The Palace Museum, Beijing, China
The Palace Museum is a national AAAAA-level tourist attraction, a national key cultural relic protection unit, a patriotic education base, and a world cultural heritage.
The Palace Museum is a comprehensive Chinese museum established on the basis of the imperial palaces and collections of the Ming and Qing dynasties. It is located in the center of Beijing, with Tiananmen Square in front, Jingshan Mountain in the back, Wangfujing Market in the east and Zhongnanhai in the west. In 1961, with the approval of the State Council, the Forbidden City was designated as the first batch of key cultural relics protection units in the country. In 1987, the Forbidden City was included in the "World Cultural Heritage" list by UNESCO.
According to ancient Chinese astrological theory, Ziweiyuan (the North Star) is located in the middle of the sky. It is the residence of the emperor of heaven and corresponding to the heavens and humans. It is also called the Forbidden City because of the residence of the emperor. After taking the throne, Zhu Di, the third emperor of the Ming Dynasty, decided to move his capital to Beijing and began to build this palace. It was completed in the 18th year of Yongle in the Ming Dynasty (1420). In 1911, the 1911 Revolution overthrew China's last feudal monarchy, the Qing Dynasty, and in 1924, Emperor Xun Puyi was expelled from the palace. During the five hundred years, a total of 24 emperors lived here and ruled the country.
The Forbidden City is surrounded by a city wall 10m high and a moat 52m wide. The city is 961m long from north to south and 753m wide from east to west, covering an area of 780,000 square meters. There is one gate on each of the four sides of the city wall. The Meridian Gate in the south and the Shenwu Gate in the north are now exclusively for visitors to visit. The architectural layout of the palaces in the city spreads out to the east and west along the central axis. The red walls and yellow tiles, painted and carved beams, are magnificent. The halls and terraces are staggered and magnificent. In the morning and evening, it is like a fairyland on earth. The southern half of the city is centered on the three halls of Taihe, Zhonghe, and Baohe, and the two halls of Wenhua and Wuying are supplemented on both sides. It is the place where the emperor held the court meeting, called the "Qian Dynasty". The northern half is centered on the three palaces of Qianqing, Jiaotai, Kunning, and the six palaces and imperial gardens. On the east side are the halls of Fengxian and Huangji, and on the west side are the Hall of Yangxin, Yuhua Pavilion and Ci Ning Palace, etc., were the places where the emperor and concubines lived, held rituals and religious activities, and handled daily government affairs. They were called "post-sleeping". The total construction area of the two palaces is 163,000 square meters. The entire group of palace buildings are laid out strictly and in order. The bricks and tiles all follow the feudal hierarchical etiquette system, reflecting the supreme authority of the emperor. In the era of feudal monarchy, ordinary people couldn't but dare not approach it.
After the Revolution of 1911, this palace was supposed to be nationalized. However, according to the "Preferential Treatment Conditions for the Qing Dynasty" drafted at that time, Emperor Xun Puyi was allowed to "temporarily stay in the palace", that is, the "back bed" part. The government at that time decided to move the cultural relics of the Rehe (Chengde) Palace and the Shengjing (Shenyang) Forbidden City to the "Pre-Dynasty" part of the Forbidden City, and established the "Antiquities Exhibition Hall" in 1914. Puyi lived in the palace, and has been in collusion with the remnants of the Qing Dynasty to seek restoration, and in the name of rewards, pawns, repairs, etc., a large number of cultural relics from the palace have attracted serious attention from all walks of life. In 1924, Feng Yuxiang launched the "Beijing Coup" and expelled Puyi from the imperial ban. At the same time, he established the "Cleaning Room and Aftermath Committee" to take over the Forbidden City and conduct an inventory of the palace's cultural relics. After another year of intensive preparations, a grand ceremony was held in the square in front of Qianqingmen on October 10, 1925, and electricity was applied across the country to announce the official establishment of the Palace Museum. On the first day of opening, people rushed to see this mysterious palace and its treasures. The alleys in Beijing were empty and traffic jams. This also became a major news in major newspapers that day.
