Tag: Meridian Gate Hall

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

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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.

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

#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #May2023 | #ForbiddenCityDairies -“Xiangkai Vientiane–The Forbidden City and Tibetan Cultural Relics Joint Exhibition” reflecting the history of ethnic relations in the Yuan, Ming and Qing dynasties….

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The Forbidden City Palace Museum Beijing, China, People’s Republic of China holds a large-scale exhibition reflecting the history of ethnic relations in the Yuan, Ming and Qing dynasties, “Xiangkai Vientiane–The Forbidden City and Tibetan Cultural Relics Joint Exhibition” will be on display at the Meridian Gate on April 29th 2023 towards 30th of September 2023.

On April 28, 2023, the opening ceremony of “Auspicious Opening of Vientiane—Joint Exhibition of the Forbidden City and Tibetan Cultural Relics” was held at the Palace Museum. Wang Xudong, member of the Party Leadership Group of the Ministry of Culture and Tourism and director of the Palace Museum, Zhong Tingxiong, deputy director of the Propaganda Department of the State Ethnic Affairs Commission, Zhang Xuxia, deputy director of the General Office of the Ministry of Culture and Tourism, Lian Xiangmin, deputy director-general of the China Tibetology Research Center, protection of historical sites in China Song Xinchao, chairman of the association and former deputy director of the State Administration of Cultural Heritage, Qu Zhen, deputy secretary of the party group and director of the Tibet Autonomous Region Cultural Relics Bureau, Yang Fan, secretary of the Party Committee of the National Museum of China, Fayan, deputy director of the National Cultural Palace, Zha Xia, director of the Tibetan Culture Museum, Chinese Buddhist Master Yanjue, the president of the association, relevant departments and bureaus of the Central Propaganda Department and the Central United Front Work Department, relevant comrades in charge of cultural museums in Beijing, relevant associations, team members of the Palace Museum, and leaders of retirement homes attended the opening ceremony. Du Haijiang, Secretary of the Party Committee and Vice President of the Palace Museum, Deji Zhuoga, Deputy Secretary of the Party Group and Director of the Department of Culture of the Tibet Autonomous Region, and Yang Xun, the representative of the Xuri Charity Foundation and the vice chairman and general manager of Xuri Group Co., Ltd. Speech at the ceremony. Ren Wanping, vice president of the Palace Museum, presided over the opening ceremony of the exhibition.

“Xiangkai Vientiane-The Forbidden City and Tibetan Cultural Relics Joint Exhibition” is jointly organized by the Palace Museum and the Cultural Relics Bureau of the Tibet Autonomous Region, with special support from the Rising Sun Charity Foundation. The exhibition hall of Yanchi Building is open to the audience. Guided by General Secretary Xi Jinping’s thought that “cultural identity is the deepest level of identity, the root of national unity and the soul of national harmony”, combined with the construction of the “Four Forbidden City” system of the Palace Museum, it is a cultural and The display of the results of the Ministry of Tourism’s Tibet-aid project “Research on the Chinese Nation Community Based on the Forbidden City and Tibetan Cultural Relics” is also a large-scale comprehensive exhibition reflecting the history of ethnic relations in the Yuan, Ming, and Qing dynasties. The exhibition reflects the latest relevant scientific research achievements of the Palace Museum in the past five years, explores the cultural connotations behind the cultural relics, shows the exchanges, exchanges and integration between Tibet and the mainland and the court embodied in the cultural relics, and composes a splendid chapter of national unity and progress.

　　Du Haijiang, Secretary of the Party Committee and Vice President of the Palace Museum, said in his speech that the exhibition takes forging the consciousness of the Chinese nation’s community as its starting point and foothold. The emotional bond and spiritual belonging of the nation prove the necessity and forward-lookingness of forging a sense of community of the Chinese nation. For thousands of years, people of various ethnic groups in Tibet and inland have been in frequent contact with each other, helping each other, and being brothers and sisters. The Forbidden City, where the Palace Museum is located, is a witness to the exchanges, exchanges, and integration between Tibet and the mainland of the motherland, and a historical witness to the continuous formation of the consciousness of the Chinese nation community. Based on the close historical relationship between cultural relics and the interaction between cultural relics and the design of the exhibition hall, the exhibition reproduces the historical facts of exchanges, exchanges and integration between Tibet and the mainland, and restores the great process of the Chinese nation’s community consciousness from formation to consolidation in history.

