On July 3, Hong Kong Palace Museum was officially opened to the public. More than 900 precious cultural relics from the Palace Museum will be unveiled in seven exhibition halls of the Palace Museum in Hong Kong, including 166 national first-class cultural relics at the "national treasure" level. Most of the rare cultural relics are exhibited in Hong Kong for the first time, with unprecedented quantity and preciousness.
On July 3, the Hong Kong Palace Museum was officially opened to the public. Photo/cnsphoto/IC photo
The Forbidden City collection is presented in 7 exhibition halls in turn
The Forbidden City Cultural Museum has a total of nine exhibition halls, holding permanent special exhibitions and special exhibitions. The opening exhibition was jointly curated by the Palace Museum and Hong Kong Palace Museum . The collection from the Forbidden City will be unveiled in seven exhibition halls to showcase the fascinating history and culture of the Forbidden City. Two special exhibitions in
, "Forbidden City: Architecture, Collection and Cultural Inheritance" and "Forbidden One Day: Court Life in the Qing Dynasty" (Exhibition Halls 1 and 2) will introduce the Forbidden City and the Palace Life in the Qing Dynasty.
Three other special exhibitions "Concrete is a utensil: Ceramics collected by the Palace Museum", "Dragon, face and phoenix posture: portraits of emperors and empresses in the Qing Dynasty", "Take new in the instrument: Contemporary design dialogues with ancient crafts" (Exhibition Halls 3, 4 and 5) focus on ceramics, portraits of emperors and empresses in the Qing Dynasty and craftsmanship treasures respectively. The large-scale special exhibition "The Treasure of the Country: Calligraphy and Paintings of the Jin, Tang, Song and Yuan Dynasties Collection of Calligraphy and Paintings of the Palace Museum will display the treasures of Chinese calligraphy and painting collected by the Palace Museum. "Gathering the World: Horse Culture and Art" in Exhibition Hall 9 shows the importance of horses in Chinese culture and other world cultures. In addition to exhibiting the collections of the Forbidden City, 9 exhibition halls will display 13 collections from the Louvre in Paris at the same time, learn from the cultural relics of the Forbidden City, and carry out exchanges between China and other countries in different civilizations. There are two other special exhibitions with Hong Kong characteristics in the opening exhibition, the exhibition "Enjoy and enjoyment: Traveling through the history of Hong Kong Collection" in Exhibition Hall 6, and the exhibition "Ancient and Modern Borderless: Reinterpretation of the Forbidden City Culture" in Exhibition Hall 7 is interpreted and interpreted from a new perspective by 6 local multimedia and cross-border artists from a unique perspective.
white glaze Child pillows, chrysanthemum-style porcelain plates of Yongzheng period and other treasured ceramics are on display.
, located in the third exhibition hall on the second floor, "Concrete as a tool: Treasure Ceramics of the Palace Museum", will be exhibited 169 precious ceramics loaned from the Palace Museum, of which 66 are national first-class cultural relics. The exhibition is divided into three parts: famous items in the Forbidden City collection, fine ceramics from the Neolithic period to the Yuan Dynasty, and porcelain from the Ming and Qing dynasties.
One of the exhibits is White glaze kid pillow from the Northern Song Dynasty . It was fired by Ding kiln , one of the five famous kilns in the Song Dynasty. It is extremely rare to have similar inherited products. This is also one of the most famous collections of the Palace Museum, which will be exhibited at the Palace Museum in Hong Kong for three months this time.
Ding Kiln White Glaze Child Pillow, Song, 18.3 cm high, 30 cm long, 18.3 cm wide. Source: Palace Museum
Ding kiln craftsman is unique and uses the image of a child to make porcelain pillow . The child hugged his arms and raised his head, held a hydrangea in his right hand, wore a long robe, covered with a vest, and printed patterns on the lower part of the long robe. The couch is oblong, with four sides consecrated, with the front being engraved with the inner dragon pattern, the back being engraved with the inner light, and the two sides consecrated with the inner cloud head pattern, and the Ruyi cloud head pattern is also decorated with the Ruyi cloud head pattern. The whole body is covered with white glaze, the body is unglazed, and has two ventilation holes. The lines of the whole work are soft and smooth, and the detailed portrayals are extremely vivid and vivid, making it a famous product among ancient Chinese porcelain.
