中秋節 The Mid-Autumn Lantern Festiva has begun and will run from 17th September 2024 until October 7th. The Mid-Autumn Festival, which falls on the 15th day of the 8th lunar month, is a traditional Chinese festival that celebrates family reunions and expresses gratitude. During this time, people eat mooncakes, which symbolize the full moon, and make wishes while admiring the moon. Lighting lanterns to illuminate the night sky is also an important part of Mid-Autumn culture, with the glowing lanterns symbolizing family unity and happiness.
Celebrating with family in the Asian Chinese communities… in least than a week time on in which the full moon on the 29th – September -6th October 2023 in which the celebration festival dates back to the Shang dynasty three thousand years ago before the Zhou Dynasty … storytelling narratives of of the great general lovely devotion for his wife Chang’e of offerings of mooncakes also The traditional lanterns are designed with the lucky color red, among Other popular Moon Festival legends include the jade rabbit Jade maiden …
In Chinese culture, roundness symbolizes completeness and togetherness. A full moon symbolizes prosperity and reunion for the whole family. Round mooncakes complement the harvest moon in the night sky at the Mid-Autumn Festival..
It is said that if you look up at the moon, you can see an outline of the Jade Rabbit pounding with a pestle. More than just cute, fluffy, and white, the Jade Rabbit is a sign of selflessness, piety, and sacrifice….
河南电视台 Henan Television located on Guoji Road Residential District Huayuan Road North Section No.8, Jinshui Area a provincial television broadcaster is headquartered in Zhengzhou, Henan province, China, People’s Republic of China. Henan Television conducted a trial broadcast on September 10, 1969, and the first program officially began airing on October 1 of the same year, limited to weekly Wednesdays and Saturdays Henan Television (HNTV) has a network of 15 channels (ten for free, five for pay-vision) broadcasting different programmes
Program Interpretation: Set in a minimalist yet exquisitely beautiful post-modern Song-style architectural environment, this dance performance captures the refined gatherings of the Song dynasty. It highlights the rituals of burning incense, brewing tea, hanging paintings, and arranging flowers, showcasing the unique aesthetic and cultural pursuits of the era. The moon serves as a guiding thread, weaving through three chapters: waiting for the moon to rise, bathing in its gentle light, and gazing upon its serene beauty. Lead dancer Tong Liya embodies the tranquil grace of a moonlit night with her elegant movements and subtle emotional expressions. Dressed in silk gowns reminiscent of the Song dynasty, the dancers glide as gracefully as fairies beneath the moonlight. The plump petals of osmanthus flowers twirl freely in the air, gently and quietly falling to the earth. This performance vividly brings to life the verse: “During Mid-Autumn’s gentle eve, / Osmanthus flower petals fall in temple’s weave. / Buddha’s scent, serene and high, / Floats softly to the sky.”
1.舞蹈：《月夜桂飘香》 1. Dance: Osmanthus Fragrance under the Moonlit Sky 领舞：佟丽娅 Lead Dancer: Tong Liya 演出：浙江音乐学院 Performers: Zhejiang Conservatory of Music 节目阐述：舞蹈在多个极简、极致美的后现代宋式建筑风格中呈现，融入了宋人雅集——焚香、点茶、挂画、插花等绝美构图场景，展现宋代独特的审美情趣和文化追求。舞蹈以月亮为线索，分为候月-沐月-望月三个篇章，领舞佟丽娅以优雅的身姿和含蓄的情感表达，展现了月夜下的静谧之美。舞者们身着宋代风华的丝质长裙，如同仙子一般轻盈地在月光下舞动，桂花丰盈自在，飘落静好。“桂子月中落，天香云外飘”的诗句在此刻找到出处。
Using velvet flowers as a guide, #LiuTao (Tamia) and #ZhangHexuan jointly performed a three-life and three-generation. #KangZhuqing‘s new composition and arrangement work “Endless Parting Grief.” Stay tuned on September 16, 2024, 19:30 (GMT+8) #AdventuresonMidAutumnFestival2024
Program Interpretation: In the mysterious realm of time, appears a Time Controller. With a press of the time machine’s button, life fast-forwards or rewinds, revealing countless moments—regret, loss, joy, nostalgia, partings, and reunions. Life, like the moon, waxes and wanes, embracing both fullness and fragments. Through these fleeting moments, we come to grasp the meaning of our life journey.
4、歌曲：《时光晃呀晃》 4. Song: Time Sways 演唱：鞠婧祎 Singer: Ju Jingyi 节目阐述：神秘的时光空间，出现了一位时间驾驭者，随着时光机器的按键按下，画面或快进或后退，时间轮转下无数个生活片段一一呈现，遗憾的、失落的、幸福的、感伤的、分别的、相聚的，人生就像月亮不止有圆满，而是阴晴圆缺，我们在一个个时光片段中去感悟生活、理解人生。
5、歌曲：《一骑红尘》（歌曲《笑红尘》） 5. Song: Ride Through the Mundane World (Inspired by The Mundane World) 演唱：陈丽君 Singer: Chen Lijun 导演阐述：《笑红尘》是一首经典的武侠歌曲，此次MV拍摄，我们力求打破传统，创新呈现。特邀青年越剧演员陈丽君一人分饰两角，通过其独特的演技与表现力，展现红尘中的爱恨情仇与人生百态。
Director’s Interpretation: The Mundane World is a timeless martial arts song, and in this music video, we seek to break from tradition by presenting it in a fresh and innovative light. We are honored to have young Yue Opera star Chen Lijun take on dual roles, embodying both male and female characters. Through her masterful artistry and expressive grace, the program captures the intricate emotions of love and hatred, as well as the myriad experiences of life in this mortal world.
This MV boldly ventures into new territory by having one actor portray both male and female roles, a groundbreaking approach that moreover explores the overall flair of the MV and introduces a new visual style. Chen Lijun, as a Yue Opera actress, is herself a bearer of the essence of traditional culture. By having her play both roles, this program not only celebrates the charm of traditional art but also seeks to captivate a younger audience through modern MV formats, achieving a contemporary interpretation of traditional culture.
Images and visuals are from Weibo also from their respectives.
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.