Deji Zhuoga, director of the Cultural Department of the Tibet Autonomous Region, said in his speech that this exhibition is an in-depth implementation of the spirit of the 20th National Congress of the Communist Party of China and the spirit of General Secretary Xi Jinping’s important exposition on cultural relics work by the Tibet Autonomous Region and the Palace Museum. It is an important exhibition held to firmly grasp the consciousness of the community of the Chinese nation and build a common spiritual home for the Chinese nation. The exhibition showcases the long history and splendid culture of the Forbidden City and Tibet, demonstrates the extensive exchanges and in-depth integration between Tibet and other parts of the motherland, and witnesses the diverse and colorful Chinese culture. As a large area of ​​cultural relics resources, Tibet has made all-round progress and historic achievements in promoting the protection and utilization of cultural relics in recent years. Cultural relics have played an important role in forging the consciousness of the Chinese nation community and promoting Tibet’s long-term stability and high-quality development.

Yang Xun, the representative of the Xuri Charity Foundation and the vice chairman and general manager of Xuri Group Co., Ltd., who specially supported the exhibition, said that Chinese culture is a synthesis of the cultures of all ethnic groups and a common spiritual home for people of all ethnic groups. “Prosperity in Vientiane—Joint Exhibition of Cultural Relics from the Forbidden City and Tibet” tells the moving story of exchanges, exchanges, and integration between Tibet and various ethnic groups in the mainland through cultural relics research. Glorious Sun Group has strengthened its cultural self-confidence for many years and helped the inheritance and protection of Chinese culture. This support for the exhibition is what Glorious Sun Group should and must do for the inheritance and protection of Chinese culture.

“Auspicious Blossoms – The Forbidden City and Tibetan Cultural Relics Joint Exhibition” is divided into three parts: “Flowers Blooming All Over the Road – Communication between Tibet and the Mainland”, “Flowers and Leafs – Identity and Destination” and “Spring Blossoms and Autumn Fruits – Fruitful Cultural Achievements”. The theme unit uses “flowers” to symbolize the process of integration between Tibet and various ethnic groups in the interior. The exhibition exhibited 108 pieces (sets) of cultural relics, including 13 pieces (sets) of cultural relics from various units under the Tibet Autonomous Region Cultural Relics Bureau and the Sakya Monastery Management Committee, and 95 pieces (sets) of cultural relics from the Palace Museum. In addition to the well-known calligraphy and painting exhibits such as Yan Liben of the Tang Dynasty “Bucharian Picture” and Zhao Mengfu’s “Emperor’s Danba Stele Scroll” of the Yuan Dynasty, there are also a large number of cultural relics that meet the audience for the first time, such as the “Manchu Collection” collected by the Palace Museum. The Sutra, the statue of Emperor Yongle in the Potala Palace, and the thangkas of Kublai Khan first seen in the Sakya Temple, etc., fully demonstrate the diversity of styles and artistic charm of Tibetan-themed cultural relics.

According to the protection requirements of cultural relics and reference practices, the calligraphy and painting works of the Song and Yuan Dynasties and before in the exhibition will be replaced with replicas after one month of exhibition.

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

#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #December 2021 |#午門 # MeridianGate  韩美林天书艺术故宫展 Han Meilin’s Art of Book in the Palace Museum ….

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 “Han Meilin’s Art of Book in the Palace Museum” will be held at the main building of the Meridian Gate of the Palace Museum and the Xiyanchi Exhibition Hall from tomorrow until March 20, 2022. The exhibition uses Han Meilin’s “Book of Heaven” art as its element, and expands to various fields such as ink, ceramics, purple sand, printing and dyeing, wood carving, and iron art. According to the current epidemic prevention and control situation, and in accordance with the principles of appointment, current limit, and peak shifting, the exhibition will be admitted by appointment, with a full-day limit of 3,000 people, until the quota is full. Visitors can make real-name reservations using the second-generation ID card or passport information through the online ticketing website of the Palace Museum the WeChat account “The Palace Museum Audience Service” or the “Digital Forbidden City……

午門  MeridianGate   is the southern and largest gate of the Forbidden City in Beijing, China. Unlike the other gates of the Forbidden City, the Meridian Gate has two protruding arms on either side, derived from ancient que towers traditionally used to decorate the main entrances of palaces, temples and tombs. The gate has five arches. The three central arches are close together in the main, central section; the two flanking arches are farther apart from the three central arches, and are located between the central section and the protruding arms. The centre arch was formerly reserved for the Emperor alone; the exceptions were the Empress, who could enter it once on the day of her wedding, and the top three scholars of the triennial civil service examinations, who left the exams through the central arch. All other officials and servants had to use the four side arches.

