#北京 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #December2023 | #ForbiddenCityDairies – #明中都#MingZhongdu #滁州 #安徽 #Chuzhou #AnhuiProvince – The first central capital of the #MingDynasty…..  #ChineseIntangibleCulturalHeritage  

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.

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.

Location map of Zhongdu ruins in Ming Dynasty

Anhui Fengyang Mingzhongdu Site was selected as one of the “Top Ten New Archaeological Discoveries in the Country in 2021”

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.

#北京 #中國 #China #Beijing | #紫禁城 #ForbiddenCity #October2023 | #ForbiddenCityDairies -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage.  Collection 11th   towards  16th October  2023 …..

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 11th October the anniversary of Daily palace, tonight’s good night comes from the 98-year-old Palace Description: [Heart]Museum…..

The wind blows and the rain blows, the stars move, and the ancient city remains undefeated through the prosperous years. Today is the 98th anniversary of the founding of the National Palace Museum . The Forbidden City carries the ancient memories of history, and has witnessed and accompanied everyone to open new chapters in life over the long years. On the 98th birthday of the Forbidden City, let us look back on every detail of our visit to the Forbidden City, relive our exclusive memories with the Forbidden City, and jointly protect this precious world cultural heritage!

Let’s read the calendar together  During the reign of Emperor Guangxu of the Qing Dynasty, bright yellow satin and flat gold embroidery with dragon and phoenix patterns on the backrest, bedding, and greetings. The Qing Dynasty palace mostly used hardwood furniture. Hardwood furniture is valuable and strong, but it can cause discomfort when sitting or lying down for long periods of time, especially in winter, so soft cushions are needed. The wooden kang is larger, and the mattress, backrest, and handstands are often used together. They are filled with cotton on the inside and wrapped in brocade and other fabrics, making them soft and comfortable. The soft cushion in the picture is embroidered with flat gold, using real gold threads embroidered on the surface of the fabric. Mattress, backrest and handrails are essential items in home life. Although they are trivial details, they are related to personal feelings and can reflect the taste of life, so they are valued by people at the time. Emperor Yongzheng put forward specific requirements for the design of cushions, backrests and hand patterns.

“The Qiang Guan is covered with frost all over the ground.” The autumn wind blows the camel bells, and also blows away the confusion at the end of the eyes of homesick travelers.

[Clothing] Camel gray tufted kui pattern dark flower diameter gauze small simple robe, camel ground dragon and phoenix Ganoderma lucidum Ruyi pattern brocade, beige ground flower pattern woven gold brocade, camel gauze short-waisted women’s socks
[Accessories] Topaz sword head with hooked grain pattern, light camel satin embroidered scratching chrysanthemum pattern waist round purse, gauze head flower
[Daily necessities] Topaz double ear-shaped movable ring bottle with lid, yellow tapestry fan with vines, flowers and butterflies and mahogany carved handles

日面宫# , tonight’s good night comes from Zhu Yunming’s cursive chrysanthemum poem ceremony.

In the Qing Dynasty, the kang blanket was embroidered with red cloth with Chinese characters, dragons and phoenixes, and colorful cloud patterns for generations. The carpet cultural relics in the Palace Museum are divided into carpets, kang rugs, and tapestries according to their uses. The center of this kang rug has a dragon and phoenix character “囍” pattern, and the edges are patterns of bats, gourds, plum blossoms, longevity peaches, and the character “囍”, which symbolize wealth, longevity, and descendants for generations. This kang rug uses Cantonese embroidery stitching and may come from Guangdong. It was a tribute specially purchased for the emperor’s wedding. According to Emperor Guangxu’s “Red Wedding Ceremony”, the East Nuan Pavilion of Kunning Palace used a red felt kang blanket embroidered with dragon and phoenix “囍” patterns.

Forbidden City Autumn Fashionable Color – Fragrant color
“The fragrance of ripe rice is ten miles west. The hibiscus fences fall with long bamboo silk. The hanging mountain fruits hang green and yellow.” In the scene of a good harvest, where does the autumn fragrance come from?