According to the Palace Museum, the “景福宫 Jingfu Palace” area in the northwest corner of the Forbidden City has officially started a two-year substantial renovation. This is also the first renovation of 景福宫 Jingfu Palace in more than 120 years. The currently determined scope of repairs includes the main hall of景福宫 Jingfu Palace, the East Gate Room, 景福宫 Jingfu Gate, verandah, southwest gate, cross-hall gate, courtyard walls, courtyard floors, etc. The focus is to eliminate potential safety hazards of cultural relic’s buildings. It is reported that Jingfu Palace was a retirement residence carefully built by Emperor Qianlong for himself. It is located in the northeast of the Ningshou Palace area of the Forbidden City. The palace is dotted with ancient trees and rockeries, and has unique porches and courtyards. After the Jiaqing period, it was used as a warehouse for storing antique treasures….
During the Qing Dynasty (1644-1911), Emperor Qianlong (1711-1799) built Jingfu Palace in the Forbidden City as his retirement retreat. The Jingfu Palace region has begun a two-year renovation project, the first in almost 120 years.
The Jingfu Palace of the Forbidden City, never open to the public since it was built more than 200 years ago, has begun renovations…
This is a group of buildings with green glazed tiles and yellow sheared roofs. It was the residence of the Queen Mother during the Kangxi period, and was rebuilt during the Qianlong period to serve as a banquet for Emperor Qianlong after his return to power. This is景福宫 Jingfu Palace located in the northeast of Yeongsugung District.
With the launch of the “景福宫 Jingfu Palace Research Conservation Project”, the architectural form, materials, craftsmanship, etc. of the cultural relics here have gradually become clear during the research process. At the same time, image collection and recording work is also underway, and the protection and repair work of the cultural heritage buildings in the景福宫 Jingfu Palace area will eventually be shown in the form of a documentary. A trailer allows you to first experience the confusion, thinking and breakthroughs in the research and restoration process, and appreciate the infinite charm of dialogue with history!
“景福宫 Jingfu Palace” area in the northwest corner of the Forbidden City has officially started a two-year substantive renovation. This is also the first renovation of景福宫 Jingfu Palace in more than 120 years.
景福宫 Jingfu Palace is the retirement home carefully built by Emperor Qianlong for himself. It is located in the northeast of the Ningshou Palace area of the Forbidden City. The palace is dotted with ancient trees and rockeries, and has unique porches and courtyards. After the Jiaqing period, it was used as a warehouse for storing antique treasures.
In 1910, 13 plaques were updated at景福宫 Jingfu Palace, and the calligraphy and paintings on the inner eaves were re-inscribed and framed. From then until Puyi announced his abdication, there was no record of renovation of景福宫 Jingfu Palace in the Forbidden City.
The scope of repairs currently determined includes the main hall of景福宫 Jingfu Palace, the east gate room, 景福宫 Jingfu Gate, verandah, southwest gate, hall door, courtyard wall, courtyard floor, etc. The focus is to eliminate safety hazards of cultural relics buildings, such as the three arched roofs. “Troughs,” or gutter repairs.
While景福宫 Jingfu Palace is being renovated, the National Palace Museum will also carry out digital recording, research and systematic application of the national intangible cultural heritage “Official Ancient Architecture Construction Techniques”, and will use three-dimensional laser scanning, close-up photography results combined with traditional manual measurements to complete the work Surveying and mapping of the current status of cultural relic buildings, and conducting architectural survey and current survey of information such as shape, materials, construction techniques, etc. to build a digital景福宫 Jingfu Palace.
明中都Mingzhongdu The Ming Zhongdu is located in Fengyang County, Chuzhou City, Anhui Province, China, People’s Republic of China. It was the first capital built by the founding emperor Zhu Yuanzhang in his hometown of Fengyang. The construction project was presided over by Li Shanchang, the first civil servant of the Ming Dynasty.
The central capital of the Ming Dynasty was first built in the second year of Hongwu (1369) and was stopped in the eighth year of Hongwu (1375). It took a total of six years to build. The Ming Dynasty capital covers an area of more than 50 square kilometers and has three inner, middle and outer cities. Its inner palace city (imperial city) is 120,000 square meters larger than the Forbidden City in Beijing.
Why does the 600-year-old Forbidden City remain as new as ever? Innovatively telling the story of eternal youth in the Forbidden City, let’s have a conversation that transcends time and space! 六百岁故宫何以历久弥新？创新讲述紫禁城青春永驻的故事 来一场超越时空的对话！
The Ming and Zhongdu were designed in strict accordance with the “Book of Rites of the Zhou Dynasty: Kao Gong Ji”, with layout features such as the front dynasty and the back sleeping quarters, the left ancestor and the right commune, and a north-south central axis running through the entire city. When Zhu Yuanzhang issued an edict to build the Central Capital in Fengyang, he mobilized skilled craftsmen, soldiers and civilians from all over the country, no less than a million people, to build cities, palaces and palaces like the capital city system, which occupied an important position in the history of the development of ancient Chinese capitals.
Beijing Forbidden City in comparison with the 1062 meters long Odyssey Class – Beijing, China, People’s Republic of China.
明中都Mingzhongdu Forbidden city first Ming Dynasty Forbidden CityFengyang County, Chuzhou City, Anhui Province in comparison with the 1062 meters long Odyssey Class – Beijing, China, People’s Republic of China.
The rise and fall of Zhongdu
The Ming Dynasty was established in 1368. In the same year, the Ming army launched its Northern Expedition and occupied most of the Yuan Dynasty , ending the Yuan Dynasty’s rule across the country. The political situation has undergone tremendous changes. After analyzing the pros and cons of establishing capitals in Guanzhong, Luoyang, Bianliang (Kaifeng), and Peking, Ming Taizu believed that Nanjing was too far away from the Central Plains to control the country; Bianliang also suffered from poor people’s livelihood and was a A place surrounded by enemies. Therefore, in September of the second year of Hongwu, an imperial edict was issued to choose Linhao (today’s Fengyang) to build the central capital, “ordering officials to build cities, palaces and palaces as in the capital.”