A series of buildings form the superstructure of the gate. The central one is a pavilion of nine bays wide, with double eaves. On each of the protruding side, a 13 bays-long building with a single eave connects the two pyramidal-roofed pavilions that represented the que towers.

Its superstructure is also called the “Five Phoenix Turrets” because it is composed of five buildings…… Imperial proclamations and almanacs were issued from the gate house. ….. 

Imagines credits are of the Forbidden City –Imperial Palace –Beijing – China- People’s Republic of China also from the Series Weibo北京卫视上新了故宫 Treasures in the Forbidden City…

#北京。 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #September2020|#ForbiddenCityarchitecture built 600 years of rich architectural language briefly explained- “ Everlasting Splendour Six Centuries at the Forbidden City Exhibition “ appeared in the #午門 #MeridianHall #MeridianGate of the #ForbiddenCityPalaceMuseum …..

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In this year’s 2020, the second decade from the turn of the century in Beijing the Capital of China also the People’s Republic of China, in which is also the year of the rat, marking its six hundred years anniversary of the Forbidden city that marks the transitional point of in between the middle of the Ming Dynasty (1368- 1644) transitionally from Nanjing to Beijing towards the Qing Dynasty (1636-1644-1911) …. The Imperial Palace seen so many countless seasonally transitional equinoxes but further its six hundred years is iconic, but it’s five hundred ninety nine years it marks it Autumn Equinox…. In which it only took twelve years to build the same of the Daming Palace of The Tang Dynasty Xian Imperial Capital only it was least twenty times larger……

On September 10, 2020, the exhibition “Danchen Eternal-The Forbidden City was built six hundred years ago” officially opened at the Meridian Gate of the Palace Museum. Secretary of the Party Leadership Group and Minister of the Ministry of Culture and Tourism Hu Heping, Member of the Party Leadership Group of the Ministry and Director of the National Cultural Heritage Administration Liu Yuzhu, Member of the Party Leadership Group of the Ministry and President of the Palace Museum Wang Xudong, Secretary of the Party Committee and Chairman of China Construction Bank Corporation Tian Guoli, Inner Mongolia Yili Industrial Group The CEO Zhang Jianqiu attended the opening ceremony. Nanjing Museum, Fengyang County Museum, Beijing Institute of Cultural Relics, Suzhou Imperial Kiln and BRIC Museum, National Library of China, National Museum of China, China’s First Historical Archives, China’s Second The historical archives, the Chinese Cultural Heritage Research Institute, the School of Architecture of Tianjin University, the Peking University Library, the School of Architecture of Tsinghua University, the Shanghai Library and other cultural institutions, university representatives, and experts and scholars who supported the exhibition attended the opening ceremony. Du Haijiang, Secretary of the Party Committee and Vice President of the Palace Museum, presided over.

In his speech, Hu Heping mentioned that the Forbidden City is a cultural treasure of the Chinese nation, a master of ancient Chinese palace architecture, a museum with the largest collection of cultural relics in China, and a world-famous heritage and tourist destination. This exhibition focuses on the 600-year architectural, artistic and cultural achievements of the Forbidden City and the recent work of the Palace Museum. It not only gives people the opportunity to understand the cultural value of the Forbidden City from the dual perspectives of heritage sites and museums, but also meets the needs of people in the context of normalized epidemic prevention and control. Cultural needs and willingness to travel. The Palace Museum must adhere to the guidance of Xi Jinping’s new era of socialism with Chinese characteristics, based on its own positioning, carry forward the past, and continuously enhance the sense of responsibility and mission to inherit civilization for mankind, make greater efforts to protect and inherit the excellent traditional Chinese culture, and keep the old ancestors. The Forbidden City and precious cultural relics in China are well preserved, and the spiritual and cultural values ​​contained in the buildings and cultural relics are studied and explained well, and Chinese stories are well told, making new and greater contributions to strengthening cultural confidence and strengthening the country’s cultural soft power.