[Clothing] Women’s robe with fragrant yarn embroidered with eight groups of peony and Kuifeng patterns, fragrant satin soap boots with rice beads, fragrant satin velvet mouth with peony pattern oval purse, fragrant silk embroidered flower pattern handkerchief [Accessories] inlaid with pearls and
jade Belt buckle, yellow tourmaline bracelet with pearls and emerald ornaments
[daily necessities] jade flower handle cup, tea powder glazed string pattern bottle, tea powder glazed flower

Qing Dynasty, with dragon and phoenix characters on the mattress. The emperors and empresses of the Qing Dynasty often sat on the kang when they lived in the house, and kang blankets and mattresses were laid on the kang for convenience. According to Emperor Guangxu’s “Red Wedding Ceremony” records, when Emperor Guangxu got married, eight large red satin mattresses embroidered with dragons and phoenixes with “囍” patterns were prepared in the East Nuan Pavilion of Kunning Palace. This cushion was originally stored in Kunning Palace. From the embroidered pattern of dragon and phoenix with the character “囍”, it can be seen that it was used during the wedding of Emperor Guangxu.

Knots are the flowers that decorate the flowers. The mother-in-law is composed of a skeleton, an inner tube, and an exterior mother-in-law flower. The shapes of the flowers are various, including vase-shaped, olive-shaped, long angular, round, etc. They are called knots, hairpins, green strips, etc. according to the yellow strips they are attached to. Among them, the knot is decorated on the lower middle part of the front of the knot. Since most of the knots are equipped with hanging rings on both sides and the bottom edge of the back, beads can be hung; round hairpins are decorated on it, and long angular hairpins are decorated on the left and right sides of the knots..

Qing Dynasty, wood inlaid material, stone, gold and peach leather saddle. The saddle is made of wood, with an asphalt surface and painted with patterns such as butterflies and lotuses. The edge of the saddle is inlaid with rubies, turquoise, coral and other jewels. The attached yellow strips have the words “Happy Saddle” and “Branded Bundle” written on it. , it can be seen from this that it is a wedding saddle specially used for weddings. When the stipulated time came on the day of the emperor’s wedding, the eunuchs used ceremonial carriages to carry the queen to the Kunning Palace in the middle palace. When the queen entered Kunning Palace, the eunuch arrived in advance..

Guangxu period of the Qing Dynasty, bright yellow silk embroidered with clouds, bats, dragons, phoenixes and 囍 patterns. The napkin is a napkin. The emperor and empress wore it on their chests to avoid staining their clothes when they ate. The main color of this piece of clothing is bright yellow, with red, blue, white, and green colors in between. There is a yellow “囍” pattern in the center, dragon and phoenix patterns on both sides, and the edges are decorated with cranes, bats, deer, and the Chinese characters “Shou” and “Shou”. “囍” character pattern, etc. This bodice was specially made for the weddings or longevity celebrations of emperors and empresses of the Qing Dynasty.

Before the Han Dynasty, there were pre-Qin stone drums and Qin Shihuang carved stones. It was not until the Eastern Han Dynasty that rectangular standing stones with inscribed characters and a certain shape appeared, which were the stele with the meaning of later generations. With the development of the times, the meaning of stele gradually expanded to include stone inscriptions, such as stone inscriptions, epitaphs, cliff inscriptions, statue inscriptions, stone monument inscriptions, etc.

Most of the steles handed down from the Han Dynasty are rubbings from the Ming and Qing dynasties, with only a few rubbings from the Song Dynasty. The “Xiyue Huashan Temple Stele” of the Eastern Han Dynasty was destroyed in the Ming Dynasty, and only four rubbings survive: the Huayin and Siming editions collected by the Palace Museum, the Shunde edition collected by the Cultural Relics Collection of the Chinese University of Hong Kong, and the Nagagaki edition collected by the Taito Ward Museum of Calligraphy in Tokyo, Japan. . Two of them, the Huayin version and the Shunde version, are on display in the first unit of this  Song Tuo Charm exhibition, “Xiyue Huashan Temple Stele and Han and Tang Stele Inscriptions

Ming Dynasty, Zigang style sapphire cup. After the sitting ceremony was completed, the emperor and empress performed the ceremony of union. Before the ceremony, the queen redressed and dressed up. In addition to changing into court robes and gown, she also had to comb her long hair, which is a symbol of an unmarried girl, into the “two hairs” of a married daughter-in-law. At the end of the lunar month, the emperor and empress sat on the mattress, drinking and eating. Under the eaves outside the house, the banner couple sang a song of celebration in Manchu to wish the emperor and empress good luck on their wedding, and the wedding ceremony was completed. This sapphire cup has two connected tubes. A phoenix is ​​carved between the two tubes as the cup handle. The rim of one side of the cup is engraved with the inscription “Zigang Zhi”, and the rim of the other side is engraved with the inscription “Henan Cup”.

