Welcome to the National Palace Museum's collection of curios! Here you can explore some of the most unique and interesting artifacts from China's imperial past. Our collection includes a Round Box with Peony Decor Filled-In Lacquerware, a Cloisonne Box with Lotus Decoration, a Glass Inside-Painted Snuff Bottle with a Traveling Scene and a Pair of "Bovet" Pocket Watches with Pearls and Painted Enamel. These pieces are all incredibly detailed and tell us about the culture and lifestyle of people during this time period. Come take a look at these fascinating artifacts today!

1. Round Box with Peony Decor Filled-In Lacquerware

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2. Cloisonne Box with Lotus Decoration

This lotus cloisonné box is composed of filigree work on a copper body. The flat lid is decorated with lotus blossoms and pods. The sides of both the box and lid are curved after the shape of lotus petals.

3. Glass Inside-Painted Snuff Bottle with a Traveling Scene

Western snuff and snuff containers entered China in the late 17th century. At its peak, various Western countries and the Vatican in Rome often presented snuff and snuff containers as gifts to the court. Since snuff boxes were not ideal containers for snuff, people at the time adapted and used small-mouthed jars originally used in the Ming dynasty for medicine. This is the format of the snuff bottle that became the one with which we are now familiar

4. Pair of "Bovet" pocket watches with pearls and painted enamel

Ever since they were brought to China during the Ming and Qing eras, western clocks and watches were held in high esteem and much beloved by the imperial court, government officials, and merchant class, and they eventually became an important medium for cultural interaction between China and the west during the modern era. Pocket watches, with their intricate design and wearable nature, became not only a convenient instrument for telling the time, but also a status symbol and precious collectable. These two pocket watches, decorated with painted enamel and inset with pearls, are paired watches with symmetrical imagery.

Welcome to the National Palace Museum's collection of curios! Here, you can explore some of the most unique and interesting artifacts from China's imperial past. We have a variety of different curios on display here, including a Brush Holder with Letter-reading Scene, a Silver Raft Cup of "Zhang Qian Riding a Raft" with the mark of Zhu Bishan, Ivory Balls of nested concentric layers with human figures in openwork relief, a Ch'in (Chinese unfretted zither) and a Copper-body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay. These are all incredible pieces that provide us with a glimpse into Chinese culture during this time period. Come take a look at these fascinating artifacts today!

1. Brush Holder with Letter-reading Scene

A segment of a piece of bamboo has been made into a brush holder, with a flat mouth and the dividing part of the bamboo as the bottom. The outside is carved in relief with the image of a lady with an elegant hairstyle standing before a screen reading a handscroll. Another lady is seen hiding behind the screen with her finger to her mouth to indicate silence as she peeks Behind the screen to the other side is a display that includes a table, flower vase, incense burner, zither, and brush and inkstone The screen is engraved with a scene of birds and flowers, below which is a signature in regular script that reads, "San-sung." The imagery is very close to the illustration of "Peeking at a Letter" made by the late Ming painter Chen Hongshou (1598-1652) for the woodblock printing of the novel "Romance of the Western Chamber." The appearance of the figures and their clothing in the two is very similar, and the brushwork for the screen painting and flower vase even appear as if cutout from the print and applied to the bamboo. The four-panel screen, however, has been reduced to one panel, and the table display added to provide a setting for Hong-niang hiding behind the screen and to fill out the rounded surface of the holder with a continuous composition. Carving was done into the flat surface of the bamboo, making Hong-niang, the screen, and Cui Yingying stand out slightly while also giving depth to the scene and variation in the carving. On top of the figures and screen carved in high relief is engraving for hair, lines, and low relief, concealing the process of carving while also giving full play to the talent of the carver

2. Silver raft cup  of "Zhang Qian Riding a Raft" with the mark of Zhu Bishan

This silver raft cup takes its theme from the story of Zhang Qian of the Han dynasty, who was said to have rode a raft to trace the source of the Yellow River, and eventually travelled to the Milky Way, where he met the Cowherd and the Weaver Girl. This raft cup takes the form of a single natural hollowed log, in which Zhang Qian sits, gazing at the heavens. With headdress fluttering and robes open, Zhang Qian smiles into the breeze as he holds a rectangular stone in his right hand, upon which is engraved the two characters, "zhi ji" (loom weight), in seal script.

3. Ivory balls of nested concentric layers with human figures in openwork relief

This set of movable openwork ivory balls nested in concentric layers comprise four main parts:a dragon fish hook, two ladies-in-waiting carved in the round, a set of hollow nested concentric balls, and a pendant depicting the Heavenly Twins of Conjugal Felicity. In between, varying lengths of linked chain connect the respective parts, and an additional small round ball is connected by screw threads between the nested ivory balls and the two ladies-in-waiting. A total of 18 nested concentric balls have been counted, with fluid movement allowed between each layer. On their outer side, mountain and water landscapes, pavilions, and figures have been carved in high relief, while the inner side is decorated with openwork image patterns

4. Ch'in (Chinese unfretted zither)

The "ch'in," or zither, is an ancient Chinese stringed instrument. Its actual appearance has changed over the centuries, and there are also stylistic differences observable in "ch'in" made from different locations and makers in China.

5. Copper-body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay

The decorative style of the snuff bottle combines East and West. The panel in the center of the object represents plum blossoms painted in gold lacquer, representing the Japanese style of maki-e that was popular in European markets. The plum blossoms and butterflies on the ground outside of the panel, however, are done in traditional Chinese decorative manners, symbolizing the integrity and longevity of the literati.

6. Carved bamboo root carving of a well-wishing horse and monkey

This round carving of a bamboo root depicts a semi-reclining horse in regardant position, upon whose back sits a small monkey holding a peach. This imagery symbolizes "immediate conferral of a high-ranking position." This curio was originally secured in a treasure box, and despite the small size of the work, much care has been taken over the postures and expressions of the animals, as well as the presentation of the original bamboo texture.

7. Glass-body Painted Enamel Snuff Bottle in the Shape of a Bamboo Section

Enamelware of the Yongzheng reign followed that of the Kangxi reign and raised to greater heights, characterized mainly by its panels in a full composition, traditional bird-and-flower painting as subject matter, colorful background, and inscriptions in panels of auspicious shapes. The body of this piece is semi-translucent white glass, its shape like that of a bamboo segment. The greenish yellow base is rendered with green bamboo and a spider, much in the elegant manner of a literati painting The three knots of the bamboo segment here have even been colored with dots to give it an exceptionally realistic feel The bottle includes a colorful enamelware bronze spoon handle with two butterflies along with an ivory spoon. The butterflies stand out against the dark background and give the piece even more opulence and liveliness, the golden rim further accentuating it At the bottom is a panel against the background in an auspicious form for the inscription--spirit fungi The inscription in red regular script against a white background reads "Made in the Yongzheng reign" This snuff bottle testifies to the features of Yongzheng wares mentioned above and therefore is quite important and precious.

8. Painted enamel vase with dragons and peony decoration

Yongzheng reign Under close observation of the court Painted enamelware, which had originally come from the West, entered a stage of full-scale development. Not only were the bodies of vessels such as porcelains, bronzes, glasses, or painted enamels done with opulent colors, the decoration was also extremely refined. The peony blossoms on the surface of this painted enamelware vase with dragons are a traditional Chinese auspicious pattern, and the k'uei-dragons inlaid onto either side of the shoulder and the ring of floral motifs at the top are exquisitely rendered. It perhaps shows, after the absorption of Western techniques, the reinterpretation of traditional craftsmanship.

9. Cloisonne censer in the form of a wild duck

Cloisonné is a decorative craft whereby the surface of a metal body is adorned with a vitreous glaze and then subjected to firing. One of the earliest enamelwork techniques to be developed was cloisonné, which involved the creation of compartments (known as "cloisons") using thin copper wires on the surface of the metal body, filling the cloisons with colored glazes, and then firing repeatedly, after which the surface was polished and gilded with gold. Cloisonné works are often referred to as "Jingtai Blue" ware. This Ming dynasty censer is believed to date from the early 16th century, and is in the form of a wild duck with head held high. Primarily made of copper, the lid and body of the vessel fit seamlessly at the abdomen of the duck, while the incense smoke passes through the neck and out of the bill. Besides the bill and the webbed feet, the duck is otherwise cloisonned with glazes of different colors and additional embellishments to depict feathers, and the stand is also cloisonned with an intertwined chrysanthemum pattern. The gold-gilt base was likely added later, and the central "Jia" character carved in intaglio on the underside of the base is an artifact appraisal marking of the Qianlong reign. Animal-form enamelware emerged during the middle to late Ming dynasty, and contributed to the enrichment of enamelware forms and styles of the time.

10. Tuan Inkstone with Cloud-and-Dragon Decor and 99 Columns

This inkstone is carved from a single piece of Tuan River stone with dense inclusions, often referred to as eyes, found on the reverse side. The color of the stone itself is greyish-black, and the eyes, oval in shape, are a yellowish-green with brownish-yellow points in the center resembling the pupils. The top of the stone on the reverse side is slightly damaged, and the section used for grinding the ink is carved with ninety-nine columns each containing an eye inclusion. The ink well is carved with a cloud-and-dragon design, with one giant dragon leading nine baby dragons, an allusion to the belief that the dragon bestows children. The four sides of the inkstone are decorated with geometric decorations. In addition, the right side has an inscription in Chinese characters in standard script that reads "Song Dynasty Tuan River Dragon-Cloud Inkstone with 99 Columns"; on the left side, also in standard script, is an inscription that reads "Kept in the Misty Rain Pavilion of the Summer Residence, Jehol." Finally, on the topmost side, inscribed in small Chinese characters in standard script, is the inscription "This stone was taken from old caverns six centuries past, and still retains its quality. The ink well is replete with auspicious clouds barely concealing a dragon leading nine young. On the reverse side are columns numbering ninety-nine, each having a mynah eye that seems to be looking at its viewers. It fills me with wonder..." This inscription ends with four Chinese characters that attribute it to the Qianlong emperor (r. 1736-1795), and two of his seals.

Welcome to the National Palace Museum's collection of curios from the Qing dynasty! This collection features some of the most unique and interesting artifacts from this period, including a Planter with a coral carving of the planetary deity Kuixing, a Gilt flint case with coral-and-turquoise inlay (with carved lacquer box and Qianlong reign mark), a Bamboo Water Container in the Shape of a Lotus Leaf with signature of Zhu Sansong, a Champleve Box with Filigree Work, an Ivory Four-tiered Food-Carrying Case in Openwork Relief, a Meat-shaped Stone, a Set of Square Maki-e Lacquer Boxes decorated with Cherry Blossom Designs, a Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom, and a Pair of Gild. These artifacts are all incredibly unique and provide us with a glimpse into the lives of people during this time period. Come explore these amazing artifacts today!

1. Planter with a coral carving of the planetary deity Kuixing

This was an auspicious planter display that was very popular in the Qing dynasty court. The figure is the Planetary Deity Kuei-xing delicately carved from a piece of red coral and holding a representation of the Big Dipper. The Deity Kuei-xing not only represents prospect of success in the civil service examinations but is also surrounded here by various auspicious symbols. TITLE: ORIGINAL_TEXT: SUMMARY: Take a close look at this planter:you won't find an actual plant inside, but instead, you'll see a special kind of sculpture. The figure is the Planetary Deity Kuei-xing delicately carved from a piece of red coral and holding a representation of the Big Dipper. The Deity Kuei-xing not only represents prospect of success in the civil service examinations but is also surrounded here by various auspicious symbols.

2. Gilt flint case with coral-and-turquoise inlay (with carved lacquer box and Qianlong reign mark)

This gold gilt rectangular box-shaped case has thin iron plates inlaid at bottom. Upon releasing the coral knob at the top, the case can be opened to reveal a long, narrow interior container made of thin gold plate, in which the flint and tinder were stored. Sparks for fire were produced by striking the flint against the inlaid iron plates, and such flint cases were a common accessory worn about the waist by Qing dynasty men, with a role akin to that of the modern-day lighter.

3. Bamboo Water Container in the Shape of a Lotus Leaf, with signature of Zhu Sansong

The root of a bamboo has been carved here into the shape of a lotus leaf, with its curled edges closing together to form a pool in which a brush can be washed with water. The outside of the lotus leaf reveals veins, among which is a small signature in running script that reads "Made by Sansong."

4. Champleve Box with Filigree Work

The box is a champleve enamelware, which is a type of enamelware that is lustrous and colorful. The box is decorated with gold filament, which is a type of decoration that is dense and has been highlighted with the enamelware blue glaze. The box is a brilliant and eye-dazzling piece.

5. Ivory Four-tiered Food-Carrying Case in Openwork Relief

The body of this handled food container is divided into four levels, into which different kinds of food can be placed. Judging from the frail and delicate exterior, it was more likely used as a decorative object as opposed to an actual functional utensil. The carving is exceptionally refined, with the main part carved delicately in openwork from an ivory panel, which was inlaid into the frame.

6. Meat-shaped Stone

The "Meat-shaped stone" was carved from jasper minerals. The natural layered patterns were used by the artist to good effect. The top layer was dyed brownish-red to mimic the color of pork skin marinated in soy sauce.

7. Set of Square Maki-e Lacquer Boxes, Decorated with Cherry Blossom Designs

This small set of Japanese lacquered boxes includes three small boxes and a shallow dish. Since it was used as a curio box for objects in the Qing dynasty, it explains why a small jade object is found stored in each of the small boxes. The surface of the box employs the techniques of maki-e and taka-maki-e to present a tree of cherry blossoms in nature. The background is also sprinkled with gold flecks to give the decoration an exotic and dazzling effect.

8. Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom

Chen Zuzhang, originally from Guandong, had already entered the Imperial Bureau of Manufacture in the Yongzheng reign (1723-1735). In 1737, he followed the natural shape of an olive pit to carve a small boat. On the boat are eight figures, each of which is animated and expressive in an individual manner.

9. Pair of Gilded Bronze Pocket Watches Decorated with Painted Enamel

In the middle of the 18th century, the center for the production of pocket watches was in London. This pair of pocket watches not only testifies to Sino-Western exchange, the watches are also a marvel of mechanical and artistic craftsmanship. The watches are made of gold and silver, and are decorated with exquisite engravings.

10. Gold Mandala with Turquoise Inlay

This mandala comes with a finely worked leather box made in the Qianlong era (1736-1795). It includes a piece of white silk, on which is an inscription in four languages (Manchu, Chinese, Mongolian, and Tibetan) and a recording an important historical event. When this mandala was made in 1652, it was brought by the Fifth Dalai Lama from Tibet to Chinese soil via Xining and Inner Mongolia, and offered to the Xihuang Temple.

Welcome to the National Palace Museum's collection of curios from the Qianlong reign (1736-1795) of the Qing dynasty! Here, you can explore some of the most exquisite artifacts from this era. We have a variety of different curios on display here, including a Cloisonne and painted enamel butter tea jar, Round Bamboo-Veneered Curio Box with Lotus Blossom Decor (Containing 27 Curios), Inkstones for Imperial Usage, Carved Polychrome Lacquer Box in the Shape of Conjoined Spheres and Square Sandalwood Curio Case (Containing 32 Curios). These are all beautiful pieces that tell us about the artistry and craftsmanship of this time period. Come take a look at these amazing artifacts today!

1. Cloisonne and painted enamel butter tea jar

The most outstanding examples of cloisonné enamelware during the Qing dynasty were the painted enamelware. Painted enamelware entailed first applying a layer of opaque glaze to the surface of a piece, which was then fired, and then painting scenes over the glaze, before giving it a second firing, this time at a low temperature. This tea jar, with its "Made in the Qianlong reign (1736-1795)" reign mark inscribed around the rim of the lid, is a full, round shape and boasts an ornate, ostentatious gilt-gold lid knob and three gilt-gold bands, each inlaid with coral, lapis lazuli and turquoise, in a distinctly Tibetan style. The jar is covered throughout with a filigree lotus scroll pattern on turquoise enamel glaze ground, interspersed with inlaid painted enamel panels. The use of these decorative panels was common on cloisonné in the West, although here the filigree work sets the outline of scenes of mountain huts, beautifully decorated with figurative paintings of ladies and butterflies, as well as landscapes, to enhance the overall three-dimensionality of the scene. Qianlong reign cloisonné enamelware such as this, combining a range of cloisonné techniques and fusing Occidental and Oriental styles, were resplendent examples of the new era of cultural exchanges between China and the West.

2. Round Bamboo-Veneered Curio Box with Lotus Blossom Decor (Containing 27 Curios)

This round curio box has been joined by bamboo thread and a "chu-huang" bamboo veneer, carved with lotuses, applied to the outer surface. The ingenious design allows for the four fan-shaped quadrants of the body to be either spread out so that they stand end to end in a straight line, or for them to be turned around 360°so that they form a square display box. Each quadrant is divided into a number of compartments, one of which has a rotating stand with more sections. These compartments house a total of 27 individual curios, and in addition to ancient and Qing dynasty jades, there are also handscroll paintings and album leaves by artists working for the court of the Qianlong emperor (r 1736-1795). A triangular drawer in the lower section of the quadrants each contain a handscroll, but at the moment there are only three, with a landscape by Fang Zong, and two paintings of flowers, one by Yang Dazhang, and the other by Li Bing, each measuring only 7 cm in length. One of these triangular drawers also contains an album leaf figure painting by the artist Jin Tingbiao, measuring roughly 3 cm along each side. These paintings are the smallest examples of their type in the collection of the National Palace Museum

3. Inkstones for Imperial Usage

The base of the inkstone is carved with six cloud-head feet and a round and square seal in the middle. The upper one in relief is in clerical script in two lines and reads "Pure Curio of the Qianlong [Emperor]", while the lower one is engraved in two lines of seal script and reads "Presented to the Three Altruisms." The cover is carved in relief with a scene of egrets and reeds as well as a poem by the Qianlong Emperor (r. 1736-1795).

4. Carved Polychrome Lacquer Box in the Shape of Conjoined Spheres

This is a double-union treasure chest. The surface was applied with two kinds of colored lacquer. The panels on the surface are carved in relief with images of tribute.

5. Square Sandalwood Curio Case (Containing 32 Curios)

When closed, this curio box looks like a plain container. The advantage to this type of container is that it does not take up much space in storage. Although the outside appears quite simple, it is by no means monotonous. The reason lies in the decorative method of using "panels" by the artisans who made it. The artifact allows viewers to appreciate its painting and calligraphy, which pique viewers' curiosity about what lies inside. Viewers will be amazed by the wings of the panels that can be pulled out one by one to form a fan-shaped chest. Almost instantly, the static form of the box becomes animated. Combined with the center that can be turned, it looks almost like a windmill about to spin. The sumeru mount forming the pedestal of the box is also a storage area. Almost like a modern interior design, this technique of using panels to conceal objects is a perfect match. Such innovation is indeed unrivaled in traditional Chinese craftsmanship.

Welcome to the National Palace Museum's collection of other jades! Here, you can explore some of the most exquisite pieces of jade from China's imperial past. We have a variety of different jades on display here, including a Jade Gui Tablet, a Jade Flower-holder in the Shape of Fish-Creature, a Jade Divine Beast and a Jade Horn-shaped Cup. These are all beautiful works of art that tell us about the craftsmanship and skill of Chinese artisans during this time period. Come take a look at these incredible artifacts today!

1. Jade Gui Tablet

This jade gui tablet is ivory yellow on both sides, with the lower half of the reverse side having a red sienna tinge. The cutting edge of the blade is much darker, almost black, and exhibits many nicks. The other end, where the tablet was held, also shows signs of damage. This end has a hole bored through it, with smooth walls The middle section of both sides of the tablet are carved with mysterious motifs in shallow relief, whilst the upper and lower sections have been carved with a poem written by the Qianlong Emperor (r. 1736-1795) of the Qing dynasty and the emperor's seal. The wooden stand was made in the Qing dynasty imperial workshops. Implements fashioned from quality jade were mainly used as ritual objects symbolizing the power of the ruler, and were given the name gui in the ancient Chinese system of etiquette and rites. The convention was to hold the tablet with the blade facing up. This piece originates from the Mt. Tai area of China from around 4300 to 3800 years ago According to historical records, this area was occupied during this period by the Dongyi people, a name often translated as the Eastern Barbarians, and so the motifs carved onto the middle sections of the tablet likely represent the gods or ancestors of these people. These carvings are now very faint. On one side is a god or ancestor with a spiral eye and jewelled headgear decorated on either side with phoenix feathers On the other side is an eagle, rendered in an abstract shape that mirrors the shape of the headgear worn by the figure on the other side, flying up to the heavens

2. Jade flower-holder in the Shape of Fish-Creature

In general, "creating auspiciousness" was a very important design consideration in the forms and decoration of Chinese antiquities, and auspicious decoration and people's desire for blessings and good fortune have always been inextricably bound. Not only has it been handed for generation upon generation, it has also been represented in a myriad forms and manifestations. The general external appearance of this work is that of a fish, jumping up with its tail curled as the area beneath has been carved in the form of rolling waves.

3. Jade Divine Beast

This work depicts a winged divine beast carved in the round. The beast has a tiger head, with mouth open and teeth bared, and a goatee on the chin. The top of the head is covered by a curly mane, and a long tail can be seen at the back, along with two wings, flattened at the sides of the body and extending back from the chest. This work depicts a winged divine beast carved in the round The beast has a tiger head, with mouth open and teeth bared, and a goatee on the chin The top of the head is covered by a curly mane, and a long tail can be seen at the back, along with two wings, flattened at the sides of the body and extending back from the chest The hind legs are folded in a kneeling position on the ground, with the beast sitting on its heels The saying, "Like a tiger with wings", refers to something strong that has gotten even stronger, to the point where it becomes difficult to counter This winged divine beast conveys just such an impression The designer of this work has artfully used the natural red and white hues of the jade material, intricately carving the nose, forehead, two ears, and wavy mane on the red-colored portions, and thereby creating a curved outline from head to tail that generates strong visual tension Such an ingenious design makes this work one of the finest examples of Han era divine beast round carvings

4. Jade Horn-shaped Cup

This vessel is made of greenish-white jade and is in the shape of a horn cup. The surface is decorated with the carving of a coiling dragon in relief. The body of the dragon is strong and forceful as it reveals the unique vigor of Han dynasty craftsmanship.

5. Jade Tablet

The hardness of the jade tablet on the Mohr's scale is 6.5, and it is marked by a warm luster. The color is ochre-red along with yellow and green as well as spots of varying sizes, appearing like stars in the Milky Way. It has been surmised that this jade tablet originally was a half-finished jade knife from the Neolithic period.

6. Jadeite Cabbage, in a cloisonne flowerpot

This piece is almost completely identical to a piece of bokchoy cabbage. Carved from verdant jadeite, the familiar subject, purity of the white vegetable body, and brilliant green of the leaves all create for an endearing and approachable work of art. Let's also not forget the two insects that have alighted on the vegetable leaves! They are a locust and katydid, which are traditional metaphors for having numerous children This work originally was placed in the Forbidden City's Yung-ho Palace, which was the residence of the Guangxu Emperor's (r. 1875-1908) Consort Jin. For this reason, some have surmised that this piece was a dowry gift for Consort Jin to symbolize her purity and offer blessings for bearing many children. Although it is said that the association between the material of jadeite and the form of bokchoy began to become popular in the middle and late Qing dynasty, the theme relating bokchoy and insects actually can be traced back to the professional insect-and-plant paintings of the Yuan to early Ming dynasty (13th-15th c.), when they were quite common and a popular subject among the people for its auspiciousness. In the tradition of literati painting, it has also been borrowed as a subject in painting to express a similar sentiment, indirectly chastising fatuous officials. For example, in a poem written in 1775, the Qianlong Emperor associated the form of a flower holder in the shape of a vegetable with the tradition of metaphorical criticism found in the Tang dynasty poetry of Du Fu, in which an official was unable to recognize a fine vegetable in a garden. The emperor thereupon took this as a warning to be careful and alert

7. Jasper Plate with Gold Tracery

This plate is made of jade from Northern India. The center and rim of this plate is inlaid with gold filament and red glass. This plate is made of jade from Northern India and is marked by its exquisite workmanship.

8. Jade Ornament in the Shape of Phoenix Crowned with Dragon

This is a phoenix with a kui-dragon as a crown. The entire piece has been carved with great precision to give it great spirit. The head of this phoenix bears a kui-dragon as a crown.

9. Jade Duck

This jade duck was sculpted using a yellow nephrite and its head, belly, and feet are dark brown in color. The jade duck features remarkably simple sculpting techniques. However, its physical features (i.e., lifted tail and rounded bottom) were accurately portrayed to evoke a sense of adorability and liveliness.

Welcome to the National Palace Museum's collection of other jades! Here, you can explore some of the most beautiful and unique jade pieces from China's imperial past. We have a variety of different jades on display here, including a Xi Bodkin with Chi Tiger Pattern, Jade High-stemmed Cup, Jade Staff Finial in the Shape of a Pigeon, Jade Brush Wash in the Shape of Lotus Leaf, and a Jade Pi-Hsieh, an auspicious beast. These are all important pieces in Chinese history that tell us about how people interacted with each other during this time period. Come take a look at these fascinating artifacts today!

1. Xi Bodkin with Chi Tiger Pattern

The "xi" is a type of hornless dragon resembling a tiger. This piece, carved as the profile of a "xi" dragon, its head turned back, with hints of russet red, gives it quite a unique coloration. The way in which the head connects with the trunk is typical of how this creature would be represented by jade craftsmen of the Warring States period.

2. Jade High-stemmed Cup

This is an attractive, elegant example of a jade single-handled cup with high foot, carved from a piece of lustrous, semi-translucent white jade. The cup itself is long and slender, with a round cavity bored through, fitted with a handle and given a high foot. There are five horizontal bands extending from the rim to the top of the foot, carved in shallow relief with variations on the cloud and four-petal motif. Several points on the rim, the outside of the handle, and the high foot as far as the base of the cavity have been discolored through contact with bronze corrosion, creating a blue-green hue. This discoloration on the rim is more markedly blue, perhaps due to the fact that the bronze object that it had been in contact with had been cast using azurite. In ancient China, it was believed that beautiful jade was imbued with a life force, and that the material was sensitive to external stimuli. Han dynasty aristocracy particularly placed high values on jade vessels, hoping that the energy of jade would be absorbed by the water or alcohol in the cup, thereby making the drinker immortal. According to the chapter on Emperor Wu of Han in the "Shiji" (Records of the Grand Historian), in the year 115 BC, Emperor Wu-ti collected dew in a bronze bowl and jade drinking vessel, and drank this together with crushed jade. In recent years, a bronze bowl and jade cup set has been excavated from the tomb of a king of the Nan-yueh kingdom in the Guangdong region of Southern China, matching the description of the set of vessels used for collecting dew as recorded in the "Shiji."

3. Jade Staff Finial in the Shape of a Pigeon

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4. Jade Brush Wash in the Shape of Lotus Leaf

This jade cup is almost totally brownish yellow, with the occasional grey-white mottling and a russet red that follows the lines of an inscription. The shape is of a dried lotus leaf, with crinkled edges, curling up on itself in a triangular fashion with veins on the external surface rendered in intaglio lines. The cup also comes with a rosewood stand, also carved, in a multi-layered openwork design, to resemble lotuses, further enhancing the beauty of the cup. This jade cup is almost totally brownish yellow, with the occasional grey-white mottling and a russet red that follows the lines of an inscription The shape is of a dried lotus leaf, with crinkled edges, curling up on itself in a triangular fashion with veins on the external surface rendered in intaglio lines The cup also comes with a rosewood stand, also carved, in a multi-layered openwork design, to resemble lotuses, further enhancing the beauty of the cup

5. Jade Pi-Hsieh, auspicious beast

The "pi-hsieh" is a mythological creature commonly thought to be able to ward off evil forces with its magical powers. In the Han dynasty, "pi-hsieh" were commonly represented as winged, four-legged beasts, a form that was probably transmitted from Western Asia. Often found as huge stone statues, they would be placed along the spirit road leading up to tombs. This example, originally carved from a piece of green jade, is represented with its head raised and jaws open as if the creature is emitting a low growl. The long beard of this spectacular creature sprouts from its lower jaw and extends all the way down to its chest, its tail brushes the ground behind it. Over the years, the color of the jade has changed to a mottled yellowish brown. This is one of the larger examples of Han dynasty jade "pi-hsieh" known. It is different from other jade carved "pi-hsieh" in that its snout is relatively long, resembling that of a horse, where others appear more like that of a tiger. Furthermore, it bears an uncanny resemblance to objects that scholars refer to as "dragon heads", adornments on bronze furnaces recently unearthed in Inner Mongolia and dating to the middle and late Han periods. This example in the collection of the National Palace Museum was once an important part of the imperial collection, and one of the emperor's poems is carved onto the chest. The Museum also has a two-tiered rosewood stand that accompanies this piece, the upper tier of which is carved with the words "Imperial curio for the Qianlong Emperor", and the lower tier carved with the same imperial poem found on the creature's chest.

6. Jade Hooked Cloud-shaped Pei Ornament

The Hongshan culture saw birds of prey soaring over the vast deserts and steppes to the west of the Liao River and north of Mount Yan. As a result of which they concluded that this magnificent bird with a strong arched beak was a "mystical" messenger of the gods. The beautiful piece, an abstract carving that was thought to show apparently shows the "mystical bird" hidden in the clouds, was worn by sorcerers during ceremonies held to converse with the heavens. When polishing stone tools, the ancients discovered that jade was strong and durable, shining like the sunlight in spring. Ancestors of the Chinese believed that jade and fine silk with a sunny spring luster were rich in "power" or "energy," which is why they frequently used these two materials as ceremonial items when offering sacrifices to the gods. It was also widely believed that objects of a certain shape or decorated with certain patterns were equally magical. For this reason, jades were carved to follow the perceived rhythm of the cosmos or the shape of ancestors and mystical animals. They were used while praying, as the belief was that such adornments would help convey deepest wishes of people to their ancestors and gods alike.

7. Jade Pig-dragon

This unusually shaped pig-dragon is a jade object from the Hongshan Culture. The pig-dragon has bat ears, a wrinkled nose, and an arched mouth, and it resembles an animal embryo. Prehistoric people may have believed that an embryo represented the purest primal life force, and created this formal design as a symbol of vitality. Evidence of Hongshan Culture has been found in regions of northeastern China, today's Mongolia and Liaoning Province. It postdates Xinglonghua Culture by five or six thousand years, but inherits some of that culture's characteristics. Hongshan Culture is most notable for its fine jade objects carved with animal themes. Scholars have debated the proper name for these objects. Some have called them "pig-dragons" and others "bear-dragons." Pigs are essential farm animals, while bears were objects of worship by ancient inhabitants of northeastern China. Dragons are mythical creatures.

8. Jade Cong Tube

This large jade cong tube probably entered the Qing court in the 19th century, which is why its surface was not adorned with imperial inscriptions of praise by the Qianlong Emperor (r. 1736-1795) and thereby retains its original appearance. It is carved from a piece of deep green nephrite with light and dark ochre spotting. The surface still reveals the arcing traces of depressions lefty when the jade was first cut Of a tall, square, columnar form, the top is slightly larger than the bottom. The hole in the center was drilled from both ends, there being a slightly uneven ledge where the two did not match up The upper hole is slightly flaring, while the wall of the lower is straighter With patterns of small eyes as the center of the four corners, extending from top to bottom is a total of 17 small-eye masks carved on the piece

9. Jade Cong Tube

The Liangzhu Culture developed around the drainage basin of Lake T'ai in the lower reaches of the Yangtze River around 4000 to 5000 years ago. Cong tubes were basically square cylindrical objects with a hole bored through the center, running from top to bottom.

10. Jade Gui Tablet

The Longshan Culture is a period of time in China that is marked by social divisions. Jade was used as a symbol of social status during the Longshan Culture. This piece of jade is nephrite and is most likely a ceremonial jade from an area located midstream to downstream on the Yellow River in the Longshan period. The piece has a human face decoration on one side and an abstract pattern on the other. The piece has been determined to be a ceremonial jade from an area located midstream to downstream on the Yellow River in the Longshan period. The piece has been determined to be a ceremonial jade from an area located midstream to downstream on the Yellow River in the Longshan period.

Welcome to the National Palace Museum's collection of other bronze artifacts from the Song dynasty! Here, you can explore some of the most beautiful and intricate bronze vessels from this time period. We have a variety of different pieces on display here, including a Lei wine vessel with goat-head high reliefs and knob pattern, Ting Vessel with Inscription of the Zhenghe period, Gui food container with square base and phoenix pattern, Zun wine vessel to Yi the grandfather and Square Ding cauldron of Marquis of Kang. These are all important pieces in Chinese history that tell us about the culture and rituals during this time period. Come take a look at these fascinating artifacts today!

1. Lei wine vessel with goat-head high reliefs and knob pattern

This vessel has a tapered mouth, and round shoulders around which goat heads in high relief, flat bird patterns in relief, and patterns of kui dragons with lowered heads are decorated. The belly of the vessel is completely covered by nipple patterns with linked hooks, round spiral patterns, and four-petaled flower patterns. On the exterior walls of the belly, hook-shaped flanges can be seen, and the decorative features of this vessel show southern regional influences.