　　Wang Xudong said that 2020 is not only the 600 years since the completion of the Forbidden City, but also the 95th anniversary of the establishment of the Palace Museum. The Forbidden City has organized more than 40 series of commemorative activities for this purpose. The exhibition “Dan Chen Eternal-The Six Hundred Years of the Forbidden City” is the most important exhibition. Thanks to all social forces for their care and support for the protection of the Forbidden City’s heritage. The Forbidden City will continue to be down-to-earth, strengthen museum management and cultural heritage protection research, maintain integrity and innovate, and inherit the excellent Chinese traditional culture.

　　The Forbidden City was built in the fourth year of Yongle in the Ming Dynasty (1406) and the eighteenth year of Yongle (1420). The architecture of the Forbidden City inherits the regulations of the Tang and Song dynasties and is organically integrated with the city’s functions and landscape. It is a concentrated expression of the ideas of ancient Chinese city construction and palace construction. In the six hundred years of inheritance, the Chinese cultural ideology of “the relationship between heaven and man” and “combination of rituals and music” has been consistently carried forward. It not only reflects the strong ethnic integration, but also has the cultural characteristics of Western learning. A physical example of a “big” cultural mindset is a well-deserved “city of great success” for the Chinese nation.

　Palace architecture is the most brilliant chapter in the history of ancient Chinese architecture, and has always been the focus of ancient Chinese construction. The Forbidden City is a master of the development of palace architecture. It not only represents the highest level of architectural technology and art at that time, but its magnificent buildings have also become a symbol of the sacred and solemn state of the state.

　　2020 coincides with the 600th anniversary of the completion of the Forbidden City. The Palace Museum will launch this exhibition. It will introduce the planning, layout, architecture, court life, and the general situation of the construction and protection of the Forbidden City from three themes and 18 historical nodes, for the convenience of the audience Understand the historical culture that runs through the “time” and “emptiness” of the Forbidden City, feel the highest state of the perfect combination of palace architectural technology and art, and feel the infinite charm of Chinese excellent traditional culture.

　　This exhibition uses three exhibition halls in the Wumen area: Xiyanchi Building, Main Building and Dongyanchi Building. The tour enters from the West Horse Road at Meridian Gate and leaves from the East Horse Road. The exhibition line is 256 meters in length and exhibits more than 450 cultural relics and historical photos. The exhibition closely adheres to the theme of “time”, with the changing scenes of the four seasons as the background, making the audience feel the beauty of the changing scenes of the Forbidden City in different seasons while visiting the exhibition.

　　The theme of the Xiyanchi Building exhibition hall is “the palace and city as one”. The space color is beige, highlighting the three-dimensional effect of stone components in the Ming Dynasty. With a large number of graphic illustrations and calligraphy and painting exhibits, it describes the construction concept and construction engineering skills of the palace city in the Ming Dynasty. Through the three historical nodes of “1406·Yongleying Beijing”, “1420·Forbidden City completion”, and “1535·Qin’an Temple Fengdao”, the prologue and completion of the construction of the Beijing Imperial Palace and the changes in the layout of the Forbidden City in the Ming Dynasty are described.

　　The theme of the Wumen main building exhibition hall is “Tolerance is great”, and the color of the space is red, which highlights the magnificence and exquisite decoration of the palace buildings and inner eaves of the Forbidden City in the Qing Dynasty. Passed “1655·Reconstruction of Kunning Palace”, “1695·Reconstruction of Supreme Harmony Hall”, “1723·Incorporated in the Hall of Nourishment of the Heart”, “1738·Changed Ganxi Five Institutes”, “1776·Building of Ningshou Palace”, “1859 The 8 historical nodes of “Connecting to Changchun Palace”, “1902·Reconstruction of Wuying Hall”, “1909·Exploring Lingzhao Xuan”, telling the story of the ten emperors of the Qing Dynasty in order to meet the needs of their governance, sleeping and living Rebuild or rebuild on the basis of changing the overall layout to form the basic layout of the Forbidden City today. The cultural relics on display reflect the integration of ancient Chinese multi-ethnic culture and the wisdom of the working people.

