quality of a lamenting human voice.14 It can also produce bright, clear, and powerful sounds.
Dynamic Range: It possesses a relatively soft volume, which is why it often shines as a solo instrument or in intimate ensembles, but it is also a cornerstone of the modern Chinese orchestra string section.1
Repertoire: It is a versatile instrument used in folk music, regional opera, small sizhu (“silk and bamboo”) ensembles, large Chinese orchestras, and contemporary pop, rock, and jazz fusion
Before that Shanghai 1930’s Qipao-Cheongsam revolution, the Manchurian Cheongsam was the fashion of choice of the Qing Dynasty (1636-1912) throughout as it standardised that style during the dynasty… Replacing the previous clothing standard Han Fu – Han Dynasty clothing style, in which also is form fitting towards the women’s silhouette but with a higher degree of freedom of flare of personal, individual style…
Qipao-Cheongsam is uniquely hand crafted tailored Chinese dress to the customer’s various measurements… in which you can still have them brought of the rack in which is accustomed to the standard measurements… in which you can tell which is western influenced with the back zipped in which the Eastern traditional Chinese Tailors would have the side zipped of the Qipao dress due it interrupts the flow of the pattern work at the back of the dress.. Also it creates a continuous seamless back look… after as the measurements are translated drafted onto the silk or the customer desired accustomed fabric of choice, from the measurements book with the associated look of the design elements with additional accessories the sexiness of Qipao lies subtlety.. Measuring, patterning, cutting, and button making are crucial, in where passion and art comes together in tailoring
In which traditionally Qipao- Cheongsam dresses are worn for from straight forwardly every day towards after work evening wear in without having to change to another set of wardrobe dressing only to accessories for the required occasion… … in which the Qipao dress pattern silhouette is design for the lady’s figure in which accentuating the silhouette without giving away too much of what’s underneath in retaining…. its timeless classic silhouettes in which are designed to be worn every day, from work, evening, casually towards to the weekend… with sleek simple, elegant, sexy intelligent sophistication in which are easy to be accessorised with any pieces of clothing in your current or upcoming wardrobe…
When choosing a qipao for summer, the key is to select a fabric and color that are both breathable and stylish, allowing you to stay cool and comfortable while looking elegant.
Best Summer Fabrics
The traditional, heavy brocades and velvets are best left for cooler weather. For summer, look for lightweight, natural, and airy materials.
Silk: A classic and luxurious choice. Lightweight silks like silk crepe or silk georgette are naturally breathable and feel smooth against the skin. They drape beautifully and offer an elegant, sophisticated look.
Cotton and Linen: These are excellent choices for a more casual, everyday qipao. They are highly breathable, absorbent, and durable, making them perfect for hot and humid weather. They can be found in a variety of prints and patterns, offering a fresh, comfortable style.
Chiffon and Tulle: These sheer fabrics are great for adding a touch of romance and ethereal elegance. They are very lightweight and often used as an outer layer or for sleeves, creating a light and airy silhouette.
Rayon/Viscose: These semi-synthetic fabrics are known for their thin fibers and excellent breathability. They have a silky feel and a beautiful drape, making them a great alternative to silk for a lighter, more flowy feel.
Best Summer Colours and Patterns
Lighter colors are generally preferred for summer as they reflect sunlight and heat, keeping you cooler.
Pastel Colors: Soft shades like mint green, sky blue, lavender, and pale pink are perfect for summer. They feel fresh, delicate, and reflect the light.
White and Cream: White is a timeless choice for any summer garment. A white qipao can look incredibly chic and sophisticated.
Vibrant Hues: Don’t be afraid of color! Bright and bold colors like turquoise, coral, and vibrant yellow can also be stunning choices, especially for special occasions.
Floral and Nature-Inspired Patterns: Patterns featuring flowers, birds, or delicate vines are a classic choice that evoke a sense of femininity and natural beauty, making them especially fitting for the warmer months.
Traditional Blue and White: A qipao with a blue and white “Chinese porcelain” pattern is a beautiful and classic option that is timeless and feels particularly cool and fresh in the summer.
Ultimately, the best summer qipao balances comfort and style. A light, breathable fabric in a beautiful, light-reflecting color or pattern will ensure you feel as good as you look.
Images are from their respectives of @KevinJamesNg –founder-executive blogger of LunaCrescent.com 月 KevinJamesNg.com