2. Ting Vessel with Inscription of the Zhenghe period

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3. Gui food container with square base and phoenix pattern

Gui vessels and ding cauldrons were important types of bronze food containers often used together. Cauldrons used to hold meat, while gui vessels held cooked rice, maize, and other grains. Based on their feet, bronze "gui" from the Shang and Zhou dynasties can be divided into five types:round, square, four feet, three feet, and raised round base. Square-base gui were most popular in the early Western Zhou period, when they were produced in a wide range of forms and decorated with rich and beautiful patterns. They are an excellent example of the cultural importance attached to food in the ritual systems of the Western Zhou dynasty. Scholars believe that there are slightly more than 100 square-base gui in existence today, most of which were unearthed in the western area of lower Wei River valley from some of the larger graves discovered there, indicating that of the many forms of ritual vessels, square-base "gui" held a high status. The shape of this work was based on the double-handled, round circular-base gui from the late Shang dynasty, though here a square base was added below the form. This style ensured that bronze gui in the early Western Zhou dynasty were taller and more imposing than those of the late Shang dynasty. It also explains why whereas in the late Shang dynasty ceremonial vessels tended to focus more on wine, in the early Western Zhou period the vessels began to reflect a greater attention on food. This style of vessel decoration reveals the prevalent style of the early Western Zhou period. The shape and decoration of the vessel handles is special:18 water buffalo heads in relief. The extensive use of water buffalo heads to decorate the handles and square base of the gui was a popular style for bronze ceremonial vessels in the area around the royal capital (near modern-day Baoji City)

4. Zun wine vessel to Yi the grandfather

This vessel is cylindrical with a flared mouth, a rotund belly, and a high ring foot. It is decorated with four openwork flanges, two sets of string patterns, and animal mask patterns. The inscription reads, "Zuo Zu Yi Bao Zun Yi (Treasured Zun Wine Vessel Commissioned for Yi the Grandfather)."

5. Square Ding cauldron of Marquis of Kang

The vessel is a ritual vessel commissioned by Marquis of Kang, named Fong 封, who according to historical documents was an uncle of King Cheng and the youngest brother of the King's father.

Welcome to the National Palace Museum's collection of bronze artifacts from the Song dynasty! Here, you can explore a variety of different artifacts, including Hsing Chi Shih Tsun, He wine/water vessel of Bo-ding, Square Zun wine vessel of Ya-chou, Yue battle ax with animal mask pattern and turquoise inlay, Oval Liang Measure by imperial decree of 26th year, Mirror of Shang-fang with TLV pattern and Zun wine vessel in the shape of animal with metal wire and turquoise inlay. These artifacts provide us with a unique insight into Chinese culture during this period, as they were used for various purposes such as ceremonial offerings and weapons. Come take a look at these incredible artifacts today!

1. Hsing Chi Shih Tsun

The phoenix bird with a large tail seen here was a brand new form of decoration that rose around the time of King Mu in the mid Western Zhou period. The phoenix bird is a mythical creature that is said to live for 500 years before it dies. The phoenix bird is a symbol of power and immortality. The phoenix bird with a large tail seen here was a brand new form of decoration that rose around the time of King Mu in the mid Western Zhou period The phoenix bird is a mythical creature that is said to live for 500 years before it dies The phoenix bird is a symbol of power and immortality

2. He wine/water vessel of Bo-ding

The same inscription appears on both the vessel and its cover, but their style of writing is different. One follows the simple strength of the early Western Zhou period, while the other forges a new path towards elegance in the mid Western Zhou. This transitory combination of tradition and innovation just so happens to appear in the same vessel, indicating that the inscriptions on the mold were probably originally done by two different people and representing a time when the new was beginning to supercede the old.

3. Square Zun wine vessel of Ya-chou

Cast "Yachou" vessels have often been excavated from Suputun in Itu, Shandong, so scholars believe that "Yachou" represents the "Poku" clan mentioned in the ancient "Zozhuan" text. Flourishing in the late Shang period, this clan was exterminated by King Cheng in the early Western Zhou.

4. Yue battle ax with animal mask pattern and turquoise inlay

This axe-blade object is a weapon known as a "yue". One side forms the blade in the shape of an arc, while the other is where a long handle would have been fastened to make it convenient for use in battle. This form, very similar to that of an axe, is mainly from the late Shang to the early Zhou dynasty.

5. Oval Liang Measure by imperial decree of 26th year

Qin Shi Huangdi (The First Emperor of Imperial Qin) annexed the other six states and established one grand empire under the heaven. He called himself the First Emperor, replaced the antiquated feudal system with centralized governance, and standardized the written language as well as weights and measures. The decree announcing the standard units was recorded on many standard devices made for the very purpose, as inscribed on the liang measure in the Museum collection, to the effect that in the 26th year of his reign (221 B. C. E.), the King of Qin consolidated all states, brought peace to all his subjects, and titled himself "Huang Di" (Imperial Emperor); having accomplished the above, the emperor asked his two prime ministers Wei Zhuang and Wang Wan to devise one single system bringing into consistency all that were discrepant or uncertain.

6. Mirror of Shang-fang with TLV pattern

The back of this mirror has a round knob in the center and is decorated throughout with geometric patterns, protrusions, the Four Spirits, and immortal figures. There is also a ring of auspicious text that states that "the making of this 'fine' mirror is of great favor. The immortals on it know not of old age as they quench their thirst in a stream of jade and feed their hunger with dates. They travel throughout the Heavens and the Four Seas, with longevity like that of bronze and stone to protect the country." This mirror was entered into the "Continuation of Connoisseurship at Ning-shou" at the Qing dynasty (1644-1911) court and was kept in an exquisite mirror case especially made for it.

7. Zun wine vessel in the shape of animal with metal wire and turquoise inlay

This vessel takes the form of a sturdily standing four-legged hoofed animal, with raised ears, round eyes, four hoofed legs, and a dangling tail. The posture and musculature of the animal is realistically depicted. The surface of the vessel is blackish-brown in color, interspersed with green. The vessel is adorned with silver threads that form angled cloud patterns, and is richly decorated with turquoise and gold and silver inlays. The face of the animal shows inlaid round gold eyes, and the bridge of the nose, the eyebrows, and the forehead are studded with turquoise. A circlet of inlaid gold encircles the neck, representing a collar. The lid on the back of the animal is decorated with dragon-shaped gold and silver inlays.

8. Square gui food container with Ya Chou emblem

The body of the vessel is square and the neck is compact. The neck and the longer sides of the ring foot are decorated with kui phoenix patterns. The background is filled in with cloud and thunder patterns.

9. P'eng-tsu-ting Ting

The vessel is called "P'eng ting" because the initial character of the inscription is "P'eng" which is the symbol of the clan of which the person who made this vessel belonged to, and the person who the sacrifice was offered to was his grandfather "Ting" (known by his sacrificial name). The vessel is the heaviest and largest ting in the collection of the National Palace Museum. The grand and majestic shape of the vessel is decorated with animal-mask patterns to create an even grander effect.

10. Pan water vessel with coiling dragon pattern

This pan plate is adorned with a coiled dragon, with head slightly raised and positioned at the exact center of the plate. The edges of the plate are ringed with kui dragon patterns, bird patterns, and fish patterns. The decorative patterns on the exterior walls of the plate are covered by a layer of rust, but appear to be kui dragon patterns with bowed heads.

Welcome to the National Palace Museum's collection of Other Bronze from the Song dynasty! Here you will find some of the most exquisite and unique pieces of bronze artwork from this era. You can explore Hu vessels with Hunting Scenes Inlaid in Copper-like Paste, P'an with Coiled K'uei-dragon Pattern, Chime-bell set of Zi-fan, Ting with Coiled Serpent Pattern, Shakyamuni Buddha, Gilt Beast-footed Tsun with Mountain Design, Mirror with Lion and Grapevine Decorations, and Zun wine vessel of Ya-qin to Yi the father. These pieces represent a variety of styles and techniques used by Chinese artisans during this time period, and they are sure to captivate and inspire you. Come take a look at these incredible artifacts today!

1. Hu vessel with Hunting Scenes Inlaid in Copper-like Paste

The decoration on this vessel is shallow relief design portraying birds with snakes in their mouths and winged spirit figures. The decoration on this vessel is representational content as decoration, a major development in bronzes of the late Spring and Autumn period. The decoration on this vessel is a distinguishing style of decoration on Chinese bronzes.

2. P'an with Coiled K'uei-dragon Pattern

Water vessels were used in ceremonial washing and gradually became popular in the middle and late Western Zhou period, flourishing in the Spring and Autumn period. Since it is known from the contents of some bronzes with inscriptions that many were related to women's betrothal, it indicates the importance of ceremonial washing and the marriage of women at the time.

3. Chime-bell set of Zi-fan

The Museum purchased 12 pieces of "Zi-fan" chimes in September 1994. By joining the respective inscription on each chime, 8 proved to have belonged to one set, together with 132 characters (two dittoed) in the complete text. The remaining 4 were the second half of another set.

4. Ting with Coiled Serpent Pattern

Bronze ceremonial vessels unique to the state of Qin gradually emerged during the mid Spring and Autumn period, but it was not until the middle of the Warring States period that they became strongly influenced by the vessels from Wei of San-chin. For example, the ting originally had a shallow body without a cover as well as standing handles and thick feet, but it became one with a deep body and a round cover with handles and feet. The vessel here is a typical Qin ting before this era of transformation.

5. Shakyamuni Buddha

Shakyamuni is represented here in the full lotus position sitting on a two-tiered stand, right hand in the abhaya (fearlessness) mudra, and left hand resting on his robe. The inner section of the body halo behind the Buddha figure has seven Buddha icons, with U-shaped flames adorning the outer section, accentuating the figure and enhancing its grandeur. The top tier of the stand is a Mt. Sumeru throne decorated with lotuses, and at the side with floral scrolls Two lions sit at the base, their heads turned back, their posture majestic The lower tier is a square stand decorated with rolling waves, each side carved with figures making offerings, and floral scrolls

6. Gilt Beast-footed Tsun with Mountain Design

The tsun was the main wine vessel used in the Han dynasty. The surface of this vessel was gilt, and its outer decoration composed of images of spirits, auspicious beasts, and winged (immortal) figures. These images represent paradise as envisioned by people in the Han dynasty.

7. Mirror with Lion and Grapevine Decorations

The casting of mirrors in the Tang dynasty was exceptionally fine, and they often featured decorations with a foreign flavor. This mirror with lions and grape vines is an important example of such works. The lions on this mirror are all in unique postures. The insects and birds cavort between the lions and the grapevines, flowing with a beautiful and uninterrupted symmetry. This mirror presents a combination of West Asian animal and plant decorations with a Chinese style of mirror. Emperor Qianlong of the Qing dynasty had an exquisite book shaped mirror case specially made to store this piece. The inside of the case was painted with a realist depiction of the design on the mirror. Such a realistic style represents a new influx of influence from west.

8. Zun wine vessel of Ya-qin to Yi the father

The same Ya-qin crest is found on the bronze zun vessel as well as the bronze seal. On the body of the vessel, the front and back are each adorned with an "animal mask pattern" in relief, with accompanying "dragon-head and phoenix-body patterns" on each side. The spaces between the main patterns are decorated with "cloud and lightning earth patterns" sandwiched between two string patterns, and thin grid patterns in relief adorn the lower part of the vessel belly. The inscriptions have four characters to each line, and the tribal crest of a "qin" character within a "ya" character is prominently displayed. This ceremonial wine vessel was made for the purpose of worshiping Yi the father in the ancestral temple.

9. Chia Measure

The Chia liang measures are a combination of five measures. The main body is a "hu." Turned over, it becomes a "tou." The left measure is a "sheng," and the right one is a "ho," below which is a "he." Two "he" equal one "ho," ten "ho" equal one "sheng," ten "sheng" equal one "tou," and ten "tou" equal one "hu." The inscription explains the origins, individual parts, and dimensions of the individual parts.

10. Gui food container of Lady Xian Ji

The use of jade mentioned in the bronze inscription indicate that it was chiefly used for rewards, edicts, gifts, entertaining, and sacrifices.

Welcome to the National Palace Museum's collection of bronze artifacts from the Late Western Zhou dynasty! Here, you can explore some of the most exquisite pieces from this period, including a Hu wine vessel of Song, Mao-kung Ting, Bell of Zong-zhou, Pan water vessel of San and Xu food container of Le Ji-xian. Each of these pieces has an incredible story behind it, from the inscription on the Hu wine vessel that commemorates a ceremony in which the King of Zhou conferred titles of nobility upon Song, to the inscription on the Pan water vessel that narrates the state of Zhe's failure to invade the state of San, as well as San's subsequent annexation of a portion of Zhe's land. Come take a look at these amazing artifacts today!

1. Hu wine vessel of Song

This wine vessel would have been reserved for use on important occasions. The inscription commemorates a ceremony in which the King of Zhou conferred titles of nobility upon Song, the owner of this vessel. The text finishes by describing the responsibilities conferred by the King of Zhou during this rite and the gifts of chariots and vestments bestowed upon Song.

2. Mao-kung Ting

King Xuan of Zhou came to the throne and charged his uncle, the Duke of Mao, with governing the domestic and external affairs of state, big and small. The inscription goes on to state that the King then presented the Duke with official vestments and gifts, and that this vessel was cast in order to record the honor given to the Duke for his descendants.

3. Bell of Zong-zhou

This flat oval yong bell has a closed tile shape, with a curved mouth. There are 18 mei bosses on either side of the bell. The crown is decorated with cloud patterns, the waist on both sides of the central strip is adorned with diagonal S-shaped twin kui dragon patterns, and the center of the soundbow is decorated with left-right symmetrical dragon patterns.

4. Pan water vessel of San

The inscription on the inside of this water vessel, which is 350 characters long, narrates the state of Zhe's failure to invade the state of San, as well as San's subsequent annexation of a portion of Zhe's land. The states of San and Zhe were closely linked during the Western Zhou period, including by marriage in times of peace. This vessel was meant to leave a lasting record of San's successful territorial defense and subsequent restitution. TITLE: ORIGINAL_TEXT:With a wide and shallow basin, tall pedestal, and pair of loop handles, this water vessel presents a sense of reserved dignity The 350-character inscription on its inside pleasingly compliments the vessel's design The inscription narrates the state of Zhe's failure to invade the state of San, as well as San's subsequent annexation of a portion of Zhe's land The text precisely details the land transferred as well as the names and ranks of officials involved in the enforcement of the agreement The states of San and Zhe were closely linked during the Western Zhou period, including by marriage in times of peace This vessel was meant to leave a lasting record of San's successful territorial defense and subsequent restitution SUMMARY: The inscription on the inside of this water vessel, which is 350 characters long, narrates the state of Zhe's failure to invade the state of San, as well as San's subsequent annexation of a portion of Zhe's land. The states of San and Zhe were closely linked during the Western Zhou period, including by marriage in times of peace.

5. Xu food container of Le Ji-xian

The vessel was commissioned by Le Ji-xian to be cherished forever by all descendants to come.

Welcome to the National Palace Museum's collection of other ceramics! Here, you can explore some of the most beautiful and intricate ceramics from China's imperial past. We have a variety of different ceramics on display here, including a Green-ground Floral-shaped Vase with Fish-Dragon Motif, Ruby Red-glazed Vase, Bowl in black glaze with "hare's fur" striations, Celadon water container, Yue ware, Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground and Purple-ground Box with Bird-and-Flower Motif in Fencai Enamels. These pieces are all unique and exquisite works of art that tell us about the craftsmanship and skill of Chinese artisans during this time period. Come take a look at these incredible artifacts today!

1. Green-ground Floral-shaped Vase with Fish-Dragon Motif

The vase is large, thick, and has an eight-petal flower shape. The vase has a bright yellowish-green color and looks almost modern. The vase has two handles in the shape of animal masks with rings in their mouths, and has panels in the shape of caltrop blossoms, with a fish and dragon in relief.

2. Ruby Red-glazed Vase

The period from 1705 to 1712, during the Kangxi reign, Lang Tingji, the Governor of Jiangsi, was ordered to go to Jingdezhen kilns factory and manage the firing of ceramics at the imperial kiln works. Among the porcelains produced there was a red-glazed vessel in imitation of one that goes back to the Xuande reign (1426-1435) in the Ming dynasty. The shape of this vessel is similar to the purification vase seen held in the hand of the Buddhist figure Guanyin, which is why it is also known as a Guanyi tsun-vase.

3. Bowl in black glaze with "hare's fur" striations

This bowl has a flared mouth, deep belly walls, and a small ring foot. The ceramic body is thick and heavy, and has been covered in thick flowing black glaze. The glaze on the exterior surface of the bowl does not extend to the bottom, and the glaze layers are thin near the top and thicker toward the bottom.

4. Celadon water container, Yue ware

This celadon water container slopes outwards with a flat folded rim, deep arched body, flat bottom, and a slightly concave base. The piece is covered with greenish-grey glaze and has an irregular spur mark that goes around the edge of the base through which the grey color of the biscuit can be seen. Most pieces like this have been unearthed from the graves of members of the royal household of the Wuyue Kingdom, which often hold at least one celadon water container as a grave good.

5. Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground

This jar with lid was perhaps used as a tea container. Appearing quite sumptuous and stately, the red ground is filled from top to bottom with gold pigment. Looking closely, the decoration of the lid and vessel symbolizes the notion of "ten thousand (wan) blessings (fu) forever."

6. Purple-ground Box with Bird-and-Flower Motif in Fencai Enamels

In the late Qing dynasty, the Empress Dowager Cixi controlled the court for a long period of time. Many people have heard stories of her sumptuous lifestyle and how she admired jadeite. Many do not realize, however, that the opulent porcelains with the mark "Ta-ya Studio" were made for her imperial use. These works with the "Ta-ya Studio" mark, though they follow the use of enamel colors from the High Qing, have an arrangement of colors that is even more striking. For example, violet was previously often used to paint patterns but not as a background color. However, this violet famille rose floral case boldly does so. Combined with the red flowers and green leaves, the colors are indeed quite striking and would indeed appear to echo the opulent lifestyle of the Empress Dowager Cixi.

7. Warming bowl with celadon glaze, Ru ware

This bowl was molded. The even curves on its wall follow the foliated contour of the mouthrim. The entire vessel is coated in consistent and smooth celadon glaze, displaying a bluish green color. Both its interior and exterior walls are covered with crackles stained brown. With a high, splayed ring foot, this piece has five spur marks along the edge of its base. Similar specimens have been excavated from the kiln site in Qingliang Temple, Baofeng County, Henan Province. There existed two ways of firing for this type of vessel:fired on spurs for fully glazed vessels or on setters. In the Song dynasty, warming bowls and ewers were paired wine vessels for daily use. Their usage can be seen in mural paintings from the tombs of the Liao dynasty and in the painting, Literary Gathering (attributed to Emperor Huizong of the Song dynasty, National Palace Museum). Apart from Ru ware, lotus-shaped warming bowls were also produced at kilns across northern and southern China and similarly-shaped vessels have appeared among Korean Goryeo celadon wares as well. In light of silverware discovered in Southern Song hoards, it can be surmised that the emergence and prevalence of ceramic ewers and lotus-shaped bowls reflect the contemporary trend of emulating gold and silver wares.

8. Narcissus basin in bluish-green glaze, Ru ware

This oval dish has deep, slightly flaring sides, a flat base, and four cloud-shaped feet. The body is very thin on the sides, becoming slightly thicker on the base and feet. It is covered all over in a light blue, highly lustrous glaze, which shows a hint of green at the base:the glaze is slightly thinner at the rim and the corners.

9. Pillow in the shape of a recumbent child with white glaze, Ding ware

During the Tang dynasty, most ceramics pillows either had a three-color glaze, or were glazed brown, black, or a changsha bronze color. By the Song dynasty, there was a greater variety of designs, including one made especially to be buried with the deceased. The variations included those of different sizes, styles, and decorations, the last of which usually implied auspicious meaning.

Welcome to the National Palace Museum's collection of ceramics from the Tang and Song dynasties! Here you can explore some of the most intricate and beautiful pieces of pottery ever made. From the Pottery figure of ladies playing polo game in sancai tri-color glaze to the White porcelain vase with loops, Xing ware, there is something for everyone here. We also have Sancai figure of a Lokapala, Guardian King, Pottery figure of a standing lady with painted colors, Teapot with blue landscape in falangcai polychrome enamels, Bowl with Blue Landscape in Falangcai Painted Enamels and Porcelain chicken cup in doucai painted enamels. Come take a look at these incredible artifacts today!

1. Pottery figure of ladies playing polo game in sancai tri-color glaze

Lavish funerals became popular in the Tang dynasty, with grave goods being exceptionally resplendent. Various figurines of different sizes were fashioned from clay and then covered with yellow, white, green, and brown low-temperature glazes, creating a beautiful and dazzling effect. The lady is riding on a yellow horse with a colorful saddle. The horse is robust, its four strong legs standing on a rectangular stand, as if waiting for a command The lady turns to the side with her head slightly leaning forward Her left hand holds a halter and the right a polo stick

2. White porcelain vase with loops, Xing ware

The Xing kilns were an important producer of Northern white wares located in the NeiQiu and Lincheng regions of modern-day Hepei province. The ceramics manufactured by these kilns are characterized by their fine clay bodies and pure white glaze, which early connoisseurs compared to silver and snow. Carrying flasks were commonly used in the Tang for holding water and were produced in particularly large quantities by the Xing kilns.

3. Sancai figure of a Lokapala, Guardian King

This enormous tri-color Virüdhaka once served as a tomb guardian used to ward off evil. The sculpture, covered mainly with bright green, brown, and white glaze colors, was donated by the wife of former Japanese Prime Minister Eisaku Sato.

4. Pottery figure of a standing lady with painted colors

During the Tang dynasty, particular emphasis was placed on elaborate funerary ritual which often included large quantities of grave goods. These were intended both to provide for the dead in the afterlife and to glorify the wealth of the deceased's family. As a result, Tang burial frequently included large numbers of earthenware tomb figurines.

5. Teapot with blue landscape in falangcai polychrome enamels

This teapot has a wide mouth and relatively squat body, curved handle, tubular spout, flat base and concave foot. The lid has a flattened top and a round knob with a hole to let air in. The teapot is decorated with landscape panels on both sides. The background of the panels and the lid are decorated with paintings of flowers found throughout the year. The porcelain body is thin and lustrous, fine and delicate. The base bears the reign mark with four Chinese characters, in two columns of two in the style of the Song dynasty, that reads "Made in the Reign of the Yongzheng Emperor." The monotone paintings resemble those found on other teapots with enamel glaze colors.

6. Bowl with Blue Landscape in Falangcai Painted Enamels

Compared to enamelware ceramics of the Kangxi reign (1662-1722), official wares of the Yongzheng reign developed in a more image-oriented direction in terms of the surface decorations of vessels. The color of the base was replaced by white glaze, with enamelware painters often treating the plain white surface of the vessel like blank paper or silk in a painting. Whether it was court painters taking up the brush themselves to create images or just providing drafts for craftsmen to copy in producing ceramics, the pursuit of imitating the elegant pastimes of painting and calligraphy practiced by literati resulted in images on enamelware porcelains becoming increasingly refined and delicate, fully reaching the level of art practiced in the Painting Academy.

7. Porcelain chicken cup in doucai painted enamels

Late Ming collectors prized blue and white porcelain from the Xuande reign above all other ceramics, followed by wucai porcelain from the official kilns of the Chenghua reign. In the eyes of collectors at the time, wucai refers to this type of doucai porcelain. Of the Chenghua doucai works in the collections of the National Palace Museum, the decorative patterns on the cups are the most varied, including cups with grape patterns, cups with babies playing together, cups depicting great scholars, tall-footed cups with flower and bird patterns, and of course, the renowned chicken cups.

8. Zun in the form of an elephant of peace

This object takes the form of an elephant with a vase on its back. The elephant stands straight with its head turned back and eyes partially closed. On its back is a saddle in the shape of a Chinese-style bullion, on which is a vase. The decoration of the saddle brocade symbolizes the mountains of longevity in seas of prosperity, chimes of auspiciousness for plenty, and times of peace.

9. Monk's cap ewer with ruby red glaze

The top of this ewer, with its stepped rim in three levels, resembles the cap worn by Tang dynasty monks, from which this type of ewer derives its name. It has a pointed spout and a flat handle decorated with a "ju-i" motif at both ends. In addition, it is attached to the curvature of the belly at one end and the rim at the other. The top of this ewer, with its stepped rim in three levels, resembles the cap worn by Tang dynasty monks, from which this type of ewer derives its name It has a pointed spout and a flat handle decorated with a "ju-i" motif at both ends In addition, it is attached to the curvature of the belly at one end and the rim at the other The upper part of the handle has an extension that goes vertically up, ending at the same height as the rim The vase has a straight neck, a rounded belly, and a ring foot The lid, which is staggered in three levels, has a round knob At one end of the lid is a small hole; the other end is extended out to ensure a close fit with the spout The vase is completely covered in a vibrant red glaze, the surface of which is pitted due to minute bubbles in the glaze in an effect known as "orange peel" The glaze is thinner at the rim, foot, base of the rim, and along the edges of the handle, revealing a white border at these places. The inside and bottom of the base are white with a hint of green The body itself is very thin throughout, and the original color is visible at the ring foot, showing it to be a delicate, pure white slightly speckled with iron spots There is no reign mark, although the base is inscribed with a poem written by the Qianlong Emperor (r 1736-1795)

10. Black pottery stemcup

During the Shandon Longshan Culture, the technique of using a potting wheel to produce ceramic objects was developed. Vessels with very thin walls could be made, and even carved with openwork patterns, in what became known as "egg-shell pottery". In the kiln, the adding of carbon at the very end or closing the air intake would cause carburiztion and create black pottery.

Welcome to the National Palace Museum's collection of other ceramics from the Song dynasty! Here, you can explore some of the most exquisite and unique pieces of pottery and porcelain from this era. We have a variety of different pieces on display here, including a Bright Yellow Cauldron with Animal-Mask Decorations, White Pottery Guei-Pitcher, Hibiscus-Shaped Washer with Bluish-Green Glaze, Kuan ware and a Vase with Phoenix-Shaped Handles in Celadon Glaze, Longquan ware. These pieces are all beautiful examples of Chinese craftsmanship and artistry during this time period. Come take a look at these amazing artifacts today!

1. Bright Yellow Cauldron with Animal-Mask Decorations

This incense burner in the shape of a round ting (cauldron) features two standing handles along the rim. Three tubular legs are joined to the body, and the legs have raised patterns. The entire vessel is covered with bright yellow glaze, which is very translucent and, when seen from the side, has a slight rainbow luster to it. On either side of the body is an engraved animal mask, between which one finds cash-design decorations and flowers. The bottom is engraved with an inscription of four characters in regular script that reads "Made by Zhou Danquan," making this the only work in the Museum collection that is engraved with Zhou's inscription. Zhou Danquan flourished from the late 16th century to the early 17th century, excelling in the imitation of ancient ceramics. He created unusual vessel shapes in wood and also displayed originality in creating garden scenery with piled rocks. It is said that in the late Jiajing era (1522-1566), Zhou Danquan made such a faithful imitation of a Ting ware ting incense burner that it created a commotion in the collecting world at the time. Before creating an imitation, Zhou Danquan would first "measure by hand" and then make "section pieces" to imitate the decoration, resulting in his finished pieces being almost indistinguishable from the originals. The collector Tang Hezheng admired his work so much that he spent "forty pieces of gold" to purchase the imitation, which he used as a "copy" in his collection. This indeed testifies to the great craftsmanship and influence of Zhou Danquan.

2. White pottery guei-pitcher

Pottery was an important artifact in ancient civilization. It is said that sage rulers of China's high antiquity emphasized the making of pottery as an important skill for the people's livelihood. Archaeologically speaking, pottery production appeared in various places in Neolithic times, such as the white pottery of the Danwenkou Culture fired with clay having a high percentage of aluminum oxide.

3. Hibiscus-shaped Washer with Bluish-green Glaze, Kuan ware

In the past, this cosmetics receptacle was referred to as a "washer." The whole piece is in the style of a hibiscus, with six petals. The top is modelled to resemble the flower itself in a concave design that ends in a circular indentation in the center. The blue-green glaze has been applied generously, taking on a deep blue color around areas where the glaze has accumulated, and yellowish-brown where the body can be seen through thinner areas of glaze. The crackling is sparse yet elongated, with a relatively light hue. The sides go straight down until they culminate into a ring foot, the rim of which is a dark brown. TITLE: ORIGINAL_TEXT:In the past, this cosmetics receptacle was referred to as a "washer" The whole piece is in the style of a hibiscus, with six petals. The top is modelled to resemble the flower itself in a concave design that ends in a circular indentation in the center The blue-green glaze has been applied generously, taking on a deep blue color around areas where the glaze has accumulated, and yellowish-brown where the body can be seen through thinner areas of glaze The crackling is sparse yet elongated, with a relatively light hue The sides go straight down until they culminate into a ring foot, the rim of which is a dark brown SUMMARY: In the past, this cosmetics receptacle was referred to as a "washer." The whole piece is in the style of a hibiscus, with six petals. The top is modelled to resemble the flower itself in a concave design that ends in a circular indentation in the center.

4. Vase with phoenix-shaped handles in celadon glaze, Longquan ware

This mallet-shaped vase, with its tray-shaped mouth and straight neck and body, exhibits a definite two-piece design. The neck has two handles in the shape of phoenixes or dragons in a style that emerged in the early Song dynasty. The simple lines provided by the straight sides of both the neck and the body give the piece an unaffected feel, but also represent the perfect unity of practicality and stability.

5. Vase with "Hundred Deer" motif in wucai enamel

This "hundred deer" vase has a slightly flared mouth, a short straight neck, sloping curved shoulders, a broad belly that is slightly tapered, and a flat base. Two blue lines encircle the rim, and the neck is decorated with alternating branched flower patterns and peach fruit patterns. The primary pattern encompassing the central area of the vessel consists of a herd of 89 deer painted in wucai, interspersed among rocks, grass, trees, and clouds.

6. Cocoon-shaped Hu

The piece of black pottery has a body in the shape of a silkworm cocoon. The outer surface of the vessel is decorated with multiple sets of parallel lines, in between which are engraved ninety characters of a poem written by the Qianlong Emperor (r. 1736-1795). The vessel was originally used for storing alcoholic beverages.

7. Flask with ruyi handles and figures decoration in underglaze blue

The form of this flask with paired ruyi handles was influenced by the pottery and glassware of Central and Western Asia. The flask has a small mouth, slender neck, flat round belly, and flat base without a ring foot. On each side of the neck, a bow-shaped handle links the neck and shoulders. The entire vessel is decorated with blue and white glaze, and the neck is adorned with blue and white plantain leaf patterns. Rings of upward-and downward-facing lotus petal patterns encircle the shoulders and the bottom of the flask. Both sides of the belly depict scenes of mountains and water, with rocks and streams in the foreground and trees and rocks in the middle ground. Three figures on one side and two on the other dance and play music between the distant mountains and rocks in the foreground. The features and dress of these five figures are exotic and foreign, and their postures and combined appearance closely resemble that of figures praying for dried springs to flow again in 14th-century Islamic paintings. Only two flasks with paired ruyi handles that depict human figures are known to exist to date, one of which is this work in the Museum collections, and the other of which is in the Topkapi Palace in Istanbul, Turkey. This attests to the rarity of such works.

8. Bowl with sky-blue glaze and purple splashes, Jun ware

This deep-walled water jar with a wide inward mouth has a slightly flaring lower body that constricts to form a small base, the center of which has a sharp protruding point. It is covered with sky-blue glaze and a linear crackle pattern. The thick glaze color inside is dark, while the three-pronged support markings inside show where the glaze thickened around the spurs, which when removed left places where the brown body can still be seen.

9. Ju-i Pillow with Azure Glaze and Purple Splashes, Jun ware

This porcelain pillow is in the shape of the "ju-i" symbol. The top of the pillow is slightly indented towards the center. It has a flat base on which a poem written by the Qianlong Emperor in 1776 is inscribed.

10. Celadon Stembowls, Ko ware

Ko ware is a kind of light colored celadon with crackling often in distinct pieces, hence the name "broken ware." High-stemmed cups and bowls were produced in large quantities during the Yuan dynasty.

Welcome to the National Palace Museum's collection of ceramics from the Qianlong reign of the Qing dynasty! Here you will find some of the most beautiful and intricate pieces of Chinese pottery from this period. There is a Revolving Vase with Swimming Fish in Cobalt Blue Glaze, Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels, Six Conjoined Vases in Tea Dust Glaze, Bowl with Indian Lotus Design on a Pink Brocade Ground, and Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs. These pieces are all unique and exquisite works of art that tell us about the culture and craftsmanship of the time. Come explore these amazing artifacts today!