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 of the Qing Dynasty, yellow ground pastel 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…

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 #October2023 | #ForbiddenCityDairies -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage.  Collection  26th 4TH – 8TH October  2023…

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… . 

“The sound of birds and the shadows of flowers attract people to live in”. The blossoms are pink and white, and the birds are singing, which is the most pleasant scene. The apricot ranking is ranked first, the spring breeze is proud, and there is joy and joy.

Today on the 8th October- 24th October 2023 is 寒露Cold Dew, the twilight is getting earlier and the dew is cold. It’s late autumn, remember to put on more clothes and keep warm 爱尊城……everyone.

The traditional Chinese calendar divides a year into 24 solar terms. Hánlù, Kanro, Hallo, or Hàn lộ is the 17th solar term. It begins when the Sun reaches the celestial longitude of 195° and ends when it reaches the longitude of 210°.

Interior view of the bridal chamber of Kunning Palace. In the bridal chamber, there is a floor-to-ceiling kang bed with a gourd and vine pattern of “囍” and dragon and phoenix, and a tent with a dragon and phoenix in auspicious “囍” pattern. A bedding is placed on the kang, and a plaque hangs “The sun rises and the moon stays forever.” There is a saying in the book of the emperor and empress of Tongzhi that “the two rituals of movement and coordination will make the husband smooth; the light will shine on the four sides, and the rising sun will praise the husband and the moon.” Therefore, the plaque contains the meaning of blessing. The vine gourd symbolizes the endless supply of melons, which corresponds to the couplet on the indoor wall: “The precious gourd lasts forever, the eight poles of mankind and heaven rejoice; the gold and yellow flowers flourish, the sun and moon shine brightly in the sky”.

Bamboo

“snow-covered sloping tips lean against the north wind”. The slim bamboo can also tower over the clouds and cling to the green mountains. Between the dense green and sparse shadows, the common sense of all things is revealed, showing the demeanor of a gentleman.

Qing Dynasty, silver and gold-plated account hook with the word “囍”. Chinese tent hooks have a long history. Bronze tent hooks were used as early as the Warring States Period, and they have been used continuously since then. In the Qing Dynasty, palace tent hooks were roughly divided into three categories: wedding celebrations, birthday celebrations, and auspiciousness. This is the wedding celebration category. There are small rings on the tent hooks for hanging, and the word “囍” is created in the middle and at the bottom of the semicircular hook, which can be described as meticulous.

“Beautiful flowers and pavilions leaning on the painted bridge”. Eating fresh food can relieve irritability, and observing postures can purify the mind. The round lotus sheds dew, the gentle breeze spreads the fragrance, and the summer scenery in the pond is overwhelming.

Qing Dynasty, red satin embroidered with a picture of a hundred children. This hundred-child picture account is the left half of the folded account. The account is embroidered with children with different expressions, which means more children and more blessings. Because Emperor Guangxu’s wedding took place in winter, this Baizi picture tent is a folder tent, which is warmer than a gauze tent. This account is made of exquisite materials and superb techniques. It is both practical and ornamental. It is a very exquisite piece of woven and embroidered art.

在palace中文 Look for the beauty of the country in the brocade, and enjoy the colourful colours in the courtyard. After seven days of fragrance-seeking journey, I hope the road ahead will be bright and worry-free, and the fragrance of flowers will always accompany you on a smooth journey!

Guangxu of the Qing Dynasty, bright red satin embroidered quilt with golden 囍 pattern for generations. The main color of the quilt is bright red, with gold “囍” patterns embroidered on it. There are also patterns such as pomegranates, bats, gourd vines, lotus round boxes, plums, orchids, bamboos and chrysanthemums, wishing the emperor and the queen a harmonious married life and future generations. This quilt is not only practical, but also has a beautiful meaning. But good intentions did not change the cruel reality. Emperors Tongzhi and Guangxu, who held wedding ceremonies in the Forbidden City, had no heirs, and the idea of ​​five generations living under one roof became a fantasy.

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 #October2023 | #ForbiddenCityDairies -The Palace Museum #ForbiddenCity Collections of Chinese intangible cultural heritage.  Collection  26th September 2023- 4th October  2023….

