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Collection of the Forbidden City, leave Beijing Palace Museum for exhibition outside, commonly known as "out of the palace".
days ago, the Palace Museum in Beijing staged a "exit the palace" of the largest collection since its establishment in 1925. Sealed wooden boxes were covered with seals of the Palace Museum . Although they left the country this time, they went to their own country - Hong Kong, China.
Nearly 1,000 treasures of the Forbidden City have arrived in Hong Kong one after another
This is just the first batch of 914 precious cultural relics of the Forbidden City that have been specially approved to be exhibited in Hong Kong this time. Their mission of "leave the palace" this time is to be unveiled at the opening exhibition of the Hong Kong Palace Museum on July 2, and to present a gift to the 525th anniversary of the return of Hong Kong to html.
1, New "Sacred Place for Cultural Exchange"
Every time there are cultural relics in the Palace Museum in Beijing to Hong Kong for exhibition, the museum is crowded, which shows the attraction of the Palace Museum to Hong Kong people.
At the end of 2015, the Hong Kong Special Administrative Region Government submitted a written request to the central government to establish the Hong Kong Forbidden City . This idea was first proposed by the Palace Museum in Beijing before it was proposed by Hong Kong.
In December 2016, the Hong Kong Forbidden City implemented the construction of the Forbidden City, and the Hong Kong Jockey Club Charity Trust Fund donated HK$3.5 billion to fund the design, construction and exhibition preparation costs of the Forbidden City in Hong Kong. At the same time, Hong Kong, where every inch of land is valuable, squeezed out a piece of land for building the Forbidden City in West Kowloon Cultural District...
In the past few years, the construction of the Forbidden City in Hong Kong has been a time when the political undercurrents in Hong Kong has caused great social turmoil. It is precisely because of this, in order to avoid such a special cultural project still in its intestines, the parties involved were once kept a tight mouth and did not make it public to the public until the building was confirmed. To this day, the Forbidden City in Hong Kong has finally been successfully completed.
Hong Kong Palace Museum
The overall appearance of the Hong Kong Palace Museum draws on the aesthetic characteristics of traditional Chinese artifacts "wide at the top and gather under the bottom, virtual at the top and solid at the bottom", presents the unique shape of the square tripod, creating a stable and heavy sense of history. The building is 7 floors high, with a total of 9 exhibition halls, with a total area of 11,000 square meters.
building takes the main color of the building complex of the Forbidden City as the base, mainly beige gold, and is decorated with dark red and cold gray. The main entrance echoes the red wall of the Forbidden City, and "welcomes" in the classic vermilion red color. The interior refers to the layout of the Forbidden City, and runs through the entire building layer by layer, leading visitors to visit the upper floors. At the same time, 9 exhibition halls are cleverly arranged on different floors. There are three atriums facing the West Kowloon Cultural District, Harbor and Lantau Island on the ground, 2nd and 4th floors respectively. The three atriums are connected to the outdoor space, allowing viewers to enjoy the cultural relics and exhibits, and also enjoy the beautiful scenery of the West Kowloon Cultural District, Hong Kong Island skyline and Lantau Island. The overall design feels like "reinterpreting the Forbidden City elements in modern language", which not only conforms to the cultural atmosphere of Hong Kong's "combination of Chinese and Western" and successfully integrates with the surrounding West Kowloon complex.
Hong Kong Palace Museum Structure Schematic diagram
Hong Kong Palace Museum Entrance to the main entrance there are neatly arranged glass door nails
Hong Kong Palace Museum Interior
The opening exhibition of the Hong Kong Palace Museum will exhibit 914 precious cultural relics loaned by the Palace Museum, art collections lent from Hong Kong cultural institutions, and works by Hong Kong contemporary artists to respond to the culture of the Palace Museum.The exhibition periods of the 9 exhibition halls range from 3 months to 2 years, and the content has been exposed a few days ago. Among them, the exhibits in exhibition halls 1, 2, 3, 4, 5, 8, and 9 are mainly exhibits in the Beijing Forbidden City . The theme of exhibition hall 1 is "Forbidden City: Architecture, Collection and Cultural Inheritance". The theme of exhibition hall 2 is "Forbidden City One Day: Palace Life in the Qing Dynasty". The theme of exhibition hall 3 is "Concrete as a Vessel: Ceramics collected by the Palace Museum". The theme of exhibition hall 4 is "Dragon, Face and Phoenix: Portrait of Emperor and Empress in the Qing Dynasty". The theme of exhibition hall 5 is "Take the Vessels Only for Innovation: Contemporary Design Conversation with Ancient Crafts", the theme of exhibition hall 8 is "Treasure of the Country: Calligraphy and Painting of the Jin, Tang, Song and Yuan Dynasties Collection". The theme of exhibition hall 9 is "Gathering the World: Horse Culture and Art" opening exhibition. Exhibition Hall 6 and Exhibition Hall 7 each have a special exhibition with the themes of "Enjoy and enjoyment: Traveling through the history of collection in Hong Kong" and "No boundaries in ancient and modern times: Reinterpretation of the Forbidden City Culture".