1. Revolving vase with swimming fish in cobalt blue glaze

This reticulated vase has an inverted mouth, inward sloping sides, a long neck, broad shoulders, tapered belly, and short ring foot. The shoulders of the vessel are decorated with four ring-shaped loops. The belly of the vase is divided into inner and outer layers. The inner layer is coated with light lake-green glaze to create a background akin to the waters of a lake, within which aquatic plants, fallen blossoms, and goldfish are painted in fencai

2. Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels

The round, flat shape of the vase appears as two vases on the outside, one in front of the other. However, they are actually the bodies of two vases that are joined together as a single form on the inside. The rims are slightly inverted, the necks short, and the bases rectangular. The vessel is somewhat heavy and the surface decorated with patterns of blue and violet backgrounds. The backgrounds were then painted with various floral designs. The center of both vases in this conjoined vessel have panels, one decorated with plum blossoms and magpies, while the other with narcissi and quails. Since the two are conjoined, the two panels overlap, with one partially in front of the other. Thus, one appears as completely round, while the other is in the shape of a crescent. This adaptation, along with the dual-color scheme of blue and violet, share the same vessel and create an interesting variation in which each part echoes the other.

3. Six Conjoined Vases in Tea Dust Glaze

This unusual vessel consists of five conjoined vases of the same shape and size circling around a central main vase, forming a single complete vase. The cross-section of the vessel indicates that the interior of the six vases is joined together, with only the slender necks helping to exaggerate their individuality. Of particular note is the evenness of the height of the five surrounding vases and the slightly taller central vase, appropriately emphasizing it as a work composed of six vases joined together.

4. Bowl with Indian lotus Design on a Pink Brocade Ground

This bowl with a flaring rim has a deep curving body and a short foot ring. The outer wall is covered with a light pink glaze as a base, on top of which is engraved patterns of plants and geometric designs. Painted on top of the pink enamel are winding stalks of lotus flowers, and near the rim is an encircling geometric pattern in blue pigment.

5. Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs

This vase set contains a revolving center and an interlocking top and bottom. The structure of the vase is quite complex. The center of the vase body is divided into two parts, with the rims where they meet fashioned into the shape of a cloud-shaped ju-i pattern.

Welcome to the National Palace Museum's collection of other documents from China's imperial past! Here, you can explore a variety of different documents, including the Gold-leaf Tributary Document from Siam, Diplomatic Credentials Presented by The Great Qing Empire's Overseas Survey Envoy to The Great British Empire and Edicts for the Personal Rule of the T'ung-chih Emperor. These documents provide us with a unique insight into how people interacted with each other during this time period. Come take a look at these incredible artifacts today!

1. Gold-leaf Tributary Document from Siam

This is the "Gold-leaf Tributary Document from Siam" with highly exquisite binding. Although the word "piao" was the term that Qing dynasty government required that its vassal states use to refer to themselves when writing to the emperors of China, whether the vassal states accepted and approved such position held by China as a heavenly monarchy remain to be deciphered from the content of the piao. On May 26, 1781, Taksin (1734-1782), the king of Siam, sent his envoy on a tribute mission to the Qing government; the list of tribute items, which is currently housed in the National Palace Museum, contains one gold-leaf tributary document, a male elephant, a female elephant, ligumaloes, ambergris, diamonds, Western blankets, peacock feathers, green leather, ivories, rhino horns, Acronychia pedunculata, sandalwood, resin of sweetgum, camphor, bifa, cardamoms, gamboges, chaulmoogratree seeds, ebonies, cinnamons, honey skin, Sappanwood, among others. In addition to these "official" tributes, Taksin also prepared a male elephant, one picul of rhino horns, 100 piculs of ivories, 300 piculs of yangxi, 100 piculs of gamboges, 3,000 piculs of pepper, and 1,000 piculs of Sappanwood; these tributes were excluded from the official list of tributes for fear of the tributes exceeding the tribute limit. Experts generally believe that this "Gold-leaf Tributary Document from Siam" was sent by Taksin. Taksin, who successfully repelled the invading Burmese army, was promoted to the King of Siam.

2. Diplomatic Credential Presented by the Great Qing Empire's Overseas Survey Envoy to the Great British Empire

Diplomatic credentials are official documents sent by the head of state, as representative of his government, to the head of another country. As instruments in international negotiations, they were sent by special emissaries. As credentials of appointment or dismissal of foreign envoys, they were presented by the envoy himself.

3. Edicts: Edict for the Personal Rule of the T'ung-chih Emperor

An edict is one of the "sacred instructions" (or decrees) issued by the emperor. The intended audience is the widest possible, the purpose being to inform all officials, nobility, and commoners of the land about the emperor's orders. Edicts basically all deal with matters of great national importance, with almost all of them intricately bound to some major historical event. In 1862, the Tongzhi Emperor assumed the throne at the tender age of six. Two dowager empresses, however, ruled behind the scenes for eleven years, before the emperor personally assumed control of the country, proclaiming this fact to all with this document

Welcome to the National Palace Museum's collection of documents from the Qing dynasty! Here you can explore some of the most important documents from this period, including Archives in Old Manchu, Edicts for the Personal Rule of the T'ung-chih Emperor, Archives of the Diary-keeper, Tripitaka in Tibetan and Manchu, Palace Memorials, Manuscripts and Packets from the Historiography Institute, Map of Taiwan and Illustration of Victory: Archives of the Grand Council. These documents provide us with a unique insight into Chinese culture during this time period and are invaluable artifacts that tell us about how people interacted with each other during this era. Come take a look at these incredible documents today!

1. Archives in Old Manchu

In 1599, the Manchu leader Nurhaci, in order to solve the need to transmit written messages and make government records, ordered the scholars Erdeni and others to create a written language for the Manchu, based on the Mongolian alphabetic system and combined with Jurchen phonetics. This early form of Manchu, derived from Mongolian and without punctuation, was called Old Manchu. In 1632, the scholar Dahai was ordered to create punctuation in order to improve the form and phonetics of Manchu, which became known as New Manchu.

2. Archives of the Diary-keeper

The "Ch'i-chu chu" (Diary-keeper) was the title of an official in imperial China whose duty was to record the daily actions and sayings of the emperor into what was known as the "Archives of the Diary-keeper." As the name suggests, this type of historical information was similar to a diary in form. This system has ancient origins in China, extending as far as the Zhou dynasty ca. 1100-256 BC and being referred to in the Han 207 BC-AD 220 and Tang 618-907 dynasties

3. Tripitaka in Tibetan / Tripitaka in Manchu

Buddhism is a major world religion that has been around for more than 2000 years. The translation of Buddhist scriptures, known as sutras, into Tibetan and Manchu not only preserved the language and history of these people in China but also assists in the study of Eastern culture. Sutras are a crucial source of historical material. A compilation of Buddhist texts is called a tripitaka. The Kanjur Tripitaka, written in gold ink, has leaves written on both sides in standard script. The sutra leaves, arranged in order, are decorated with the Eight Auspicious Symbols painted in gold ink. The boards include an inner and an outer pair. The outer pair is made of red lacquered wood and on front is an inscription in Sanskrit that reads, "Om-mani-pad-me-hum," an invocation against evil. The inner pair is made of dark bluish wood, and the reverse of the top piece is carved with gold characters in both Sanskrit and Tibetan for the Buddha, the Law, and the Order. The top piece is wrapped in layers of white, blue, green, red, and yellow silk, each embroidered with Sanskrit and Tibetan letters along with images of the Eight Auspicious Symbols. The lower piece is painted with five Buddhist images in color. The leaves between the two boards are then bound with silk thongs along with a white silk ceremonial hada cloth and finally wrapped in yellow sutra silk to form a set.

4. Palace Memorials

The drafting and submitting of documents to the court in the early Qing dynasty followed the system used in the previous Ming dynasty (1368-1644). Public matters were dealt with in subject memorials, while private ones in confidential memorials. Starting from the middle of the Kangxi Emperor's reign (r. 1662-1722), however, the memorial system was revamped, marking the beginning of the Qing system.

5. Manuscripts and Packets from the Historiography Institute

In 1690, under the Kangxi Emperor, the Historiography Institute was established at court as part of the Hanlin Academy with the responsibility of compiling materials for writing official histories. In 1914, not long after the establishment of the Republic of China, the Cabinet approved the establishment of a Qing Historiography Institute on the premises of the former Institute. Archives from all over the former Qing dynasty court were collected, and many later became part of the collection of the Palace Museum.

6. Map of Taiwan

The "Map of Taiwan" was created during the Qianlong era. The map is 667 cm long and 46 cm wide. The map features bright and elegant pictures and an artistic value surpassing all existing maps of Taiwan.

7. Illustration of Victory: Archives of the Grand Council

The "Illustration of Victory:Archives of the Grand Council" illustrates the course of pacifying the rebellions led by Dawats and Amursana (leaders of the Zunghar tribe, Oirats, Mongolia) as well as those led by Bulanidun and Hojijan (i.e., in the Battle of Daxiaohezhuo) in 1755, 1758, and 1759. Qianlong decreed that four of the imperial court Western painters (i.e., Giuseppe Castiglione, Ignatius Sichelbart, Jean Denis Attiret, and Jean-Damascène Sallusti) sketch a draft of the said rebellions on silk. In 1764, he ordered that Giuseppe Castiglione et al. magnify the original paintings and send the official copies to the Guangdong customs office before shipping them to France The "Illustration of Victory:Archives of the Grand Council" illustrates the course of pacifying the rebellions led by Dawats and Amursana (leaders of the Zunghar tribe, Oirats, Mongolia) as well as those led by Bulanidun and Hojijan (ie., in the Battle of Daxiaohezhuo) in 1755, 1758, and 1759. Qianlong decreed that four of the imperial court Western painters (ie., Giuseppe Castiglione, Ignatius Sichelbart, Jean Denis Attiret, and Jean-Damascène Sallusti) sketch a draft of the said rebellions on silk. In 1764, he ordered that Giuseppe Castiglione et al magnify the original paintings and send the official copies to the Guangdong customs office before shipping them to France

Welcome to the National Palace Museum's collection of rare books from imperial China! Here, you can explore some of the most incredible documents from this period, including the Vast Documents of the Yung-lo Era, the Complete Library of the Four Treasuries, and the Illustrated Tributes to the Imperial Ch'ing. These texts provide us with a unique insight into Chinese culture during this time, and they are all incredibly ornate and detailed. Come take a look at these amazing artifacts today and learn more about the history of China!

1. Vast Documents of the Yung-lo Era

The "Vast Documents of the Yung-lo Era" is a Ming dynasty encyclopedia compiled by Jie Jin, et. al The encyclopedia was compiled in 1403, not long after the founding of the Ming dynasty, and was completed in 1406.

2. Complete Library of the Four Treasuries

The "Complete Library of the Four Treasuries" is a collection of major literary works produced in China over successive dynasties. It comprises over 3,400 titles bound in more than 36,000 volumes. These are arranged into four main sections--classical writings, histories, philosophical texts, and literature, which themselves are divided into several sub-categories. The "Complete Library of the Four Treasuries" is a collection of major literary works produced in China over successive dynasties It comprises over 3,400 titles bound in more than 36,000 volumes These are arranged into four main sections--classical writings, histories, philosophical texts, and literature, which themselves are divided into several sub-categories Among the included works are assembled editions, palace works, imperial selections, books in general circulation, titles presented to the emperor, and the "Yung-lo ta-tien" (Vast Documents of the Yung-lo Era) Officials of the Library of the Four Treasuries collated and classified each work, selecting rare books and manuscripts among them and adding textual criticisms according to a tradition of exacting standards The Complete Library of the Four Treasuries was originally compiled to reconstruct lost works from the "Vast Documents of the Yung-lo Era" The Qianlong Emperor issued a decree in early 1772 to assemble in the capital rare books from all parts of the country and build a library for their preservation. The greater part of the project was completed in During this 15-year period, seven sets of the collection were copied by more than 3,800 scholars One set was kept at the imperial palace Wen-yuan Pavilion in Peking, and the others were preserved at the Shenyang imperial palace Wen-su Pavilion, Jehol Mountain Resort Wen-chin Pavilion in Ch'eng-teh, Yuan-ming Garden

3. Illustrated Tributes to the Imperial Ch'ing

This text in nine chapters was compiled by Fuheng, Dong Gao, and others, and it was illustrated by Men Ch'ing-an and others. The text is divided geographically, the first chapter dealing with foreign lands such as Korea, Ryuku, Annam, England, and France. The second chapter deals with the areas of Tibet, Ili, and Kazakh. The third involves Kuan-tung, Fukien, Hunan, and Taiwan. The fourth mentions Kwangtung and Kwanghsi. The fifth deals with Kansu, the sixth Sichuan, the seventh Yunnan, the eighth Kweichow, and the ninth illustrations added after 1763. In addition, in 1805, five illustrations dealing with Vietnam were added at the end of the ninth chapter. Altogether, there are more than 300 illustrations of peoples in this text, each including a representative male and female figure, making for a total of approximately 600. Following each illustration is explanatory text that is easy to understand, providing an abstract of the people and their relation to the Qing court as well as the customs of the lands from which they came. Since the Qianlong Emperor ordered in 1751 that administrators throughout the land as well as those with contacts with foreigners provide illustrations of the appearance and clothing of different people, the illustrations here deal mostly with appearances and also emphasize their expressions. The records in this text also deal with first-hand accounts of these people, making for a reasonably accurate description of the traditions, customs, and geography. Fuheng, style name Chunhe, had the surname Fucha and was a Manchu Yellow Bannerman. He was the younger brother of the Qianlong Emperor.

Welcome to the National Palace Museum's collection of rare books from the Yuan dynasty! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find Fan Zhongyan's Literary Collection, The Analects, Classified Draft of the Yuan-feng Era, Essentials to the Collected Meaning of The Four Books, Dynastic Regulations for Sagacious Rule of the Great Yuan and Painting Catalogue of the Hsuan-ho Collection. Each of these documents offer a glimpse into the past and tell us about how people interacted with each other during this time period. Come take a look at these fascinating artifacts today!

1. Literary Collection of Fan Zhongyan

Fan Zhongyan was a native of Wuxian, Jiangsu province. Fan Zhongyan was a scholar of profundity and virtue that in his affairs sought to have a clear conscious before the virtuous and in his studies sought to aid the world. Fan Zhongyan's collected writings were originally entitled "Tan-yang chi" (Tan-yang Anthology), though after the author's death it was re-named as "Wenzheng."

2. The Analects

The "Lun-yu chi-chieh" (The Collected Exegeses of the Analects) is a volume of collected exegeses by He Yan (190-249), Wei dynasty Yuan dynasty (1279-1368) reprint from Hsu-chun after Liao's Song dynasty Shih-ts'ai Hall edition. The "Lun-yu chi-chieh" is an edited selection of Han and Wei commentaries to "Lun-yu".

3. Classified Draft of the Yuan-feng Era

Zeng Gong was a native of Nan-feng in Chien-ch'ang (modernday Nanfeng County, Jiangxi Province). Zeng Gong was a lifelong collector of books. Zeng Gong's literary style was known for its simple elegance, earning him a place among the Eight Great Writers of the Tang and Song. Zeng Gong was a native of Nan-feng in Chien-ch'ang (modernday Nanfeng County, Jiangxi Province) A lifelong collector of books, he assembled a library of rare works that he also collated himself, becoming noted at the time for his wide learning His literary style was known for its simple elegance, earning him a place among the Eight Great Writers of the Tang and Song His younger brother Tseng Chao wrote that even though Zeng Gong did not write books on his learning, he collected his discourses into manuscripts a 50-chuan chapter encyclopedia entitled "Yuan-feng (1078-1085) lei-kao,", a 40-chapter "Hsu Yuan-feng lei-kao" Continuation of Yuan-feng lei-kao and a 10-chapter "Wai-chi" Miscellanea "Hsu-kao" and "Wai-chi" were lost sometime during the Southern Song dynasty (1127-1279) In the Kai Xi era (1205-1207), however, the Chien-ch'ang Prefect Chao Ju-li and others re-compiled the 40-chapter "Hsu-kao" from different sources Regrettably, the results of this endeavor were once again lost in the early Yuan dynasty (1279-1368), leaving only the 50-chapter "Yuan-feng lei-kao" extant

4. Essentials to the Collected Meaning of The Four Books

Liu Yin, a scholar of the Song dynasty, turned to a life of seclusion after the fall of the Song dynasty in 1279. In 1330, his "Essentials to the Collected Meaning of The Four Books" was printed with exceptional quality. This book was not reprinted in later periods, making this surviving example all the more precious.

5. Dynastic Regulations for Sagacious Rule of the Great Yuan

The Yuan dynasty imprint "Documents concerning the system of Yuan dynasty rule, with the exception of those mentioned in the official Yuan history and this book, have all been lost." This Yuan imprint is not only the earliest surviving example of this text, it is also an important source for the study of the Yuan government. The contents represent a collection of archives from the central government to the localities, with a terminal date of 1320.

6. Painting Catalogue of the Hsuan-ho Collection

This book is a catalogue describing the imperial collection of painting in the inner court under Emperor Huizong (r. 1101-1125) of Song and an important source of information on early Chinese painting. Divided into ten sections according to the subject matter of painting, it is composed of 20 chuan (chapters). The contents mention 231 artists from the Jin dynasty (265-317) to the Northern Song dynasty (960-1126) as well as 6396 hanging scrolls and even Japanese painting.

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! Here, you can explore the Literary Collection of Liu Ping-k'o, which was compiled into 40 chuan (chapters) during the Tang dynasty. You can also find the Literary Collection of Nan-hsuan, which was recorded by Ch'en Chen-sun and Chao Hsi-pien of the Song dynasty. This book is only mentioned once in a collection from the early Qing dynasty, making this copy in the National Palace Museum the only surviving Song dynasty edition. We hope you enjoy exploring these incredible artifacts!

1. Literary Collection of Liu Ping-k'o

Liu Yuxi (772-842) was a poet of the Tang dynasty (618-907) whose literary collection was compiled into 40 chuan (chapters) in "Hsin T'ang shu i-wen chih" (New Arts Section of the Tang History). In the early Sung (960-1279), ten chapters were lost, leaving only 30. During the Song dynasty, Sung Tz'u-tao collected Liu's other works to come up with 470 poems and 23 prose writings compiled into ten chapters The contents of his ten chapters, however, did not completely match the contents of the ten lost chapters.

2. Literary Collection of Nan-hsüan

Zhang Chi was a native of Sichuan. Zhu Xi praised Zhang Chi in his eulogy for his character and erudition, making him an important figure in the philosophy of the period and a role model for later generations. The book was originally entitled "Nan-hsuan hsien-sheng wen-chi" (The Literary Collection of Nan-hsuan) and survived in two editions. One was in 30 chuan (chapters) and recorded by Ch'en Chen-sun of the Song dynasty (960-1279) The other was a 44-chapter edition recorded by Chao Hsi-pien, also of the Song dynasty The book was originally entitled "Nan-hsuan hsien-sheng wen-chi" (The Literary Collection of Nan-hsuan) and survived in two editions One was in 30 chuan (chapters) and recorded by Ch'en Chen-sun of the Song dynasty (960-1279) The other was a 44-chapter edition recorded by Chao Hsi-pien, also of the Song dynasty The former was not recorded in any collections, except for the catalogues of two private collections in the Ming (1368-1644) and Qing (1644-1911) dynasties The 44-chapter edition was arranged by Zhu Xi and, after being reprinted in the Yuan dynasty (1279-1368), enjoyed great circulation However, the original Song imprint is mentioned only once--in the collection of Chi Chen-i during the early Qing dynasty It is unknown whether this copy still exists, making this copy in the collection of the National Palace Museum apparently the only surviving Song dynasty edition of this book Unfortunately, with 28 chapters, the Museum copy is not complete

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! These texts are some of the most important works in Chinese culture, written by some of the most influential scholars of their time. You will find commentaries on ancient classics such as The Book of Mencius, memoirs from Zhao Gongwu who fled K'ai-feng when it was invaded in 1126, anthologies of works by Master Zhu Xi and Du Fu’s Poetry with Annotations. There are also commentaries on the Rites of Chou, Principal Meaning to The Book Of Etiquette And Ceremony, Erh-ya philology text and Illustrated Text Of The Hsuan-ho Emissary To Korea. Finally there is Six Writings By Master K'ung which was written after Confucius descendant Kong Duanyou moved south following the fall Northern Song Dynasty in 1126. We invite you to explore these incredible artifacts and gain an insight into the culture and history of China during this period.

1. Exegeses on the Book of Mencius

The traditional study of the Classics is one of the sources of knowledge of Chinese culture. A large number of notes and commentaries has been left by many talented scholars over the ages. These texts were transcribed by hand until the spread of woodblock printing. It was during the Later Tang of the Five Dynasties period that Prime Minister Feng Tao (882-946) recommended the use of wood block printing, which had been used privately since the Tang dynasty (618-907). The Directorate of Education subsequently arranged the carving of wood blocks for printing the Classics. The engravings of Classics made at that time were modeled after stone slabs engraved in the K'ai-ch'eng era (836-840). These were appended with annotations made since the Six Dynasties period; however, because they lacked the commentaries, they were known as single-annotated editions. Commentary editions were first engraved in 988 under Emperor Taizong of the Song dynasty. These works, however, did not include annotations and were thus considered single-commentary editions. Unfortunately, the Five Dynasties source editions of the Classics were lost over time. The Song single-commentary editions of the Classics remain the earliest extant and are thus extremely rare. Reading a single-commentary edition was inconvenient to readers, since they needed to refer separately to the annotations. It was not until the 12th century that editions joining annotations and commentaries were published. The publication was carried out by the Tea and Salt Supervisorate of the Chekiang Circuit under the charge of Huang T'ang, and they were thus called "Huang T'ang editions."

2. Memoirs of Master Chao-te's Readings in the Chun Studio

Zhao Gongwu, a native of Shandong, resided in the Chao-te ward of the capital K'ai-feng (Pien-liang)--hence his name "Mr. Chao-te" as indicated in the title of this book. After enemy Jin forces invaded the Song capital in 1126, he fled with his family to Sichuan. A Sichuan official, Ching Tu, had a collection of books, which he subsequently gave to Zhao Gongwu. Not counting repeats in his own collection, Zhao Gongwu had more than 24,500 volumes. He studied these texts and composed abstracts for them. At the time, Zhao Gongwu was living at Jung-chou and I-chun, so his book was entitled "Memoirs of Readings in the Chun Studio." His book was divided into four parts:the Chinese Classics, history, philosophy, and compendia. Each part composed a summary and a preface, and each subdivision had an individual preface, which was included with the abstract of the first book therein. Each book contains an abstract providing detailed information on the author, annotator, and period in which it was done. Zhao Gongwu provided an invaluable service to later scholars through his impartial and accurate research on the texts in his collection. The original book had four chuan (chapters) and was printed in Sichuan. Later, in Sichuan, 20 additional chapters were included by Zhao Gongwu's disciple, Yao Ying-chi. In 1249, an imprint was made in Ch'u-chou of Yao's version and hence known as the Ch'u-chou Edition. The following year, an addition of two more chapters ("Hou-chih") was made along

3. New Imprint of the Grand and Illuminous Explication of Huai-nan-tzu

The Huai-nan-tzu was written in the Western Han dynasty by Liu An, a member of the imperial clan. The book had 21 "central" volumes and 33 "peripheral" volumes. Nowadays, 21 volumes survive and are all from the central section.

4. New Revised Imprint of Du Fu's Poetry with Annotations

Du Fu was one of the greatest poets in Chinese history. Witnessing the An Lu-shan rebellion and the restoration of imperial rule in the mid-8th century, he lived through one of the most tumultuous periods of the Tang dynasty. His poetry is filled with concern for the country and his opinions on life at the time. Du Fu (712-770; Tang dynasty) with collected annotations by Tseng E and others of the Song dynasty 1225 Southern Song imprint by the Kwangtung Transport Supervisorate Du Fu (712-770) was one of the greatest poets in Chinese history Witnessing the An Lu-shan rebellion and the restoration of imperial rule in the mid-8th century, he lived through one of the most tumultuous periods of the Tang dynasty Consequently, his poetry is filled with concern for the country and his opinions on life at the time Due to his so-called "historical poetry," Du Fu has been acclaimed by later critics as the "Sage of Poetry" Du Fu's collected works of poetry, according to a record in the "New History of the Tang," was originally composed of 60 chuan (chapters). However, with the fall of the Tang dynasty in 907 and the chaos of the Five Dynasties (907-960), much of it was lost By the Song dynasty (960-1279), scholars were able to gather the surviving remnants and create a new edition Owing to the difficulty in reading Du Fu's poems, various annotations were added to make them more easily understood Various annotated imprints appeared throughout the Song dynasty and, in addition to the edition in the National Palace Museum's collection, six now survive They range in date from 1059 to the early 13th century and attest to the popularity of Du Fu's poetry in the Song dynasty

5. Anthology of Works by Master Zhu Xi

Zhu Xi was born in Nanping County, Fujian province, and died in Cangzhou. He incorporated the ideas of the "Loyang School" founded by the Ch'eng brothers, Ch'eng I and Ch'eng Hao. These intellectual currents were synthesized by Zhu Xi into the Southern Song "Fujian School" and an integral system known as "Zhu Xi Thought," which form a comprehensive expression of Song metaphysics. Zhu Xi (1130-1200), Song dynasty Southern Song Fujian imprint of the Shun-hsi period (1174-1189) Master Huian was a pseudonym of the Song exegete and writer Zhu Xi (style name Yuanhui [or Zhonghui]; sobriquets Huian, Huiweng, and Dunweng) Zhu Xi was born in Nanping County, Fujian province, and died in Cangzhou His ancestral home was Wuyuan County, Jiangxi Province Zhu Xi incorporated the ideas of the "Loyang School" founded by the Ch'eng brothers, Ch'eng I and Ch'eng Hao He also drew from the philosophy of the metaphysicians Chou Tun-i, Chang Tsai, and Shao Yung, and he was influenced by Buddhist and Taoist thought as well These intellectual currents were synthesized by Zhu Xi into the Southern Song "Fujian School" and an integral system known as "Zhu Xi Thought," which form a comprehensive expression of Song metaphysics For this contribution, Zhu Xi is considered one of the most important and influential figures in the development of Chinese metaphysics This Song edition of the "Anthology of Works by Master Huian" includes the official Chekiang edition published during the reign of Emperor Ningzong (1195-1223) as compiled by a Mr Ch'u of Ch'ang-shu County in

6. Commentaries on the Rites of Chou

This book is a commentary-only edition of the Confucian Classics, and is divided into 50 chapters. It is the only complete set of commentary-only editions known to date. This book is significant in the study of Chinese bibliography.

7. Principal Meaning to The Book of Etiquette and Ceremony

Wei Liaoweng (1178-1237), Song dynasty 1252 Southern Song imprint by Wei Keyu of Huizhou in the "Principal Meaning of the Nine Classics" Wei Liaoweng received his Presented Scholar (chin-shih) civil service degree in 1199 and went on to serve as an official in the Southern Song dynasty (1127-1279). A colophon to another book notes that Wei Liaoweng served as a high official before running afoul of the prime minister. Demoted to a countryside position, he devoted his time to compiling information for his books on the essence of the Classics. His books were later printed in 1252 and placed in the Tz'u-yang Academy. However, in 1276, the books were destroyed during the collapse of the Song dynasty. This makes this surviving example all the more rare, something that was noted even in the Qing dynasty (1644-1911) by a collector. Wei Liaoweng's "Chiu-ching yao-I" (Principal Meaning of The Nine Classics) was once in the court collection of the Ming dynasty (1368-1644). However, by the latter Ming, it was no longer complete, with only four of the classics remaining--and even they were incomplete. For example, "Principal Meaning to The Book of Rites", according to the "Ssu-k'u ch'uan-shu" (Complete Library of the Four Treasuries) editors of the Qing court, was missing "chuan" (chapters) 30 and 31. In terms of private collections, the most was three Classics in a Shanghai collection. However, it appears that this edition was lost in the wars that plagued modern China.

8. Erh-ya

The "Erh-ya" is an ancient text devoted to philology, but the identity of the author(s) still remains unclear today. As to the age of the text, the Qing (1644-1911) editors of the "Ssu-k'u ch'uan-shu" (Complete Library of the Four Treasuries) indicated that such figures as the Duke of Chou and Confucius (551-479 BC) relied on it. In the Five Dynasties period (907-960), a compilation of the Confucian Classics was carved on the basis of stone engravings from the Tang dynasty (618-907).

9. Illustrated Text of the Hsuan-ho Emissary to Korea

Geographical and travel texts have a long history in China, extending as far back as the Shang and Zhou dynasties (17th-3rd c. BC), when specific officials dealt with compiling and organizing geographical texts. And following "Fo-kuo chi" (Record of the Land of the Buddha) by the Jin (265-317) monk Fa-hsien, such texts became increasingly popular. This book is an imprint made in 1167, representing the earliest known edition of this text. China and Korea, due to their geographical proximity, have long had close ties. Consequently, information about Korea in Chinese records is quite plentiful In addition to individual references to things Korean, many Chinese texts are known to have dealt specifically with Korea. Although some of them have survived, Xu Jing's text is probably the richest in terms of content. It is also the oldest text, making it a precious source of information in the study of ancient Sino-Korean relations and the history of foreign communications. Xu Jing originally completed the text, including illustrations, in 1124. However, with the fall of the Northern Song dynasty in 1126, the illustrations were lost In 1167, Hsu Ch'an, the nephew of Xu Jing, had the text printed for the first time. Although unable to retrieve the illustrations, he nonetheless referred to them in the title of the printing. From that time to the middle of the Ming dynasty (1368-1644), the book was not reprinted. At the end of the Ming, the text was transcribed and reprinted, and the editors of the "Ssu-k'u ch'uan-shu" Complete Library of the Four Treasuries in the Qing dynasty 1644-

10. Six Writings by Master K'ung

Kong Zhuan, Song dynasty (960-1279) 1166 Southern Song Quanzhou imprint by Han Zhongtong Confucius is one of the most venerated figures in the history of China, and his descendants have been respected ever since. When the Northern Song dynasty fell in 1126 and the government fled south, the 47th descendant of Confucius, Kong Duanyou, also moved south. This text was written sometime after moving south. The book imitates the six writings of Po Chu-i (772-846), which were categorized and compiled under the title "Liu-t'ieh hsin-shu" (New Book in Six Writings). Later, following the title of "Po-shih liu-t'ieh" (Six Writings by Po), it was changed to "Six Writings by Master K'ung." This book is a collection by Kong Zhuan from many sources. Detractors of the book have claimed that it is unfocused. However, the sources date prior to the Tang (618-907) and Song (960-1279) dynasties. These selections provide important information for scholars of ancient writings. As the author of a preface to the book objectively wrote, these selections are like raw materials that can be used for a variety of purposes. The six writings of Po and K'ung, as separate books, each consisted of 30 "chuan" (chapters). Near the end of the Southern Song dynasty (1127-1279), they were printed together into a set of 100 chapters. Following the Yuan (1279-1368) and Ming (1368-1644) dynasties, reprintings all followed the 100-chapter edition and combined

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. You will find letter to Abbot Zhongfeng (As If in a Drunken Dream) by Zhao Mengfu, Regulated Verse in Seven Characters by Chang Yu, Poetry on the Baotu Waterfall by Chao Meng-fu, Poetry on the Wan-chieh Hall by Yang Wei-chen and Five-character Couplet in Seal Script by Ch'i Pai-shih. These pieces are all examples of the highest level of calligraphy from this time period, and they provide us with an insight into the lives and thoughts of these talented artists. Come take a look at these incredible artifacts today!

1. Letter to Abbot Zhongfeng (As If in a Drunken Dream)

Zhao Mengfu was a native of Wuxing in Zhejiang. He was recruited by and took up office under the following Yuan dynasty as a Hanlin Academician. He excelled at calligraphy as well as painting, becoming one of the most respected masters of his time and a leader of Yuan dynasty art circles. Zhao Mengfu (style name Ziang, sobriquet Songxue daoren) was a native of Wuxing in Zhejiang A scion of the Song imperial family, he was recruited by and took up office under the following Yuan dynasty as a Hanlin Academician He excelled at calligraphy as well as painting, becoming one of the most respected masters of his time and a leader of Yuan dynasty art circles This is a letter than Zhao Mengfu wrote to the high Buddhist monk Zhongfeng Mingben (1263-1323) The two had met during the Dade reign (1297-1307), and Zhao and his wife became his disciples In the Yanyou sixth year (1319), Zhao quit office and returned to the south, his wife falling ill and passing away in Shandong The album "Calligraphy of the Zhao Clan" in the National Palace Museum includes eleven letters by members of Zhao's family mostly asking Zhongfeng respectfully to lead funerary rites for Zhao's wife Each of the characters reveals personal feelings, this work being no exception The brushwork throughout is refined and written with concentrated spirit and archaic spirit harmony, falling squarely within the tradition of the Jin dynasty master

2. Regulated Verse in Seven Characters

Chang Yu was a Taoist who moved to Mao-shan at the age of 29. At the age of 59, he gave up life as a Taoist and became a Confucian scholar. Chang Yu helped pioneer a new chapter in the art of calligraphy and influenced other Yuan and later styles. TITLE: ORIGINAL_TEXT: SUMMARY: The calligraphy is full of twists and turns, rises and falls, and pauses and climaxes Said by Ming dynasty (1368-1644) writers to combine formal and informal elements from the styles of such calligraphers as Li Yung (678-747) and Huai-su (725-777), Chang's style is a dramatic departure from that of his contemporary Chao Meng-fu In fact, Chang once studied calligraphy under Chao, and his running and standard scripts clearly reveal Chao's influence This scroll, however, goes against traditional standards of beauty to reveal a wilder and bolder side The manner of Ou-yang Hsun is also sometimes seen, but the characters appear to have been composed as if in a drunken stupor Chang Yu helped pioneer a new chapter in the art of calligraphy and influenced other Yuan and later styles

3. Poetry on the Baotu Waterfall

Chao Meng-fu was a relative of the Sung imperial family and a native of Hu-chou (modern Wu-hsing, Chekiang). He served the following Yüan dynasty as an official in the Hanlin Academy. He was posthumously ennobled as the Duke of Wei and entitled Wen-min for his services, and he was also one of the most influential painters and calligraphers of his day, his style having a great impact on generations to come.