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

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

Qing, Fei Yigeng, Zhang Xiong, Meiyue Chang’e picture fan page. This picture is a joint work of Shanghai-style famous artists. Fei Yigeng was the eldest son of Fei Danxu. He inherited his family’s painting skills and was good at painting ladies and flowers. Zhang Xiong, also known as Zixiang, also known as Yuanhu Waishi, specializes in poetry and rhythm. He likes to collect epigraphy, calligraphy and painting, and is good at flowers, birds, figures, and landscapes. His paintings are gorgeous but not vulgar. Together with Ren Xiong and Zhu Xiong, he is known as “Shanghai” “Shang Sanxiong”. It can be seen from the title “Yu Bo Fei used farming to paint Chang’e, Zixiang Zhang Xiong painted plum blossoms” that Fei and Zhang used their respective talents to express the popular folk theme of Chang’e flying to the moon. The moon has a mysterious veil due to its distance. Painters often create images related to the moon, such as the Jade Rabbit, Osmanthus Tree, Chang’e, and Wu Gang, to bring it into the homes of ordinary people.

During the Tongzhi period of the Qing Dynasty, men’s single court robes were made of sapphire blue silk embroidered with three blue clouds, bats and dragon patterns. The twelve chapters used on the emperor’s court uniform represent the twelve talents and virtues of the monarch. The “moon” and “sun” in the twelve chapters are arranged on both shoulders, which is a metaphor for the emperor’s power being like the light of the sun and the moon, shining in all directions. The moon is often painted with a toad or a white rabbit, which is based on the myth of Chang’e flying to the moon. This blue court robe is embroidered with twelve chapters, in which a jade rabbit is embroidered in the moon, holding a blue pestle stick and carefully pounding medicine. The appearance is very cute…

October wallpaper is now online. Admire the clouds and springs in the wild valleys, and enjoy the beauty of flowers. Feel the tranquillity and coolness of autumn in the beautiful scenery and beautiful utensils. Go to the official website to download high-definition wallpapers in various formats and sizes, suitable for various terminals…

 Qing, Anonymous, Mid-Autumn Festival Jiarui Picture Scroll (Part). This scroll is themed to celebrate the Mid-Autumn Festival, and there are many rabbit images related to the Mid-Autumn Festival and the moon. This picture shows a statue of a Jade Rabbit pounding medicine. Making statues out of clay, oil soil or wax has a long history in our country. In the late Qing Dynasty, there were also clay figurine Zhangs who specialized in statues. The rabbits in the picture are lifelike. They are not only dolls in the hands of children, but also rare handicrafts.

中秋节- Mid Autumn Festival Appreciating the bright moon together brings the reunion of thousands of families.

Sponsored by the State Administration of Cultural Heritage and hosted by the Palace Museum, the China Cultural Relics Exchange Center, and the China Cultural Relics Protection Foundation, the ” 五肖四海 – ‘One Belt, One Road’ Cultural Relics and Archaeological Cooperation Exhibition” will be held at the Shenwumen Exhibition Hall of the Palace Museum on September 29. Open to the public.
This exhibition brings together 84 exquisite cultural relics from 4 cultural and museum institutions in Uzbekistan, Kazakhstan, and the United Arab Emirates, as well as 13 museums in 10 provinces, autonomous regions, and municipalities in China. Many of these cultural relics are shown to the public for the first time. These exhibits materialize the invisible exchanges of civilizations along the Silk Road, reveal the historical trajectory of exchanges and mutual learning among civilizations along the Silk Road, and inject sustainable power into promoting exchanges and mutual learning among different civilizations and promoting mutual understanding and understanding between peoples. This exhibition will be on view until January 5, 2024. Please make a reservation in advance through the “Forbidden City Museum” applet to visit.

The osmanthus is bright, the flowers are full, and the moon is full. Happy Mid-Autumn Festival to everyone !

Qing Dynasty, Mu Guanghan Palace is at the end of the puzzle. This object is a mosaic (prop) used to simply set the scene and create an atmosphere during opera performances in the palace. The craftsmen strive for excellence in production and use layer-by-layer carving techniques to create a distant and near spatial relationship between the rabbit, the sweet-scented osmanthus tree, and the Guanghan Palace in a limited plane composition. Not only that, the magnificent Guanghan Palace was also carved with splendor and splendor, and even the white jade rabbit that made medicine in the Moon Palace was decorated with gold powder, showing its aura of wealth and nobility…

Crab, also known as “Huang Jia”, often appears on items with the meaning of “passing the imperial examination” because it plays the role of “A” in “Er Jia Chuanlu”.
The crabs in autumn make their debut based on their strength. With the plump crabs accumulated for a year, they become the well-deserved protagonists on the Mid-Autumn Festival table. The ancients had the interest of “holding the pincers to hold the wine”, and also had the practice of spoiling crabs by saying “the pincers of the crab are gold liquid, and the mounds are Penglai”.