The construction project of Zhongdu was presided over by Li Shanchang. In the third year of Hongwu, the ground was started and the construction of the palace city began. By the sixth year of Hongwu, the palace city and forbidden city walls and palaces were basically completed, and the construction of the outer city of Zhongdu also started. On Dingsi in April of the eighth year of Hongwu (1375), Zhu Yuanzhang “went to Zhongdu in person to inspect his merits and reward his hard work.” On the same day, he ordered the construction of Ming Zhongdu to be stopped on the grounds of “labor expenses”. Down, no other buildings in Zhongdu will be built, and unfinished projects will continue. After that, from October of the eighth year of Hongwu, the auxiliary buildings of Zhongdu City were renovated and the imperial tombs were built. In the 26th year of Hongwu, the outer city gates of Zhongdu were built. By the 30th year of Hongwu, the construction of Zhongdu City was completed.
After Emperor Taizu of the Ming Dynasty stopped building Zhongdu, Zhongdu was not used as the capital. However, because it was the imperial hometown, the emperor’s relatives often trained troops in Fengyang and lived in the palace of Fengyang Zhongdu. Later, because Zhu Di moved the capital to Beijing, Beijing was far away from Fengyang. Princes no longer often lived in Zhongdu as in the Hongwu period. The palaces in the imperial city gradually became deserted, but there were still a large number of residents living in Zhongdu, and there were also many people stationed there. The army and government offices guarded and managed the central capital.
Current status of the Ming and Zhongdu palace city ruins
A schematic restoration of the Tushan Gate city platform in the Ming Dynasty (painted by He Lejun of Nanjing University)
On March 31, 2022, the high-profile “Top Ten New Archaeological Discoveries in the Country in 2021” was announced. The Ming Zhongdu Site stood out from the 20 archaeological excavation projects that were shortlisted for the final evaluation and was successfully selected.
Ming Zhongdu was the capital city built by Ming Taizu Zhu Yuanzhang in his hometown of Fengyang. In the second year of Hongwu (1369), construction was ordered. Six years later, when construction was stopped on the grounds of “labor expenses”, the capital had begun to take shape. The city site consists of three layers of city walls, covering an area of 50 square kilometers. City walls, palaces, temples, central government offices, military facilities, together with road networks, water systems, kiln sites, stone quarries and other relics from the time of city construction, together constitute a huge group of Ming Zhongdu ruins. In 1982, its core part, the Ming Dynasty Imperial City, was announced as the second batch of national key cultural relics protection units, and in 2017, it was announced as the third batch of national archaeological site parks.
A schematic restoration of the palace in the former court area of the Ming and Zhongdu capitals (illustrated by Li Wei of the Forbidden City)
The distribution of palaces and ancillary buildings in the former dynasty area of the Ming and Zhongdu
The huge stone foundation unearthed from the front hall of the palace foundation site
Large scale stone structure at the palace foundation site
In 2013, taking the construction of the ruins park as an opportunity, the Anhui Provincial Institute of Cultural Relics and Archeology formulated the “Archaeological Work Plan for the Ming Zhongdu Site”. In 2014, the archaeological exploration work of the Ming Zhongdu Site was launched, and the excavation officially began in 2015. In 2017, with the approval of the State Administration of Cultural Heritage, the Anhui Provincial Institute of Cultural Relics and Archeology cooperated with the Palace Museum and other units to conduct excavations in accordance with the excavation principles of “minimum area”, “minimum destruction” and “exhibition first” and in accordance with “layout, regulation, technology and process”. “Four academic goals, combining “field archaeology”, “digital archeology” and “technological archeology”, carried out continuous archaeological work on the Ming Zhongdu site and achieved a series of important gains. Through exploration and excavation, the layout of the city site has become increasingly clear, and the shapes and structures of individual building remains such as Chengtianmen, Donghuamen, and Waijinshuiqiao have been gradually revealed. On this basis, in 2021, we focused on excavation work on the Tushan Gate site and the core palace foundation site in the Qianchao District, with a total excavation area of approximately 2,100 square meters.
1. It is revealed that the Tushan Gate is a single-door arch-type city gate. The bottom of the city platform is about 39.5 meters wide from north to south and about 23 meters deep from east to west. It has a rammed earth inner and outer brick structure. The rammed earth core is made of one layer of bricks and one layer of soil. “Jiawaza” ramming method. On the north side of the city platform, an east-west horse path is set up against the north wall of the city platform. It is also a structure filled with rammed earth on the inside and bricks on the outside. The south side of the city platform and the outer city wall are connected by a brick wall. The city platform, horse paths and brick city walls are all located on a rammed earth platform with foundation trenches dug underground, and there is a clear construction sequence. The foundation trough and platform rammed earth also adopt the ramming method of one layer of bricks and one layer of soil. There are also ground nails at the bottom of the foundation trough of the city platform.
2. After accumulated excavations from 2015 to 2021, the layout of the palace foundation and some ancillary buildings in the former area of Guancheng was clarified by exposing the rammed earth platform foundation and its internal slats, in order to further explore the bay scale and construction sequence of the building. , construction technology, etc. laid the foundation. From the information revealed in the western half, it can be seen that the palace has a “work”-shaped layout of the front and rear halls plus a cross hall. Both the front and back halls have “Ninety-Four” bays, and the front hall leads to Baoxia. The hall is three rooms wide and seven rooms deep. On the west side of the apse are auxiliary buildings that may be corridors, gatehouses and Chonglou. The structure of the main hall, front and back halls plus a passage hall is relatively close to the palace architectural shape in the Song and Yuan Dynasties. The combination of ancillary buildings on the west side of the apse is very similar to the building combination at the same location in the Forbidden City in Beijing.
3. Excavations show that the palace is located on a rammed earth platform with a high front and a low back, similar to the practice of the Imperial Ancestral Temple in Beijing. The outer edge of the southern part of the platform is covered with a stone Xumizuo. A varying number of steps are found on the front and sides. The ground from the apse to the north is level with the top surface of the platform. The platform base is constructed one by one from various types of rammed earth, and a dense and neat platform is built using the “stone-clipping” method of one layer of stones and one layer of earth. There are many types of stone slabs, such as single type, two-piece type and four-piece type, which are constructed at the same time as the surrounding rammed earth. There are still foundation stones close to their original positions beside some of the stone walls. Among them, the giant stone foundation unearthed from the front hall has a side length of nearly 2.8 meters, a foundation surface length of 2.5 to 2.6 meters, and a basin diameter of 1.8 meters. Its volume is the largest at present. The foundation stone of a palace building is the largest I have ever seen. A rectangular loess platform with a length of 5.7 meters and a width of 4.9 meters was found in the middle and rear of the front hall. It was built earlier than the palace site and the palace wall. It is the location of the dragon throne in the palace and is exactly at the geometric center point of the entire palace.