Hong Kong Palace Museum Director Wu Zhihua
Hong Kong Palace Museum Director Wu Zhihua said that he had actually had the idea of setting up a Forbidden City in Hong Kong and exhibiting cultural relics in the Palace Museum in Hong Kong. When preparing for the Forbidden City in Hong Kong, Wu Zhihua was also the deputy director of the Leisure and Cultural Affairs Department of the Hong Kong Special Administrative Region Government. Later, he resigned from his civil servant status and became the founding director of the Forbidden City in Hong Kong. He said that in addition to exhibiting cultural relics from the Forbidden City in Beijing, the Forbidden City in Hong Kong will also cooperate with other important museums in the world to help the "14th Five-Year Plan", support Hong Kong's development into a center for cultural and artistic exchanges between China and foreign countries, and enhance Hong Kong citizens, especially the younger generation, with a sense of identity with the country.
In previous media interviews, Wu Zhihua proudly asked the reporter: "Call me the director, don't call him a doctor. There are many doctors, but there is only one curator in the Forbidden City of Hong Kong."
2. Why were they selected?
The Forbidden City represents the pinnacle of ancient Chinese art and culture, and the cultural relics contained the foundation of the excellent traditional culture of the Chinese nation for thousands of years.
The 914 exhibits visited Hong Kong this time were selected from more than 1.86 million collections in the Forbidden City, which is one in a thousand. Among them, 166 first-class cultural relics , which are the "national treasure" level, account for 18% of the total number of loaned exhibits. Most of the treasures are publicly unveiled in Hong Kong for the first time.
This time, the 914 exhibits visited Hong Kong can be said to be one in a thousand, including 166 first-class cultural relics of the "national treasure".
For this large-scale loan, the lender Beijing Palace Museum has no "unwilling to let go" mentality. Wu Zhihua described the selection of the site, and the experts at the Palace Museum would suggest: "This is not good, there is one better over there."
The cultural relics selected in the end are "all the best and most representative", they are "story-telling cultural relics", and are top national treasures that usually only appear on the Forbidden City album. After being elected, the cultural relics must undergo a strict "physical examination" by experts, considering whether their "body" can withstand travel and exhibition before they can decide whether they can "exit the palace".
These 914 precious cultural relics are complete, covering all categories of the Palace Museum’s collections, including paintings, bronzes, ceramics, gold and silver ware, jade, lacquer ware, glass, jewelry, sculptures, books and classics, ancient buildings, etc. The time span is 5,000 years, and the exhibition period ranges from one month to more than one year.
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 artifacts are very sensitive to light, temperature and humidity, and the exhibition period is only one to three months. After this exhibition, some cultural relics exhibits will have to return to the Palace Museum in Beijing to lie dormant for several years.
Part of the first-class cultural relics arrived in Hong Kong
1, Qianlong's painting enamel eight-edge consecrated landscape, flowers and birds, beam-lifting pot
The body of the pot is made of copper, the surface is gold-plated, and then decorated with painted enamel. The design combines Chinese and Western elements, and the appearance draws on the foreign styles of the time, but the pictures of the pot body are traditional Chinese fine brushwork style. In addition to the excellent materials and skills, the design of this pot is also practical: the handle is paired with Venus glass beads to set off, which is both beautiful and effective and anti-slip; it is also equipped with a small oil tank for fuel to ignite and heat.
2, Mingde Huanun white glaze Damo vertical statue
Dehua porcelain is famous for its white porcelain quality, and it is milky white like condensed fat after firing. Among them, the most praised are religious statues and classic literary figures. The products are very popular in the domestic and foreign markets and are called "Chinese White" by the French. This Bodhidharma statue contains the famous porcelain craftsman in the late Ming Dynasty, " He Chaozong seal".
3, Qing Lang Shining Painting Lion Jade Scroll
This horse name is "Lion Jade". It is a tribute presented by the living Buddhas of the Gelug Sect in Tibetan Buddhism. It was painted by Lang Shining, a priest painter in Jesuits priest painter.
4, Eastern Jin Gu Kaizhi's Goddess of Luo River ( Northern Song Dynasty copy)
"The Goddess of Luo River" partial
This product is generally considered to be a copy of the Northern Song Dynasty and is an excellent work that has existed in the past. The work is composed of lyrics and pictures, and uses continuous composition to depict the multi-act scenes of Cao Zhi and Luo Shen from encounter to separation. The picture is colorful, and the pen is as thin and vigorous as a spring silkworm spins silk. The characters are almost as big as mountains and trees, reflecting the simplicity and naive Six Dynasties paintings. This product is sealed with Jinzhangzong Mingchang Yufu Seal , indicating that it was once treasured. After comparing several "The Goddess of Luo River", Qianlong designated this piece as "The Goddess of Luo River Volume 1" and collected it in Imperial Study Room .
5, Northern Song Dynasty Mi Fu running script Yanshan Inscriptions
"Yanshan Inscriptions" local
Mi Fu's running script has very few large characters passed down from generation to generation, and this work can be regarded as a representative one. The mountain-study drawings and water-blocking inscriptions attached to the back paper of this volume are all the back-up. There are many copies of "Yanshan Ming" written in the late Ming and early Qing dynasties. The original work of this piece has been kept secretly and has not been recorded until it has been passed down in Japan in modern times. The State Administration of Cultural Heritage successfully bid for this work in 2002 and was later collected by the Palace Museum. This is the first time that "Yanshan Ming" is exhibited overseas.