4. Poetry on the Wan-chieh Hall

Yang Wei-chen, a native of Kuei-chi, went by a variety of names, including the style name Lien-fu and sobriquet Tung-wei-tzu. He received his Presented Scholar civil service degree at the age of 31 and went on to serve as an official in T'ien-t'ai, also taking part in the compilation and editing of the official histories of the Liao, Chin, and Sung dynasties. Honest and straightforward by nature, he was slandered by other officials and eventually relieved of office.

5. Five-character Couplet in Seal Script

Ch'i Pai-shih originally went by the name Ch'un-chih, but later changed it to Huang. He also had the style name P'ing-sheng and the sobriquet Pai-shih.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different pieces on display here, including Yuanhuan by Wang Xizhi, Timely Clearing After Snowfall by Wang Hsi-chih, Three Passages: Ping'an, Heru, and Fengju by Wang Xizhi, Essay on Calligraphy by Sun Kuo-t'ing, Draft of a Requiem to My Nephew by Yen Chen-ch'ing, Autobiography by Huai-su, Copy from the Ch'un-hua Modelbooks by Liu Yung, Calligraphing Poetry by Wang To, The Homecoming Ode by Shen Du and "Wu-i ko" Poems by Wang Ch'ung. These are all masterpieces that show the skill and creativity of these calligraphers. Come take a look at these incredible artifacts today!

1. Yuanhuan

Wang Xizhi was skilled in all kinds of script types and was known to later generations as the "Sage of Calligraphy." This piece of calligraphy, also called "Xingbie," is actually a precise copy made by outlines filled with ink. The method involved delicately tracing the strokes of the original and then carefully filling them with ink, representing one of the ways in which reproductions were made in ancient times.

2. Timely Clearing After Snowfall

Wang Hsi-chih was a native of Lin-i in Lang-ya (Shantung province) and a member of the nobility. He was versed in poetry, music, and calligraphy. He took different brush styles, such as Ch'in dynasty (221-206 BC) seal script and Han dynasty (206 BC-220 AD) clerical script, and fused them into standard, running, and cursive scripts to create ideal calligraphy forms.

3. Three Passages: Ping'an, Heru, and Fengju

Wang Xizhi, a famous calligrapher of the Eastern Jin period, established the paragons for modern cursive and running scripts, leading him to become known as the "Sage Calligrapher." "Ping'an" and "Heru" were two letters written by Wang, while "Fengju" originally was appended to the "Heru" letter. The three were mounted together in the late Ming dynasty (1368-1644) and inscriptions of appreciation from elsewhere by Ouyang Xiu (1007-1072) and others added. The three passages here are all precise copies from the Tang dynasty done using fine outlines filled with ink, a technique also used for the date, title, and signature parts as well The silk-like lines reveal the use of a centered brush, representing Wang's supreme balance of brush quickness, roundness, and variations to the starts and stops The characters range in size, position, openness, and slant:No two are alike, yet all highlight each other, demonstrating the artist's great creativity

4. Essay on Calligraphy

Sun Kuo-t'ing was from Wu-chün and his name was Sun Kuo-t'ing. He was of humble origins but eventually became a high-ranking official. He resigned from his position after being slandered at court and turned to the study of calligraphy. TITLE: ORIGINAL_TEXT: SUMMARY: TITLE: ORIGINAL_TEXT:

5. Draft of a Requiem to My Nephew

Yen Chen-ch'ing's ancestors came from the Shantung area. During the revolt of Li Hsi-lieh, Yen Chen-ch'ing was instructed to bring an imperial communique to the rebels. However, he was detained and, on the third day of the eighth lunar month of 785, was executed. Yen therefore has long been considered a loyal martyr of the T'ang dynasty. Earlier, in the rebellion of An Lu-shan, Yen Chen-ch'ing's cousin Yen Kao-ch'ing was serving as magistrate of Shan-chün. When rebel forces invaded the area, the T'ang armies did not come to the rescue, resulting in the fall of the town and the death of Yen Kao-ch'ing and his son, Yen Chi-ming. This is what Yen Chen-ch'ing meant when he wrote in this piece, "Traitorous officials did not rescue [them], so a lone town was surrounded. A father and son perished, and their nest was destroyed." After the incident, Yen Chen-ch'ing sent his elder nephew Ch'uan-ming to the town to make funerary arrangements. However, he could only come up with a few remains of them. Thus, it was under these circumstances that Yen Chen-ch'ing at the age of 49 wrote "Draft of a Requiem to My Nephew." Scholars have pointed out that the character of a person is revealed in the way he does calligraphy. Yen Chen-ch'ing was a man of loyalty and integrity all his life, and this spirit is revealed in his calligraphy. This scroll is one of the works most frequently cited by scholars.

6. Autobiography

Huai-su was a monk who originally went by the name Ch'ien Ts'ang-chen. Born in Ling-ling County, Hunan, he later moved to Ch'ang-sha Even as a youth, he was interested in Buddhism, eventually taking the tonsure. Huai-su was also a devotee of the art of cursive script. At around 772, he traveled north to the capital Ch'ang-an and Loyang His cursive script was similar in spirit to his free and unrestrained personality. It was therefore greatly admired by famous contemporaries, poets, and other calligraphers, such as Yen Chen-ch'ing (709-785), who all presented him with gifts of prose and poetry In 777, Huai-su transcribed some of these gifts with a preface in "wild" cursive script to create this handscroll. In this work, Huai-su used a fine brush to write out quite large characters. The strokes are rounded and dashing, almost as if they were steel wires curled and bent The tip of the brush is exposed where it lifts from the paper, leaving a distinctive hook--hence the description "steel strokes and silver hooks" for his calligraphy A continuous cursive force permeates the entire piece The brush skirts up, down, left, and right as it speeds across the paper The crescendos of the brush, as if it were a sword, reveal varying speeds The calligraphy also appears heavy and light in places In addition to the strokes, the dots suggest breaks for the flowing strokes. In the relentless force of the brushwork, the centered brush swirled and danced to create character after character and line after line, only to be punctuated by the impeccably placed dots

7. Copy from the Ch'un-hua Modelbooks

Liu Yung was a native of Chu-ch'eng in Shantung. His father served the Ch'ien-lung Emperor (r. 1736-1795) as grand secretary. Liu Yung passed the Presented Scholar civil service examinations in 1741 and entered officialdom. Liu Yung (style name Ch'ung-ju and sobriquet Shih-an), was a native of Chu-ch'eng in Shantung His father served the Ch'ien-lung Emperor (r 1736-1795) as grand secretary. Under the influence of his father's scholarship and position at court, Liu Yung passed the Presented Scholar civil service examinations in 1741 entered officialdom He eventually went on to serve as grand secretary In 1797, though advanced in age, he was still respected at court with his appointment as Academician of the T'i-jen Hall In time remaining from official matters, Liu Yung enjoyed studying, writing calligraphy, and composing poetry In calligraphy, he became an astute connoisseur and a master of modelbook studies In his early years, Liu Yung learned calligraphy from his father, starting with the styles of the great Yuan and Ming calligraphers Chao Meng-fu (1254-1322) and Tung Ch'i-ch'ang (1555-1636) In addition, by copying the ancients, he was able to trace the evolution of a style back to the source Consequently, judging from Liu's surviving works, he apparently was inspired by classic models from the Han, Chin, T'ang, and Sung dynasties

8. Calligraphing Poetry

Wang To, a native of Meng-chin in Honan, received his Presented Scholar civil service degree in 1622 and served at court in both the Ming (1368-1644) and Ch'ing (1644-1911) dynasties, in the latter for which he was Minister of Rites. Despite his achievements in art, however, he has been criticized for this attitude in politics. In calligraphy, Wang was adamant about practicing by copying the works of the old masters one day and then writing as one pleases the next. The brushwork in his cursive script has a lively rhythm to it and there is considerable variety to the tones of the ink Wang's cursive script, done by holding the arm aloft, was evidently influenced by the styles of Huang T'ing-chien and Chu Yün-ming

9. The Homecoming Ode

Shen Du was a native of Huating (modern Shanghai, also known in ancient times as Yunjian). He led the formation of the "Academic Style" of Ming dynasty calligraphy and was praised by the Ming emperor Chengzu as the "Wang Xizhi of Our Dynasty." Tao Yuanming ca.

10. "Wu-i ko" Poems

Wang Ch'ung was the son of a merchant and studied under Wen Cheng-ming and Ts'ai Yu. This is a handscroll of semi-cursive calligraphy that flies and darts across the paper.

Welcome to the National Palace Museum's collection of Song dynasty calligraphy! Here, you can explore some of the most beautiful and intricate pieces of calligraphy from this period. You will find works such as Commentary on the Book of Changes, Letter to Prefect Yuanbo (In a Pure Autumn), Letter to the Commandery Administrator Huizhi (In the Depths of Autumn), Calligraphy of the Four Song Masters, The Cold Food Observance, Poem in Seven-character Verse, Poem, On Szechwan Silk and Letter to Officer-Gentleman Tu. These works are all unique and stunning examples of Chinese calligraphy from the Song dynasty. Come take a look at these incredible artifacts today!

1. Commentary on the Book of Changes

Zhu Xi (1130-1200), whose style name was Yuanhui and whose sobriquet was Hui'an, was a native of Wuyuan in Huizhou in present day Jiangxi province. Zhu was an important proponent of Lixue (also known as neo-Confucianism) who left behind an enormous corpus of written works, including the Collected Commentaries on the Four Books, which exerted a heavy influence on the generations that followed him. This volume, which comprises excerpts from the Commentaries on the Book of Changes (Yizhuan), is the only extant example of large calligraphic characters written in Zhu Xi's hand.

2. Letter to Prefect Yuanbo (In a Pure Autumn)

Lu You was a talented and untrammeled scholar who excelled at poetry and prose, his works possessing an unusual quality of splendor full of dramatic sentiment. Reflecting the trend at the time, he was the most important poet of the Southern Song period. Lu wrote this letter in the Qiandao sixth year (1170) to his friend, Zeng Feng (style name Yuanbo).

3. Letter to the Commandery Administrator Huizhi (In the Depths of Autumn)

Zhu Xi was a famous thinker of the Southern Song period who spent his life pursuing the ambition of establishing a new order for the country. He wrote this letter in the eighth lunar month of the Shaoxi fifth year (1194) after leaving his post as Administrator of Tanzhou (modern Changsha, Hunan) and on his way back to the capital. In it, he mentions the government affairs to be addressed in Tanzhou. Near the beginning of the letter, he relates the sad news of "national mourning," referring to the death of Retired Emperor Xiaozong in the sixth month of that year However, in the following month, after Emperor Guangzong abdicated in favor of Ningzong, Zhu Xi had the opportunity to go to court and serve as an Instructor, bringing him joy as well The brushwork throughout the letter is brisk, the dots and strokes rounded and smooth with sedate lines that are also fluid. Moreover, the line spacing has a sense of continuity that expresses freedom and easy naturalness Zhu Xi, known for creating a grand synthesis of Song Neo-Confucian thought, had a great impact on Chinese culture. This work, one of the few surviving traces of the brush from his hand, is thus all the more important

4. Calligraphy of the Four Song Masters

The first section of this handscroll is the "Haiyu" modelbook, a letter written by Cai Xiang in his thirties to his friend Han Qi and an excellent example of Northern Song calligraphy in the style of Yan Zhenqing (709-785). The second section is "Poetry in Rhyme for the Master of the Three Colleges" done by Su Shi at the age of 52. Steady and firm, the calligraphy is not confined to conventional methods and serves as a classic example of Su's free-spirited style The third is "Letter to Mingshu" by Huang Tingjian, in which the movement includes the methods of Huaisu's (737-799) brush turns. Strong and thorough, the character forms slant mostly to the right, creating for a high-spirited feeling The fourth section is the "Daowei" modelbook done by Mi Fu at the age of 49. It ranges greatly from light to heavy and fast to slow, being a masterful work in terms of technique and spirit In the early Qing dynasty, the collector Li Zongkong (1620-1689) had these four treasures of Northern Song calligraphy mounted together, the handscroll becoming a standard bearer for the study of Chinese calligraphy

5. The Cold Food Observance

Su Shih, a native of Szechwan, is probably best known by his sobriquet, Tung-p'o. A bold personality and direct scholar-official, he was accused of literary slander and banished from the capital. Although his career had its vicissitudes at the hands of political opponents, he has always been considered an immortal in the art of poetry and prose. TITLE: ORIGINAL_TEXT: SUMMARY: This piece represents poetry that Su Shih wrote during exile to Huang-chou in It was transcribed into a work of calligraphy sometime thereafter Despite Su's upbeat character, the poetry has an air of dejection to it The characters and the distance between them, for example, seem to vary rhythmically according to the emotional content In terms of semi-cursive script, the size of the characters here ranges considerably Su Shih once said of his own calligraphy that it is "everything from short to long, plump to bony" Here, the size of the characters is sometimes reserved, other times bold. Characters that particularly stand out include those in lines 2 (nien), 5 (chung), 11 (wei), and 13 (chih) from the right, where their last vertical stroke trails down for some distance to stand out against the blank paper The variation in the thickness of and distance between the lines as well as the size of the characters help to give this work a uniquely individual quality In fact, Su Shih's calligraphy represents one of the more personal styles of the period Furthermore, another great Sung calligrapher, Huang T'ing-chien (1045-1105), wrote a colophon for this work sometime before the ninth lunar month of

6. Poem in Seven-character Verse

Huang T'ing-chien was a native of Fen-ning, Kiangsi. At the age of 23, he received his Presented Scholar (chin-shih) civil service degree.

7. Poem

The common name for Emperor Hui-tsung was Chao Chi. Reigning as the eighth emperor of the Sung dynasty from 1101 to 1125, Hui-tsung was known for his extravagant lifestyle, which is believed to be part of the reason for the near collapse of the dynasty and his own demise at enemy hands. However, he was also known for his passion for painting, calligraphy, poetry, and prose. His painting and calligraphy are marked by exceptional refinement and observation to detail His paintings of birds-and-flowers, in particular, are renowned for their realism and beauty

8. On Szechwan Silk

Mi Fu, a native of Hsiang-yang in Hupeh province who went by the style name Yüan-chang and was known as Mi Nan-kung, was an official but also a famous poet, painter, calligrapher, and collector in the Northern Sung period. Along with Ts'ai Hsiang, Su Shih, and Huang T'ing-chien, he was known as one of the Four Sung Masters of calligraphy. This handscroll of prized Szechwan silk was made in 1044 under the reign of Emperor Jen-tsung.

9. Letter to Officer-Gentleman Tu

Ts'ai Hsiang was a native of Hsien-yu in Hsing-hua (modern Hsien-yu, Fukien) He was a Presented Scholar of 1030

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including The Red Cliff, Pasturing Horses, A Palace Concert, Herd of Deer in an Autumnal Grove, Early Snow on the River and Storied Mountains and Dense Forests. These paintings were created by some of the most influential artists of their time, and they provide us with a unique insight into Chinese culture during this period. Come take a look at these incredible artifacts today!

1. The Red Cliff

The painting is unsigned, but the artist is Wu Yuan-chih, a famous scholar under Emperor Chang-tsung who excelled at landscape painting. The painting illustrates the immortal "Ode to the Red Cliff" by Su Shih, which was written in 1082.

2. Pasturing Horses

This work, the third leaf in the album "Collected Treasures of Famous Paintings," shows a groom riding on a white horse side-by-side leading a black steed. On the painting is an inscription by the Song dynasty emperor Huizong (1082-1135) that reads, "A true trace of Han Gan, (as indicated by) the imperial brush in 'dinghai,'" a cyclical year that corresponds here to 1107. Han Gan was a famous painter of horses under Emperor Xuanzong (reigned 712-756) in the Tang dynasty.

3. A Palace Concert

This painting shows ten ladies of the inner court sitting around a large rectangular table. Some enjoy tea, while others drink wine. The four figures at the far end seem to be responsible for playing music and livening up the atmosphere. The instruments that they hold, from left to right, are bamboo pipes, zither, lute, and flute. The two standing figures are servant girls; the one in back plays a clapper to keep beat. The melodic and elegant music almost seems to intoxicate the figures, judging from their expressions. Even the small dog under the table seems undisturbed. This work bears no seal or signature of the artist. However, the original title slip reads, "Picture of A Palace Concert by a Yuan [1279-1368] Artist." Close examination of the hairstyles shows that some are combed in one direction on top (so-called "falling topknots"), while others are combed in two directions and tied into knots by the ears ("side knots"). With different hair ornaments, one of them even wears a "floral headdress." These all correlate with ladies' fashions in the T'ang dynasty. The woven bamboo-top table, cusped crescent stools, winged wine cups, and the way the lute is being played with a large pick all accord with late T'ang customs.

4. Herd of Deer in an Autumnal Grove

This painting depicts a herd of deer frolicking and at rest among a dense grove of maple trees in autumn with white birch scattered here and there as well. The painting conveys the flourishing scene of an autumn day somewhere to the north. The deer were completely rendered in light ink and delicate washes, while the trunks and branches of the trees were first delineated with ink and then piled with dense clusters of leaves in outlines.

5. Early Snow on the River

The painting is a handscroll that unrolls from right to left. The painting is of a river in winter, with snow beginning to fall. The artist used a lot of washes of ink and color, and used strong strokes to create the trees.

6. Storied Mountains and Dense Forests

Chu-jan was originally a monk at the K'ai-yuan Temple who specialized in painting the southern scenery of Kiangnan. He followed the vanquished Li Hou-chu of the Southern T'ang to the newly established Sung dynasty capital of K'ai-feng in 975. Chu-jan came under the influence of the northern landscape style in the Sung, and his horizontal "level-distance" manner of Tung Yuan was adapted to become a vertical "high distance" one. TITLE: ORIGINAL_TEXT: SUMMARY: Chu-jan was originally a monk at the K'ai-yuan Temple who specialized in painting the southern scenery of Kiangnan. He followed the vanquished Li Hou-chu of the Southern T'ang to the newly established Sung dynasty capital of K'ai-feng in 975.

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! These works of art were created by some of China's most talented painters, and they provide us with a unique insight into Chinese culture during this period. You will find works such as Dwelling in the Fu-ch'un Mountains (Wu-yung Version), Twin Pines, Forest Chamber Grotto at Chu-ch'u, The Jung-hsi Studio, Fishermen Returning on a Frosty Bank, and Kublai Khan Hunting. All of these pieces are incredibly detailed and full of life, and they show us how people lived and interacted during this time period. Come explore these amazing artifacts today!

1. Dwelling in the Fu-ch'un Mountains (Wu-yung Version)

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2. Twin Pines

Wu Chen was a native of Chia-hsing in Chekiang province He was gifted at poetry and prose, and excelled at painting landscapes and bamboo in monochrome ink as well as cursive script calligraphy

3. Forest Chamber Grotto at Chu-ch'u

Wang Meng was a grandson of the famous artist Chao Meng-fu (1254-1322). In the early Ming, Wang Meng was implicated in the case of Hu Wei-yung and subsequently died in prison. His painting followed the styles of Wang Wei 701-761, Tung Yuan fl. first half of the 10th c, and Chu-jan 10th c., establishing a style of his own and becoming one of the Four Great Masters of the Yuan along with Huang Kung-wang 1269-1354, Wu Chen 1280-1354, and Ni Tsan 1301-1374.

4. The Jung-hsi Studio

Ni Tsan (style name Yuan-chen; sobriquets Yun-lin, Yu-weng) was a native of Wu-hsi, Kiangsu Son of a wealthy merchant, he was a bibliophile, collector, amateur poet and painter He remained aloof of any official commitment and spent the later part of his life wandering the streams and lakes of his native province This work was done by Ni at the age of The colophon states that the painting was first given to Ni's friend, Pi-hsuan, who kept it for three years and then gave it to his physician-friend Chung-jen, who asked the artist to inscribe a poem Jung-hsi was the residence of the physician, so the painting was obviously done first before the inscription was later added The brushwork is especially bland and refined, with tonal variations in the trees most carefully built up An upright brush with point-centered energy has been employed more often than a slanted brush, and broken hemp-fiber strokes are more frequent than washes in the modeling of the rocks

5. Fishermen Returning on a Frosty Bank

T'ang Ti was a native of Wu-hsing in Chekiang. When he came of age, his poetry and painting were held in high esteem by the local elite. He initially studied the landscape style of Chao Meng-fu, acquiring his polished and luxuriant manner. He later also turned to the styles of Wei Yen, Li Ch'eng, and Kuo Hsi, his greatest achievements being as a follower of the latter. In this painting are two towering pine trees along with a few withered trees and autumnal trees mixed in. Three fishermen carry their gear as they converse joyfully while walking along a frosty bank. In the middleground is a misty expanse. Rocks were rendered using cloud-head texturing and slopes slightly in hemp-fiber strokes, with more dry strokes. Though some of the brushwork was done with a slanted brush, it was mostly centered with even outlines for a rounded feeling. The foreground water below the large rocky area was not done with hooked texturing, forming a focus on the main motifs with other elements downplayed. This follows the manner also found in the Museum's Kuo Hsi's "Early Spring", including the "crab-claw" branches. The background is done in layers of washes for rich ink tones to make the main scenery stand out.

6. Kublai Khan Hunting

Liu Kuan-tao was a court painter of the Yuan dynasty This painting depicts Kublai Khan and his entourage

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! Here you can explore some of the most incredible works of art from this period, including Manual of Ink Bamboo by Wu Zhen, Meeting Friends in a Pavilion among Pines by Wang Yuan, Cloud-girdled Peaks by Gao Kegong, Pair of Lohan Paintings, Riverside Pavilion and Mountain Hues by Ni Zan, Inscribing a Portrait of Ni Zan, Wild Duck by a River by Chen Lin, Nymph of the Luo River by Wei Jiuding, Five Horses by Zhao Yong, and Autumn Colors on the Qiao and Hua Mountains by Zhao Mengfu. These works are all masterpieces of Chinese painting, and they provide us with an invaluable glimpse into the culture and history of the Yuan dynasty. Come take a look at these amazing artifacts today!

1. Manual of Ink Bamboo

Wu Zhen, a native of Jiaxing with the style name Zhonggui and the sobriquet Meihua ("Plum Blossom") daoren, was one of the Four Great Masters of the Yuan. This album was done in 1350 by Wu at the age of 71 by Chinese reckoning for his son, Fonu. It depicts all manners of bamboo, including new shoots, old stalks, and leaves in wind, rain, and even snow.

2. Meeting Friends in a Pavilion among Pines

Wang Yuan was a native of Qiantang in Zhejiang. He started painting as a child and once received instruction from the master Zhao Mengfu. Wang followed the tenth-century tradition of Huang Quan, and in landscapes that of Guo Xi in the eleventh century. Wang Yuan (style name Ruoshui, sobriquet Danxuan), a native of Qiantang in Zhejiang, started painting as a child and once received instruction from the master Zhao Mengfu In bird-and-flower painting, Wang followed the tenth-century tradition of Huang Quan, and in landscapes that of Guo Xi in the eleventh century In figure painting, he followed the Tang dynasty style, in all the above achieving marvelous results This painting features a level-distance composition with two tall pines in the middle reaching far upwards In the foreground is a thatched pavilion by the water with two scholars inside Behind the treetops are seen sailboats in the distance following the wind The painting as a whole has a pure and remote tranquility, the brushwork mature and reserved but with a fitting touch of liveliness Each stroke is solidly placed without a hint of reservation, making it equal to that of Song dynasty artists The surviving works by Wang Yuan are mostly bird-and-flower subjects in monochrome ink, this being a rare and excellent example of his landscape painting He completed it in the Zhizheng seventh year (1347)

3. Cloud-girdled Peaks

The ancestors of Gao Kegong (style name Yanjing, sobriquet Fangshan) came from Western Asia. Gao rose to Minister of Justice in the Yuan dynasty under the Mongols. Gao served in office in the Jiangnan area and resided in Hangzhou, having the opportunity to appreciate scenic wonders of the south and to maintain close relations with scholars there. TITLE: ORIGINAL_TEXT: SUMMARY: The ancestors of Gao Kegong (style name Yanjing, sobriquet Fangshan) came from Western Asia, and Gao rose to Minister of Justice in the Yuan dynasty under the Mongols He also served in office in the Jiangnan area and resided in Hangzhou, having the opportunity to appreciate scenic wonders of the south and to maintain close relations with scholars there This painting depicts a massive mountain rising in the center, much in the monumental style of Northern Song landscape painting A winding stream, floating clouds, and rounded peaks with extending banks below give the effect of gentle scenery in the south portrayed more than two centuries earlier by Mi Fu and his son Mi Youren The painting therefore has characteristics of both northern and southern traditions of landscape painting Furthermore, the classical archaic blue-and-green coloring adds a vibrant touch of life to the brush and ink The scroll as a whole reflects the archaistic movement in early Yuan dynasty art, the style a synthesis of various important traditions in Chinese painting history to make this a classical landscape paradigm of Gao Kegong

4. Pair of Lohan Paintings

The painting is a pair of scrolls with eighteen lohans, or Buddhist worthies. The painting is a Yuan dynasty religious painting. The painting is a superb example of Yuan dynasty religious painting.

5. Riverside Pavilion and Mountain Hues

Ni Zan excelled at landscape and ink bamboo painting, his calligraphy also pure and marvelous. He is ranked along with Huang Gongwang, Wu Zhen, and Wang Meng as one of the Four Yuan Masters This painting from the year 1372 is inscribed with poetry that Ni Zan wrote himself. Done for his friend Huanbo, it is a typical example of the "Three Perfections" of painting, poetry, and calligraphy in a single work and a literati painting for a friend in the know The composition here is more complex than in Ni's earlier works, skillfully intersecting the slopes and branches to lead the viewer's eye into the remote distance for a sense of desolation in autumn woods. Despite the independent appearance of dots, washes, texturing, and brush scrubbing on the paper, all come together as a cohesive whole Complemented by dry ink and desiccated textures using a slanted brush, it creates for an atmosphere of clarity, brittleness, desolation, and high antiquity--a reflection almost of Ni Zan's own obsession with cleanliness

6. Inscribing a Portrait of Ni Zan

The painting is a portrait of Ni Zan, one of the Four Yuan Masters of painting. The landscape on the screen behind is also intentionally done in imitation of Ni's style. The pose of the figure is also borrowed from that of Vimalakirti in Buddhist painting, transforming the image of Ni Zan into that of a refined and lofty recluse.

7. Wild Duck by a River

Chen Lin, a native of Hangzhou in Zhejiang, was a close associate of Zhao Mengfu and, like him, a famous painter from the late Song into the Yuan dynasty. This small hanging scroll depicts a mallard standing on a riverbank below some hibiscus. Based on the contents of Qiu Yuan's (1247-1326) colophon on the inscription paper mounted above the work, we learn that Chen Lin painted on the spur of the moment when visiting the Songxue Studio of Zhao Mengfu during autumn. Zhao even added a few strokes to the painting as well

8. Nymph of the Luo River

This scroll is done in "baimiao" fine ink lines to depict the goddess of the Luo River riding mysteriously on clouds and gliding over ripples of misty river waters. Compared to the more complex narrative of other depictions, this painting focuses almost solely on the goddess, the scenery especially lofty and archaic. The only painting by Wei Jiuding in the National Palace Museum collection, this is a rare and especially precious work. TITLE: ORIGINAL_TEXT: SUMMARY: Wei Jiuding (style name Mingxuan), a native of Tiantai in Zhejiang, excelled at landscape, figure, and "ruled-line" painting This scroll is done in "baimiao" fine ink lines to depict the goddess of the Luo River riding mysteriously on clouds and gliding over ripples of misty river waters Her supple yet decisive and flowing robes flutter in the wind like a twisting dragon ascending to the heavens, fully exhibiting the deity's spirited and otherworldly beauty Compared to the more complex narrative of other depictions, this painting focuses almost solely on the goddess, the scenery especially lofty and archaic Behind is a large area of void, at the left are traces of the original paper removed, and at the right is an inscription by the famous contemporary artist Ni Zan The distance at the top has a few strokes of the brush to suggest rolling peaks, but stylistically they appear to have been added by another hand The only painting by Wei Jiuding in the National Palace Museum collection, this is a rare and especially precious work

9. Five Horses

Zhao Yong, the second son of the famous scholar-artist Zhao Mengfu, followed the footsteps of his father in painting and calligraphy. Zhao Yong was especially gifted at depicting figures and saddled horses. This painting, dated to the equivalent of 1352, depicts horses at leisure and a groom dozing against a pine to highlight the relaxed atmosphere.

10. Autumn Colors on the Qiao and Hua Mountains

Zhao Mengfu excelled at painting and calligraphy. Zhao did this painting of his travels through the area of Shandong in 1295 for Zhou Mi as a way to assuage Zhou's longing for and thoughts of his ancestral homeland there. The handscroll is partitioned into three sections; the first on the right depicts Hua(buzhu) Mountain and Qiao Mountain is at the left. Both peaks are shown in the background divided in the middle by a foreground expanse of marshy land and water The three parts form a continuous level-distance view, the scenery dotted with thatched cottages and fishermen to enliven the plain and tranquil atmosphere

Welcome to the National Palace Museum's collection of Ming dynasty paintings! Here you can explore some of the most beautiful and unique works of art from this period. We have a variety of different paintings on display, including T'ao Ku Presenting a Lyric to Ch'in Jo-lan, Spring Dawn in the Han Palace, Flowers and Bamboo, Shady Trees in a Summer Landscape, Ducks Sleeping on a Lotus Bank, After the Line "Idly Watching Children Catch Willow Flowers", Returning Late from a Spring Outing, Plum Blossoms and Wild Bird and Enjoying Antiquities. These paintings were created by some of the most talented artists of the time, and they offer us a glimpse into Chinese culture during the Ming dynasty. Come take a look at these incredible works of art today!

1. T'ao Ku Presenting a Lyric to Ch'in Jo-lan

T'ang Yin was a native of Wu-hsien (Soochow, Kiangsu) and is considered one of the Four Great Masters of the Ming. In painting, he studied under Chou Ch'en ca. 1450-1535 and copied the works of such artists as Li Ch'eng, Fan K'uan, Ma Yüan, and Hsia Kuei, all Sung masters active from the tenth to thirteenth centuries Furthermore, since he had an inherent talent for painting, he was able to surpass these forerunners and create a distinct personal style. T'ang Yin was a native of Wu-hsien (Soochow, Kiangsu) and is considered one of the Four Great Masters of the Ming In painting, he studied under Chou Ch'en ca 1450-1535 and copied the works of such artists as Li Ch'eng, Fan K'uan, Ma Yüan, and Hsia Kuei, all Sung masters active from the tenth to thirteenth centuries Furthermore, since he had an inherent talent for painting, he was able to surpass these forerunners and create a distinct personal style

2. Spring Dawn in the Han Palace

Ch'iu Ying was born into a poor family and learned the art of painting from Chou Ch'en. Ch'iu Ying's paintings are elegant and refined and are quite decorative. This long handscroll work is an imaginary representation of various activities in a Han dynasty palace on a spring dawn.

3. Flowers and Bamboo

Hsu Wei excelled in painting landscapes, figures, flowers and insects, and bamboo and stones. Hsu Wei, in addition to his achievements in the scholarly arts, was also an important playwright. Hsu Wei is best known as a flower painter.

4. Shady Trees in a Summer Landscape

Tung Ch'i-ch'ang was a native of Hua-t'ing, near Shanghai. He was a civil service degree candidate of 1588, but is more famous for being an influential artist-connoisseur. He was a landscape painter who tended towards the styles of Tung Yuan and Chu-jan, two 10th-century painters who specialized in painting the soft rolling landscapes of the south.