After a preliminary inventory, there are more than 1.17 million pieces of cultural relics left over from the Qing court, according to the 28-volume "Inquiry Report of the Qing Dynasty Rehabilitation Committee" published in 1925, including three-generation tripods. Yi, ancient jade articles, famous paintings of the Tang, Song, Yuan and Ming Dynasties, Song and Yuan ceramics, enamel, lacquerware, gold and silverware, bamboo and wood horns, gold and bronze religious statues, and a large number of emperors and concubines' clothing, clothing and furniture. It can be described as gold, jade, pearls and jade, rare and precious treasures, the wealth of the world, gathered here. In addition, there are a large number of books, classics, and document files. For this reason, the Palace Museum has an antiquities museum, a library, and a document hall. They organize manpower to continue to organize the cultural relics, open up exhibition rooms in the palace, hold various exhibitions, and publish a variety of publications, public materials, and publicity. The work has been carried out vigorously, with a gathering of humanities, and it is extremely flourishing.
On the eve of the full-scale outbreak of World War II, Japanese imperialists swallowed the territories of Northeast China and pushed forward to North China. The situation is critical. In order to protect the cultural relics of the Forbidden City from being destroyed by war or looted by Japanese imperialists, the Palace Museum decided to adopt the strategy of avoiding the enemy's relocation to the south. From February to May 1933, the important cultural relics in the palace were packed into 13,427 boxes and 64 bags, which were shipped to Shanghai in five batches and then to Nanjing. So the cultural relics warehouse was established in Nanjing and the Nanjing Branch of the Palace Museum was established. In 1937, the "July Seven Lugou Bridge Incident" broke out, and the War of Resistance Against Japan was fully launched. The cultural relics from the south moved to Sichuan along the three paths, and they were stored in Ba County, Emei and Leshan in Sichuan Province. Until the victory of the Anti-Japanese War, the three cultural relics were concentrated in Chongqing and transported back to Nanjing in 1947. When the Chinese People's Liberation Army was about to cross the river, from the end of 1948 to the beginning of 1949, the Nanjing-Government selected 2,972 boxes of cultural relics from Nanjing warehouses and shipped them to Taiwan, and then established a new museum in Shilin Waishuangxi, Taipei City for public display. The remaining large quantities of cultural relics were shipped back to the Palace Museum after 1949, more than 10,000 boxes, but there are still 2,221 boxes still sealed in the Nanjing warehouse and entrusted to the Nanjing Museum for safekeeping. During this tragic war that lasted more than ten years, as the staff of the Palace Museum were not afraid of difficulties and obstacles and fulfilled their duties, although the number of cultural relics moved south was huge, none of them were lost or damaged. The spirit and deeds of the staff of the Palace Museum, Songs and tears. But because of this war, the cultural relics of the Forbidden City were separated in different places. This collection of traditional culture of the motherland should be a whole, and it is inseparable from the architecture of the Forbidden City. It is believed that one day, it will eventually be completed.
In terms of cultural relics work, the focus of the 1950s and 1960s was to re-check the historical relics of the Palace Museum of the Palace Museum, register them, identify, classify and file, correct the inaccuracies in the past piece counting and add missing cultural relics. For example, ivory mats wrapped in straw curtains were found in the pile of debris, and the book of "Six Venerables", which was passed down as Lulinga of the Tang Dynasty, was found under the floor when the Shufangzhai stage was restored. Through more than ten years of work, a total of more than 710,000 pieces of cultural relics from the Qing Palace were cleared. At the same time, more than 220,000 cultural relics were newly entered into Tibet through state allocation, solicitation from the society, and acceptance of private donations, which greatly filled the vacancies and deficiencies in the era and categories of the old cultural relics in the Qing palace. Painted pottery from the Stone Age, bronze and jade ware from the Shang and Zhou dynasties, pottery figurines from the Han Dynasty, stone statues from the Southern and Northern Dynasties, and Sancai from the Tang Dynasty. The famous paintings of ancient books that have been newly entered into Tibet are particularly large and attract the attention of the world. Such as the "Ping Fu Tie" by Lu Ji in the Jin Dynasty, Wang Xun's "Bo Yuan Tie", Gu Kaizhi's "Luo Shen Fu Picture Scroll", Sui Dynasty Zhan Ziqian "You Chun Picture Scroll", Tang Dynasty Han Fang "Wu Niu Picture Scroll", Du Mu "Zhang Hao Hao Poem "Volume", Gu Hongzhong's "Han Xizai Night Banquet Picture Scroll" of the Five Dynasties, Song Dynasty Li Gonglin "Lin Wei Yan Mu Fang Tu Scroll", Guo Xi "Ping Shi Ping Yuan Tu", Zhang Zeduan "Qing Ming Shang River Picture Scroll", etc., are treasures of the world. This work has been unremitting for decades. In recent years, Zhang Xian’s “Ten Yong Picture Scrolls” of Song Dynasty, “Ten Yong Picture Scrolls” by Zhang Xian of the Song Dynasty, “Ancient Poems in the South of the City” by Nin Xian of Yuan Dynasty, and “Pictures of Huang Gongwang Living in Fuchun Mountain” by Shen Zhou in Ming Dynasty ”, Shi Tao of the Qing Dynasty, "Screaming and Ketu Volume", etc., especially the first two pieces were stolen from the palace by Puyi in the name of appreciating Pujie and dispersed to the people. Today they return to treasure.