The clouds are steaming and the clouds are rising, and the magpie is rising and the rainbow is flying. Hello October! Hello, 74-year-old New China! National Day Happy China, People’s Republic of China.

Exterior view of Kunning Palace. Kunning Palace is located on the central axis to the north of Qianqing Palace. It was built in the 18th year of Yongle in the Ming Dynasty (1420) and was the residence of the empress of the Ming Dynasty. During the Shunzhi period of the Qing Dynasty, it was renovated. The renovated Kunning Palace was nine rooms wide and three rooms deep. The west side was a place for worship, and the east side was a wedding room. This followed the system of the queen being in the middle palace. Emperor Kangxi, Emperor Tongzhi and Emperor Guangxu all held weddings here. Although Dongnuan Pavilion is a place for holding ceremonies, it is not suitable for living. Therefore, after the wedding, the queen usually moves elsewhere. For example, the empress of Zhi Emperor lived in Chuxiu Palace and the empress of Guangxu Emperor lived in Zhongcui Palace

——The peonies

are “thousands of beauties that break the morning glow”. The new makeup shines in the water, and the beautiful shadows are full of joy. The scorching sun is shining brightly, and the beauty and fragrance of the country live up to the expectations!

Dongnuange bridal chamber has a happy wedding. This picture shows the wedding bridal chamber of the East Nuan Pavilion of Kunning Palace restored based on documentary records. The word “Shou” is written in cursive on the top of the door, and the word “Xi” is decorated on the gilded door below. When the double doors are closed, the word “囍” is formed. There are couplets inscribed by Emperor Qianlong on both sides of the door: “Heaven is pure and blessed, and the valley of Beirjian is like a lotus; the people are harmonious under the edict, and Sui Yi will be blessed and live forever.” On the screen wall leading to the east and west gates of the bridal chamber, It is also decorated with the golden word “囍”, which means happiness upon opening the door. The main color of the door is red, creating a festive atmosphere..

在久久看中华 – The chrysanthemum

“will make the golden stamens flood with clouds”. The chrysanthemum petals reflect the morning light, and there are broken shadows accompanying the floating fragrance. Even if the dew is heavy and the frost is heavy, the yellow leaves will not dance in the autumn wind.

Panoramic view of the bridal chamber of Kunning Palace. The bridal chamber originally referred to a deep and secret room, and later specifically referred to the wedding room, also known as the wedding room. The bridal chamber of Kunning Palace was originally used for the wedding of Emperor Kangxi. The subsequent emperors were already married before taking the throne, so it was not used again until Emperors Tongzhi and Guangxu. The bridal chamber of Dongnuang Pavilion has a kang bed to the south and two rooms to the north separated by bright pillars. Both rooms have a floor-to-ceiling kang bed with a dragon and phoenix character “囍” and vines and gourd patterns. The northeast kang (outer north kang) is the living room, with mattresses, backrests, handrails, etc. on the kang, and the northwest kang (inner north kang) is the bedroom. The floor is covered with a large red carpet, embroidered with dragon and phoenix patterns, and the golden character “囍” embroidered between the dragon and phoenix, echoing the golden character “囍” on the wooden shadow wall. The bridal chamber is full of festive

Kunning Palace bridal chamber waist knife. The Manchus are martial people, and this tradition can still be reflected in wedding items. This knife is hung on the pillar of the bridal chamber, which has the same meaning as the bow and arrow bag hung along the nose pillar of the bridal chamber. According to the records of the Qing Palace, such weapons were only hung during festivals, not only for the sake of martial arts but also to ward off evil spirits.

Interior view of the bridal chamber of Kunning Palace. In the bridal chamber, there is a floor-to-ceiling kang bed with a gourd and vine pattern of “囍” and dragon and phoenix, and a tent with a dragon and phoenix in auspicious “囍” pattern. A bedding is placed on the kang, and a plaque hangs “the sun rises and the moon stays forever.” There is a saying in the book of the emperor and empress of Tongzhi that “the two rituals of movement and coordination will make the husband smooth; the light will shine on the four sides, and the rising sun will praise the husband and the moon.” Therefore, the plaque contains the meaning of blessing. The vine gourd symbolizes the endless supply of melons, which corresponds to the couplet on the indoor wall: “The treasures last forever, the eight poles of mankind and heaven rejoice; the gold and yellow flowers bloom together, the sun and the moon shine brightly in the sky”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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