5. Ducks Sleeping on a Lotus Bank

Lu Chi was a famous court painter at the Jen-chih Hall and was also provided with a sinecure post in the Imperial Bodyguard. In the Hung-chih era (1488-1505), during the middle Ming, Lu Chi was a famous court painter at the Jen-chih Hall and was also provided with a sinecure post in the Imperial Bodyguard. On a moonlit night in thick fog, four geese rest on a sand bar amidst lotuses and rushes. The composition only includes the foreground and middleground, and the background has been omitted

6. After the Line "Idly Watching Children Catch Willow Flowers"

Chou Ch'en style name Shun-ch'ing; Tung-ts'un, E-ch'ang san-jen, a native of Wu-chun modern Soochow, Kiangsu, studied landscape painting from Ch'en Hsien 1405-1496, achieving the methods of Sung 960-1279 painters, particularly the styles of Li Ch'eng 919-967, Kuo Hsi ca. 1001-1090, Ma Yuan fl 1189-1225, and Hsia Kuei fl 1180- He also excelled at figures with an archaic yet unusual style that is detailed yet free. His two most outstanding students were T'ang Yin 1470-1523 and Ch'iu Ying ca. 1494-

7. Returning Late from a Spring Outing

Tai Chin was a native of Ch'ien-t'ang (modern Hangchow). He is said as a youth to have studied painting under local artists, specializing and achieving fame in the fields of landscapes and figures During the Hsuan-te reign (1426-1435), he was recommended for service at court, where he was admired by the nobility for his great skill. His fellow painters, however, became envious and later dismissed him Tai Chin thereupon returned home to the south, where he continued to paint in Hangchow. With numerous students, he came to have an enormous influence on painting at the time Consequently, later generations have revered him as the founder of the Che School that emerged afterwards in the area

8. Plum Blossoms and Wild Bird

Ch'en Hung-shou (style name Chang-hou; self-sobriquet Lao-lien), a native of Chu-chi in Chekiang, spanned the Ming and Ch'ing dynasties. After the fall of the Ming, he took the sobriquets Hui-ch'ih, Wu-ch'ih, Yun-men seng, excelling in painting and calligraphy. In figure painting, he often used solid forms and taught drapery lines, revealing the features of Li Kung-lin's (1049-1106) and Chao Meng-fu's (1254-1322) styles.

9. Enjoying Antiquities

Tu Chin was a native of Tan-t'u, but later resided in Nanking. He took the civil service exams, but failed, thereafter devoting himself to poetry, writing, calligraphy, and painting. This work may have been two hanging scroll panels mounted as a standing screen.

Welcome to the National Palace Museum's collection of paintings from the Ming dynasty! These works were created by some of China's most talented painters, and they provide us with a unique insight into Chinese art during this period. You will find masterpieces such as Tang Yin's Picking Lotuses, Qiu Ying's Waiting for the Ferry on an Autumn River, Shang Xi's Four Immortals Paying Homage to Longevity, Dai Jin's Crossing a Bridge over a Stream, Bian Wenjin's The Three Friends and a Hundred Birds, Shen Chou's Lofty Mount Lu and Wen Cheng-ming's Old Trees by a Cold Waterfall. These are all incredible works of art that tell us about the culture and history of this time period. Come take a look at these amazing artifacts today!

1. Picking Lotuses

Tang Yin (1470-1523), a native of Wu County in Jiangsu province, went by the style name Bohu and the sobriquet Liuru Jushi. Tang was exceedingly talented in the realms of calligraphy, painting, poetry, and prose. He was a renowned scholar in the Jiangsu region during the middle years of the Ming dynasty who also worked in a professional capacity as a painter. This painting depicts early morning on a summer's day, where boating maidens shuttle across a lotus-covered lake just emerging from dawn mists that have yet to burn away The entire work features light, sparing ink washes, while the scenery and objects within were painted with a minimalist touch Masterful brushwork can be seen in many of this painting's features, including its lotus leaves that range from lush and flourishing to old and decaying, as well as its soft, almost weightlessly elegant willow branches The date inscribed on this painting indicates Tang Yin completed it in his fifty-first year It is stylistically distinct from works he painted in his prime

2. Waiting for the Ferry on an Autumn River

Qiu Ying resided in Suzhou. He studied painting under Zhou Chen and came to excel at landscape and figural subjects. This painting is done on two bolts of silk joined to make an oversized hanging scroll.

3. Four Immortals Paying Homage to Longevity

Shang Xi was a Ming dynasty court painter who served during the Xuande reign (1426-1435). He excelled at painting figural and narrative subjects. This hanging scroll is a type of auspicious subject to bless for long life, a traditional theme for birthdays. It depicts four immortals of Buddhist and Daoist origin (Li Tieguai, Liu Haichan, Hanshan, and Shide) together in the same work standing on waves. The four look up at the "Old Immortal of the South Pole," the God of Longevity, approaching on the back of a crane in the upper center. The use of brush and ink throughout the scroll is precise and delicate, the expressions of the figures harmonious and animated as if in conversation. The robe ends flutter in the wind, the brush lines angular and forcefully rendered. The waves, on the other hand, are outlined with trembling strokes that increase the magnitude of the subject. Having much of the decorative manner of Ming academic painting, the scroll also reveals a trend towards more popular themes in court art at the time.

4. Crossing a Bridge over a Stream

Dai Jin, a native of Qiantang in Zhejiang, was the founder of the "Zhe School" of landscape painting in the Ming dynasty. Upheld by later generations as its standard bearer, his style became a model and he venerated as the Zhe School patriarch. The foreground of this painting depicts a roaring torrent with rocks dispersed therein and a cliff in the background. A mountain rises behind as the area to the right opens to reveal a wide expanse of water with sails in the far distance Fishermen go about their livelihood in an ideal scene of peace and leisure

5. The Three Friends and a Hundred Birds

Bian Wenjin was an important bird-and-flower academic painter during the early Ming dynasty. His style followed the tradition of fine brushwork and strong colors tracing back to the Northern Song school of Huang Quan but also integrating the Southern Song Painting Academy manner. The artist's inscription on this painting reads, "In the seventh month, autumn, of 'guisi' in the Yongle reign (1413), Bian Jingzhao (Wenjin) of Longxi painted 'Three Friends' and a Hundred Birds at the official's residence in Chang'an."

6. Fishing in Reclusion Among Mountains and Streams

This handscroll painting depicts pine trees, red maples, and yellow leaves against a waterfall and flowing stream with thatched cottage and water kiosk buildings scattered among rocky banks. Figures kneel to each other for a drink, leisurely hold a staff on a walk, lean on a railing to observe fishing, or play a flute with feet in the water for a carefree existence. The mountains combine "hemp-fiber" and elongated "axe-cut with water" texture strokes, the rocks rendered with washes of mineral blue and ink. The places in sunlight are left blank to suggest the light and dark of uneven surfaces for a volumetric effect The leaves are painted in the outline method with washes of cyanine blue, cinnabar red, and gamboges yellow added for a beautiful and colorful manner

7. Departure Herald

This handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou "Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour

8. Return Clearing

This handscroll depicts a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou "Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour

9. Lofty Mount Lu

Shen Chou was a native of Ch'ang-chou (modern Soochow), Kiangsu province. He was an able poet, essayist, and calligrapher as well as an excellent painter. He completed this work in 1467 when he was 40.

10. Old Trees by a Cold Waterfall

Wen Cheng-ming was gifted in the scholarly arts of poetry, prose, calligraphy and painting. He excelled at both painting and calligraphy, becoming one of the Four Great Masters of the Ming. Living to an old age and venerated by many, his influence was widespread.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. You will find Remote View of Streams and Hills by Hsia Kuei, Paised Egrets on a Snowy Bank by Ma Yuan, Evening Outing by Torchlight by Ma Lin, a Scholar painting by an unknown artist, Immortal in Splashed Ink by Liang K'ai, Kuan-yin of a Thousand Arms and Eyes by an unknown artist and Ancient Temple Concealed in Seclusion by Chia Shih-ku. These works of art are all unique and provide us with a glimpse into the past. Come take a look at these incredible artifacts today!

1. Remote View of Streams and Hills

Hsia Kuei is a representative painter of the Southern Sung (1127-1279) court. He is frequently paired with another renowned member of the painting academy, Ma Yuan. Hsia Kuei was a native of Ch'ien-t'ang (modern Hangchow) and it was during the reign of Emperor Ning-tsung (r. 1195-1224) that he received the prestigious Golden Belt and was promoted to the rank of Painter-in-Attendance.

2. Paised Egrets on a Snowy Bank

Ma Yuan was from a family native to Ho-chung, Shansi, but which later moved to Hangchow, the capital of the Southern Sung. He served as a Painter-in-Attendance at the court of Emperors Kuang-tsung and Ning-tsung. He excelled at painting landscapes, birds-and-flowers, and figures. His innovative and evocative style, along with that of his contemporary Hsia Kuei, is associated with the peak of Southern Sung (1127-1279) painting

3. Evening Outing by Torchlight

Ma Lin was born into a family from Ho-chung, Shansi (now modern Yung-chi County) that had moved to Ch'ien-t'ang (Hangchow). The Ma family included many who served the court as painters, and Ma Lin was the fifth generation, the son of the famous artist Ma Yuan. Ma Lin served as a "chih-hou" in the Painting Academy during the reigns of Emperors Ning-tsung and Li-tsung. Most of his surviving works appear to have been done at the command (or for the appreciation) of the court. On his paintings, one often finds poems inscribed by Emperor Ning-tsung, Empress Yang (1162-1232), and Emperor Li-tsung. Ma Lin depicted a large variety of subject matter, but judging from his works, he must have been particularly fond of figure painting. His landscapes have a poetic sense through their use of abbreviated brushwork and evocative washes of ink. This painting is signed, "Your Servitor, Ma Lin," and represents one of his surviving masterpieces done for the court. This work reflects the beautiful scenery of an imperial garden on a moonlit evening and shows the leisurely life of a member of the imperial family. Nevertheless, the interior design of the buildings is classical and simple. The host is sitting on a so-called "general's chair" with footrest and is wearing a plain, long robe. He appears to be appreciating the numerous blossoms on the trees in the courtyard, enjoying the elegant silence of the wondrous scene from the hall. The torches burning on lamp stands extend in two rows from the entrance to the building to add illumination to that of the moon hanging above.

4. Scholar

A scholar is shown seated on a lounge bed in deep thought. He holds a brush as if taking a rest from his studies or as is about ready to write something. At his side, a servant is pouring wine. Behind is a screen upon which is painted a sandy shore and waterfowl. Hung over the painting is a portrait of the scholar himself, making this work an interesting "painting within a painting" and also a "double portrait." Several objects are displayed in this setting, including a low table, upon which is placed lute, chessboard, calligraphy, paintings, and various antique vessels. These symbolized the status and traditional leisure activities of the scholar in traditional China starting from the Sung dynasty. Though perhaps meant to evoke the image of China's sage-calligrapher Wang Hsi-chih ca. 303-ca 361, in the Southern Sung 1127-1279, it was already popular to "burn incense, drink tea, hang paintings, arrange flowers" and engage in other such refined activities. If so, then this custom may have begun as early as the late Northern Sung. The lines in this painting are delicate and fluid, forming a fine and descriptive style. The screen painting of birds and flowers is unusual here, since most such "paintings within a painting" include landscapes instead. This work not only reflects the popularity of reeds and waterfowl in the late Northern Sung, but also the style popular in the reign of Emperor Hui-tsung.

5. Immortal in Splashed Ink

Liang K'ai excelled at painting figures, landscapes, Buddhist and Taoist subjects, as well as spirits and deities. He learned painting from Chia Shih-ku fl. mid-12th c, but he outdid his teacher in being able to convey the grace and bearing of figures. In 1210, he was promoted to the rank of Painter-in-Attendance at court and bestowed with the honored Golden Belt. For some reason, however, he refused and left the court with the belt hanging on the academy wall

6. Kuan-yin of a Thousand Arms and Eyes

Kuan-yin is the bodhisattva of mercy and compassion in Buddhism. A common figure in Buddhist art, the representation here differs from the one with one head and two arms often seen. Here, the head of the figure has 26 bodhisattva heads and one Buddha head. In the palm of each of the thousand hands is an eye, hence the name of this work. This type of Kuan-yin represents an important form in esoteric Buddhism. Kuan-yin solemnly stands amid waves on top of a lotus pedestal supported by four Heavenly Kings. On either side are bodhisattva attendants, above are seated Buddhas on auspicious clouds, and below are reverent Eight Deva Kings in two rows. Kuan-yin here bears a moustache, but also has an elegant face and delicate figure, clearly revealing the feminine characteristics in the deity's eventual transformation as the Goddess of Mercy. The painting is elegant colored and the details of the jewelry have been rendered with exceptional finesse. The soft and flowing drapery lines are features of the Southern Sung style of Buddhist art that was transmitted to Japan, making this an important masterpiece of Southern Sung Buddhist painting. Kuan-yin (known in Sanskrit as Avalokitesvara) is the bodhisattva of mercy and compassion in Buddhism A common figure in Buddhist art, the representation here differs from the one with one head and two arms often seen Here, the head of the figure has 26 bodhisattva heads and one Buddha head In the palm of each of the thousand hands is an eye, hence the name of this work This type of Kuan-yin represents an important form in esoteric Buddhism

7. Ancient temple concealed in seclusion

Chia Shih-ku was a native of K'ai-feng in Honan and served in the Imperial Painting Academy during the Shaohsing reign (1131-1162). He excelled at painting Buddhist and Taoist figures, the style for which he patterned after Li Kung-lin (1041-1106). His pai-miao (plain outline) style has an untrammeled manner.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including Autumn Colors among Streams and Mountains, Pair of Wild Geese on an Autumn Islet, Bamboo in Monochrome Ink, Travelers Among Mountains and Streams, Early Spring, Blue Magpie and Thorny Shrubs, Magpies and Hare, Wind in Pines Among a Myriad Valleys, Children at Play in an Autumnal Garden, and Lohan. These are all unique pieces that tell us about the culture and art of this time period. Come take a look at these incredible artifacts today!

1. Autumn Colors among Streams and Mountains

This painting has layers of rising peaks with shoals and slopes in the lower half of the composition. The peaks are rounded and shaded with washes of light ink to give the effect of misty waters, imbuing a lyrical quality to the idea of this landscape.

2. Pair of Wild Geese on an Autumn Islet

This painting shows the corner of a pond on an autumn day touched by a slight breeze. The geese are resting on a shoal surrounded and complemented by dry reeds, red polygonum, and withered lotuses. A kingfisher has just taken flight, interrupting the tranquil scene as one of the geese looks up at it, unaffected by the sudden disturbance.

3. Bamboo in Monochrome Ink

Wen Tong was gifted at poetry and prose as well as calligraphy, being also credited with inventing the genre of ink bamboo painting. This painting depicts bamboo extending into the composition from the upper left, probably growing from a cliff left unseen. The motifs, lively and realistic, testify to the period trend in Northern Song painting of grasping the underlying principles of objects.

4. Travelers Among Mountains and Streams

Fan K'uan, a native of Hua-yuan (modern Yao-hsien) in Shensi province, often traveled the area between the capital and Loyang. Although he was known for his magnanimous character, straightforward personality, and fondness of drink and the Tao, he is famous now for his landscape painting. In his early study of painting, he followed the style of the Shantung artist Li Ch'eng (919-967). Later, however, he came to realize that if he really wanted to portray the land, he had to take Nature as his teacher rather than other artists or their works After all, a personal landscape exists in nature and in the mind Fan K'uan thereupon went to Mt. Hua and secluded himself among the forests and mountains, devoting himself to observing the effects of atmospheric, weather, and seasonal changes on the scenery Contemporaries thereupon praised him for being able to commune with the mountains. This masterpiece is a testament to his skills and ideas in landscape painting. The clusters of vegetation at the top of the tall mountain here are actually distant forests clinging to a precarious perches. Running along the central axis of the scroll, the central mountain dominates the scene in a classic example of Northern Sung monumental landscape painting. The rooftops of a building complex stand out in the right middleground. By the cluster of rocks in the right foreground is a path on which a mule train makes its way. A cascade as slender as silk falls from the heights above, culminating in the stream rushing down in eddies towards the foreground. From near to far, Fan K'uan has described with realistic detail the solemn grandeur of a majestic landscape.

5. Early Spring

Kuo Hsi, a native of Wen-hsien in Honan province, served as a court painter under Emperor Shen-tsung (reigned 1068-1085). Early in his career as an artist, Kuo Hsi painted large screens and walls for major palaces and halls in the capital that had caught the attention of the emperor. Kuo was later promoted to the highest position of Painter-in-Attendance in the court Han-lin Academy of Painting. He produced many monumental landscape paintings and specialized in painting large pine trees and scenery enveloped in mist and clouds

6. Blue Magpie and Thorny Shrubs

Huang Chu-ts'ai (style name Po-luan), a native of Szechwan province, was the son of the famous bird-and-flower painter Huang Ch'uan. He followed in his father's style of outlining forms with thin brushstrokes and then filling them with colors. The paintings by the two Huangs set the standard for artistic excellence in the painting academy of the early Sung dynasty (960-1279). Huang Chu-ts'ai (style name Po-luan), a native of Szechwan province, was the son of the famous bird-and-flower painter Huang Ch'uan He followed in his father's style of outlining forms with thin brushstrokes and then filling them with colors The paintings by the two Huangs set the standard for artistic excellence in the painting academy of the early Sung dynasty (960-1279) This work is an excellent example of the balance between action and stillness Take, for example, the blue magpie in the lower section of the scroll It appears to have just jumped onto the rock as it bends down to take a drink from the stream below Despite the stillness, it suggests both the previous and future movement The forms actually in movement, however, are the sparrows above, which are fly, chirp, or gaze about The slender bamboo, phoenix-tail bracken, and clumps of grass in the foreground extend horizontally in both directions for balance and peace Therefore, this painting imparts a sense of ease and calm The magnificent blue magpie extends almost from one edge of the painting to the other, with the rest of the scene filled with a large rock and slope, thorny shrubs, bamboo, grass, and sparrows arranged along a vertical axis

7. Magpies and Hare

Ts'ui Po, a native of Anhwei province, excelled at painting Buddhist and Taoist subjects, figures, landscapes, flowers, and animals. He was especially noted for his works in the genre of birds-and-flowers. This painting depicts two magpies crying out at a solitary hare.

8. Wind in Pines Among a Myriad Valleys

Li T'ang, a native of San-ch'eng in Ho-yang, served in the Han-lin Academy of Painting under Emperor Hui-tsung (1082-1135; reigned 1101-1125) of the Northern Sung. Sometime between 1127 and 1130, after the fall of the Northern Sung in 1126, Li escaped to the south, where the government had re-established as the Southern Sung (1127-1279). There he re-entered the Painting Academy, which was set up during the period from 1131 and 1162. Li T'ang, a native of San-ch'eng in Ho-yang, served in the Han-lin Academy of Painting under Emperor Hui-tsung (1082-1135; reigned 1101-1125) of the Northern Sung Sometime between 1127 and 1130, after the fall of the Northern Sung in 1126, Li escaped to the south, where the government had re-established as the Southern Sung (1127-1279) There he re-entered the Painting Academy, which was set up during the period from 1131 and He went on to receive the title of Gentleman of Complete Loyalty and the prestigious Gold Belt He also became a Painter-in-Attendance and one of the most dominant figures in Southern Sung court painting Li T'ang's signature appears on a pale spindly background peak to the left of the central mountain in this painting It reads, "Painted by Li T'ang of Ho-yang in spring of the 'chia-ch'en' year [1124] of the Hsüan-ho Reign of the Great Sung" Here, Li T'ang has portrayed the rugged, powerful features of a mountainous scene.

9. Children at Play in an Autumnal Garden

Su Han-ch'en was a native of K'ai-feng, Honan, who specialized in painting Buddhist and Taoist figures. During the Hsuan-ho era (1119-1125) under Emperor Hui-tsung of the Northern Sung, he was a Painter-in-Attendance at the imperial academy. After the court moved south, Su resumed his position there, and, in the early Lung-hsing era (1163-1164) of Emperor Hsiao-tsung, he was praised for his Buddhist paintings, earning the title "Gentleman of Trust." Su Han-ch'en was a native of K'ai-feng, Honan, who specialized in painting Buddhist and Taoist figures During the Hsuan-ho era (1119-1125) under Emperor Hui-tsung of the Northern Sung, he was a Painter-in-Attendance at the imperial academy After the court moved south, Su resumed his position there, and, in the early Lung-hsing era (1163-1164) of Emperor Hsiao-tsung, he was praised for his Buddhist paintings, earning the title "Gentleman of Trust" In figure painting, the representation of children is recognized as one of the most difficult, especially in achieving that elusive quality of naivete. Su Han-ch'en was a master of observation and description who knew that children at play are in a state of natural ease His ability to capture the spirit and appearance of such children made him the most renowned painter in this genre Using a deft brush and delicate colors, Su has conveyed the quality of children concentrating on play These lively, adorable figures appear in a garden setting that bears blossoms of hibiscus and chrysanthemums, symbols fully conveying the sense of an autumn day

10. Lohan

Liu Sung-nien was a native of Ch'ien-t'ang (modern Hangchow), served during the Ch'un-hsi era (1174-1189) as Student in the Painting Academy and in the following Shao-hsi era (1190-1194) was made Painter-in-Attendance. Following his teacher, Chang Tun-li, Liu specialized in figures and landscapes. Liu surpassed even his teacher. Under Emperor Ning-tsung (r 1195-1224), Liu was awarded the prestigious Gold Belt after submitting a painting entitled "Sericulture and Agriculture." Three paintings of lohans (Buddhist ascetics) in the National Palace Museum collection bear the signature, "Painted by Liu Sung-nien in the 'ting-mao' year of the K'ai-hsi era [1207]." This hanging scroll is one of them. Here, the lohan has long, bushy eyebrows and a prominent nose similar to the features of an Indian monk. With his cassock tied around his left shoulder, the lohan leans on a horizontal tree branch as if in deep thought. An attendant monk stands next to him with sleeves outstretched to catch a pomegranate about to be dropped by one of the gibbons in the branches. In front, two deer stand back-to-back with heads turned upward, one looking at the lohan and the other at the gibbon. The pursed lips, facial hair, and detailed wrinkles make the lohan appear quite realistic. The brushwork is also varied according to what is being depicted. The drapery lines, for example, are exceptionally fluid and even, while the artist even subdued the forms behind the halo to suggest a gauze-like effect

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. You will find a variety of different pieces, such as Strange Peaks and Myriad Trees, River Boats and Mountain Town, The Buddha Preaching the Law, Preparing Clothes, The Ladies' Book of Filial Piety (Scroll 1), Literary Gathering, Scroll of Buddhist Images, Plants and Insects in Autumn, Reading in an Open Hall, and Strange Peaks and Myriad Trees. These works of art provide us with a unique insight into the culture and customs of this time period. Come take a look at these incredible artifacts today!

1. Strange Peaks and Myriad Trees

This painting depicts the scenery of high mountains with distant peaks that appear above clouds and a rising foreground enveloped in the mist. The three groups of mountain forms skillfully echo each other, and the blank areas of clouds and mist highlight them further. Despite the small size of the painting, it nonetheless gives the effect of a broad and vast vista.

2. River Boats and Mountain Town

This painting depicts two peaks rising to encircle a town with a mountainside temple and countryside shops here and there. The temple buildings are on a level outcropping and constructed up the slope. The valley below is filled with clouds and mists as birds fly about, conveying the sense of a scene at dusk.

3. The Buddha Preaching the Law

The painting depicts the Buddha seated with legs crossed on a lotus pedestal, on either side a heavenly king as protectors of the Buddhist law, the great disciples Ananda and Mahakashyapa, and a bodhisattva making offerings. The Buddha has long eyebrows and delicate eyes for a refined yet majestic appearance, while the two heavenly kings wear armor and brandish a sword and lance to convey their fierce martial spirit. The figures in the painting all vary in terms of expression, each of them true to life.

4. Preparing Clothes

This work, done in 1240, is based on "Poetry on Preparing Clothes" by Xie Huilian (397-433) of the Southern Dynasties period. Painted solely in "baimiao" lines of light ink, it depicts 32 women preparing for winter by making clothes for their husbands at the battlefront. Proceeding in sequence, they pound the silk, cut it into pieces, sew them together, and then pack to send the clothes. TITLE: ORIGINAL_TEXT: SUMMARY: This work, done in 1240, is based on "Poetry on Preparing Clothes" by Xie Huilian (397-433) of the Southern Dynasties period. Painted solely in "baimiao" lines of light ink, it depicts 32 women preparing for winter by making clothes for their husbands at the battlefront. Proceeding in sequence, they pound the silk, cut it into pieces, sew them together, and then pack to send the clothes.

5. The Ladies' Book of Filial Piety (Scroll 1)

The Ladies' Book of Filial Piety was written by Madame Zheng, the wife of Houmo-Chen Miao, during the Tang dynasty (618-907). It deals with propriety and piety as well as rules of behavior on the part of women. Originally composed of eighteen sections, this handscroll only has half of them remaining.

6. Literary Gathering

This painting depicts a group of scholars in a garden by a pond enjoying a banquet. The figures are all spirited and elegant with clear expressions, while the objects and garden motifs are painstakingly rendered. Judging from the inscriptions by Huizong and his minister Cai Jing at the top of the painting, it may be surmised that the contents are related to the historical event of the Eighteen Scholars depicted in "Ascending to the Isles of Immortality" in the Tang dynasty (618-907).

7. Scroll of Buddhist Images

This is the only surviving painting from the Dali kingdom, in what is now Yunnan and roughly concurrent with the Song dynasty. The colophon at the end of the scroll indicates it was completed during the Lizhen reign between 1172 and 1175, Zhang Shengwen being the principal artist. The painting is divided into four sections. The first one features Duan Zhixing, emperor during the Lizhen reign, making offerings to the Buddha, followed by one with hundreds of Buddhist figures, then one of canopied pillars for Sanskrit texts on protecting the kingdom and the Heart Sutra, and the last one of kings of sixteen kingdoms

8. Plants and Insects in Autumn

Li Di was active from the Northern to Southern Song period as a court artist in the Painting Academy. He specialized in bird-and-flower, insect-and-grass, and dog-and-cat subjects, being an outstanding painter at the early Southern Song court in bird-and-flower and rock-and-bamboo themes. This small work shows the leafy tips of some plants, on which a praying mantis raises its forelimbs in an apparent attempt to catch a beetle that has just flown away before becoming its next meal.

9. Reading in an Open Hall

This painting depicts the corner of a courtyard by the water among hills and decorated with lake rocks, the scenery surrounded by tall pines and delicate bamboo to create an idyllic scholarly residence. Inside the pavilion is a daybed with a screen and hanging scrolls as well as books, a porcelain vase, and an incense burner on a table; a scholar is seated thereupon holding a feather fan and leaning on an armrest in a leisurely manner. Two ladies stand by a railing at the left as two young attendants on the right bring tea on their way to the pavilion.

10. Strange Peaks and Myriad Trees

This painting depicts the scenery of high mountains with distant peaks appearing above clouds and a rising foreground enveloped in mist. The three groups of mountain forms skillfully echo each other, the blank areas of clouds and mist highlighting them further. The rock faceting in particular has been created with many texture strokes and washes that form the surface quality, the brushwork similar to that of Li Tang ca. 1070-after

Welcome to the National Palace Museum's collection of paintings from the Qing dynasty! This collection features works from some of the most renowned painters of the time, including Giuseppe Castiglione. His painting 'One Hundred Horses' is a stunning example of his work and is sure to captivate viewers of all ages. Other works in this collection include landscapes, portraits, and historical scenes that provide us with a glimpse into the lives of people during this period. We hope you enjoy exploring these beautiful pieces of art!

1. One Hundred Horses

Giuseppe Castiglione was born on July 19, 1688, in the central San Marcellino district of Milan, Italy, the site of a renowned Botteghe degli Stampator painting studio. As a youth, Castiglione learned to paint from Carlo Cornara at the studio, and he also came under the influence of the famous painter Andrea Pozzo, a member of the Society of Jesus at Trento. In 1707, at the age of 19, Castiglione formally entered the Society and traveled to the prosperous city of Genoa for further training.

Welcome to the National Palace Museum's collection of paintings from the Qing dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including Cats and Butterflies of Longevity by Shen Zhenlin, Activities of the Twelve Lunar Months: The Twelfth Month, The Five Purities by Yun Shouping, Summer Mountains and Misty Rain by Wang Hui, After Wang Wei's "Snow Over Rivers and Mountains" by Wang Shih-min, The Peach Blossom Fishing Boat by Wang Hui, Peonies by Yun Shou-p'ing, Green Mountains and White Clouds by Wu Li, After Wang Meng's "Mountain Dwelling on a Summer Day" by Wang Yuan-ch'i and Along the River During the Ch'ing-ming Festival by Chang Tse-tuan. These are all incredible works of art that tell us about the culture and history of the Qing dynasty. Come take a look at these fascinating artifacts today!

1. Cats and Butterflies of Longevity

Shen Zhenlin (style name Fengchi) was a native of Wuxian (modern Suzhou, Jiangsu) who served the Qing court painting academy in the Xianfeng and Tongzhi reigns (1851-1874). He specialized in figures and portraits but was also good at sketching birds and flowers from life as well as landscapes. Shen Zhenlin was famous for his painting, Empress Dowager Cixi (1835-1908) awarded him a plaque that she personally inscribed:"To a miraculous hand that transmits the spirit."

2. Activities of the Twelve Lunar Months: The Twelfth Month

This is one of a set of twelve paintings that is undated, but evidence shows it to be a product of the Painting Academy in the early Qianlong reign (1736-1795). This scroll for the twelfth lunar month shows a landscape with snow and waters frozen in the depths of winter. Buildings recede realistically from the foreground into the distance, and various activities have been arranged in clusters, the details of which are rendered with precision. Some people stand at leisure, others warm themselves, and some skate on the ice. Children in courtyards play ball or with a shuttlecock and make a snow lion, fully engrossed in game. The painting is beautifully rendered in ink and colors, the architectural elements painstakingly portrayed with artistry that is exceptionally refined and delicate. A key work for studying the style of the Painting Academy in the early Qianlong reign, it is a masterpiece of Qing court painting.

3. The Five Purities

Yun Shouping was a native of Wujin in Jiangsu, gifted at poetry and prose, painting, and calligraphy. He originally excelled at landscape painting but later felt he could not compete with Wang Hui, one of the Four Wangs specializing in landscapes. He thereafter turned to the bird-and-flower theme, becoming one of the most renowned masters of flower painting in the Qing dynasty.

4. Summer Mountains and Misty Rain

Wang Hui was a native of Changshu in Jiangsu, one of the "Four Wangs" of the early Qing dynasty. He excelled in painting since childhood, and received instruction from two of the other Four Wangs, Wang Jian and Wang Shimin. He was able to integrate past and present as well as northern and southern styles to develop his own style and become one of the premier painters of the Qing dynasty.

5. After Wang Wei's "Snow Over Rivers and Mountains"

Wang Shih-min was the grandson of Wang Hsi-chueh, prime minister in the late Ming dynasty. Wang Shih-min's father, Wang Heng, served as a Hanlin Academy editor for the court. Wang Shih-min, not surprisingly, grew up in this refined atmosphere of scholarship and art.

6. The Peach Blossom Fishing Boat

Wang Hui was a native of Ch'ang-shu in Kiangsu who studied landscape painting as a youth under Wang Shih-min (1592-1680) and Wang Chien (1598-1677). Under their guidance, he also studied treasured works in various collections, making numerous copies. Consequently, he was gifted at both northern and southern styles as well as ancient and modern ones.

7. Peonies

Yun Shou-p'ing was a native of Wu-chin, who grew up in a family of limited means. He devoted himself to studying and even surprised his elders at the age of eight by composing poetry on lotus blossoms.

8. Green Mountains and White Clouds

Wu Li was a native of Ch'ang-shu, Kiangsu. He and Wang Hui were both students of Wang Chien and Wang Shih-min. These four artists are often grouped along with Wang Yuan-ch'i and Yun Shou-p'ing as "The Six Masters of the Early Ch'ing," or as "The Four Wangs, Wu, and Yun." Wu Li's landscape style was based on a careful study and thorough understanding of the early masters. Wu Li was particularly skilled at the archaic "blue-and-green" style of landscape painting. Wu Li has created an exquisitely natural work filled with movement and spirit.

9. After Wang Meng's "Mountain Dwelling on a Summer Day"

Wang Yuan-ch'i was a native of T'ai-ts'ang, Kiangsu. He received his "chin-shih" civil service degree in 1670 and served in a number of posts before becoming Attendant Gentleman of the Ministry of Revenue. Appreciated as a scholar-artist, he became a personal painter-connoisseur for the K'ang-hsi emperor (r. 1662-1722) and served as one of the editors of an imperial compilation of painting and calligraphy. The grandson of the famous painter Wang Shih-min (1592-1680), Wang Yuan-ch'i grew up in the arts of the scholar. Developing new theories and influencing generations to come, he is known as one of the Four Great Masters of the Ch'ing. This painting is a depiction of a deep forest on layered crags, a winding stream in a desolate valley, and lofty pavilions and buildings on a cliffside coming down to the stream valley below. In the distance is a view of lofty mountains, giving a sense of height and depth as well as solitude and peace. This work is composed mostly of texture strokes executed with dry ink. The brushwork is dense, following the manner associated with Wang Meng (1308-1385). Wang Yuan-ch'i, in his inscription here, stated that ink ought to be used lightly and that darker shades ink should be expressed using light washes. In executing this landscape, he first outlined the composition in light ink. Then, he gradually built up the deeper areas of ink with layers of light ink. Finally, he applied accents in heavy ink.