Contents of this issue: The Ming Zhongdu ruins are located in Fengyang County, Anhui Province. More than 600 years ago, Zhu Yuanzhang, the founding emperor of the Ming Dynasty, decided to make Fengyang the capital of the world, named Zhongdu. Historians and architectural historians believe that during the construction, blueprints and model models were drawn for the reconstruction of the Nanjing Palace and the construction of the Forbidden City in Beijing.
Contents of this issue: The mystery of Ming Zhongdu has been deciphered beneath the surface of Jingdezhen, five hundred kilometers away. In 1990, the Jingdezhen Ceramic Archeology Institute unearthed an exquisite white porcelain water pipe, 26 centimeters high. Combining literature and stratigraphic analysis and comparison with physical objects, archaeologists in Jingdezhen confirmed that this unusual glazed building component was a sewer pipe produced for the construction of Fengyang Ming Zhongdu.
Contents of this issue: In the six years from 1369 to 1375 AD, a new capital city began to take shape in Fengyang, Zhu Yuanzhang’s hometown. Zhu Yuanzhang completed the national project of Zhongdu with extremely high standards, striving for excellence in every link. Seeing that his wish to “move the capital to Zhongdu” and “fix the tripod” is about to be realized.
Contents of this issue: In 1375 AD, shortly after Zhu Yuanzhang returned to Nanjing, he suddenly stopped the construction of the Central Capital on the grounds of “labor expense”, which shocked both the government and the public. The super project, which had devoted all the efforts of the whole country, came to an abrupt end just when it was “about to be completed.” As for the real reason, historical records are very vague.
The importance of new archaeological discoveries in Zhongdu during the Ming Dynasty:
1. New archaeological discoveries promote in-depth understanding of the Ming Zhongdu ruins
Because historical records are unclear. Archaeological exploration and excavation of key locations have continuously improved our understanding of the overall planning and layout of the capital in the middle Ming Dynasty. The excavation gradually clarified the scale and shape of each individual building, and explored information such as its construction process, order, and materials. It also gained an in-depth understanding of the construction, abandonment, and evolution processes of each group of buildings.
2. The excavation has filled a number of academic gaps.
1. The “3+2” layout of the Chengtianmen site discovered by archaeological excavations in recent years filled in the transitional link for the evolution of the second gate of the capital from three gates to five gates. It is the prototype of Beijing’s iconic “Tiananmen”.
2. For the first time, the architectural layout of the main hall of the former dynasty area during the Ming and Qing Dynasties is completely revealed. It fills the gap in the archeology of the capital palaces of the Ming and Qing Dynasties when other city sites such as Nanjing and Beijing do not have the conditions for excavation.
3. The discovery of the loess center point in the palace is extremely rare in excavations in the capital. It is located at the geometric center point of the entire palace city and is the location of the emperor’s dragon throne. It has strong symbolic significance and provides precious materials for studying the planning, site selection, and construction sequence of ancient capitals.
4. The huge stone foundation discovered at the palace foundation reflects the grand scale of the building. Its size is the largest stone foundation found in ancient Chinese palace buildings so far.
3. The excavation has supplemented key materials for the transformation of China’s ancient capital system from the Song and Yuan Dynasties to the Ming and Qing Dynasties.
Documents record that Zhu Yuanzhang visited Kaifeng in person before the construction of Zhongdu in the Ming Dynasty. When he conquered the capital of the Yuan Dynasty, he also measured the palaces in the capital of the Yuan Dynasty, including the Zhongdu of the Jin Dynasty. In November of the second year of Hongwu, he read the Yuan palace map. Therefore, the planning of the Ming Zhongdu reflected elements of the Song and Yuan capital systems. For example, the palace city is generally located southward in the capital, the T-shaped square is set up, and the outer Jinshui River route is similar to the planning of Dadu in the Yuan Dynasty. The triple city wall ring, the five-gate system on the central axis, and the I-shaped palace are all directly or indirectly inherited from Kaifeng in the Northern Song Dynasty. city planning concept.
Mingzhongdu was the first capital city in the Ming and Qing dynasties that truly embodied the capital system. Its planning was influenced to a certain extent by King Wu’s New Palace, but in turn it had a more profound impact on the subsequent transformation of Nanjing’s palace city and the capital construction of Beijing. The shape of the city gates in the northern and southern capitals, the setting of palaces and courtyards, the symmetrical layout of left ancestors and right shrines, and the internal and external Jinshui River system were all deeply influenced by the Ming and Zhongdu, and were deeply influenced by the planning of Ming Dynasty palaces and mausoleums in various cities.
The excavation of relevant sites along the central axis of the Ming and Zhongdus has revealed that they connect Song Kaifeng, Jin Zhongdu, Yuan Dadu, Ming Nanjing and Ming Beijing, filling key gaps. This connection also reflects the transmission of Chinese cultural genes from generation to generation. and the continuous characteristics of Chinese civilization. At the same time, it also has practical significance for promoting the study of the central axis of Beijing during the Ming and Qing Dynasties and its application for world cultural heritage.
4. The excavation of various buildings in the Ming and Zhongdu has added important reference materials for the study of architectural history.
The excavation of the palace foundation provides a reference for studying the palace layout of the Forbidden City in Beijing in the early Ming Dynasty, and finds the origin of the practice of the Imperial Ancestral Temple in Beijing.
The discovery of the craftsmanship, practices, construction sequence, and building materials of various types of buildings provides key basis for the restoration research on architectural construction in Zhongdu during the Ming Dynasty, and also provides reference materials for the research on other similar buildings.
The excavation of engineering relics such as kiln sites and scientific and technological research on building materials are also of great value in exploring the organization and implementation of engineering construction, and the production and circulation of building materials.