　　The theme of the exhibition hall of the East Yanchi Building is “Endless Life”, and the color of the space is green, which is intended to express the vibrant and prosperous development of the Palace Museum after its establishment. Passed “1914·The First Opening of the Forbidden City”, “1925·Building Museum”, “1933·Wartime Antiquities”, “1949·Renovation Team”, “1961·First Recommended National Protection”, “1987·Treasure List” The seven historical nodes of “World Heritage” and “2002 · Overhauled Centenary” tell about the south relocation of the Forbidden City cultural relics and the surveying and mapping of the central axis that occurred after the former palace became a museum. A large number of old photographs and images, historical archives and physical exhibits show the achievements and development process of the Palace Museum in various aspects since its establishment.

　　This time, the Wumen Exhibition Hall is equivalent to visiting the “Preface” Hall of the Forbidden City. It is hoped that through the exhibition, the audience will have a deeper and comprehensive understanding of the excellent traditional Chinese culture carried by the Forbidden City and the Forbidden City today, and jointly witness the arrival of a new era belonging to the Chinese nation. .

　　The exhibition was strongly supported by China Construction Bank Corporation and Inner Mongolia Yili Industrial Group Co., Ltd. At the opening ceremony, Tian Guoli, Secretary of the Party Committee and Chairman of China Construction Bank Corporation, and Zhang Jianqiu, Executive President of Inner Mongolia Yili Industrial Group Co., Ltd. delivered speeches respectively. China Construction Bank Co., Ltd. is the joint promotion unit of this exhibition. At the same time, it has cooperated with the Palace Museum to launch the “Forbidden City Rui Beast” precious metal cultural and creative products; Inner Mongolia Yili Industrial Group Co., Ltd. is the special support unit of this exhibition and cooperates with The Palace Museum has cooperated to launch a golden milk product with special packaging design using the architectural elements of the Forbidden City.

　　The exhibition will officially open to the public on September 10, 2020, and will end on November 15, 2020. Tickets for this exhibition will not be sold separately. You can visit the exhibition free of charge after entering the museum with a ticket to the Palace Museum.

　2020年9月10日，“丹宸永固——紫禁城建成六百年”展在故宫博物院午门正式开幕。文化和旅游部党组书记、部长胡和平，部党组成员、国家文物局局长刘玉珠，部党组成员、故宫博物院院长王旭东,中国建设银行股份有限公司党委书记、董事长田国立,内蒙古伊利实业集团股份有限公司执行总裁张剑秋出席开幕式，南京博物院、凤阳县博物馆、北京市文物研究所、苏州御窑金砖博物馆、中国国家图书馆、中国国家博物馆、中国第一历史档案馆、中国第二历史档案馆、中国文化遗产研究院、天津大学建筑学院、北京大学图书馆、清华大学建筑学院、上海图书馆等给予本次展览支持的各文博单位、高校代表以及专家学者参加了开幕式，活动由故宫博物院党委书记、副院长都海江主持。

胡和平在致辞中谈到，故宫是中华民族文化瑰宝,是中国古代宫殿建筑集大成者，是国内收藏文物数量最多、等级最高的博物馆，是世界著名遗产地、旅游目的地。本次展览集中展示紫禁城600年建筑、艺术、文化成就和故宫博物院近年工作成果，既让人们有机会从遗产地和博物馆双重视角认识紫禁城文化价值，又能满足常态化疫情防控背景下人们的文化需求、旅游意愿。故宫博物院要坚持以习近平新时代中国特色社会主义思想为指导，立足自身定位，继往开来，不断增强为人类传承文明的责任感使命感，在保护传承中华优秀传统文化上下更大功夫，把老祖宗留下来的紫禁城、珍贵文物保存好保护好，把建筑、文物蕴涵的精神文化价值研究好阐释好，讲好中国故事，为坚定文化自信、增强国家文化软实力作出新的更大贡献。

 

　　王旭东表示，2020年既是紫禁城建成600年，又是故宫博物院成立95周年。故宫为此筹办了40多项系列纪念活动，“丹宸永固——紫禁城建成六百年”展正是其中最重要的展览。感谢各方社会力量对故宫遗产保护事业的关心和支持，故宫将继续脚踏实地，强化博物馆管理和文化遗产保护研究，守正创新，传承好中华优秀传统文化。