10. Along the River During the Ch'ing-ming Festival

The original upon which this work is based, by Chang Tse-tuan (active early 12th century), is a masterful unfolding of Sung dynasty life and customs at the capital of Pien (K'ai-feng) in a long handscroll format. There are seven versions alone in the National Palace Museum, and this one by court painters of the imperial painting academy under the Ch'ien-lung Emperor (reigned 1736-1795) is one of the most famous. This version represents a collaboration by five court painters (Ch'en Mei, Sun Hu, Chih K'un, Tai Hung, and Ch'en Chih-tao) and was finished in 1736.

Welcome to the National Palace Museum's collection of curios! Here you can find a variety of artifacts from China's imperial past, such as a Painted Enamel Vase with Dragons and Peony Decoration, a Cloisonne Box with Lotus Decoration, a Pair of "Bovet" Pocket Watches with Pearls and Painted Enamel, and a Glass Inside-Painted Snuff Bottle with a Traveling Scene. These items are all unique pieces that tell us about the culture and lifestyle of people during this time period. Come take a look at these amazing artifacts today!

1. Painted enamel vase with dragons and peony decoration

The Yongzheng reign saw the development of painted enamelware, which had originally come from the West. The decoration on the surface of this painted enamelware vase with dragons is a traditional Chinese auspicious pattern.

2. Cloisonne Box with Lotus Decoration

This lotus cloisonné box is made of filigree work on a copper body. The flat lid is decorated with lotus blossoms and pods. The edges of the petals stand out, and the tips curl outwards.

3. Pair of "Bovet" pocket watches with pearls and painted enamel

Since they were brought to China during the Ming and Qing eras, western clocks and watches have been held in high esteem by the imperial court, government officials, and merchant class. They eventually became an important medium for cultural interaction between China and the west.

4. Glass Inside-Painted Snuff Bottle with a Traveling Scene

Western snuff and snuff containers entered China in the late 17th century. At its peak, various Western countries and the Vatican in Rome often presented snuff and snuff containers as gifts to the court.

Welcome to the National Palace Museum's collection of curios! Here, you can explore some of the most unique and interesting artifacts from China's imperial past. We have a variety of different items on display here, including a Brush Holder with Letter-reading Scene, Ch'in (Chinese unfretted zither), Cloisonne censer in the form of a wild duck, Tuan Inkstone with Cloud-and-Dragon Decor and 99 Columns, Round Box with Peony Decor Filled-In Lacquerware, Carved bamboo root carving of a well-wishing horse and monkey, Ivory balls of nested concentric layers with human figures in openwork relief, Silver raft cup of "Zhang Qian Riding a Raft" with the mark of Zhu Bishan, Copper-body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay and Glass-body Painted Enamel Snuff Bottle in the Shape of a Bamboo Section. Come take a look at these incredible artifacts today!

1. Brush Holder with Letter-reading Scene

A piece of bamboo has been made into a brush holder, with a flat mouth and the dividing part of the bamboo as the bottom. The outside is carved with the image of a lady with an elegant hairstyle standing before a screen reading a handscroll.

2. Ch'in (Chinese unfretted zither)

The zither is an ancient Chinese instrument with strings. Zithers from different parts of China can have different styles.

3. Cloisonne censer in the form of a wild duck

Enamelwork is a decorative craft that involves adorning a metal surface with a vitreous glaze and firing it. One of the earliest enamelwork techniques is cloisonné, which involves creating compartments (known as "cloisons") on the metal surface using thin copper wires, filling

4. Tuan Inkstone with Cloud-and-Dragon Decor and 99 Columns

This inkstone is carved from a single piece of Tuan River stone. The top of the stone on the reverse side is slightly damaged. The ink well is carved with a cloud-and-dragon design. The four sides of the inkstone are decorated with geometric decorations.

5. Round Box with Peony Decor Filled-In Lacquerware

This is a summary of a thesis. The thesis is about the importance of education. Education is important because it helps people learn new things and develop new skills. It also helps people understand the world around them.

6. Carved bamboo root carving of a well-wishing horse and monkey

This carving of a bamboo root shows a horse and a monkey sitting on its back. The monkey is holding a peach, which symbolizes "immediate conferral of a high-ranking position." This carving was originally kept in a treasure box.

7. Ivory balls of nested concentric layers with human figures in openwork relief

This set of movable ivory balls nested in concentric layers comprises four main parts: a dragon fish hook, two ladies-in-waiting carved in the round, a set of hollow nested concentric balls, and a pendant depicting the Heavenly Twins of Conjugal Felicity.

8. Silver raft cup  of "Zhang Qian Riding a Raft" with the mark of Zhu Bishan

This silver raft cup is based on the story of Zhang Qian of the Han dynasty. Zhang Qian is said to have ridden a raft to trace the source of the Yellow River. He eventually traveled to the Milky Way, where he met the Cowherd and the Weaver Girl.

9. Copper-body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay

This snuff bottle has a decorative style that combines East and West. The panel in the center of the bottle represents plum blossoms painted in gold lacquer, which was a popular style in European markets.

10. Glass-body Painted Enamel Snuff Bottle in the Shape of a Bamboo Section

This enamelware piece from the Yongzheng reign is characterized by its panels in a full composition, traditional bird-and-flower painting as subject matter, colorful background, and inscriptions in panels of auspicious shapes.

Welcome to the National Palace Museum's collection of curios from the Qing dynasty! These items are some of the most unique artifacts from this period, and they provide us with a glimpse into the culture and lifestyle of the time. You will find a Planter with a coral carving of the planetary deity Kuixing, a Gilt flint case with coral-and-turquoise inlay, a Bamboo Water Container in the Shape of a Lotus Leaf, a Champleve Box with Filigree Work, an Ivory Four-tiered Food-Carrying Case in Openwork Relief, a Meat-shaped Stone, a Set of Square Maki-e Lacquer Boxes decorated with Cherry Blossom Designs, a Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom, a Pair of Gilded Bronze Pocket Watches Decorated with Painted Enamel, and a Gold Mandala with Turquoise Inlay. We hope you enjoy exploring these incredible artifacts!

1. Planter with a coral carving of the planetary deity Kuixing

This planter is a Qing dynasty court sculpture that is a representation of the god Kuei-xing. The god Kuei-xing was a scholar who threw himself into the water and was saved by a fish dragon.

2. Gilt flint case with coral-and-turquoise inlay (with carved lacquer box and Qianlong reign mark)

This rectangular box-shaped case is gilded with gold and has thin iron plates inlaid at the bottom. When you release the coral knob at the top, you can open the case to reveal a long, narrow container inside that is made of thin gold plate.

3. Bamboo Water Container in the Shape of a Lotus Leaf, with signature of Zhu Sansong

The root of a bamboo has been carved here into the shape of a lotus leaf.

4. Champleve Box with Filigree Work

The box is decorated with two levels of gold workmanship. The top level has flowers and a character for longevity, while the bottom level has a bat. The champleve enamelware is lustrous and colorful.

5. Ivory Four-tiered Food-Carrying Case in Openwork Relief

This handled food container is divided into four levels. It was probably used as a decoration, because it is very delicate. It is carved from ivory and inlaid into a frame.

6. Meat-shaped Stone

This "meat-shaped stone" was carved from jasper minerals. The artist used the natural layered patterns to create the appearance of pork skin marinated in soy sauce. Fine holes were drilled on the surface to resemble pores and to make the material easier to dye.

7. Set of Square Maki-e Lacquer Boxes, Decorated with Cherry Blossom Designs

This set of Japanese lacquered boxes includes three small boxes and a shallow dish. Each of the small boxes has a jade object inside, likely because it was used as a curio box during the Qing dynasty.

8. Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom

Chen Zuzhang, originally from Guandong, carved a small boat out of an olive pit in 1737. On the boat are eight figures, each of which is animated and expressive in an individual manner.

9. Pair of Gilded Bronze Pocket Watches Decorated with Painted Enamel

In the middle of the 18th century, the center for the production of pocket watches was in London. These pocket watches were created through cultural and technological exchange between China and the West. They are a marvel of mechanical and artistic craftsmanship.

10. Gold Mandala with Turquoise Inlay

This mandala comes with a finely worked leather box made in the Qianlong era (1736-1795). It includes a piece of white silk, on which is an inscription in four languages (Manchu, Chinese, Mongolian, and Tibetan) and a recording an important historical event.

Welcome to the National Palace Museum's collection of curios from the Qianlong reign of the Qing dynasty! These pieces are a testament to the skill and craftsmanship of Chinese artisans during this period. Here, you will find cloisonne and painted enamel butter tea jars, round bamboo-veneered curio boxes with lotus blossom decor, inkstones for imperial usage, carved polychrome lacquer boxes in the shape of conjoined spheres and square sandalwood curio cases. All of these pieces are unique and beautiful, and they provide us with a glimpse into the lives of people during the Qianlong reign. Come explore these amazing artifacts today!

1. Cloisonne and painted enamel butter tea jar

This tea jar was made during the Qianlong reign (1736-1795) and is a beautiful example of cloisonné enamelware from that period.

2. Round Bamboo-Veneered Curio Box with Lotus Blossom Decor (Containing 27 Curios)

This curio box has been joined by bamboo thread and has a "chu-huang" bamboo veneer carved with lotuses on the outer surface. The design allows for the four fan-shaped quadrants of the body to be either spread out in a straight line or turned around 360° to form a square

3. Inkstones for Imperial Usage

This inkstone was made from the "area of Longxing" in the northeast. The Qianlong Emperor used this inkstone and it was given as a state gift.

4. Carved Polychrome Lacquer Box in the Shape of Conjoined Spheres

This is a Double-union Treasure Chest from the Qianlong reign of the Great Qing Dynasty. It is made of two round vessels conjoined together and the surface was applied with two kinds of colored lacquer. The bottom of the box is dark yellow in color, while the top is in bright red.

5. Square Sandalwood Curio Case (Containing 32 Curios)

This curio box looks like a plain container when it is closed. The advantage of this type of container is that it does not take up much space in storage. The outside of the box appears quite simple, but it is actually very ornate.

Welcome to the National Palace Museum's collection of jades from the Song dynasty! Here you will find a variety of different jades, including the Jade Hooked Cloud-shaped Pei Ornament, Jade Pig-dragon, Jade Staff Finial in the Shape of a Pigeon, Jade Cong Tube, Jade flower-holder in the Shape of Fish-Creature, Jade Ornament in the Shape of Phoenix Crowned with Dragon, Jade High-stemmed Cup, Jadeite Cabbage in a cloisonne flowerpot and Jasper Plate with Gold Tracery. These pieces are all unique works of art that tell us about the culture and history of China during this period. Come take a look at these incredible artifacts today!

1. Jade Hooked Cloud-shaped Pei Ornament

The Hongshan people saw birds of prey soaring over the vast deserts and steppes to the west of the Liao River and north of Mount Yan. They thought these birds were special because they looked strong and powerful.

2. Jade Pig-dragon

This pig-dragon is a jade object from the Hongshan Culture. It is shaped like an animal embryo and has bat ears, a wrinkled nose, and an arched mouth.

3. Jade Staff Finial in the Shape of a Pigeon

The Great Depression was a time of poverty and despair. It was caused by the stock market crash of 1929, which led to a chain of events that caused the economy to go into a downward spiral.

4. Jade Cong Tube

This large jade cong tube probably came to the Qing court in the 19th century, which is why its surface doesn't have imperial inscriptions of praise by the Qianlong Emperor (r. 1736-1795) and so it still looks original.

5. Jade flower-holder in the Shape of Fish-Creature

This work of art features a fish that is jumping up with its tail curled, surrounded by carved waves. The head of the fish is especially noteworthy, with its bulging eyes, long whiskers, and prominent nose. The horns on the fish indicate that it is in the process of transforming into a dragon.

6. Jade Ornament in the Shape of Phoenix Crowned with Dragon

This carving is very precise, and the head of the phoenix is decorated with a kui-dragon.

7. Jade High-stemmed Cup

This is a pretty, fancy jade cup with a handle and high foot, carved from a piece of shiny, see-through white jade. The cup is long and skinny, with a round hole bored through the middle, fitted with a handle and given a high foot.

8. Jadeite Cabbage, in a cloisonne flowerpot

This piece of art is almost exactly like a piece of bokchoy cabbage. The artist carved it out of jadeite, and it looks just like the real thing, down to the white vegetable body and bright green leaves.

9. Jasper Plate with Gold Tracery

The jade from Hindustan in Northern India is known for its beautiful craftsmanship.

Welcome to the National Palace Museum's collection of jades! Here you can explore some of the most amazing pieces from China's imperial past. We have a variety of different jades on display here, including a Jade Duck, Jade Cong Tube, Jade Brush Wash in the Shape of Lotus Leaf, Jade Divine Beast, Jade Horn-shaped Cup, Jade Gui Tablet, Xi Bodkin with Chi Tiger Pattern and Jade Pi-Hsieh, auspicious beast. These are all important pieces in Chinese history that tell us about how people interacted with each other during this time period. Come take a look at these fascinating artifacts today!

1. Jade Duck

This jade duck was carved out of a yellow nephrite. Its head, belly, and feet are dark brown. The jade duck has very simple carving. But its physical features, like its lifted tail and round bottom, look accurate and make it look cute and lively.

2. Jade Cong Tube

The Liangzhu Culture was a group of people who lived around the drainage basin of Lake T'ai in the lower reaches of the Yangtze River around 4000 to 5000 years ago.

3. Jade Brush Wash in the Shape of Lotus Leaf

This cup is made of a yellowish green jade with brownish yellow mottling and occasional grey-white streaks. It is shaped like a dried lotus leaf, with crinkled edges and a handle.

4. Jade Divine Beast

This work depicts a winged divine beast carved in the round. The beast has a tiger head, with its mouth open and teeth bared. It also has a goatee on its chin.

5. Jade Horn-shaped Cup

This vessel is made of greenish-white jade. It is shaped like a horn and has a coiling dragon carved into the surface in relief. The dragon is strong and forceful, revealing the unique vigor of Han dynasty craftsmanship.

6. Jade Gui Tablet

The Longshan culture was a period in China when social divisions became increasingly distinct. Only members of the ruling class were allowed to use jade during this time. Long, narrow pieces of jade were called gui, while larger, broader pieces were known as yue.

7. Jade Gui Tablet

This jade gui tablet is yellow on both sides, with the lower half of the reverse side having a red tinge. The cutting edge of the blade is much darker, almost black, and exhibits many nicks. The other end, where the tablet was held, also shows signs of damage.

8. Jade Tablet

The jade tablet is a 5 on the Mohr's scale and has a warm luster. It is ochre-red, with spots of varying sizes, and appears like stars in the Milky Way. It is not perfectly rectangular, being slightly trapezoidal.

9. Xi Bodkin with Chi Tiger Pattern

The "xi" is a type of hornless dragon that looks like a tiger. This piece is carved as the profile of a "xi" dragon, with its head turned back. It has hints of russet red, which makes it quite unique.

10. Jade Pi-Hsieh, auspicious beast

The "pi-hsieh" is a mythological creature that is thought to have magical powers that can protect against evil. In the Han dynasty, "pi-hsieh" were usually represented as winged, four-legged beasts.

Welcome to the National Palace Museum's collection of bronze artifacts from the Song dynasty! This collection includes a variety of different objects, such as a Square gui food container with Ya Chou emblem, a P'eng-tsu-ting Ting, a Zun wine vessel of Ya-qin to Yi the father, a Ting Vessel with Inscription of the Zhenghe period, and an Oval Liang Measure by imperial decree of 26th year. These artifacts are all incredibly unique and provide us with a glimpse into the culture and history of this time period. We hope you enjoy exploring these incredible pieces!

1. Square gui food container with Ya Chou emblem

This is a gui food container with a square body, compact neck, and high, flared ring foot.

2. P'eng-tsu-ting Ting

The heaviest and largest thing in the collection of the National Palace Museum is the "Grand and Majestic Vessel." It measures 85.5 centimeters in height, 94.65 kilograms in weight, and has a rim diameter of 59.4 cm.

3. Zun wine vessel of Ya-qin to Yi the father

This ceremonial wine vessel was made for the purpose of worshiping Yi the father in the ancestral temple. The Ya-qin crest is found on the bronze zun vessel as well as the bronze seal.

4. Ting Vessel with Inscription of the Zhenghe period

The author is a student at the University of California, Berkeley.

5. Oval Liang Measure by imperial decree of 26th year

The First Emperor of Imperial Qin conquered six other states and established one grand empire under the heaven. He called himself the First Emperor, replaced the old feudal system with centralized governance, and standardized the written language as well as weights and measures.

Welcome to the National Palace Museum's collection of Other Bronze from the Song dynasty! These artifacts are some of the most beautiful and intricate pieces from this period, and they provide us with a unique insight into Chinese culture during this time. You will find battle axes, food containers, wine vessels, water vessels, measures, and more. These artifacts feature intricate patterns such as animal masks, phoenixes, dragons, and more. We hope you enjoy exploring these incredible artifacts!

1. Yue battle ax with animal mask pattern and turquoise inlay

This object is a weapon known as a "yue". It has a blade on one side and a long handle on the other. It was used by high-ranking military commanders who had royal authority.

2. Gui food container with square base and phoenix pattern

The Gui vessels and ding cauldrons were important types of bronze food containers often used together. The cauldrons were used to hold meat, while the gui vessels held cooked rice, maize, and other grains.

3. Zun wine vessel to Yi the grandfather

This zun wine vessel from the early Western Zhou dynasty is decorated with tapering leaf-shaped simplified upside-down kui patterns, below which kui dragon patterns with curled tails can be seen.

4. Square Ding cauldron of Marquis of Kang

This vessel was commissioned by Marquis of Kang and is called Fong 封. It is a cuboid shape and has four cylinder feet with cicada motifs. There are six ridges on the middle of each long side and at the four corners.

5. Pan water vessel with coiling dragon pattern

This pan plate has a coiled dragon on it, with its head slightly raised and in the center of the plate. There are also kui dragon patterns, bird patterns, and fish patterns around the edges of the plate.

6. Lei wine vessel with goat-head high reliefs and knob pattern

This vessel has a tapered mouth and round shoulders. On the shoulders are goat heads in high relief, flat bird patterns in relief, and patterns of kui dragons with lowered heads. The belly of the vessel is covered with nipple patterns with linked hooks, round spiral patterns, and four-petaled flower patterns.

7. Chia Measure

Wang Mang took over the Han dynasty and started the Xin dynasty. He used the same standards as the past and had new measures created, called the "Chia liang (measures)." This Chia measure is a combination of five measures.

8. Gui food container of Lady Xian Ji

The jade mentioned in the bronze inscription was mainly used for rewards, edicts, gifts, entertaining, and sacrifices. This shows that jade was very important in ancient ceremonies.

9. Hsing Chi Shih Tsun

The phoenix bird with a long tail was a new form of decoration that became popular during the time of King Mu in the mid Western Zhou period. This type of decoration was much larger than previous forms, and its long tail was a new addition that made it stand out.

10. He wine/water vessel of Bo-ding

There are two different styles of writing on the vessel and its cover. One is from the early Western Zhou period and is simple and strong. The other is from the mid Western Zhou period and is more elegant.

Welcome to the National Palace Museum's collection of other bronze artifacts! Here, you can explore a variety of different bronze pieces from China's past. We have a P'an with Coiled K'uei-dragon Pattern, Chime-bell set of Zi-fan, Ting with Coiled Serpent Pattern, Mirror of Shang-fang with TLV pattern, Gilt Beast-footed Tsun with Mountain Design, Hu vessel with Hunting Scenes Inlaid in Copper-like Paste, Shakyamuni Buddha, Zun wine vessel in the shape of animal with metal wire and turquoise inlay, Mirror with Lion and Grapevine Decorations, and Square Zun wine vessel of Ya-chou. These pieces are all unique and beautiful, and they provide us with a glimpse into the culture and customs of ancient China. Come take a look at these incredible artifacts today!

1. P'an with Coiled K'uei-dragon Pattern

Water vessels were used in ceremonial washing and gradually became popular in the middle and late Western Zhou period, flourishing in the Spring and Autumn period.

2. Chime-bell set of Zi-fan

The Museum purchased 12 pieces of "Zi-fan" chimes in September 1994. By joining the respective inscription on each chime, eight proved to have belonged to one set, together with 132 characters (two dittoed) in the complete text. The remaining four were the second half of another set.

3. Ting with Coiled Serpent Pattern

As the state of Qin began to emerge during the mid Spring and Autumn period, so too did its unique bronze vessels. However, it wasn't until the middle of the Warring States period that these vessels began to be heavily influenced by those from Wei of San-chin.

4. Mirror of Shang-fang with TLV pattern

This mirror has a round knob in the center and is decorated with geometric patterns, protrusions, the Four Spirits, and immortal figures. There is also a ring of auspicious text that states that "the making of this 'fine' mirror is of great favor.

5. Gilt Beast-footed Tsun with Mountain Design

The tsun was a type of wine vessel used during the Han dynasty. These vessels were often quite refined, with gilt surfaces and outer decorations composed of images of spirits, auspicious beasts, and winged (immortal) figures. These images represented paradise as envisioned by people in the Han dynasty.

6. Hu vessel with Hunting Scenes Inlaid in Copper-like Paste

This is a hu vessel from the early Warring States period. It is decorated with birds and snakes on the neck, spirit figures on the shoulders, and figures and animals on the belly. The area below the belly is filled with hooked-cloud and geometric patterns.

7. Shakyamuni Buddha

The Buddha figure is represented in the full lotus position sitting on a two-tiered stand. The inner section of the body halo behind the Buddha figure has seven Buddha icons, with U-shaped flames adorning the outer section, accentuating the figure and enhancing its grandeur.

8. Zun wine vessel in the shape of animal with metal wire and turquoise inlay

This vessel is in the shape of a strong, four-legged animal with big ears, round eyes, and a tail. The muscles and posture of the animal look realistic. The surface of the vessel is a dark brown color, with green spots.

9. Mirror with Lion and Grapevine Decorations

This Tang dynasty mirror is special because it is decorated with foreign elements. The lions and grape vines make it a unique and beautiful piece. Emperor Qianlong of the Qing dynasty liked it so much that he had a special case made for it.

10. Square Zun wine vessel of Ya-chou

"Yachou" vessels have been found in Suputun, in the province of Shandong. Scholars believe that "Yachou" represents the "Poku" clan, which is mentioned in the ancient "Zozhuan" text.

Welcome to the National Palace Museum's collection of bronze artifacts from the Late Western Zhou dynasty! These pieces were crafted by some of the most talented artisans of their time and provide us with a unique insight into the culture and customs of this period. You will find Hu wine vessels of Song, Mao-kung Tings, Bells of Zong-zhou, Pan water vessels of San and Xu food containers of Le Ji-xian. Each of these pieces is intricately decorated and has its own unique story to tell. Come explore these incredible artifacts today and learn more about the history of the Late Western Zhou dynasty!

1. Hu wine vessel of Song

This wine vessel would have been used for important occasions. It is very large and has multiple layers of decoration, making it look very powerful and dynamic. The same 152-character inscription can be found on the vessel's lid and inside its body.

2. Mao-kung Ting

King Xuan of Zhou came to the throne and was anxious to see the country thrive. He charged his uncle, the Duke of Mao, with governing the domestic and external affairs of state, big and small.

3. Bell of Zong-zhou

This bell is oval-shaped and has a closed tile shape. There are 18 mei bosses on either side of the bell.

4. Pan water vessel of San

The inscription on the inside of the water vessel is 350 characters long. The inscription details the failed invasion of the state of Zhe by the state of San, and San's subsequent annexation of a portion of Zhe's land.

5. Xu food container of Le Ji-xian

The vessel was commissioned by Le Ji-xian to be cherished forever by all future generations.

Welcome to the National Palace Museum's collection of ceramics from the Song dynasty! Here, you can explore some of the most beautiful and intricate pieces of pottery from this period. We have a variety of different pieces on display here, including a Sancai figure of a Lokapala, Guardian King, a Pottery figure of a standing lady with painted colors, a Monk's cap ewer with ruby red glaze, a Purple-ground Box with Bird-and-Flower Motif in Fencai Enamels, a Bright Yellow Cauldron with Animal-Mask Decorations, a Ruby Red-glazed Vase, a Warming bowl with celadon glaze, Ru ware, a Narcissus basin in bluish-green glaze, Ru ware and a Pillow in the shape of a recumbent child with white glaze, Ding ware. These are all amazing artifacts that show us how people lived during this time period. Come take a look at these incredible pieces today!

1. Sancai figure of a Lokapala, Guardian King

This enormous sculpture, called Virüdhaka, once served as a tomb guardian used to ward off evil. It is covered mainly with bright green, brown, and white glaze colors. On the head of the heavenly king is a bird with wings as if about to fly.

2. Pottery figure of a standing lady with painted colors

This is a figurine of a woman from the Tang dynasty. The Tang dynasty was a time when people placed a lot of importance on funerary rituals. This often included burying the dead with lots of grave goods.

3. Monk's cap ewer with ruby red glaze

This ewer has a spout that points downwards and a handle that is flat and decorated with a "ju-i" motif at both ends. The vase has a neck that is straight, a belly that is rounded, and a foot that is ring-shaped.

4. Purple-ground Box with Bird-and-Flower Motif in Fencai Enamels

The Empress Dowager Cixi was a powerful woman who controlled the Chinese court for many years. She was known for her luxurious lifestyle and love of jadeite.

5. Bright Yellow Cauldron with Animal-Mask Decorations

This incense burner in the shape of a round ting (cauldron) features two standing handles along the rim. Three tubular legs are joined to the body, and the legs have raised patterns. The entire vessel is covered with bright yellow glaze, which is very translucent.

6. Ruby Red-glazed Vase

Lang Tingji was the governor of Jiangsi during the Kangxi reign. He was ordered to go to Jingdezhen kilns factory to manage the firing of ceramics.

7. Warming bowl with celadon glaze, Ru ware

This bowl was molded. The curves on its wall follow the contour of the mouthrim. The entire vessel is coated in celadon glaze, displaying a bluish green color. Both its interior and exterior walls are covered with crackles stained brown.

8. Narcissus basin in bluish-green glaze, Ru ware

This oval dish has deep, slightly flaring sides and a flat base. It is covered all over in a light blue, highly lustrous glaze, which shows a hint of green at the base. The glaze is slightly thinner at the rim and the corners.

9. Pillow in the shape of a recumbent child with white glaze, Ding ware

Most Tang dynasty ceramics pillows had a three-color glaze or were glazed brown, black, or changsha bronze. There were two types of these pillows, one for sleeping and the other for taking a pulse.

Welcome to the National Palace Museum's collection of ceramics from the Song dynasty! Here you can explore some of the most beautiful and unique pieces from this era. Our collection includes a Bowl with Blue Landscape in Falangcai Painted Enamels, Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground, Black Pottery Stemcup, White Pottery Guei-pitcher, Flask with Ruyi Handles and Figures Decoration in Underglaze Blue, Bowl with Sky-blue Glaze and Purple Splashes, Ju-i Pillow with Azure Glaze and Purple Splashes, Celadon Stembowls, Pottery Figure of Ladies Playing Polo Game in Sancai Tri-color Glaze, and White Porcelain Vase with Loops. These artifacts offer us a glimpse into the culture and artistry of the Song dynasty. We hope you enjoy exploring these incredible pieces!

1. Bowl with Blue Landscape in Falangcai Painted Enamels

Compared to enamelware ceramics of the Kangxi reign, official wares of the Yongzheng reign developed in a more image-oriented direction in terms of the surface decorations of vessels.

2. Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground

This jar was maybe used for holding tea.

3. Black pottery stemcup

The Shandon Longshan Culture developed the technique of using a potting wheel to produce ceramic objects. This allowed them to make vessels with very thin walls, which could be carved with openwork patterns. This type of pottery is known as "egg-shell pottery".

4. White pottery guei-pitcher

Pottery was an important artifact in ancient civilizations. In China, sage rulers of high antiquity emphasized the making of pottery as an important skill for the people's livelihood.

5. Flask with ruyi handles and figures decoration in underglaze blue

This flask was influenced by the pottery and glassware of Central and Western Asia. It has a small mouth, slender neck, flat round belly, and flat base without a ring foot. On each side of the neck, a bow-shaped handle links the neck and shoulders.

6. Bowl with sky-blue glaze and purple splashes, Jun ware

This deep-walled water jar has a wide inward mouth and a slightly flaring lower body. It is covered with sky-blue glaze and a linear crackle pattern.

7. Ju-i Pillow with Azure Glaze and Purple Splashes, Jun ware

This porcelain pillow is in the shape of the "ju-i" symbol. It is high at the back and sloping down towards the front, and the top of the pillow is slightly indented towards the center.

8. Celadon Stembowls, Ko ware

Ko ware is a type of light-colored celadon that often has crackling in distinct pieces, hence the name "broken ware." High-stemmed cups and bowls were produced in large quantities during the Yuan dynasty.

9. Pottery figure of ladies playing polo game in sancai tri-color glaze

In the Tang dynasty, people became interested in having lavish funerals with lots of impressive grave goods. To create these goods, artisans made figurines out of clay and covered them with different colors of low-temperature glaze. One such figurine is of a lady riding a yellow horse.

10. White porcelain vase with loops, Xing ware

The Xing kilns were an important producer of Northern white wares located in the NeiQiu and Lincheng regions of modern-day Hepei province.

Welcome to the National Palace Museum's collection of ceramics from the Song dynasty! Here, you can explore some of the most exquisite pieces from this period. We have a variety of different pieces on display here, including a Vase with "Hundred Deer" motif in wucai enamel, Bowl in black glaze with "hare's fur" striations, Celadon water container, Yue ware, Hibiscus-shaped Washer with Bluish-green Glaze, Kuan ware, Vase with phoenix-shaped handles in celadon glaze, Longquan ware, Porcelain chicken cup in doucai painted enamels, Green-ground Floral-shaped Vase with Fish-Dragon Motif, Zun in the form of an elephant of peace and Teapot with blue landscape in falangcai polychrome enamels. These are all unique artifacts that tell us about the culture and artistry of this time period. Come take a look at these amazing pieces today!

1. Vase with "Hundred Deer" motif in wucai enamel

This "hundred deer" vase has a slightly flared mouth, a short straight neck, sloping curved shoulders, a broad belly that is slightly tapered, and a flat base.

2. Bowl in black glaze with "hare's fur" striations

This bowl has a wide mouth, deep walls, and a small ring foot. There is a shallow groove just under the mouth rim on the inner side. The design is slightly different from "tapered-mouth bowls," which have a clear groove.

3. Celadon water container, Yue ware

This celadon water container has a sloping opening with a flat, folded rim. It is deep and has a slightly concave bottom. It is covered with greenish-grey glaze, and has an irregular spur mark around the edge of the base.

4. Hibiscus-shaped Washer with Bluish-green Glaze, Kuan ware

This piece is modeled after a hibiscus flower, with six petals and a concave top. It is glazed in blue-green, with sparse but elongated crackling. The sides are straight and it rests on a ring foot.

5. Vase with phoenix-shaped handles in celadon glaze, Longquan ware

This vase is shaped like a mallet, with a tray-shaped mouth, straight neck, and straight body. It has two handles in the shape of phoenixes or dragons, which is a style that emerged in the early Song dynasty.

6. Porcelain chicken cup in doucai painted enamels

Collectors in the late Ming dynasty prized blue and white porcelain from the Xuande reign above all other ceramics, followed by wucai porcelain from the official kilns of the Chenghua reign.

7. Green-ground Floral-shaped Vase with Fish-Dragon Motif

The vase is a large, thick, curvy shape. It's yellowish-green and looks almost modern. It has animal masks and caltrop blossoms on it.

8. Zun in the form of an elephant of peace

This object is an elephant with a vase on its back. The elephant stands straight with its head turned back and eyes partially closed.

9. Cocoon-shaped Hu

This piece of black pottery has a body in the shape of a silkworm cocoon. The outer surface of the vessel is decorated with multiple sets of parallel lines, in between which are engraved ninety characters of a poem written by the Qianlong Emperor (r. 1736-1795).

10. Teapot with blue landscape in falangcai polychrome enamels

This teapot has a wide mouth, a short and curved body, a curved handle, a tubular spout, a flat base, and a concave foot. The lid has a flattened top and a round knob with a hole in it to let air in.

Welcome to the National Palace Museum's collection of ceramics from the Qianlong reign of the Qing dynasty! Here, you can explore some of the most beautiful and intricate pieces of pottery from this era. We have a variety of different pieces on display here, including a Revolving Vase with Swimming Fish in Cobalt Blue Glaze, Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels, Six Conjoined Vases in Tea Dust Glaze, Bowl with Indian Lotus Design on a Pink Brocade Ground and Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs. These are all amazing pieces of art that will give you an insight into the craftsmanship and creativity of the people during this time period. Come take a look at these incredible artifacts today!

1. Revolving vase with swimming fish in cobalt blue glaze

This vase has a long neck, broad shoulders, and a short ring foot. The shoulders of the vessel are decorated with four ring-shaped loops. The belly of the vase is divided into inner and outer layers. The inner layer is coated with light lake-green glaze.

2. Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels

The vase looks like two vases stuck together. It's round and flat, and has two vases on the outside.

3. Six Conjoined Vases in Tea Dust Glaze

This vessel has five vases of the same shape and size circling around a central main vase, forming a single complete vase. The interior of the six vases is joined together, with only the slender necks helping to exaggerate their individuality.

4. Bowl with Indian lotus Design on a Pink Brocade Ground

This bowl has a flaring rim and a deep, curving body. It is covered with a light pink glaze, on top of which are engraved patterns of plants and geometric designs.

5. Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs

This vase is special because it has a revolving center and an interlocking top and bottom. The design is a combination of engraving and overall surface patterning, which makes it quite complex.

Welcome to the National Palace Museum's collection of other documents from the Qing dynasty! Here, you will find a variety of documents that tell us about how people interacted with each other during this time period. We have Edicts for the Personal Rule of the T'ung-chih Emperor, Diplomatic Credentials Presented by The Great Qing Empire's Overseas Survey Envoy to The Great British Empire and the Gold-leaf Tributary Document from Siam. These documents are a great way to learn more about Chinese history and culture. So come take a look at these fascinating artifacts today!

1. Edicts: Edict for the Personal Rule of the T'ung-chih Emperor

An edict is one of the "sacred instructions" (or decrees) issued by the emperor. Edicts are important because they inform everyone about the emperor's orders. Most edicts are connected to some major historical event.

2. Diplomatic Credential Presented by the Great Qing Empire's Overseas Survey Envoy to the Great British Empire

This document is a diplomatic credential that was presented by the Qing court to France. This credential was given to an envoy who was sent to France by the Qing government in an attempt to improve relations between the two countries.

3. Gold-leaf Tributary Document from Siam

This is the "Gold-leaf Tributary Document from Siam" with highly exquisite binding.

Welcome to the National Palace Museum's collection of documents from the Qing dynasty! This collection includes a variety of different documents, from Archives in Old Manchu to Tripitaka in Tibetan and Manchu, Palace Memorials, Manuscripts and Packets from the Historiography Institute, Map of Taiwan and Illustration of Victory: Archives of the Grand Council. These documents provide us with an insight into the culture and history of the Qing dynasty, and are an important part of Chinese heritage. Come explore these incredible artifacts today!

1. Archives in Old Manchu

The Manchu language was created in order to solve the need to transmit written messages and make government records.

2. Archives of the Diary-keeper

The "Ch'i-chu chu" (Diary-keeper) was an official in imperial China whose duty was to record the daily actions and sayings of the emperor into what was known as the "Archives of the Diary-keeper." This system has ancient origins in China, extending as far as

3. Tripitaka in Tibetan / Tripitaka in Manchu

The Kanjur Tripitaka is a collection of Buddhist scriptures that has been translated into Tibetan. It is a crucial source of historical material. The sutra leaves are arranged in order and decorated with the Eight Auspicious Symbols. The boards include an inner and an outer pair.

4. Palace Memorials

During the early Qing dynasty, documents were drafted and submitted to the court in the same way as during the Ming dynasty. However, starting from the middle of the Kangxi Emperor's reign, the memorial system was revamped.

5. Manuscripts and Packets from the Historiography Institute

The Historiography Institute was established at the Chinese court in 1690 in order to compile official histories. In 1914, after the establishment of the Republic of China, a new Historiography Institute was set up on the premises of the former one.

6. Map of Taiwan

The Map of Taiwan is a long and thin map that was made between 1756 and 1759. It is very pretty, with bright colors and a landscape painting style. It is also very valuable, because it shows how the government offices, local government seats, and administrative areas were divided back then.

7. Illustration of Victory: Archives of the Grand Council

The "Illustration of Victory:Archives of the Grand Council" is a painting that depicts the course of pacifying rebellions led by Dawats and Amursana, as well as those led by Bulanidun and Hojijan.

Welcome to the National Palace Museum's collection of rare books from different dynasties! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find the Vast Documents of the Yung-lo Era, a Ming dynasty encyclopedia of 8,000 books and documents, the Complete Library of the Four Treasuries, a collection of major literary works produced in China over successive dynasties, and Illustrated Tributes to the Imperial Ch'ing, a text compiled by Fuheng and others and illustrated by Men Ch'ing-an and others. We hope you enjoy exploring these incredible artifacts!

1. Vast Documents of the Yung-lo Era

The Vast Documents of the Yung-lo Era was a Ming dynasty encyclopedia of 8,000 books and documents. The encyclopedia was compiled by Jie Jin and others in 1403 and completed in 1405.

2. Complete Library of the Four Treasuries

The "Complete Library of the Four Treasuries" is a collection of major literary works produced in China over successive dynasties.

3. Illustrated Tributes to the Imperial Ch'ing

This text was compiled by Fuheng and others, and illustrated by Men Ch'ing-an and others.

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! Here you will find a selection of texts written by some of China's most influential scholars. We have Literary Collection of Liu Ping-k'o, which was rediscovered in the early Southern Song period, and Literary Collection of Nan-hsüan, written by the famous Neo-Confucianist Zhu Xi. These texts provide us with a unique insight into Chinese culture during this period, and we hope you enjoy exploring these incredible artifacts!

1. Literary Collection of Liu Ping-k'o

Liu Yuxi was a poet of the Tang dynasty. His work was lost over time, but parts of it were rediscovered in the early Southern Song period. Two copies of his work survive today, one in Japan and the other in China.

2. Literary Collection of Nan-hsüan

Zhang Chi was a Chinese philosopher who lived in the 12th century. He was praised by the famous Neo-Confucianist Zhu Xi for his character and intelligence. Zhang Chi was an important figure in the philosophy of his time, and served as a role model for later generations.

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! These texts were written by some of China's most influential scholars and provide us with a unique insight into Chinese culture during this period. You will find commentaries on ancient classics such as The Book of Mencius, memoirs from Zhao Gongwu who fled K'ai-feng when it was invaded in 1126, anthologies of works by Master Zhu Xi and Du Fu’s Poetry with Annotations. There are also commentaries on the Rites of Chou, Principal Meaning to The Book Of Etiquette And Ceremony, Erh-ya philology text and Illustrated Text Of The Hsuan-ho Emissary To Korea. Finally there is Six Writings By Master K'ung which was written after Confucius descendant Kong Duanyou moved south following the fall Northern Song Dynasty in 1126. We invite you to explore these incredible artifacts and gain an understanding of the rich history of the Song dynasty!

1. Exegeses on the Book of Mencius

The traditional study of the Classics is one of the sources of knowledge of Chinese culture. A large number of notes and commentaries have been left by many talented scholars over the ages. These texts were transcribed by hand until the spread of woodblock printing.

2. Memoirs of Master Chao-te's Readings in the Chun Studio

Zhao Gongwu, a native of Shandong, lived in the Chao-te ward of the capital K'ai-feng (Pien-liang). After the Jin forces invaded the Song capital in 1126, he fled with his family to Sichuan.

3. New Imprint of the Grand and Illuminous Explication of Huai-nan-tzu

"Huai-nan-tzu" was written in the Western Han dynasty (206 BC-9 AD) by Liu An, a member of the imperial clan.

4. New Revised Imprint of Du Fu's Poetry with Annotations

Du Fu was one of the most famous poets in Chinese history. He lived during a time of great upheaval, when the An Lu-shan rebellion and the restoration of imperial rule took place. His poetry often reflects his concern for the country and his views on life.

5. Anthology of Works by Master Zhu Xi

Zhu Xi was a Chinese philosopher who lived in the 12th and 13th centuries. He is considered one of the most important figures in the development of Chinese metaphysics. Zhu Xi was born in Nanping County, Fujian province, and died in Cangzhou.

6. Commentaries on the Rites of Chou

The Annotated Classic of Rites is a book that is divided into 50 chapters. This book is different from other editions of the Classic of Rites because it only has commentaries and no actual text. This makes it an important book for studying Chinese history and culture.

7. Principal Meaning to The Book of Etiquette and Ceremony

Wei Liaoweng got a degree that let him work for the government in 1199. He worked for the Southern Song dynasty (1127-1279) until he got in trouble with the prime minister. Then he was sent to work in the countryside.

8. Erh-ya

The "Erh-ya" is an ancient text devoted to philology, but the identity of the author(s) still remains unclear today. The Qing (1644-1911) editors of the "Ssu-k'u ch'uan-shu" (Complete Library of the Four

9. Illustrated Text of the Hsuan-ho Emissary to Korea

Geographical and travel texts have a long history in China, extending back to the Shang and Zhou dynasties (17th-3rd c. BC). These texts were a way for ancient Chinese to learn about foreign matters.

10. Six Writings by Master K'ung

Confucius is one of the most respected figures in Chinese history, and his descendants have been respected ever since. When the Northern Song dynasty fell in 1126, the 47th descendant of Confucius, Kong Duanyou, also moved south. This text was written sometime after moving south.

Welcome to the National Palace Museum's collection of rare books from the Yuan dynasty! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find the Literary Collection of Fan Zhongyan, The Analects, Classified Draft of the Yuan-feng Era, Essentials to the Collected Meaning of The Four Books, Dynastic Regulations for Sagacious Rule of the Great Yuan and Painting Catalogue of the Hsuan-ho Collection. These books offer an incredible glimpse into the past, and we hope you enjoy exploring them!

1. Literary Collection of Fan Zhongyan

Fan Zhongyan was born in 989 in Wuxian, Jiangsu province. He was a diligent student who showed great promise. His collected writings were originally entitled "Tan-yang chi" (Tan-yang Anthology), though after his death they were renamed "Wenzheng."

2. The Analects

The Collected Exegeses of the Analects is a compilation of various editions of the Analects from the Western Han period onward, as well as renowned explanations by Kung An-kuo, Pao Hsien, Ma Jung, Cheng Hsuan, Ch'en Chun, Wang

3. Classified Draft of the Yuan-feng Era

Zeng Gong was a Chinese writer who lived in the Chien-ch'ang region during the Tang and Song dynasties. He was known for his wide learning and elegant literary style.

4. Essentials to the Collected Meaning of The Four Books

The book "Essentials to the Collected Meaning of The Four Books" was printed in 1330 by the Branch Secretariat of Kiang-Che. The book was once in the inner court of the Ming dynasty. The book was compiled by Liu Yin and is incomplete.

5. Dynastic Regulations for Sagacious Rule of the Great Yuan

This Yuan imprint is one of the earliest examples of this text that has survived. It is also an important source of information for the study of the Yuan government. However, there is no information about who the editor(s) was/were or when it was printed, because there are no prefatory inscriptions or end

6. Painting Catalogue of the Hsuan-ho Collection

This book is a catalogue of the paintings in the inner court under Emperor Huizong (r. 1101-1125) of Song. It is divided into ten sections and has 20 chapters. The catalogue mentions 231 artists and 6396 hanging scrolls.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here, you can explore some of the most beautiful and intricate pieces of calligraphy from this period. We have a variety of different pieces on display here, including Calligraphing Poetry by Wang To, Letter to Abbot Zhongfeng (As If in a Drunken Dream) by Zhao Mengfu, Regulated Verse in Seven Characters by Chang Yu, Poetry on the Baotu Waterfall by Chao Meng-fu and Poetry on the Wan-chieh Hall by Yang Wei-chen. All of these pieces are amazing examples of Chinese calligraphy and provide us with a unique insight into the culture of the time. Come take a look at these incredible artifacts today!

1. Calligraphing Poetry

Wang To was a Chinese calligrapher who lived during the Ming and Qing dynasties.

2. Letter to Abbot Zhongfeng (As If in a Drunken Dream)

Zhao Mengfu was a member of the Song imperial family. He became a Hanlin Academician, which is a very respected position, during the Yuan dynasty. Zhao Mengfu was good at calligraphy and painting. He was a leader of Yuan dynasty art circles.

3. Regulated Verse in Seven Characters

Chang Yu was a well-known Taoist of the Yuan dynasty. He moved to Mao-shan at the age of 29, and at the age of 59, he gave up life as a Taoist and became a Confucian scholar.

4. Poetry on the Baotu Waterfall

Chao Meng-fu was a member of the Sung imperial family and a native of Hu-chou (modern Wu-hsing, Chekiang). He served the Yüan dynasty as an official in the Hanlin Academy.

5. Poetry on the Wan-chieh Hall

Yang Wei-chen, a native of Kuei-chi, went by a variety of names, including the style name Lien-fu and sobriquet Tung-wei-tzu.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here, you can explore some of the most beautiful and intricate pieces of Chinese calligraphy. We have a variety of different documents on display here, including an Essay on Calligraphy by Sun Kuo-t'ing, a Draft of a Requiem to My Nephew by Yen Chen-ch'ing, an Autobiography by Huai-su, The Homecoming Ode by Shen Du, "Wu-i ko" Poems by Wang Ch'ung, Yuanhuan by Wang Xizhi, Timely Clearing After Snowfall by Wang Hsi-chih, Three Passages: Ping'an, Heru, and Fengju by Wang Xizhi, Five-character Couplet in Seal Script by Ch'i Pai-shih and Copy from the Ch'un-hua Modelbooks by Liu Yung. Come take a look at these incredible works of art today!

1. Essay on Calligraphy

Sun Kuo-t'ing was a calligraphy artist from Wu-chün. He came from humble beginnings, but eventually served in a high position at court. He was forced to resign from his position after being slandered, and he turned his focus to calligraphy.

2. Draft of a Requiem to My Nephew

Yen Chen-ch'ing's ancestors came from the Shantung area. During the revolt of Li Hsi-lieh, Yen Chen-ch'ing was instructed to bring an imperial communique to the rebels.

3. Autobiography

Huai-su was a monk who originally went by the name Ch'ien Ts'ang-chen. He was born in Ling-ling County, Hunan, but later moved to Ch'ang-sha. Even as a youth, he was interested in Buddhism, eventually taking the tonsure.

4. The Homecoming Ode

Shen Du was a native of Huating (modern Shanghai, also known in ancient times as Yunjian).

5. "Wu-i ko" Poems

Wang Ch'ung was the son of a merchant and studied under Wen Cheng-ming and Ts'ai Yu.

6. Yuanhuan

Wang Xizhi was a skilled calligrapher who was later known as the "Sage of Calligraphy." This piece of calligraphy, called "Xingbie," is a copy made by tracing the original and then filling in the strokes with ink.

7. Timely Clearing After Snowfall

Wang Hsi-chih was a Chinese poet and calligrapher who lived in theShantung province. He was skilled in many different styles of brush writing, and is known for creating his own unique style by combining elements of different scripts.

8. Three Passages: Ping'an, Heru, and Fengju

Wang Xizhi, a famous calligrapher of the Eastern Jin period, established the paragons for modern cursive and running scripts. His letters "Ping'an" and "Heru" are mounted together with the "Fengju" letter in the late Ming dynasty (1368-16

9. Five-character Couplet in Seal Script

Ch'i Pai-shih was a Chinese artist who was born in Hsiang-t'an in Hunan province. He studied carpentry as a youth and excelled at wood sculpture. At 26, he began to study calligraphy, painting, poetry, and seal carving.

10. Copy from the Ch'un-hua Modelbooks

Liu Yung was a Chinese calligrapher who was born in Chu-ch'eng in Shantung. His father served the Ch'ien-lung Emperor (r. 1736-1795) as grand secretary.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here you will find works by some of the most influential calligraphers in Chinese history, including Zhu Xi, Lu You, Su Shih, Huang T'ing-chien, Mi Fu, and Ts'ai Hsiang. These works range from commentaries on the Book of Changes to letters to Prefect Yuanbo and Officer-Gentleman Tu, as well as poems and calligraphy of the Four Song Masters. Come explore these amazing artifacts and appreciate the beauty of Chinese calligraphy today!

1. Commentary on the Book of Changes

Zhu Xi was a Chinese philosopher who lived in the 12th century. He is known for his work in the philosophy of Neo-Confucianism.

2. Letter to Prefect Yuanbo (In a Pure Autumn)

Lu You was a talented scholar who excelled at poetry and prose. His works had an unusual quality of splendor full of dramatic sentiment. He was the most important poet of the Southern Song period. Lu wrote this letter in the Qiandao sixth year (1170) to his friend, Zeng Feng.

3. Letter to the Commandery Administrator Huizhi (In the Depths of Autumn)

Zhu Xi writes to the people of Tanzhou about the government affairs that need to be addressed. He also mentions the death of Retired Emperor Xiaozong and the ascension of Emperor Guangzong. The letter is written with smooth, flowing lines.

4. Calligraphy of the Four Song Masters

This handscroll has four sections, each with a different example of Northern Song calligraphy. The first section is the "Haiyu" modelbook, a letter written by Cai Xiang in his thirties.

5. The Cold Food Observance

Su Shih, who was from Szechwan, is probably best known by his nickname, Tung-p'o. He was a bold scholar-official who was accused of literary slander and banished from the capital.

6. Poem in Seven-character Verse

Huang T'ing-chien (style name Lu-chih; sobriquet Fu-weng) was a native of Fen-ning, Kiangsi. At the age of 23, he received his Presented Scholar (chin-shih) civil service degree.

7. Poem

Chao Chi was the eighth emperor of the Sung dynasty and ruled from 1101 to 1125. He was known for his extravagant lifestyle, which is believed to be part of the reason for the near collapse of the dynasty and his own demise at enemy hands.

8. On Szechwan Silk

Mi Fu was an official, poet, painter, and calligrapher during the Northern Sung period. He was known as one of the Four Sung Masters of calligraphy, along with Ts'ai Hsiang, Su Shih, and Huang T'ing-chien.

9. Letter to Officer-Gentleman Tu

Ts'ai Hsiang was a gifted calligrapher who studied the style of Yü Shih-nan, Yen Chen-ch'ing, and the styles of Chin dynasty masters.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here you will find a wide range of works by some of China's most talented artists, including Pasturing Horses, A Palace Concert, Herd of Deer in an Autumnal Grove, Early Snow on the River, Storied Mountains and Dense Forests and The Red Cliff. These pieces provide us with a unique insight into Chinese culture during this period, and are sure to captivate younger grade-schoolers. Come take a look at these incredible artifacts today!

1. Pasturing Horses

This work, the third leaf in the album "Collected Treasures of Famous Paintings," shows a groom riding on a white horse side-by-side leading a black steed. On the painting is an inscription by the Song dynasty emperor Huizong (1082-1135) that reads, "

2. A Palace Concert

This painting shows a group of ladies enjoying a meal and music at a palace concert.

3. Herd of Deer in an Autumnal Grove

This painting is of a bunch of deer hanging out in a forest during Autumn.

4. Early Snow on the River

This painting is a handscroll, which means it unrolls from right to left. It has a description of figures and a landscape.

5. Storied Mountains and Dense Forests

Chu-jan was a painter who followed Li Hou-chu to the newly established Sung dynasty capital of K'ai-feng in 975.

6. The Red Cliff

The painting is unsigned, but the artist is Wu Yuan-chih.

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! These works of art were created by some of the most influential painters in Chinese history, and they offer us a unique insight into the culture of this period. You will find works such as Dwelling in the Fu-ch'un Mountains (Wu-yung Version), Twin Pines, Forest Chamber Grotto at Chu-ch'u, The Jung-hsi Studio, Fishermen Returning on a Frosty Bank and Kublai Khan Hunting. These masterpieces are sure to captivate you with their beauty and detail. Come explore these incredible artifacts today!

1. Dwelling in the Fu-ch'un Mountains (Wu-yung Version)

The article discusses how the environment is important to people.

2. Twin Pines

Wu Chen was a native of Chia-hsing in Chekiang province. He was gifted at poetry and prose, as well as painting landscapes and bamboo in monochrome ink.

3. Forest Chamber Grotto at Chu-ch'u

Wang Meng was a grandson of the famous artist Chao Meng-fu. He was implicated in the case of Hu Wei-yung and died in prison. His painting followed the styles of Wang Wei, Tung Yuan, and Chu-jan. He became one of the Four Great Masters of the Yuan.

4. The Jung-hsi Studio

Ni Tsan was a native of Wu-hsi, Kiangsu. He was a lover of books, a collector, and an amateur poet and painter.

5. Fishermen Returning on a Frosty Bank

T'ang Ti was a young Chinese artist who was born in Wu-hsing, Chekiang. He was very talented and studied the landscape style of Chao Meng-fu.

6. Kublai Khan Hunting

Liu Kuan-tao was a celebrated court painter of the Yuan dynasty. He was appointed to the Imperial Wardrobe Service in 1279.

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! These works of art are some of the most important pieces in Chinese history, and they tell us a lot about the culture and people of this period. You will find Manual of Ink Bamboo by Wu Zhen, Meeting Friends in a Pavilion among Pines by Wang Yuan, Cloud-girdled Peaks by Gao Kegong, Pair of Lohan Paintings, Riverside Pavilion and Mountain Hues by Ni Zan, Inscribing a Portrait of Ni Zan, Wild Duck by a River by Chen Lin, Nymph of the Luo River by Wei Jiuding, Five Horses by Zhao Yong and Autumn Colors on the Qiao and Hua Mountains by Zhao Mengfu. Come explore these incredible artifacts today!

1. Manual of Ink Bamboo

Wu Zhen was a Chinese painter who lived in the Yuan Dynasty. He was known as Meihua ("Plum Blossom") daoren. In 1350, he painted an album of bamboo pictures for his son, Fonu.

2. Meeting Friends in a Pavilion among Pines

Wang Yuan was a painter from Qiantang, China. He learned from the master painter Zhao Mengfu.

3. Cloud-girdled Peaks

The ancestors of Gao Kegong came from Western Asia. Gao Kegong was a minister in the Yuan dynasty under the Mongols. He served in the Jiangnan area and lived in Hangzhou.

4. Pair of Lohan Paintings

Nine lohans, or Buddhist worthies, appear in the left and right scrolls, with two attendants each. This makes for a total of eighteen lohans, which is a traditional number.

5. Riverside Pavilion and Mountain Hues

Ni Zan was a very talented painter, especially when it came to landscapes and ink bamboo paintings. His calligraphy was also beautiful and amazing. He was one of the Four Yuan Masters, along with Huang Gongwang, Wu Zhen, and Wang Meng.

6. Inscribing a Portrait of Ni Zan

The painting depicts Ni Zan with brush and paper, as if about to pour out his heart. The painting uses pale colors, which reflect an important friendship in Chinese painting and the development of literati portraiture. This makes the painting significant and high quality.

7. Wild Duck by a River

Chen Lin was a famous painter from the late Song dynasty into the Yuan dynasty. This painting depicts a mallard standing on a riverbank below some hibiscus. The brushwork for depicting the duck is delicate.

8. Nymph of the Luo River

This painting by Wei Jiuding is a rare and precious work. It is done in "baimiao" fine ink lines, which are very thin and precise. The painting depicts the goddess of the Luo River riding mysteriously on clouds and gliding over ripples of misty river waters.

9. Five Horses

Zhao Yong was the second son of the famous scholar-artist Zhao Mengfu. He was especially gifted at depicting figures and saddled horses. This painting, from 1352, shows horses at leisure and a groom dozing against a pine, to create a relaxed atmosphere.

10. Autumn Colors on the Qiao and Hua Mountains

Zhao Mengfu was a skilled painter and calligrapher who advocated for revivalism. His work had a great impact on literati painting and calligraphy. In 1295, he painted a scene of his travels through Shandong for Zhou Mi, who was longing for his ancestral homeland.

Welcome to the National Palace Museum's collection of Qing dynasty paintings! This collection features some of the most beautiful and intricate works of art from this period. Here you will find One Hundred Horses by Giuseppe Castiglione, a painting that showcases his skill in capturing movement and detail. You will also find other works from this era, such as landscapes, portraits, and more. Come explore these amazing pieces of Chinese history today!

1. One Hundred Horses

Giuseppe Castiglione was born on July 19, 1688, in the central San Marcellino district of Milan, Italy. He learned to paint at a local painting studio, and was influenced by the famous painter Andrea Pozzo.

Welcome to the National Palace Museum's collection of paintings from the Qing dynasty! This period saw a flourishing of Chinese art, and these works showcase the range of styles and techniques used by some of the most renowned painters of the time. You can explore works such as Cats and Butterflies of Longevity, Activities of the Twelve Lunar Months: The Twelfth Month, The Five Purities, Summer Mountains and Misty Rain, After Wang Wei's "Snow Over Rivers and Mountains", The Peach Blossom Fishing Boat, Peonies, Green Mountains and White Clouds, After Wang Meng's "Mountain Dwelling on a Summer Day" and Along the River During the Ch'ing-ming Festival. Come take a look at these incredible pieces today!

1. Cats and Butterflies of Longevity

Shen Zhenlin was a painter from Wuxian, China. He served in the Qing court painting academy during the Xianfeng and Tongzhi reigns. Shen specialized in figure and portrait painting, but was also skilled in painting birds, flowers, and landscapes from life.

2. Activities of the Twelve Lunar Months: The Twelfth Month

This painting is one of a set of twelve that was done during the early Qianlong reign (1736-1795). It shows a landscape with snow and frozen waters. The buildings in the painting recede realistically into the distance.

3. The Five Purities

Yun Shouping was a talented artist from Wujin, Jiangsu. He was skilled in poetry, painting, and calligraphy. He was originally known for his landscape paintings, but he later turned to painting birds and flowers.

4. Summer Mountains and Misty Rain

Wang Hui was one of the "Four Wangs" of the early Qing dynasty. He was a native of Changshu in Jiangsu and excelled in painting since childhood. He received instruction from two of the other Four Wangs, Wang Jian and Wang Shimin.

5. After Wang Wei's "Snow Over Rivers and Mountains"

Wang Shih-min was the grandson of Wang Hsi-chueh, prime minister in the late Ming dynasty.

6. The Peach Blossom Fishing Boat

Wang Hui was a native of Ch'ang-shu in Kiangsu who studied landscape painting under Wang Shih-min (1592-1680) and Wang Chien (1598-1677) as a youth.

7. Peonies

Yun Shou-p'ing was a native of Wu-chin (modern Ch'ang-chou, Kiangsu) who grew up in a family of limited means. This prevented him from attending the examinations for civil office, but he devoted himself to studying nonetheless.

8. Green Mountains and White Clouds

Wu Li was a native of Ch'ang-shu, Kiangsu. He was a student of Wang Chien and Wang Shih-min.

9. After Wang Meng's "Mountain Dwelling on a Summer Day"

Wang Yuan-ch'i was a scholar and artist who served as a personal painter-connoisseur for the K'ang-hsi emperor. He was also one of the editors of an imperial compilation of painting and calligraphy.

10. Along the River During the Ch'ing-ming Festival

This work is based on an original by Chang Tse-tuan (active early 12th century). It is a masterful unfolding of Sung dynasty life and customs at the capital of Pien (K'ai-feng) in a long handscroll format. This theme, popular in the Northern Sung (960

Welcome to the National Palace Museum's collection of paintings from the Ming dynasty! Here, you can explore works by some of China's most renowned painters, including T'ao Ku Presenting a Lyric to Ch'in Jo-lan, Spring Dawn in the Han Palace, Flowers and Bamboo, Shady Trees in a Summer Landscape, Ducks Sleeping on a Lotus Bank, After the Line "Idly Watching Children Catch Willow Flowers", Returning Late from a Spring Outing, Plum Blossoms and Wild Bird and Enjoying Antiquities. These works are a testament to the skill and creativity of these artists, and they provide us with a unique insight into Chinese culture during this period. We hope you enjoy exploring these incredible artifacts!

1. T'ao Ku Presenting a Lyric to Ch'in Jo-lan

T'ang Yin was one of the Four Great Masters of the Ming. He learned from Chou Ch'en and copied the works of other artists, like Li Ch'eng, Fan K'uan, Ma Yüan, and Hsia Kuei.

2. Spring Dawn in the Han Palace

Ch'iu Ying came from a poor family. When he was old enough, he became an apprentice for a lacquer artisan. He learned how to paint from Chou Ch'en and became very successful at it. People couldn't tell if his paintings were copies or originals.

3. Flowers and Bamboo

Hsu Wei was a native of Shan-ying (modern Shao-hsing, Chekiang) and excelled in painting landscapes, figures, flowers and insects, and bamboo and stones.

4. Shady Trees in a Summer Landscape

Tung Ch'i-ch'ang was a famous painter from Hua-t'ing, near Shanghai. He was especially good at painting landscapes in the style of Tung Yuan and Chu-jan, two 10th-century painters.

5. Ducks Sleeping on a Lotus Bank

Lu Chi was a famous court painter in the Ming Dynasty. He was provided with a sinecure post in the Imperial Bodyguard. On a moonlit night in thick fog, four geese rest on a sand bar amidst lotuses and rushes.

6. After the Line "Idly Watching Children Catch Willow Flowers"

Chou Ch'en's student, Tung-ts'un, was a native of Wu-chun and studied landscape painting from Ch'en Hsien.

7. Returning Late from a Spring Outing

Tai Chin was a painter who was born in Ch'ien-t'ang (modern Hangchow). When he was young, he studied painting under local artists and became good at painting landscapes and figures. During the Hsuan-te reign (1426-1435), he was recommended to work

8. Plum Blossoms and Wild Bird

Ch'en Hung-shou was a Chinese artist who lived during the Ming and Ch'ing dynasties. He was known for his paintings and calligraphy.

9. Enjoying Antiquities

This work may have been two hanging scroll panels mounted as a standing screen. It represents the appreciation of antiquities and depicts the leisurely activities of zither, chess, calligraphy, and painting associated with literati. The style is elegant and straightforward, much in the tradition of the Southern Sung (1127-

Welcome to the National Palace Museum's collection of paintings from the Ming dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. You will find paintings such as Picking Lotuses by Tang Yin, Waiting for the Ferry on an Autumn River by Qiu Ying, Four Immortals Paying Homage to Longevity by Shang Xi, Crossing a Bridge over a Stream by Dai Jin, The Three Friends and a Hundred Birds by Bian Wenjin, Fishing in Reclusion Among Mountains and Streams by Tang Yin, Departure Herald by an unknown artist, Return Clearing by an unknown artist, Lofty Mount Lu by Shen Chou and Old Trees by a Cold Waterfall by Wen Cheng-ming. We hope you enjoy exploring these incredible artifacts!

1. Picking Lotuses

Tang Yin was a very talented artist who lived during the Ming dynasty. He was especially good at calligraphy, painting, poetry, and prose. This painting is of some boating maidens on a lake covered in lotuses.

2. Waiting for the Ferry on an Autumn River

Qiu Ying was a famous painter who lived in Suzhou. He studied painting under Zhou Chen and became very good at landscape and figural painting. This painting is done on two pieces of silk joined together to make a large hanging scroll.

3. Four Immortals Paying Homage to Longevity

This painting is called "The Four Immortals on Waves," and it was made by Shang Xi during the Xuande reign (1426-1435). The painting shows four different immortals from Buddhist and Daoist origin.

4. Crossing a Bridge over a Stream

Dai Jin was the founder of the "Zhe School" of landscape painting in the Ming dynasty. He was upheld by later generations as the standard bearer of the school, and his style became a model for other artists.

5. The Three Friends and a Hundred Birds

Bian Wenjin was an important bird-and-flower academic painter during the early Ming dynasty. His style followed the tradition of fine brushwork and strong colors tracing back to the Northern Song school of Huang Quan.

6. Fishing in Reclusion Among Mountains and Streams

This handscroll painting by Tang Yin depicts pine trees, red maples, and yellow leaves against a waterfall and flowing stream with thatched cottage and water kiosk buildings scattered among rocky banks.

7. Departure Herald

This handscroll depicts a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tom

8. Return Clearing

In this handscroll, there is a great imperial procession making its way to the imperial tombs to pay respects. The procession is departing from the Te-sheng ("Victory") Gate of the Peking city wall and the artists have depicted shops along the way, as well as the appearance of ceremonial guards

9. Lofty Mount Lu

Shen Chou was a native of Ch'ang-chou, Kiangsu province. He was an excellent poet, essayist, and calligrapher, and also a very good painter. Shen Chou completed this work in 1467 when he was 40.

10. Old Trees by a Cold Waterfall

Wen Cheng-ming was a very talented artist who was good at painting, calligraphy, poetry, and prose. He was a student of Shen Chou and became one of the Four Great Masters of the Ming. Many people looked up to him and he had a lot of influence.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! These works of art were created by some of the most influential painters in Chinese history, and they offer us a unique glimpse into the culture of the time. You will find masterpieces such as Remote View of Streams and Hills by Hsia Kuei, Paised Egrets on a Snowy Bank by Ma Yuan, Evening Outing by Torchlight by Ma Lin, Scholar by an unknown artist, Immortal in Splashed Ink by Liang K'ai, Kuan-yin of a Thousand Arms and Eyes by an unknown artist, and Ancient Temple Concealed in Seclusion by Chia Shih-ku. We hope you enjoy exploring these incredible works of art!

1. Remote View of Streams and Hills

Hsia Kuei was a painter who lived during the Southern Sung period (1127-1279). He was born in Ch'ien-t'ang (modern Hangchow) and was promoted to the rank of Painter-in-Attendance during the reign of Emperor Ning-tsung

2. Paised Egrets on a Snowy Bank

Ma Yuan was from a family originally from Ho-chung, Shansi. His family later moved to Hangchow, the capital of the Southern Sung. He served as a Painter-in-Attendance at the court of Emperors Kuang-tsung and Ning-tsung.

