"Forbidden City " was originally named "Forbidden City ". It was a place of residence for ancient royal life and a place where civil and military officials and generals discussed politics. Since Emperor Yongle Emperor Chengzu of Ming Dynasty Zhu Di moved the capital to the Forbidden City in Beijing, members of the royal family of the Ming and Qing dynasties have continued to live here. Things that are used by the royal family or collectibles represent the top production craftsmanship in each field.
In the late Qing Dynasty, in 1900, the Eight-Nation Alliance marched into Beijing's Bauhinia City and Old Summer Palace . Countless rare treasures were burned, destroyed or plundered during this invasion. There were very few treasures left behind. Now, almost many museums abroad can see treasures plundered by the coalition forces at that time. Later, during the Anti-Japanese War, it was packed and transported to the current Taipei Palace Museum by Chiang Kai-shek. Later generations said that the current treasures of the Taipei Palace Museum are more than those of the Beijing Palace Museum. So what are the top rare treasures in the Palace Museum in Beijing? These treasures are the top crafts and art cultures passed down from history.
The first piece: The Western Jin Dynasty calligraphy " Pingfu Tie "
"Pingfu Tie" is a cursive and official calligraphy work created by the Western Jin Dynasty writer and calligrapher Lu Ji . It has been more than 1,700 years ago. It is the earliest existing calligraphy work of famous artists. It has a total of nine lines and forty-eight characters written on hemp paper with bald brush. Its brushwork is graceful and simple in style; its structure is thin, simple and casual in writing, and it does not follow the rules, which makes the strokes of the characters more simple and also adds to the difficulty of identifying characters. He pays attention to the relationship between virtual and real in the characters, which is reflected in the blanking treatment of characters. It is the first circulating ink and ink marks, which occupies an important position in the history of Chinese calligraphy.
The second item: Northern Song Custom painting "Along the River During the Qingming Festival"
"Along the River During the Qingming Festival" is a painting of the Northern Song Dynasty painter Zhang Zeduan describing the urban appearance of the Northern Song Dynasty capital " Bianjing " and the living conditions of people of all classes of society at that time. It is a witness to the prosperity of the Northern Song Dynasty capital in that year and a portrayal of the economic situation of the Northern Song Dynasty. The Qingming Festival Shanghetu is 24.8 cm wide and 528.7 cm long. It is made of silk. The works are in the form of long scrolls and adopt scattered perspective composition. In this five-meter-long scroll, a large number of characters of various colors are painted, including cattle, mule, donkey, livestock such as cattle, carts, sedan chairs, large and small ships, houses, bridges, city towers, etc., which reflect the characteristics of Song Dynasty architecture and have high historical and artistic value. Although the scene of "Along the River During the Qingming Festival" is lively, it does not show the prosperous city scenery, but a "prosperous map" with a sense of crisis, with officers and soldiers being lazy and heavy in taxes.
The third piece: Southern Song Weaving and Embroidery "Plum Magpie Picture"
"Plum Magpie Picture" scroll is a masterpiece of Southern Song kesi artist Shen Zifan created an elegant and quaint color, vivid and vivid, and breathtaking masterpiece of weaving and embroidery. In ancient times, kesi was considered to be the most noble variety in silk weaving technology. The ancients described this material as "one inch of kesi is one inch of gold". The scroll of "Plum Magpie" is 104cm in length and 36cm in width. First of all, because of its huge labor time, it is made of thousands of threads of silk. The existing Palace Museum is a representative work of the Palace Museum weaving and embroidery.
The fourth piece: Song Dynasty antique jade "Qingyu Cloud Dragon Pattern Furnace"
"Qingyu Cloud Dragon Pattern Furnace" is an antique jade from the Song Dynasty. It has a round body, extravagant mouth, no neck, drooping belly, ring feet outward, and symmetrical decoration of animal heads on both sides. The furnace has a height of 7.9cm and a diameter of 12.8cm, which is made of green jade in the furnace. The whole body is made of the character "官网" as the ground, and the reliefs are decorated with dragons, auspicious clouds and sea water patterns, with the patterns on both sides of the front and back. The bottom of the vessel is engraved with the seven-character poem of Qianlong, and the last one is "The Imperial Inscription of the Emperor Wuxu Mengqiu" and was named "Old Jade Feilong Yi Furnace" by Qianlong.