The ancients liked to use jade pillows and porcelain pillows, believing that jade and porcelain can refresh themselves, and even have the effect of "enhancing eyes and improving eyesight, and reading carefully when old". Porcelain pillows were popular in the Song Dynasty, and porcelain kilns from the north and south were widely fired, with a wide variety and rich shapes. Variety include white glaze (white glaze scratching, white glaze pearl-grained flowering, white glaze carved, white glaze black flowers), black glaze , green glaze , green glaze , green glaze , three-color , etc. The shapes include rectangular, octagonal, silver ingot, shape, waist round, ruyi shape, tiger shape, lion shape, baby shape, etc.
five-colored fish and algae pattern lid jar, Ming Jiajing, 33.2 cm in height, 19.5 cm in diameter, and 24.1 cm in foot diameter. Source: Palace Museum
The colorful fish and algae pattern lid jar from the Jiajing period of the Ming Dynasty is also on display.This jar is a famous product among the blue and white colorful porcelains of the official kiln of Jiajing, Ming Dynasty. It has a tall and regular shape, a thick body, bright colors, and a sparse and dense composition. The fins of the carp are clearly painted, and they are fused with the surrounding lotus, duckweed, and aquatic plants, making them look vivid and realistic.
This jar is decorated with red, yellow, green and blue and white . Deformed lotus petal patterns are painted on the shoulders. The belly is painted with fish and algae patterns in the lotus pond. The eight-tailed red carp are in different postures and are extremely eye-catching, with lotus lotus, aquatic plants and duckweed as the foil. Painted banana leaf pattern near the bottom. The cover is painted with garland patterns, a flame pattern orb button is placed in the center, and a fish and algae pattern is decorated with a surround. Apply white glaze inside the ring foot. The outsole is blue and white, and the regular script is "Made in Ming Jiajing year" double line six-character style.
Another famous product is 12 pieces various glazed chrysanthemum-style plates from the Yongzheng period. According to the archives of the Qing Palace, in the 11th year of Yongzheng's reign, the emperor ordered the Imperial Kiln in Jingdezhen, Jiangxi to make 40 sets of chrysanthemum-style porcelain plates, most of which have been lost. Although the collection of the Palace Museum may not be a complete set, the audience can see the vast color span through these 12 pieces of porcelain.
htmlThe largest calligraphy and painting collection in the Forbidden City in 515 years is exhibited on the 8th exhibition hall of
, “The Treasure of the Country: The Palace Museum’s Collection of Jin, Tang, Song and Yuan Calligraphy” brings together 35 classic calligraphy and painting works as far as the Tang and Song Dynasties. It is the largest outbound exhibition of ancient calligraphy and painting treasures collected in the Forbidden City in the past 15 years.
From the perspective of cultural relics protection, some cultural relics need to be exhibited in rotation. For example, ancient calligraphy and painting paper or silk articles are very sensitive to light, temperature and humidity, and the exhibition period is only one to three months. After the exhibition is on this time, some cultural relics and exhibits will have to return to the Palace Museum to lie dormant for several years.
" Luo God Fu Picture " Volume, Jin, Gu Kaizhi (Song copy), silk, color, 27.1 cm in height, 572.8 cm in width. Source: Palace Museum
National first-class cultural relic "The Goddess of the Luo River", originally written by Gu Kaizhi, a great painter in the Eastern Jin Dynasty, based on the "The Goddess of the Luo River", but it has been lost. What is currently available is a copy of the Northern Song Dynasty painter.