6, Northern Song Ru kiln light sky green glaze washing
Northern Song ru kiln is famous for its sky-colored celadon that is only for the palace, but it has only been produced for about twenty years. The Ru kiln porcelain that has passed down from generation to generation has been very rare until Southern Song . There are less than one hundred pieces of existing products now, just like a rare one.
This piece of light sky green glaze is 3.3 cm high, with a diameter of 13 cm and a foot diameter of 8.9 cm. The whole body is covered with light sky blue glaze, with lustrous glaze and fine fragments on the glaze surface. There are three small spike nail marks as small as sesame grains on the outsole, and the exposed tire is incense gray. The character "B" is engraved on the center of the outsole. The character "Y" engraved on the outer bottom of the utensil is generally considered to be carved after entering the Qing Dynasty palace. The Qing emperors, who were skilled in appreciating ancient times, divided the antiques collected by the palace into grades, so some old objects in the Qing palace were left with the signs such as "A", "B", and "C" engraved at that time. "Ice cracks", "scented gray tires" and "seeds nails" are important basis for identifying the authenticity of Ru kiln porcelain.
7, Qingjin engraved cloud dragon pattern holding pot
When a family banquet and clan banquet are held on the Qing Palace on New Year's Eve , New Year's Day, the emperor will use the gold engraved cloud dragon pattern holding pot.
gold chiseled cloud dragon pattern holding pot, 31.5 cm high and 16 cm abdominal diameter. The pot is made of gold, with a tall body, a slight mouth and a thin neck. There is a conical lid on the mouth of the pot, and the cover surface is divided into four layers from top to bottom. Each layer is also engraved with dragon patterns. There is a conical tenon under the cover, which is inserted into the mouth of the pot. The middle part of the neck is decorated with a plain hoop, which is divided into strips and has a cloud-dragon pattern on it. The ampulla is spherical and divided by longitudinal stripes. It is also decorated with cloud dragon patterns. The dragon's tail is upward and the head is facing down, which is opposite to the cloud dragon pattern on the neck. The foot of the pot is like an inverted funnel, round, thin at the top and wide at the bottom, decorated with cloud dragons, sea water, and flame patterns. The pot flow is thin and long, with a bright and lustrous overall, with flowers engraved at the edge of the mouth, and an animal face pattern at the lower part.
8, Qing Yu Pan Longxin "The Treasure of the Qing Dynasty's Order"
treasure seal is a political symbol that reflects the emperor's supreme power. All courts in all dynasties have full-time officials responsible for preserving seal and use seals according to the emperor's will.
" The treasure of the Qing Dynasty was called ", white jade, plate dragon key square seal, Chinese seal script Manchu text characters. The surface is 14 cm square, the height is 12 cm, and the height of the key is 8.2 cm. Emperor Qianlong Imperially designated one of the twenty-five treasures, ranking first among the twenty-five treasures. According to the "Jiaotai Hall Treasure Book", it is recorded as "using the preface of the emperor Zhang" to show the legitimacy of the Qing Dynasty's rule over China under the will of heaven. According to Emperor Qianlong's "Preface to the Collection of the Jiaotai Hall", this treasure was originally an old thing that "has been inherited by the previous generations and passed down as the guardians of the world" since Emperor Taizong Huang Taiji . Therefore, in the 13th year of Qianlong (1748), the imperial edict changed the Manchu text in the seal to Manchu seal script, the treasure was able to maintain its original appearance. Its material is white and gentle, the lines of Panlongqiu are simple and smooth, and the skills are proficient, showing the level of jade carving in the early Qing Dynasty.
9, Qing Qianlong style with skin white jade tung shade lady pictures Shanzi
Shanzi is a common decoration for study. The bottom of this mountain is engraved with Qianlong's signature and poems. It can be seen that the original jade was tributed by Khotan, and the middle part was dug out to make a bowl. However, an anonymous Suzhou jade worker redesigned the jade material that should have been discarded, such as turning the digging round hole into a moon gate with tung shade, and the unpolished jade skin is decorated with sycamore and banana leaves, thus making this exquisite craftsmanship.
10, Zhubishan Yincha
"Chas" means raft. According to Zhang Hua's "H Museum History" in , someone took a raft to sea and finally reached Galaxy and met the Cowherd and the Weaver Girl. Using the legendary raft as the utensil, it may be the first of its kind to make drinkware. Zhu Bishan, a silversmith in the Yuan Dynasty, and only 4 of them are left. This cup shape imitates a mixed-rooted tree trunk, and wine can be stored in the hollow trunk. The main part of the cha cup is cast from silver, and the details are expressed by engraving technology. The head, hands and other parts of the characters are cast independently and then welded on the cup. There is no trace at the welding point. It is not only a practical drinkware, but also a skillful sculpture.
(Editor: Ma Xiaoxian)