　　紫禁城始建于明朝永乐四年（1406年），永乐十八年（1420年）建成。紫禁城建筑继承唐宋规制，与城市功能、山水形势有机结合，是中国古代城市建设和宫殿营造思想的集中体现。在六百年的传承中，将“天人之际”“礼乐复合”的中国文化思想一以贯之地发扬光大，既体现出强烈的民族融合，亦有西学东渐的文化特质，是“有容乃大”文化胸怀的实物例证，是中华民族当之无愧的“大成之城”。

　　宫殿建筑是中国古代建筑史中最辉煌的篇章，历来是中国古代营造的重点所在。紫禁城更是宫殿建筑发展的集大成者，不仅代表了当时建筑技术与艺术的最高水准，其巍峨壮丽的建筑群亦成为国家政权神圣庄严的象征。

　　2020年适逢紫禁城建成六百年，故宫博物院推出此次大展，由三大主题、18个历史节点介绍紫禁城的规划、布局、建筑、宫廷生活，以及建筑营缮与保护的概况，方便观众理解贯穿于紫禁城“时”“空”的历史文化，感受宫殿建筑技术与艺术完美结合的最高境界，感悟中华优秀传统文化的无穷魅力。

　　此次展览使用了午门区域的西雁翅楼、正楼及东雁翅楼三个展厅。参观由午门西马道进入，东马道离开，展线全长256米，展出文物及史料照片共计450余件。展览紧扣“时间”这一主题，以四季变化的景象为背景，使观众在参观展览的过程中感受到故宫不同季节不同景象变化的美感。

　　西雁翅楼展厅主题为“宫城一体”，空间色彩采用米白色，凸显明代石质构件立体效果，配合大量图版说明及书画展品，讲述明代宫城建设理念及建筑工程技巧。通过“1406年·永乐营北京”“1420年·紫禁城建成”“1535年·钦安殿奉道”3个历史节点，讲述了北京皇宫营建的序幕、告竣和明代紫禁城内布局的改变。

 

　　午门正楼展厅主题为“有容乃大”，空间色彩采用红色，烘托出清代紫禁城宫殿建筑及内檐装饰的华丽与精美，同时讲述清代各个时期紫禁城建筑格局与风格的变化。通过“1655年·改建坤宁宫”“1695年·重建太和殿”“1723年·入主养心殿”“1738年·改乾西五所”“1776年·建成宁寿宫”“1859年·连通长春宫”“1902年·重建武英殿”“1909年·探秘灵沼轩”8个历史节点，讲述了清代的十位皇帝为满足其理政、寝居等功能的需求，在不改变总体布局的基础上重修或重建，形成今日紫禁城的基本格局。展出文物体现了中国古代多民族文化融合和劳动人民的智慧。

　　东雁翅楼展厅主题为“生生不息”，空间色彩采用绿色，意在表示故宫博物院成立后生机勃勃、欣欣向荣的发展景象。通过“1914年·初开紫禁城”“1925年·肈建博物院”“1933年·战时护古物”“1949年·重整修缮队”“1961年·首荐颁国保”“1987年·瑰宝列世遗”“2002年·大修百年计”7个历史节点，讲述了昔日皇宫成为博物院后发生的故宫文物南迁、中轴线建筑测绘等事件。大量的老照片影像、史料档案以及实物展品，呈现了故宫博物院自成立以来各方面的工作成果以及发展过程。

　　此次，午门展厅相当于参观紫禁城的“序言”厅，希望通过展览，使观众更深入全面地理解曾经的紫禁城、今日之故宫承载的中华优秀传统文化，共同见证属于中华民族新时代的到来。

　　此次展览得到了中国建设银行股份有限公司和内蒙古伊利实业集团股份有限公司的大力支持。开幕式上, 中国建设银行股份有限公司党委书记、董事长田国立,内蒙古伊利实业集团股份有限公司执行总裁张剑秋分别致辞。中国建设银行股份有限公司是本次展览的联合推广单位，同时与故宫博物院合作推出了“故宫瑞兽”贵金属文创产品；内蒙古伊利实业集团股份有限公司是此次展览的特别支持单位，并与故宫博物院合作推出了运用紫禁城建筑元素专门包装设计的金典牛奶产品。

　　展览于2020年9月10日正式向公众开放，2020年11月15日结束。本次展览不单独售票，凭故宫博物院门票进院后可免费参观。

Imagines credit are of the Forbidden city –Imperial Palace –Beijing – China- People’s Republic of China