The beginning of the picture depicts Cao Zhi instantly meeting with Luoshui goddess by the Luoshui River. Cao Zhi walked forward and looked at the dragon geese flying from afar. A Luoshui goddess who "shoulders are as thin as a waist" and "the clouds are solemn, and the eyebrows are beautiful" floated up, and they appear and come from time to time. The latter part of the painting is the God of Luo, the God of Luo, the God of Luo, the God of Luo, the God of Luo, the God of Luo, the God of Luo, the God of Luo, the God of Luo, and the carriage are all around. Although
is a copy, it is also quite precious. It was designated as the "First Volume of the Goddess of Luo River" by Qianlong and was treasured in Imperial Study Room .
" Autumn Scenery Picture of the River and Mountains " Volume, Song, Zhao Boju painting, silk, color, 55.6 cm in length, 323.2 cm in width. Source: Palace Museum
Southern Song Zhao Boju's "Autumn Scenery of the River and Mountains" is stamped with seals such as "Qianlong Imperial View Treasure" and "Shiqu Baoji" in the Qing Dynasty, as well as seals of Liang Qingbiao . The last paper contains the inscriptions of the 8th year of Hongwu in the Ming Dynasty (1375) Zhu Biao . This picture is blue and green. In the painting, there are green mountains and clear waters, palaces and villages, and plank roads and bridges interspersed there, as well as green pines and cypresses, lush forests and bamboos. The mountains and rocks are cut by a small axe, and then they are applied with green and heavy colors; the trees and buildings are portrayed in detail and meticulously, and the characters are depicted in detail. The whole work has a grand layout, rich details, rich colors without losing elegance, and finely portrayed without being trivial, with the style of the Song Dynasty Painting Academy.
"Yu Mo Lanting Preface" Volume, Tang Dynasty, Yu Shinan copy, paper, running script , 24.8 cm in height, 57.7 cm in width. Source: Palace Museum
The volume of "Yu's Preface to the Lanting" by Yu Shinan, Tang Dynasty, Yu Shinan, and Yu, and has been collected by Liang Qingbiao, Anqi , Qianlong's Inner Palace, etc. In the volume, there are 17 inscriptions and connotations of the Song, Ming and Qing dynasties, 104 square meters of seals, and 5 square meters of half seals, all of which are true.
has been recorded in the Ming Dynasty's " Painting Zen Room Essays ", Zhang Chou's "Records of the Original Works", "Nanyang Dharma Book List", Wang Fengyu's "Coron Net·Book Record", Wu Sheng's "Daguan Lu" of the Qing Dynasty, An Qi's "Mo Yuan Huiguan", Ruan Yuan "Shiqu Essays" and "Shiqu Baoji·Successive Edition". The "Eight Pillars of Lanting" were engraved in the Qing Dynasty and ranked first.
"Picture of Returning Boat in the Snow River" Volume, Song, Zhao Ji , made on silk, color, 30.3 cm in length, 190.8 cm in width. Source: Palace Museum
"Picture of Returning the Boat in the Snow River" is the only snow landscape painting under the name of Song Huizong . The upper right corner of the painting contains five characters "Snow River Returning Boat (sound photo)" written by Zhao Ji, the thin golden book of Emperor Huizong of Song Dynasty, and the seal "Xuanhe Palace" is stamped with the seal "One person in the world" in the lower left corner.
This is a landscape painting depicting the snowy scenery in winter. The distant mountains start at the beginning. After entering the middle section, the mountains gradually rise and turn to flattening. The whole picture is full of a sense of rhythm of staggered heights. Looking along the river, the changing scenery outside the window is constantly displayed, fully demonstrating the characteristics and charm of the long scroll painting. The brushwork is thin and vigorous, the brushwork is smooth, and the artistic conception is solemn and solemn, representing the artistic level of the painting academy during the period of Emperor Huizong of Song Dynasty.