Since 2017, commissioned by the State Administration of Cultural Heritage, the Palace Museum Archeology Institute has cooperated with the Anhui Provincial Institute of Cultural Relics and Archeology to carry out archaeological work on the Ming Zhongdu ruins, and has participated in the completion of the Waijin Water Bridge, the moat, Xihua Gate, Tushan Gate, the core palace area, etc. Excavation work was carried out and a comprehensive survey was conducted on the Ming Zhongdu City Site and the Ming Emperor’s Mausoleum. At the beginning of 2019, the Mingzhongdu Archaeological Work Station jointly built by both parties was officially put into use.
The archeology of Zhongdu in the Ming Dynasty is one of the focuses of the archeology outside the Forbidden City, and it is also one of the important academic topics that the Forbidden City Archeology is dedicated to the archaeological research of palace-related remains. The archaeological discovery and research of the palace city of the Ming Dynasty is of great significance for deeply revealing the spatial form, structural layout, and regulatory ideas of the Forbidden City in Beijing. In the future, we will fully rely on the platform resource advantages of the Palace Museum, actively give play to the palace archaeological characteristics of the Palace Museum, continue to participate in and undertake various archaeological work on the site of the Ming Zhongdu, and base on the perspective of comparative research on the three capitals of the early Ming Dynasty, based on the archeology of the Ming Zhongdu Guided by the academic goals of the Ming Dynasty, the protection of cultural relics and archaeological work in Zhongdu of the Ming Dynasty will continue to be deepened.
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….
Forbidden City Ginkgo is about to turn yellow, looking forward to a #Forbidden City dyed with golden color ! Fall in love with the Forbidden City
During the Qianlong reign of the Qing Dynasty, there was a special chime made of jasper depicting golden clouds and dragon patterns. After Emperor Qianlong cast the bell, in order to complete the ritual and music system, he also added a set of twelve special chimes in the same year, one for each, and they were used in the same way as the bell. The special chime is made of a whole piece of Xinjiang Hotan jasper and is crafted by Suzhou jade craftsmen. The body of the chime is obtuse-angled rectangular, with both sides decorated with golden clouds and dragon patterns. The gold and green contrast with each other, and the decoration is gorgeous. On the left and right sides of the upper part of the stand are phoenix heads. The page board is decorated with phoenixes pierced by peony patterns, and the lower part supports a reclining duck.
There are twelve special chimes in a set, corresponding to the twelve rhythms made in the Qing Dynasty. The pitch is adjusted by the size of the chime body. The larger the chime, the lower the pronunciation. Each chime is hung separately, so it is called special chime. When used, different special chimes are chosen according to the rules for each month, such as “Taicu” corresponding to the first month, and so on. The use of special chimes reflects the political concept of Emperor Qianlong advocating Confucian ritual and music education.
Daju, who was covered in autumn fat, couldn’t resist the howling autumn wind and started playing “hide and seek” under the stone fence. This weekend, have you decided where to go to “cat”?
Yellow satin embroidered cloud and dragon pattern (replica). Hui was the commanding tool of Heshao music in court performances in the Qing Dynasty. When the music was under his command, the music was composed, and when it was under his command, the music stopped. The main body of the robe is made of bright yellow cloud satin, embroidered with colorful rising dragons, clouds and fire beads. The upper part is made of blue satin, embroidered with nebulae. In the middle is the sun wheel, with the word “中和” embroidered on it. The lower end is embroidered with seawater and river cliffs. The upper and lower parts of the muzzle are pierced with gold-painted crossbars, with double dragons carved on the upper part and landscapes carved on the lower part. The harem is hung on a red pole, the end of the pole is decorated with a copper-plated dragon head, and the lower part is inserted into a gold-lacquered wooden base. The chariot shown in the picture is a replica, and the red pole and stand are left over from the Qing palace.
The drum is built with gold lacquer and colorful paintings of clouds and dragons. Jiangu originated very early and was relatively mature in the Eastern Zhou Dynasty at the latest. It is a “leather” musical instrument in the ancient eight-tone classification. The drum used in Zhonghe Shao music in the Qing Dynasty has a long and round drum body, a large drum body, and the whole body is painted with gold paint. Both sides are decorated with two gold-plated copper dragons holding copper rings.
Both ends are covered with leather and painted with cloud and dragon patterns. There is a vertical pillar running through the middle of the drum body, with a hood on it, curved beams hanging down on all sides, and a golden dragon carved on the top. The cover is also covered with yellow satin embroidered with clouds and dragon patterns. There is a golden Luan bird on the top of the cover. The drum is supported by a cross-shaped bracket and is engraved with cloud patterns. There are four pedestals under the pillar, and lions are carved on the four legs. The four-cornered dragon’s mouth, golden luan, and copper ring all hang with colorful silk tassels. When playing, beat the drum as the starting and ending rhythm of the phrase. At the end of each sentence, beat the drum and all the music will stop; hit the drum again and all the music will resume.
introduced the ancients’ love for roasted pears . In addition to fire roasting, there are frozen pears in cold northern areas, which are frozen pears. “Jilin Tongzhi” Volume 33 “Shi Huo Zhi 6” records, “It is as hard as a stone. Soak it with water. The cold air will melt inside and ice chips will form on the outside. Shake it with your hands and it will crack like a shell. Remove the shell. And when you make it complex and suck it, it is extremely sweet.” For the royal family of the Qing Dynasty, which originated between the white mountains and black waters, frozen pears were an unforgettable taste of hometown, and they were often listed as tributes in the Qing palace archives.
Qing Dynasty, wooden color painting Xiaozhu (zhù). It is made of wood, shaped like a square bucket, wide at the top and narrow at the bottom. The inner wall is painted black, the outer wall is painted with patterns, and the frame and Xumi base are painted in gold. There is a round hole in the middle of one side of the pail, and a corresponding drum-shaped bulge of the same size in the middle of the inner wall, which is the part where the sound is produced when struck. The striking tool of the 柷 is called “Zhi”, which is an octagonal mallet with a long handle. The 混 is one of the musical instruments played in the palace during the Ming and Qing Dynasties. When the “band conductor” is raised, the performer taps the inner wall of the instrument three times with a mallet, and the music begins
This green gauze gown with clouds, bats, and golden dragon patterns was introduced in Let’s Read the Calendar Together on November 10th. The audience in the comment area was very interested in the details of the clothing. Let’s follow the high-definition picture. , appreciate the beauty of the details of this court gown!