The fifth piece: Yuan Dynasty enamel device "Cloisonné Elephant Ear Stove"
"Cloisonné Elephant Ear Stove" is a royal cloisonné Elephant Elephant Elephant Elephant Elephant in the Yuan Dynasty. It is a palace imperial cloisonné enamel device with a height of 13.9 cm, a diameter of 16 cm, and a foot diameter of 13.5 cm. The mouth of the vessel is gold-plated with copper, and the edge is light blue enamel glaze on the floor, and the stamens are embedded with gold-plated copper-plated milk nails.The body of the furnace is decorated with a blue enamel glaze, decorated with six tangled lotus flowers in red, yellow and white, and a lotus petal pattern under the belly. The enamel of this vessel is bright in color, noble and elegant, and has a dignified and honest shape. It is a representative work of enamel craftsmanship in the Yuan Dynasty.
The sixth item: Qing Dynasty ceramics " Langyao Red Glaze Straight-mouthed Bottle "
"Langyao Red Glaze Straight-mouthed Bottle" is a ceramic created by Lang Tingji, the governor of Jiangxi during the Kangxi period of the Qing Dynasty, the bottle was 20.8 cm high, 6.1 cm diameter, 9.1 cm foot diameter, straight mouth, long neck, and drooping abdomen, showing a trend of gradual color change from top to bottom. There are rectangular mouths on both sides of the bottom of the bottle for easy penetration. The body of the vessel is covered with red glaze, but the body is left with white on the mouth, while the bottom emphasizes the condensation of glaze, highlighting the gradual mood. The outer bottom is engraved with Qianlong's poems, which is a representative work of the Forbidden City ceramics.
The seventh item: The bronze "Asian Fangzhu" in the early Shang Dynasty
"Asian Fangzhu" is a wine container that was popular in the early Shang Dynasty to the Spring and Autumn Period and the Warring States Period. The height is 45.5cm, width is 38cm, square, extravagant mouth, and one elephant head is decorated with four corners on the shoulder. The elephant head is decorated with an animal head, and the neck, abdomen and feet are decorated with eight ridges. The animal face pattern and Kui pattern are its main patterns, and the thunder pattern is used as the ground. Inscriptions cast in the inner side of the mouth are 2 lines and 9 characters: The Asian (pronunciation) (pronunciation) (pronunciation) is the eldest son and the general meaning of the inscription: The treasures of the Asian clan worship the queen and the prince, and the Fang Zun has fewer passed down from generation to generation, and there are about 50 pieces of the Asian utensils.
The eighth piece: Qing Dynasty watch "Colored Painted Gold Pavilion Style Self-Opening the Door HTML Group of Immortals Congratulations Imperial Bell"
"Colored Painted Gold Pavilion Style Self-Opening the Door Internet" was designed and produced by Italian missionary Matteo Ricci. It started from the eighth year of Qianlong to the completion of the 14th year. It took more than five years. Previously, the Chinese imperial palace had been using copper pots to time. The bell is 185cm tall, 102cm wide on the face and 70cm wide on the side. It has 7 sets of mechanical systems, which control the timing, timing, and the moving devices in the scenic box, etc. The technical level is quite high. This bell is a representative work of the Forbidden City clocks.
The ninth piece: The golden cup of Qing Dynasty "Golden Bowl Yonggu Cup"
"Golden Bowl Yonggu Cup" The golden cup of Qianlong Qing Dynasty, there are 4 pieces of this cup, 2 of which are gold, 1 copper gilded in the early years of Qianlong, and the other one gold was built in the early years of Jiaqing. It is now stored in the Palace Museum in Beijing. It has only one gold cup 12.5 cm high and 8 cm diameter. Cup is gold, tripod-shaped, round, straight. The edge of the mouth is engraved with a round pattern, with the middle of the seal script "Golden Bou Yongguo" and the other side is engraved with four-character style "made in the Qianlong year". The outer wall is full of treasure-like flowers, and the stamens are mainly pearls, red and sapphires. There is a deformed dragon ear on each side and a bead on the dragon head. All three feet are in the head of the elephant, the ears are slightly smaller, the teeth are long and the nose is curled, and jewelry is also embedded between the forehead and eyes.
The tenth item: Yuan Dynasty lacquerware "Cheering Rhinoceros Cloud Pattern Pan"
"Cheering Rhinoceros Cloud Pattern Pan" Zhang Cheng is best known for his red-cutting instruments. He is well-known at home and abroad, but there are few rhinoceros tools. From this model of rhinoceros disc, we can see that Zhang Cheng is not only a master of red picking, but also extremely exquisite rhinoceros techniques. This disc provides a reliable and exquisite example for studying the Yuan Dynasty rhinoceros craftsmanship. This lacquerware has black paint on the wooden plate, with cloud patterns on the inside and outside. The lacquer is very thick, crystal clear and roundly carved, and is a treasure of lacquerware handed down from the world.