"Picture of the Female Fairy in Langyuan" Volume, Five Dynasties , made by Ruan Gao, silk, color, 42.7 cm in height, 177.2 cm in width. Source: Palace Museum
"The Picture of the Female Fairy in Langyuan" has no author's seal. According to the records and postscripts of the last dynasties, this picture has its own experience and is Ruan Gao's only work passed down from generation to generation. This painting contains poems written by Emperor Qianlong of Qing Dynasty. This picture and the water between the front and back include Gao Shiqi , Qianlong, Jiaqing , Xuantong Inner Palace collection seals totaling 22 square meters and 6 square meters of residual seals. "Langyuan" is the residence of the legendary immortals, and sometimes refers to the palace garden. This picture should depict the fairy mountain garden, which is a place where fairies live and play. Gao Shiqi, a Qing Dynasty man, said in his postscript: "The paintings of Ruan Gao in the Five Dynasties are not seen in the world.
" Picture of Drinking Horses in the Autumn Suburbs " Volume, Yuan, Zhao Mengfu , made on silk, color, 23.6 cm in height and 59 cm in width. Source: Palace Museum
"Picture of Drinking Horses in the Autumn Suburbs" was written by Zhao Mengfu at the age of 59, and is considered to be his representative work in his later years. Zhao Mengfu is good at drawing people and horses, and generally pursues deliberate realistic and meticulous strokes. The painting method also combines the green and heavy color methods of the Tang people with the ink and brushwork of literati since the Song Dynasty, which is unique and innovative. For example, the lines of the figures are fine and vigorous, and are similar to the brushwork of seal and japanese , which is elegant and elegant in ancient times; the brushwork of trees, stones and slopes are solemn, outlined, crafted, broken, dyed and dyed. The work of the work is clear and elegant; the green and bright red are also used in the heavy colors, and the ochre and the ink are also used to show elegance in the richness. The overall style is both action and profit, and the wonderful and elegant are combined. The exquisite and elegant skills are combined with the elegant rhyme of the literati, reflecting the mature pictures of Zhao Mengfu in his later years.
In addition, the running script work "Yanshan Inscription" by the famous calligrapher and painter of the Northern Song Dynasty was exhibited abroad for the first time. The work was collected by Emperor Gaozong of Song Dynasty and flowed out of the royal family. It was then moved to Japan in modern times. Until 2002, the national literature The Bureau of the Arts successfully bid for this work for RMB 29.99 million and entered the Palace Museum.
embroidery jade, French Louvre collection is listed in
In addition to precious calligraphy and painting and ceramics, gold and silver tin ware , enamel , weaving, jade ware and seal are also on the exhibit list.
Tung shade Lady's Jade Mountain, Qianlong of the Qing Dynasty, 25 cm long, 10.8 cm wide, and high 15.5 cm. Source: Palace Museum
"Tung-shading Lady's Jade Mountain" is a representative work of round jade carvings in the Qing Dynasty. From the content to the style, they are made in analogy to the oil painting "Tung-shading Lady's Picture". The jade material used is actually a discard behind the carving of the bowl, which is in line with "the power of the dragon, the dragon, the fixed trend" (" Wenxin Diaolong·Dingshi "). The work is bounded by Moonlight Gate , and divides the courtyard into two parts, with a woman standing inside and outside the door looking at each other through the crack of the door. The bottom of the vessel is carved with one poem and one essay. The poem says: "Get the material of the bowl, and the figure is carved. The remaining water and the remaining mountain area are the tung tung banana axis. The girl consulted with her, and the craftsman was in a heart. Yi Chong has no abandonment, and he is sobbing from Chu Ting. "The article said: "Hotel tribute jade, and the bowl is made in it, and Wu Gong finished the remaining materials and made into this picture. There is no discard, and it is still a pure jade. Royal knowledge. "
It is reported that the opening exhibition of the Forbidden City in Hong Kong is not all about copying the cultural relics of the Forbidden City in Beijing . Among them, the "Gathering the World: Horse Culture and Art" exhibition is in addition to 300 Forbidden City cultural relics related to horses, and more than 10 French Louvre collections are exhibited, presenting the similarities and differences between horse cultures in China and the West, and reflecting the exchanges between Chinese and foreign cultures.
Beijing News reporter Ma Jinqian
Editor Bai Shuang Proofreading Li Lijun