This gown was worn by the concubines of the Qing Dynasty when celebrating grand ceremonies. It is slightly shorter than the court robe and is worn over the court robe. The gown has a round collar, double lapel, sleeves, and left and right trains. The whole body is decorated with colorful silk and gold embroidery patterns, with two flat gold embroidered dragons on the chest and back. The embroidered seawater cliff is densely covered with colorful clouds and the word “囍” pattern, which is suitable for the wedding..
Qing Dynasty, wooden color painting (yǔ). It is made of wood and looks like a crouching tiger. The surface is decorated with tiger stripes and the bottom is decorated with a golden lacquered footrest. There is a groove in the middle of the tiger’s back, and twenty-seven rectangular pieces of painted wood are planted in a group. Two ears protrude from one side of the seat, which are used to place Ao’s shooting tool (zhēn). It is made from a bamboo tube, which is split and separated into twenty-four thin bamboo strips. When playing, the performer uses the laini to scrape the discord and make sounds. The 攔 is one of the musical instruments played in Zhonghe Shao music in the Ming and Qing dynasties. When the music is about to end, the sound of “waiting” is used as the ending sound, and then the bow is put down and the performance is finished
The air is cold and it is snowing, but the autumn scenery is still there. A cloud of “light snow” has already fallen on the red wall. Will the First Snow in the Forbidden City be far behind this winter? Today 小雪 爱Forbidden city…..
Gold lacquer painted cloud and dragon pattern bo (bó) suo (fǔ). The drum is as small as a drum, with a leather-covered drum surface and painted double dragons. The whole body is painted with gold paint, and there are two gold-plated copper dragons on it, each holding a copper ring to tie the bright yellow velvet. The drum is usually placed on a wooden golden lacquered footrest. During the performance, the player hangs the drum around his neck with a velvet (xún) and beats the drum head with both hands. The Bohuo was also a special instrument used in the Qing Dynasty’s court performances and Shao music. It was used in conjunction with the Jiangu. The Jiangu struck once and the Bohuo played twice to match the festival.
Qing Dynasty, black paint painted clouds and dragon patterns. The harp is a traditional Chinese plucked string instrument, shaped like a harp, also made of paulownia wood, with twenty-five strings. Each string is equipped with a movable post to adjust the pitch. The longer the vibrating section of the string, the lower the pronunciation. The harp is often compared with the harp, collectively known as “harp”. In comparison, the zither is larger in size and louder in volume; with more strings, the timbre changes more. The musical instruments used in the Qing court and Shao music also included the harp and the harp. The zi shown in the picture, whether it is the decoration or the wooden and gold-lacquered bracket, maintains the same style as Jiangu, Bohu,
Gourd is homophonic to “Fu Lu” and is a symbol of wealth, longevity, good luck and peace. The body of this pair of golden Daji gourd hanging screens has a silk pattern of ancient money as the base. The circular consecrated center is inlaid with the regular script “Daji” in regular script with lapis lazuli, and is surrounded by jade, turquoise, tourmaline and other gems. They are currently on display in the exhibition 西伊华堂 at the Prince Gong’s Mansion Museum . The exhibition will be on display until November 25th, so go and have a look!
Qing Dynasty, celebrations, etc., wedding celebrations, imperial edicts, banquet etiquette pictures. After the emperor’s wedding celebrations, he would issue an imperial edict to inform the world of the happy event. This picture is from the album “Pictures of Ceremonies for Celebrations, Edicts and Banquets”. The officials of the Ministry of Rites took out the edict from the Hall of Supreme Harmony. The staff of the Ministry of Rites placed the cloud disk containing the edict in the Dragon Pavilion. They were escorted by Lieutenant Luan Yiwei and led by the honor guard band. They carried it to the yellow table on the Tiananmen Gate Tower and announced the edict. The official read out the contents of the edict in both Manchu and Chinese languages. After that, the edict officer placed the edict in a cloud disk, tied the cloud disk with a colorful rope, and hung it in the mouth of the golden phoenix in the middle of the Tiananmen Gate Tower. The colorful rope was relaxed to make the cloud disk slowly fall down, which means that the edict fell from the sky. , is the will of God. The edict was then placed in the Dragon Pavilion, carried to the Ministry of Rites, engraved and printed, and issued to the world. This is a picture of the issuance of an imperial edict, showing officials from the Ministry of Rites kneeling to receive the edict.
Finally waited for the golden color of ginkgo! In the cold wind of early winter, recycle a curtain of bright autumn colours that are “returning for a limited time…
Qing Dynasty, celebrations, etc., wedding celebrations, imperial edicts, banquet etiquette pictures. After the emperor’s wedding, the emperor held a state banquet in the Hall of Supreme Harmony to thank the queen’s father, brothers, family members, princes, ministers, and foreign envoys. This was the most lively and festive occasion in the entire wedding. This picture is the banquet scene in the eighth volume of Emperor Guangxu’s “Wedding Pictures” “Celebrations, Edicts, and Banquet Etiquette Pictures.” At noon on the fifth day of February in the fifteenth year of Guangxu’s reign (1889), the emperor came to the Hall of Supreme Harmony and rewarded the queen’s father and his family members. The emperor’s banquet table is set in front of the throne in the Hall of Supreme Harmony; the banquet tables for his stepfather and princes are set up on the east and west sides of the throne; the banquet tables for first- and second-rank civil and military ministers, Mongolian princes and other officials are set up in the Hall of Taihe; There are banquet tables for the nobles and guards of the second rank and above; on the left and right of His Majesty Dan, there are banquet tables for the civil and military officials below the third rank and the family members of his father-in-law….
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….
On the 26th October 2023 is World Food Day, let’s get to know the word “rice” in Oracle! The word “rice” in oracle bone inscriptions is made up of rice grains. The small dots above and below represent rice grains. Some people think that the horizontal drawing in the middle is the shape of a sieve.