In order to protect the huge number of ancient treasures, the original warehouses have been renovated on a large scale since the 1950s and 1960s, and various measures have been taken to prevent moisture and insects. After the 1990s, a new cultural relics warehouse was established, which can store more than 600,000 cultural relics. The new warehouse has constant temperature and humidity, fire prevention, anti-theft, and automatic control with modern technology, which can keep cultural relics safe. Since 1950, a cultural relics restoration factory has been established. In 1980, it was expanded to the Ministry of Science and Technology of Cultural Relics Conservation. It inherited and used traditional crafts and technologies and introduced new achievements in natural science to restore damaged cultural relics. For decades, it has been our hospital and its brothers. A total of more than 110,000 cultural relics have been restored.
In order to make the treasures in the courtyard meet with the audience, in terms of display and exhibition, in addition to the preservation and restoration of the original display in the three halls, the rear three palaces and the west six palaces, bronze, ceramics, crafts, calligraphy, paintings, etc. were opened from time to time. Treasures, clocks and other special museums for visitors to appreciate. There are also temporary exhibition halls that hold various themed exhibitions, such as the "Comparison of the Authenticity of Ancient Paintings and Calligraphy Exhibition", "The Comparison of Authentic Imitations of Ancient Ceramics and the Information Exhibition of Ancient Kiln Sites", "The Packaging Art Exhibition of the Qing Dynasty Palace", "Exhibition of Fine Cultural Relics in Tibet in 50 Years" are all exhibitions that are widely welcomed by all walks of life. At the same time, exhibitions of cultural relics from domestic brother museums and foreign collections are also introduced. In order to meet the requirements of the general public, the Palace Museum also organizes small cultural relic exhibitions to be displayed in museums of various provinces and cities, and is invited to hold various exhibitions abroad, especially since the reform and opening up, such exhibitions have become more frequent. The countries that have been to the exhibition include the United Kingdom, the United States, France, the former Soviet Union, Germany, Austria, Spain, Australia, Japan, Singapore, etc. Wherever they go, they all arouse the great interest of local audiences and enable people from other countries to understand the Chinese nation. The long history and splendid national culture and art have made due contributions to promoting friendly relations and cultural exchanges between our country and the people of the world.
In the past ten years, the Palace Museum has received an average of 6-8 million Chinese and foreign audiences each year. Moreover, with the development of tourism, the number of audiences has increased unabated, which shows that people's interest in the Forbidden City has been growing.
In addition to directly facing the audience, the Palace Museum also organizes the publication of various books, albums and periodicals, and introduces the palace architecture and cultural relics collection of the Palace Museum to all walks of life. Large-scale published atlases include "The Palace Museum-Collection of Famous Paintings", "Porcelain Collections in the Palace Museum", "National Treasures", "Forbidden City Palaces", "Palace Life in the Qing Dynasty", "National Treasures Collection", "Treasures and Cultural Relics in the Palace Museum Collection" The Complete Works (a total of 60 volumes, 18 volumes have been published) and so on are countless. Periodicals include "Journal of the Palace Museum" and "Forbidden City".
Since 1997, in order to meet the needs of the Palace Museum to deepen reform and opening up, the organization in the courtyard has undergone major reforms. The three departments of storage, display and research that were previously separated have been reorganized, and the Department of Ancient Artifacts and the Department of Ancient Painting and Calligraphy have been established. , The palace department and the exhibition mission department. A new information center was established to specialize in advancing the informatization work of the Palace Museum. It has successively invested funds, introduced modern science and technology, opened the computer optical fiber network system and various management databases in the Palace Museum, and established the Palace Museum website using the Internet that connects the world. The website now displayed in front of you will enable people from far away to visit this mysterious palace through the Internet and get a glimpse of the magnificent buildings and dazzling collection of cultural relics of the Forbidden City.
The Palace Museum announced on October 10, 2017 that, starting from that day, the entire network of ticket sales will enter the formal implementation stage from trial implementation.
The Palace Museum announced on October 10, 2017 that, starting from that day, the entire network of ticket sales will enter the formal implementation stage from trial implementation.
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