“Mi” initially referred to millet that had taken off its shell, and later it gradually referred to rice specifically, which is the rice we are familiar with. my country’s early rice domestication played an important role in the origin of world agriculture. As early as more than 10,000 years ago in the middle and lower reaches of the Yangtze River (Shangshan Site), our ancestors had begun the domestication of rice, which was basically synchronized with the domestication of major crops in the world such as wheat and corn.
Today, more than half of the world’s population depends on rice, but there are still 200-300 million people facing severe food crises. Let us join together to respond to the ” palacezerowaste ” initiative, take action on discs, cherish every particle and never throw it away!
Qing Dynasty, clay paint and yellow wine jar. Wedding ceremonies are grand and lively, often with wine added to the fun. This wine jar is made of clay and painted with colorful paint. The body of the jar is painted with auspicious patterns of dragons and phoenixes. There is the word “囍” on the jar body and sealing mud. The jar is filled with rice wine produced in Zhejiang. In ancient China, the best rice wine was brewed in Shaoxing, Zhejiang. This wine may have been specially produced by local officials as a tribute to the emperor’s wedding.
Tongzhi, Qing Dynasty, yellow ground pastel color magpie plum bowl. In preparation for the wedding in the 11th year of Tongzhi (1872), the palace issued a firing list and official instructions to the Jingdezhen Royal Kiln Factory: “The queen needs to use porcelain for fourteen points and nine colors.” Among them, “Fourteen Points” refers to fourteen sets of porcelain with different patterns, each of which is a sea bowl, a large bowl, a medium bowl, a soup bowl, a rice bowl, a pocket bowl, a nine-inch plate, a seven-inch plate, a five-inch plate, and a four-inch plate. One-inch plates, three-inch plates, two-inch five-plates, wine cups, soup spoons, tea cups, large tea cups, tureens, tea jars, urns, powder boxes, rice bowls, rouge boxes, flower pots, narcissus boxes, etc. The inner wall of this bowl is plain, and the outer wall is painted with magpies and plum blossoms on the yellow ground. The main trunk of the plum tree is curved, the branches are strong, and plum blossoms are dotted on the branches. Black magpies are flying or perching, with vivid postures and delicate depictions. The magpie climbing on the plum blossom is a traditional Chinese auspicious pattern. It is pronounced by the words “xi” and “plum”, which means “happy on the eyebrows”. This patterned bowl is one of the “Fourteen Points” porcelain fired at Tongzhi’s wedding ceremony.
From October 12th to 18th, the week-long third “Forbidden City Zero Waste Catering Culture Week” came to an end! During this Catering Culture Week, the Forbidden City has newly upgraded and launched an “immersive zero-waste restaurant” experience. It provides publicity, decoration tips, action guidelines, etc. based on scientific dining procedures to encourage audiences and employees to proactively reduce food waste and develop a “CD-ROM” Actions”, “reduce disposable plastic tableware”, “garbage sorting” and other good green dining habits.
“Grains are the life of all people and the most important treasure of the country.” Palace museum and Vanke philanthropy foundation invite you to participate in palacezerowaste and let the good habit of “zero waste dining” accompany you every day to ensure “food security”
Tongzhi of the Qing Dynasty, a gold-engraved tea bowl with patterns of flowers, longevity and longevity. The tea bowl is made of 80% gold. The round mouth is slightly open, and the upper part of the outer wall and the circle foot are engraved with a pattern around it. The middle of the outer wall is engraved with two pairs of characters “囍” and the character “Shou”, and the lower part is decorated with lotus petals. Inscribed on the sole of the foot is “Two liang equal to seven liang, four qian and two cents in the eleventh year of Tongzhi (1872)”. The eleventh year of Tongzhi (1872) was the year of Emperor Tongzhi’s wedding. The word “囍” was engraved on the bowl, which should be used for the wedding.
Dharma stickers are made by imitating the ink marks of famous people from different eras on stones, making rubbings and spreading them widely. Among them, the ancients said that those with fine imitation, engraving, and rubbing are “first class than authentic works.” Dharma stickers can more realistically reproduce the calligraphy of famous artists, making it easier for people to practice calligraphy. The publication of “Chunhua Pavilion Tie” in the Northern Song Dynasty created the trend of engraving and passing on rubbings, and it is known as the “ancestor of Fati”.
The original stone of “Chunhua Pavilion Tie” was destroyed long ago. Song Tuo Charming The second section of the exhibition “Chunhua Pavilion Calligraphy and Song Dynasty Dharma Calligraphy” displays the Maoqin Palace copy collected by the Palace Museum and the Quanzhou copy collected by the Art Museum of the Chinese University of Hong Kong. They are both rare re-engraved copies of the “Chunhua Pavilion Calligraphy” handed down from ancient times.
Qing Dynasty, golden dragon and phoenix double 囍 pattern plate. This gold plate is 4.8 centimeters high and 30.6 centimeters in diameter. It is made of 80% gold and weighs forty taels. It is the largest gold plate existing in the Qing palace. There are four characters on the plate: “dragon”, “phoenix”, “double” and “囍”. This plate may have been used for the weddings of emperors and empresses.
Painted banquet table with golden dragon and phoenix patterns. In the Qing Dynasty, when the emperors and empresses held wedding ceremonies, they had to share a table and eat together. The table was entered by the female official of the Ministry of Internal Affairs. The emperor sat on the right and the queen sat on the left, eating and drinking opposite each other. This table is the combined banquet table. The table is made of wood, with a yellow lacquered table top and a painted golden dragon and phoenix “囍” pattern. The legs are slightly curved, making it beautiful and practical. Emperor Guangxu’s “Red Banquet of the Wedding Ceremony” records that the emperor and empress’s banquet table was one foot high, three feet five inches long, and two feet five inches wide. It was decorated with the Chinese character “囍” with dragons and phoenixes on a yellow ground. The size and pattern matched this table.
The scroll of “Guiju Mountain Birds” (Fig. 1) was painted by Lu Ji, a court painter of the Ming Dynasty, and is now collected in the Palace Museum. The subjects depicted on the axis of the picture are red-billed blue magpies, starlings, sweet-scented osmanthus, and autumn chrysanthemums, all of which are auspicious and precious things. The objects in the picture not only truly show the natural nature of the creatures, but also vividly express the beautiful meaning. The starlings on the branches are chirping at each other, highlighting their good singing nature; the four red-billed blue magpies are graceful and their dark blue feathers are particularly eye-catching. Among them, the three in the lower left corner are fighting for an insect, which is lifelike. The red-billed blue magpie is a beautiful bird. The male and female have similar feather colors. Its extraordinary temperament can be called the “face value” among birds. However, their calls are in great contrast to their beautiful appearance and graceful flying posture. They make many different noisy calls and whistles, which are rough and noisy….
Guangxu of the Qing Dynasty, the recipe for the Henu Banquet. According to Emperor Guangxu’s “Red Banquet of the Wedding Ceremony”, on the twenty-seventh day of the first lunar month in the fifteenth year of Guangxu’s reign (1889), the emperor and his empress had a banquet. The meal list was as follows: red gold plate with two items: pig black fork and sheep black fork; red gold bowl The fourth product: bird’s nest with the character “Eight Immortals” duck, the bird’s nest with the character “囍”, shredded duck, thin pork shreds soup; the second product of the red gold plate: the bird’s nest with the character “dragon” mixed with shredded smoked chicken, the bird’s nest with the character “phoenix”, golden and silver elbow flower, the bird’s nest with the character “Cheng”, spiced chicken , bird’s nest with auspicious characters, gold and silver duck silk; red gold snail plate with side dishes, second item; red gold plate with side dishes, second item; red ground with golden flower characters, porcelain bowl, second item: bird’s nest and eight immortals soup, second item; colorful Bai Zi porcelain bowl, second item: old rice meal; second item; The second product of the colorful Baizi porcelain bowl: the second product of Zisun Pastry. The dumplings are dumplings brought by the queen from her natal family and cannot be cooked. When the emperor and empress were eating them, a boy outside the window asked if they were alive, and the emperor and empress had to answer “live”. Eating cakes for descendants should be done before the Henu Banquet, which shows that the royal family attaches great importance to the inheritance of descendants. The tableware for the Hexin Banquet is luxurious, and the dishes contain the beautiful meaning of dragons and phoenixes, and the succession of descendants…
Qing Dynasty, red sandalwood inlaid glass with the word “囍” hanging on the corners. Emperors of the Qing Dynasty mostly married their queens in the afternoon or evening. Emperor Tongzhi married during the Shen hour, that is, between 3 pm and 5 pm, while Emperor Guangxu chose the Zi hour, which was between 11 pm and 1 am. When a wedding is held at night, lights and candles are naturally indispensable. There are poke lamps that can be inserted on the base, hand-held lamps, table lamps placed on the table, and hanging lamps hung on the room. Poke lamps and holding lamps are mostly used outdoors, while table lamps and hanging lamps are mostly used indoors. This hanging lamp consists of two parts: a lamp cap and a lamp body. The red character “囍” is pasted on the lamp body, which means prosperity and joy.
Qing, the horny character holds the lamp. The lamp consists of two parts: cover and base. The lampshade is round in shape, with the upper and lower parts slightly tightened, and the word “囍” is written in red on both sides. The handle is connected to the base, and a bracket is installed on the base to fix the lampshade. The cover is made of horn, heated and boiled with cow and sheep horns and solvent until soft, and then different types of lasts are used to gradually expand it. The cover wall is thin and seamless, has good light transmission and is windproof. However, the production of lampshades is difficult, the yield is low, and those with large diameters are particularly rare. This kind of horn lamp is controlled by eunuchs and is not only used to illuminate the queen’s carriage when walking in the palace, but can also be placed in the wedding room to create a festive atmosphere…..
On the 24th October 2023 .. Fall in Love with the Forbidden City…. Turtles and cranes watch the sun and moon from a distance, while divine lins spit out mist and turn into frost. Repost three auspicious beasts and reap Frostfall…… good luck!
The autumn air is crisp and the autumn clouds are light. After mid-autumn, galloping horses and sentrying deer in the forest were seasonal leisure activities for the Qing Dynasty court. The method of sentrying a deer is to “put on the deer’s head and lie down in the forest ravine, and use the whistle to call the deer.” It can be seen that the deer whistle is an important tool for hunting deer. Deer whistles are shaped like horns, about two to three feet long, and can simulate the sound of a deer. According to the habits of deer, deer hunters need to start from the camp before the fifth watch, go to the predetermined location to hide, and wait with bated breath after the deer whistle blows. After the deer appears, because the distance is close and the target is clear, the deer will hit more; if occasionally If you fail to hit, the pursuit will generally not continue. Figure 8 is one of the imperial deer whistles collected by the Palace Museum that is on display in the exhibition….
Qing Dynasty, filigree enamel candlestick with the word “囍”. Before the advent of electric lights, people used oil lamps or candles for lighting. There were many candles and candlesticks in the Qing palace. Candlesticks are mostly made of metal, which is stable and difficult to ignite. Menorah styles vary depending on where they are used. This cloisonné enamel candlestick has a sky blue glaze base and is decorated with lotus patterns. Yuanbao symbolizes wealth and can prevent wax oil from spilling. The word “囍” indicates that this candlestick is specially made for weddings.
Wang Xizhi’s “Lanting Preface” of the Eastern Jin Dynasty is known as “the best running script in the world”. The “Lanting Preface” that has been handed down from generation to generation is divided into two types: later generations’ copy, copy and stone rubbing. During the Song Dynasty and the Song Dynasty, engraving and calligraphy flourished. “Preface to Orchid Pavilion” was carved in stone and passed down, which became a fashion. Collecting rubbings of “Lanting Preface” has gradually become a hobby among literati, ranging from a few to more than ten, or even hundreds or even hundreds.
During the Southern Song Dynasty, Lizong, the Prime Minister of Yousi, collected hundreds of rubbings of Wang Xizhi’s “Lanting Preface”, which were later called “Youxiang Lanting”. According to the heavenly stems, there are ten types of each stem from A and B to Ren and Gui. In the third section of the #松图charm exhibition, “You Xiang Orchid Pavilion”, the Palace Museum and the Art Museum of the Chinese University of Hong Kong jointly displayed fourteen of them for the audience to compare and appreciate.
日国宫 , tonight’s good night comes from the book “Yuemanqingyoutu”·Chrysanthemum Appreciation on the Double Ninth Festival.