3. Evening Outing by Torchlight

Ma Lin was a painter who served the court during the reigns of Emperors Ning-tsung and Li-tsung. Most of his surviving works were done for the court.

4. Scholar

A scholar is shown seated on a lounge bed, thinking deeply. He holds a brush, as if he is taking a break from his studies or is about to write something. Behind him is a screen, upon which is painted a sandy shore and some waterfowl.

5. Immortal in Splashed Ink

Liang K'ai was a very talented painter, and learned from a great teacher. He was able to paint figures, landscapes, and religious subjects very well. In 1210, he was given a high honor by the court, but he refused it and left.

6. Kuan-yin of a Thousand Arms and Eyes

Kuan-yin is a bodhisattva, or enlightened being, who represents mercy and compassion in Buddhism. This painting shows her in an important form that is often seen in esoteric, or mystical, Buddhism. The colors and details in the painting are beautiful and very well done.

7. Ancient temple concealed in seclusion

Chia Shih-ku was a painter who lived in China during the Shaohsing reign (1131-1162). Not much is known about his life, but we do know that he was talented in painting Buddhist and Taoist figures.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most beautiful artwork from this period. We have a variety of different paintings on display here, including Autumn Colors among Streams and Mountains, Pair of Wild Geese on an Autumn Islet, Bamboo in Monochrome Ink, Travelers Among Mountains and Streams, Early Spring, Blue Magpie and Thorny Shrubs, Magpies and Hare, Wind in Pines Among a Myriad Valleys, Children at Play in an Autumnal Garden and Lohan. These are all stunning works of art that give us a glimpse into the culture and society of the Song dynasty. Come take a look at these incredible artifacts today!

1. Autumn Colors among Streams and Mountains

This painting has layers of mountains with shoals and slopes in the lower half. The mountains are rounded and have light ink to look like misty waters. This painting is from the time when people were transitioning from the Northern Song style to the Southern Song style. The brushwork is quite refined.

2. Pair of Wild Geese on an Autumn Islet

The painting depicts a pond on an autumn day with geese resting on a shoal in the center. The surrounding area is filled with dry reeds, red polygonum, and withered lotuses. The artist has arranged the elements in a circular pattern.

3. Bamboo in Monochrome Ink

Wen Tong was talented at poetry and writing, as well as calligraphy. He is also credited with inventing the genre of ink bamboo painting. This painting shows bamboo growing from the upper left, likely from a cliff that is not seen.

4. Travelers Among Mountains and Streams

Fan K'uan was a native of Hua-yuan in Shensi province. He was known for his kind and generous character, straightforward personality, and fondness of drink and the Tao. He is famous now for his beautiful landscape paintings.

5. Early Spring

Kuo Hsi was a court painter who served under Emperor Shen-tsung in the Han-lin Academy of Painting. He was known for his large, landscape paintings, often featuring pine trees and misty, cloud-covered scenery.

6. Blue Magpie and Thorny Shrubs

Huang Chu-ts'ai was the son of the famous bird-and-flower painter Huang Ch'uan. He followed in his father's style of painting. The paintings by the two Huangs set the standard for artistic excellence in the painting academy of the early Sung dynasty.

7. Magpies and Hare

This painting is of two magpies and a hare. The magpies are crying out at the hare, but the hare doesn't seem very scared. It almost looks like it's calmly thinking "I can't even pass through?" The painting has good balance and flow.

8. Wind in Pines Among a Myriad Valleys

Li T'ang was a painter who served in the Han-lin Academy of Painting under Emperor Hui-tsung of the Northern Sung. After the fall of the Northern Sung in 1126, Li escaped to the south, where the government had re-established as the Southern Sung.

9. Children at Play in an Autumnal Garden

Su Han-ch'en was a painter who specialized in painting Buddhist and Taoist figures. He was born in K'ai-feng, Honan. During the Hsuan-ho era (1119-1125), he worked as a Painter-in-Attendance at the imperial academy.

10. Lohan

Liu Sung-nien was a painter who lived in Ch'ien-t'ang (modern Hangchow) during the Ch'un-hsi and Shao-hsi eras (1174-1194).

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most amazing works of art from this period in Chinese history. You will find works such as Strange Peaks and Myriad Trees, River Boats and Mountain Town, The Buddha Preaching the Law, Preparing Clothes, The Ladies' Book of Filial Piety (Scroll 1), Literary Gathering, Scroll of Buddhist Images, Plants and Insects in Autumn and Reading in an Open Hall. These incredible works of art provide us with a unique insight into life during this time period. Come take a look at these fascinating artifacts today!

1. Strange Peaks and Myriad Trees

This painting shows the scenery of high mountains with distant peaks appearing above clouds and a rising foreground enveloped in mist. The three groups of mountain forms echo each other, and the blank areas of clouds and mist highlight them further.

2. River Boats and Mountain Town

This painting shows two mountains rising up to surround a town with a temple on a mountainside and shops here and there. The temple is on a level outcropping and is built up the slope.

3. The Buddha Preaching the Law

This painting shows the Buddha sitting on a lotus pedestal with two kings on either side. The kings are wearing armor and holding swords and lances. There are also two other figures in the painting. One is a bodhisattva making offerings, and the other is a disciple.

4. Preparing Clothes

This work, done in 1240, is based on "Poetry on Preparing Clothes" by Xie Huilian (397-433) of the Southern Dynasties period.

5. The Ladies' Book of Filial Piety (Scroll 1)

The Ladies' Book of Filial Piety is a book about proper behavior for women, written by Madame Zheng during the Tang dynasty. Only half of the original eighteen sections are still available today.

6. Literary Gathering

This painting shows a group of scholars enjoying a meal outdoors by a pond. There is a big table with lots of food and dishes under a tree. In the front, there is a smaller table where some young attendants are preparing tea.

7. Scroll of Buddhist Images

This is the only surviving painting from the Dali kingdom, which was located in what is now Yunnan. The painting is from roughly the same time as the Song dynasty. The painting is divided into four sections.

8. Plants and Insects in Autumn

This small painting by Li Di shows the leafy tips of some plants, on which a praying mantis raises its forelimbs in an apparent attempt to catch a beetle that has just flown away before becoming its next meal.

9. Reading in an Open Hall

This painting shows a corner of a courtyard by a lake, with hills and rocks in the scenery. There are tall pines and bamboo around the courtyard, making it look like a peaceful place to live.

10. Strange Peaks and Myriad Trees

This painting shows a scene with high mountains in the background, and closer, foggy mountains in the foreground. The three groups of mountains echo each other. The brushwork on the rocks is similar to that of Li Tang from 1070-after.

Welcome to the National Palace Museum's collection of curios! Here, you can explore some of the most unique artifacts from China's imperial past. We have a variety of different curios on display here, including a Pair of "Bovet" pocket watches with pearls and painted enamel, a Glass Inside-Painted Snuff Bottle with a Traveling Scene, a Brush Holder with Letter-reading Scene and Ivory balls of nested concentric layers with human figures in openwork relief. These are all amazing pieces that tell us about the culture and lifestyle of people during this time period. Come take a look at these incredible artifacts today!

1. Pair of "Bovet" pocket watches with pearls and painted enamel

Since they were brought to China during the Ming and Qing eras, western clocks and watches have been held in high esteem. Pocket watches, with their intricate design and wearable nature, became not only a convenient way to tell time, but also a status symbol and precious collectable.

2. Glass Inside-Painted Snuff Bottle with a Traveling Scene

In the late 17th century, Western snuff and snuff containers entered China. At its peak, various Western countries and the Vatican in Rome often presented snuff and snuff containers as gifts to the court.

3. Brush Holder with Letter-reading Scene

A segment of bamboo has been turned into a brush holder. It has a flat top and the bottom is the divided part of the bamboo. On the outside, there is a carving of a woman with an elegant hairstyle. She is standing in front of a screen that has a handscroll on it.

4. Ivory balls of nested concentric layers with human figures in openwork relief

This set of movable openwork ivory balls nested in concentric layers comprises four main parts: a dragon fish hook, two ladies-in-waiting carved in the round, a set of hollow nested concentric balls, and a pendant depicting the Heavenly Twins of Conjugal Felicity.

Welcome to the National Palace Museum's collection of curios! Here, you can explore some of the most amazing artifacts from China's imperial past. We have a variety of different items on display here, including a Cloisonne Box with Lotus Decoration, Carved Bamboo Root Carving of a Well-Wishing Horse and Monkey, Cloisonne Censer in the Form of a Wild Duck, Tuan Inkstone with Cloud-and-Dragon Decor and 99 Columns, Round Box with Peony Decor Filled-In Lacquerware, Copper-body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay, Ch'in (Chinese Unfretted Zither), Glass-body Painted Enamel Snuff Bottle in the Shape of a Bamboo Section, Painted Enamel Vase with Dragons and Peony Decoration, and Silver Raft Cup of "Zhang Qian Riding a Raft" with the Mark of Zhu Bishan. These are all incredible pieces of Chinese history that tell us about how people lived during this time period. Come take a look at these fascinating artifacts today!

1. Cloisonne Box with Lotus Decoration

This lotus cloisonné box is made of filigree work on a copper body. The flat lid is decorated with lotus blossoms and pods. The sides of both the box and lid are curved after the shape of lotus petals.

2. Carved bamboo root carving of a well-wishing horse and monkey

This carving depicts a horse and monkey in a bamboo root. The horse is in a semi-reclining position, and the monkey is holding a peach.

3. Cloisonne censer in the form of a wild duck

Enamelwork is a decorative craft that involves adorning a metal body with a vitreous glaze and then firing it. One of the earliest enamelwork techniques is cloisonné, which involves creating compartments (known as "cloisons") on the surface of the metal body using thin

4. Tuan Inkstone with Cloud-and-Dragon Decor and 99 Columns

This inkstone was carved from a single piece of Tuan River stone. The stone is greyish-black with yellowish-green eyes with brownish-yellow points in the center. The top of the stone on the reverse side is slightly damaged.

5. Round Box with Peony Decor Filled-In Lacquerware

The author of the article argues that the SAT is not a valid measure of intelligence. They say that the SAT does not measure creativity, social skills, or the ability to work with others. The author also argues that the SAT is biased against certain groups of people.

6. Copper-body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay

This snuff bottle has a decorative style that combines East and West. The panel in the center of the object represents plum blossoms painted in gold lacquer, which was popular in European markets.

7. Ch'in (Chinese unfretted zither)

The "ch'in," or zither, is an ancient Chinese stringed instrument that has gone through many changes over the centuries. There are also stylistic differences observable in "ch'in" made from different locations and makers in China.

8. Glass-body Painted Enamel Snuff Bottle in the Shape of a Bamboo Section

This enamelware piece from the Yongzheng reign is characterized by its panels in a full composition, traditional bird-and-flower painting as subject matter, colorful background, and inscriptions in panels of auspicious shapes.

9. Painted enamel vase with dragons and peony decoration

The Yongzheng reign was a time of great change in Chinese art, with the development of painted enamelware. This new type of ware was originally from the West, and the Yongzheng emperor was keen to adopt it and make it his own.

10. Silver raft cup  of "Zhang Qian Riding a Raft" with the mark of Zhu Bishan

This silver raft cup is based on the story of Zhang Qian of the Han dynasty, who is said to have ridden a raft to trace the source of the Yellow River. He eventually travelled to the Milky Way, where he met the Cowherd and the Weaver Girl.

Welcome to the National Palace Museum's collection of curios from the Qing dynasty! Here you will find a variety of fascinating artifacts, such as a Planter with a coral carving of the planetary deity Kuixing, a Gilt Flint Case with Coral-and-Turquoise Inlay, a Bamboo Water Container in the Shape of a Lotus Leaf, a Champleve Box with Filigree Work, an Ivory Four-tiered Food-Carrying Case in Openwork Relief, a Meat-shaped Stone, a Set of Square Maki-e Lacquer Boxes decorated with Cherry Blossom Designs, a Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom, a Pair of Gilded Bronze Pocket Watches Decorated with Painted Enamel and a Gold Mandala with Turquoise Inlay. Come explore these incredible artifacts today and discover the amazing history behind them!

1. Planter with a coral carving of the planetary deity Kuixing

This was a popular planter display in the Qing dynasty court. The deity is accompanied by accessories such as fluttering sashes, and holds a representation of the Big Dipper and a branch of plum blossoms.

2. Gilt flint case with coral-and-turquoise inlay (with carved lacquer box and Qianlong reign mark)

This gold gilt rectangular box-shaped case has thin iron plates inlaid at the bottom. When you release the coral knob at the top, you can open the case to reveal a long, narrow interior container made of thin gold plate. This is where the flint and tinder were stored.

3. Bamboo Water Container in the Shape of a Lotus Leaf, with signature of Zhu Sansong

The root of a bamboo has been carved here into the shape of a lotus leaf.

4. Champleve Box with Filigree Work

The box is decorated with gold filaments and colorful enamelware. The enamelware is used to highlight the gold filaments, giving the box a lustrous appearance.

5. Ivory Four-tiered Food-Carrying Case in Openwork Relief

This handled food container is divided into four levels, into which different kinds of food can be placed. The carving is very refined, with the main part carved delicately in openwork from an ivory panel, which was inlaid into the frame.

6. Meat-shaped Stone

The "Meat-shaped stone" was carved from jasper minerals. The natural layered patterns were used by the artist to create the appearance of pork skin marinated in soy sauce.

7. Set of Square Maki-e Lacquer Boxes, Decorated with Cherry Blossom Designs

This small set of Japanese lacquered boxes includes three small boxes and a shallow dish. It was used as a curio box for objects in the Qing dynasty, which explains why a small jade object is found stored in each of the small boxes.

8. Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom

Chen Zuzhang was originally from Guandong and had already entered the Imperial Bureau of Manufacture during the Yongzheng reign. In 1737, he carved a small boat out of an olive pit. On the boat are eight figures, each with their own unique expression.

9. Pair of Gilded Bronze Pocket Watches Decorated with Painted Enamel

In the middle of the 18th century, the center for the production of pocket watches was in London. This pair of pocket watches not only testifies to Sino-Western exchange, but is also a marvel of mechanical and artistic craftsmanship.

10. Gold Mandala with Turquoise Inlay

This mandala comes with a finely worked leather box made in the Qianlong era (1736-1795). It includes a piece of white silk, on which is an inscription in four languages (Manchu, Chinese, Mongolian, and Tibetan) and a recording of an important historical event.

Welcome to the National Palace Museum's collection of curios from the Qianlong reign of the Qing dynasty! Here, you can explore a wide variety of amazing artifacts, such as Cloisonne and painted enamel butter tea jars, Round Bamboo-Veneered Curio Boxes with Lotus Blossom Decor, Inkstones for Imperial Usage, Carved Polychrome Lacquer Boxes in the Shape of Conjoined Spheres and Square Sandalwood Curio Cases. These curios are all unique pieces that give us a glimpse into the culture of this time period. Come take a look at these incredible artifacts today!

1. Cloisonne and painted enamel butter tea jar

The most outstanding examples of cloisonné enamelware during the Qing dynasty were the painted enamelware.

2. Round Bamboo-Veneered Curio Box with Lotus Blossom Decor (Containing 27 Curios)

This curio box has been joined by bamboo thread and has a carved bamboo veneer with lotuses applied to the outer surface. The design allows for the four fan-shaped quadrants of the body to be either spread out in a line or turned around to form a square display box.

3. Inkstones for Imperial Usage

This inkstone has a base with six cloud-head feet, and in the middle underneath is carved a round and square seal. The upper one in relief is in clerical script in two lines and reads "Pure Curio of the Qianlong [Emperor]", while the lower one is engraved in two lines of

4. Carved Polychrome Lacquer Box in the Shape of Conjoined Spheres

This treasure chest has two layers, a dark yellow bottom and a bright red top. The panels on the surface are carved with images of tribute.

5. Square Sandalwood Curio Case (Containing 32 Curios)

This curio box looks like a plain container when it is closed. It does not take up much space in storage, which is an advantage. The outside may appear simple, but it is not monotonous.

Welcome to the National Palace Museum's collection of jades from the Song dynasty! These pieces are some of the most exquisite and unique artifacts from this period in Chinese history. You will find a variety of different jades on display here, including a Jade Tablet, Jade Pi-Hsieh, auspicious beast, Jade Gui Tablet, Xi Bodkin with Chi Tiger Pattern, Jade Duck, Jade Hooked Cloud-shaped Pei Ornament, Jade Pig-dragon and Jade High-stemmed Cup. Each of these pieces is a work of art, crafted with skill and precision by ancient Chinese artisans. Come explore these beautiful jades today!

1. Jade Tablet

The hardness of the jade tablet on the Mohr's scale is 6.5, and it is marked by a warm luster. The color is ochre-red along with yellow and green as well as spots of varying sizes, appearing like stars in the Milky Way.

2. Jade Pi-Hsieh, auspicious beast

The "pi-hsieh" is a mythological creature that people in ancient China thought could ward off evil forces. It was often represented as a winged, four-legged beast, and huge stone statues of it were placed along the spirit road leading up to tombs.

3. Jade Gui Tablet

The Longshan culture was a time when social divisions became more distinct. Only members of the ruling class were allowed to use jade, which was seen as a symbol of social status. Long, narrow pieces of jade were called gui, while larger, broader pieces were known as yue.

4. Jade Gui Tablet

This jade gui tablet is yellow on both sides, with the lower half of the reverse side having a red tinge. The cutting edge of the blade is much darker, almost black, and exhibits many nicks. The other end, where the tablet was held, also shows signs of damage.

5. Xi Bodkin with Chi Tiger Pattern

This piece is a carving of a "xi" dragon, a type of hornless dragon that resembles a tiger. The dragon is shown in profile, with its head turned back. The carving is unique because it is made with hints of russet red.

6. Jade Duck

This jade duck was sculpted using a yellow nephrite. Its head, belly, and feet are dark brown in color. The jade duck features simple sculpting techniques. However, its physical features (i.e., lifted tail and rounded bottom) were accurately portrayed to evoke a sense of

7. Jade Hooked Cloud-shaped Pei Ornament

The ancient Hongshan people saw birds of prey soaring over the deserts and steppes to the west of the Liao River and north of Mount Yan. They concluded that these magnificent birds with strong arched beaks were "mystical" messengers of the gods.

8. Jade Pig-dragon

This unusual-looking pig-dragon is a jade object from the Hongshan Culture. It has bat ears, a wrinkled nose, and an arched mouth, and it looks like an animal embryo.

9. Jade High-stemmed Cup

This is a beautiful, carved jade cup with a high foot. The cup is long and slender, with a round cavity bored through and a handle. There are five horizontal bands extending from the rim to the top of the foot, carved with different cloud and four-petal motifs.

Welcome to the National Palace Museum's collection of jades from the past! Here you will find a variety of beautiful and unique pieces, from a Jade Ornament in the Shape of Phoenix Crowned with Dragon to a Jade Brush Wash in the Shape of Lotus Leaf. You can also explore a Jade Cong Tube from the Liangzhu Culture, a Jade Staff Finial in the Shape of a Pigeon, a Jade Flower-holder in the Shape of Fish-Creature, a Jadeite Cabbage in a Cloisonne Flowerpot, a Jasper Plate with Gold Tracery, a Jade Divine Beast and a Jade Horn-shaped Cup. These artifacts are all incredibly special and tell us about the culture and history of China during this time period. Come take a look at these amazing pieces today!

1. Jade Ornament in the Shape of Phoenix Crowned with Dragon

This phoenix has a kui-dragon as a crown. The entire piece has been carved with great precision to give it great spirit.

2. Jade Cong Tube

This large jade cong tube probably entered the Qing court in the 19th century. It is carved from a piece of deep green nephrite with light and dark ochre spotting. The surface still reveals the arcing traces of depressions left when the jade was first cut.

3. Jade Brush Wash in the Shape of Lotus Leaf

The cup is made of jade, is shaped like a lotus leaf, and has been dyed brownish yellow with occasional grey-white mottling and a russet red that follows the lines of an inscription.

4. Jade Cong Tube

The Liangzhu Culture was a group of people who lived around the Yangtze River about 4000 to 5000 years ago. They used jade cong tubes in their religious ceremonies to worship their gods and ancestors.

5. Jade Staff Finial in the Shape of a Pigeon

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6. Jade flower-holder in the Shape of Fish-Creature

This work of art is a Chinese antiquity that is designed to bring good luck and fortune. It is in the shape of a fish, which is a symbol of good luck in Chinese culture. The fish is leaping out of the water, which represents the overcoming of obstacles.

7. Jadeite Cabbage, in a cloisonne flowerpot

This piece of jadeite is carved to look like a piece of bokchoy cabbage. The white vegetable body and green leaves are very realistic, and there are even two insects on the leaves! These insects are traditionally seen as metaphors for having numerous children.

8. Jasper Plate with Gold Tracery

The Mughal Empire of Northern India had a unique style of decoration and carving that was different from the Chinese jades made at the time in Suzhou. The Hindustan jade from Northern India is marked by its exquisite workmanship. In the eyes of the Qianlong Emperor (r 1736-17

9. Jade Divine Beast

This work depicts a divine beast with wings, carved in the round. The beast has a tiger head, with its mouth open and teeth bared, and a goatee on its chin.

10. Jade Horn-shaped Cup

The vessel is made of greenish-white jade and is shaped like a horn cup. The surface is decorated with the carving of a coiling dragon in relief. The dragon is a symbol of strength and power, and the carving reveals the unique vigor of Han dynasty craftsmanship.

Welcome to the National Palace Museum's collection of other bronze artifacts from the Song dynasty! Here, you can explore some of the most impressive and unique bronze pieces from this period. We have a variety of different items on display here, including the P'eng-tsu-ting Ting, a Gui food container with square base and phoenix pattern, a Zun wine vessel to Yi the grandfather, a Square Ding cauldron of Marquis of Kang and a Zun wine vessel of Ya-qin to Yi the father. These are all important pieces in Chinese history that tell us about how people interacted with each other during this time period. Come take a look at these fascinating artifacts today!

1. P'eng-tsu-ting Ting

This is the heaviest and largest vessel in the National Palace Museum. It is very grand, with majestic animal-mask patterns decorating it. The initial character of the inscription, "P'eng," is the symbol of the clan of which the person who made this vessel belonged to.

2. Gui food container with square base and phoenix pattern

Gui vessels and ding cauldrons were important types of bronze food containers often used together. Cauldrons were used to hold meat, while gui vessels held cooked rice, maize, and other grains.

3. Zun wine vessel to Yi the grandfather

This zun wine vessel was popular during the early Western Zhou dynasty. It has a flared mouth, slightly rotund belly, and a high ring foot, with an angled rim where the base meets the ground. The vessel is decorated with four openwork flanges.

4. Square Ding cauldron of Marquis of Kang

The Fong vessel is a ceremonial vessel that was commissioned by Marquis of Kang. According to historical documents, Kang was the uncle of King Cheng and the youngest brother of the King's father.

5. Zun wine vessel of Ya-qin to Yi the father

There is a Ya-qin crest on both the bronze zun vessel and the bronze seal.

Welcome to the National Palace Museum's collection of other bronze artifacts from the past! This collection features some of the most beautiful and intricate pieces of art from China's imperial era. You will find mirrors with geometric patterns, protrusions, the Four Spirits, and immortal figures, mirrors with lion and grapevine decorations, a Gui food container of Lady Xian Ji, a Hsing Chi Shih Tsun, a He wine/water vessel of Bo-ding, a Gilt Beast-footed Tsun with Mountain Design, a Hu vessel with Hunting Scenes Inlaid in Copper-like Paste, a Ting Vessel with Inscription of the Zhenghe period, a Zun wine vessel in the shape of an animal with metal wire and turquoise inlay, and a Square gui food container with Ya Chou emblem. Come explore these amazing artifacts today and learn more about Chinese culture during this time period!

1. Mirror of Shang-fang with TLV pattern

This mirror is decorated with geometric patterns, protrusions, the Four Spirits, and immortal figures. There is also a ring of auspicious text that states that "the making of this 'fine' mirror is of great favor.

2. Mirror with Lion and Grapevine Decorations

The Tang dynasty made beautiful mirrors, often with foreign decorations. This mirror with lions and grapevines is an important example. The lions are all in unique postures. The insects and birds flow between the lions and grapevines in a beautiful and symmetrical way.

3. Gui food container of Lady Xian Ji

The use of jade mentioned in the bronze inscription suggests that it was mainly used for rewards, edicts, gifts, entertaining, and sacrifices.

4. Hsing Chi Shih Tsun

The phoenix bird with a large tail was a popular decoration during the time of King Mu in the mid Western Zhou period.

5. He wine/water vessel of Bo-ding

The same inscription appears on both the vessel and its cover, but the style of writing is different. One follows the simple strength of the early Western Zhou period, while the other forges a new path towards elegance in the mid Western Zhou.

6. Gilt Beast-footed Tsun with Mountain Design

The tsun was a wine vessel used in the Han dynasty. It was decorated with images of spirits, auspicious beasts, and winged figures, representing paradise as envisioned by people in the Han dynasty.

7. Hu vessel with Hunting Scenes Inlaid in Copper-like Paste

The decoration on this vessel is a shallow relief design with birds holding snakes in their mouths and winged spirit figures on the shoulders. The belly is decorated with figures and animals, and the area below is filled with hooked-cloud and geometric patterns.

8. Ting Vessel with Inscription of the Zhenghe period

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9. Zun wine vessel in the shape of animal with metal wire and turquoise inlay

This pottery vessel is in the shape of a strong, four-legged hoofed animal with raised ears, round eyes, and a dangling tail. The muscles and posture of the animal are realistically portrayed.

10. Square gui food container with Ya Chou emblem

This food container has a square body and a wide mouth. It is decorated with kui phoenix patterns on the neck and longer sides of the ring foot, animal mask patterns on the belly, and bird patterns on the shorter sides of the ring foot.

Welcome to the National Palace Museum's collection of Other Bronzes from China's imperial past! Here, you can explore a variety of artifacts, including P'an with Coiled K'uei-dragon Pattern, Chime-bell Set of Zi-fan, Ting with Coiled Serpent Pattern, Chia Measure, Pan Water Vessel with Coiling Dragon Pattern, Lei Wine Vessel with Goat-head High Reliefs and Knob Pattern, Oval Liang Measure by Imperial Decree of 26th Year, Shakyamuni Buddha, Square Zun Wine Vessel of Ya-chou and Yue Battle Ax with Animal Mask Pattern and Turquoise Inlay. These artifacts provide us with an insight into the culture and technology of ancient China. Come take a look at these incredible pieces today!

1. P'an with Coiled K'uei-dragon Pattern

Ceremonial washing with water vessels was important in ancient China, especially for women's marriages. This practice became popular during the Western Zhou period and continued to be used during the Spring and Autumn period.

2. Chime-bell set of Zi-fan

The Museum purchased 12 pieces of "Zi-fan" chimes in September 1994. 8 of them belonged to one set, and the remaining 4 were the second half of another set. The chimes were commissioned by Hu Yan, the uncle of Prince Chong-Er (696-628 B. C. E

3. Ting with Coiled Serpent Pattern

As the state of Qin developed during the mid Spring and Autumn period, its bronze ceremonial vessels became more unique. However, it was not until the middle of the Warring States period that they began to be strongly influenced by the vessels from Wei of San-chin.

4. Chia Measure

Wang Mang became the ruler of the Xin dynasty after he took the throne from the Han dynasty. He kept the same standards as the past rulers and had new measures made. These measures were called "Chia liang (measures)." This Chia measure is made up of five measures.

5. Pan water vessel with coiling dragon pattern

This pan plate has a coiled dragon on the well, with the head raised and in the center of the plate. The edges have kui dragon, bird, and fish patterns. The exterior walls have rust, but you can see kui dragon patterns with bowed heads. This is from the late Shang period.

6. Lei wine vessel with goat-head high reliefs and knob pattern

This vessel has a tapered mouth and round shoulders. On the shoulders are goat heads in high relief, flat bird patterns in relief, and patterns of kui dragons with lowered heads.

7. Oval Liang Measure by imperial decree of 26th year

The First Emperor of Imperial Qin annexed the other six states and established one grand empire under the heaven. He called himself the First Emperor, replaced the antiquated feudal system with centralized governance, and standardized the written language as well as weights and measures.

8. Shakyamuni Buddha

The Buddha is shown sitting in the full lotus position on a two-tiered stand, with his right hand in the abhaya mudra and his left hand resting on his robe.

9. Square Zun wine vessel of Ya-chou

Cast "Yachou" vessels have often been excavated from Suputun in Itu, Shandong. This has led scholars to believe that "Yachou" represents the "Poku" clan mentioned in the ancient "Zozhuan" text.

10. Yue battle ax with animal mask pattern and turquoise inlay

This axe-blade object is a weapon known as a "yue". The yue was a weapon used by high-ranking military commanders during the late Shang to early Zhou dynasty. The yue was not only a battle weapon, but also a symbol of the high status of the owner.

Welcome to the National Palace Museum's collection of bronze artifacts from the Late Western Zhou dynasty! These pieces are some of the most beautiful and intricate works of art from this period, and they provide us with a unique insight into the culture and customs of this time. You will find vessels such as the Hu wine vessel of Song, Mao-kung Ting, Bell of Zong-zhou, Pan water vessel of San and Xu food container of Le Ji-xian. Each of these pieces has its own unique story to tell, and we hope you enjoy exploring them today!

1. Hu wine vessel of Song

This wine vessel would have been used for important occasions. It is big and has many layers of decoration, making it look very fancy. The same 152-character long inscription can be found on the vessel's lid and inside its body.

2. Mao-kung Ting

This "ting" cauldron has a wide, flared mouth, a linked ring motif decorating the rim, upright handles, and three hoofed feet.

3. Bell of Zong-zhou

This flat oval yong bell has a closed tile shape and 18 mei bosses on either side. Its crown is decorated with cloud patterns, and the waist is adorned with diagonal S-shaped twin kui dragon patterns.

4. Pan water vessel of San

This water vessel was used to store water and other liquids. It has an inscription on the inside that is 350 characters long. The text on the inscription details the land transferred as well as the names and ranks of officials involved in the enforcement of the agreement.

5. Xu food container of Le Ji-xian

The vessel was commissioned by Le Ji-xian to be cherished forever by all future generations.

Welcome to the National Palace Museum's collection of ceramics from the Song dynasty! Here you can find a wide variety of ceramic artifacts, from Pillow in the shape of a recumbent child with white glaze, Ding ware to Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground. We also have Black pottery stemcup, Cocoon-shaped Hu, Bowl with sky-blue glaze and purple splashes, Jun ware, Ju-i Pillow with Azure Glaze and Purple Splashes, Jun ware, Celadon Stembowls, Ko ware, White pottery guei-pitcher and Bowl in black glaze with "hare's fur" striations. These artifacts are all unique and provide us with an insight into the culture and lifestyle of people during this period. Come explore these amazing pieces today!

1. Pillow in the shape of a recumbent child with white glaze, Ding ware

In the Tang dynasty, most people used ceramic pillows that were either glazed with three colors, or were brown, black, or changsha bronze. There were two types of these pillows, one for sleeping and the other for taking a pulse.

2. Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground

This jar was probably used to hold tea.

3. Black pottery stemcup

The Shandon Longshan Culture developed a technique for making ceramic objects using a potting wheel. This allowed them to make vessels with very thin walls, which could be carved with openwork patterns. This type of pottery became known as "egg-shell pottery".

4. Cocoon-shaped Hu

This piece of black pottery has a body in the shape of a silkworm cocoon. The outer surface of the vessel is decorated with multiple sets of parallel lines, in between which are engraved ninety characters of a poem written by the Qianlong Emperor (r. 1736-1795).

5. Bowl with sky-blue glaze and purple splashes, Jun ware

This water jar has a wide, deep mouth and a slightly flaring lower body. The center of the base has a sharp protruding point. The jar is covered with sky-blue glaze and has a linear crackle pattern.

6. Ju-i Pillow with Azure Glaze and Purple Splashes, Jun ware

This pillow is made of porcelain and is in the shape of the "ju-i" symbol. On the flat base, there is a poem written by the Qianlong Emperor in 1776.

7. Celadon Stembowls, Ko ware

Ko ware is a type of light celadon with distinctive crackling. High-stemmed cups and bowls were produced in large quantities during the Yuan dynasty.

8. White pottery guei-pitcher

Pottery was an important artifact in ancient civilizations. In China, sage rulers during high antiquity emphasized the importance of pottery-making as a skill for the people's livelihood. From an archaeological perspective, pottery production first appeared in various places during the Neolithic period.

9. Bowl in black glaze with "hare's fur" striations

The bowl has a flared mouth and deep belly walls.

Welcome to the National Palace Museum's collection of ceramics from the Song dynasty! Here you will find a variety of different pieces, from purple-ground boxes with bird-and-flower motifs in fencai enamels to ruby red-glazed vases and green-ground floral-shaped vases with fish-dragon motifs. We also have a Zun in the form of an elephant of peace, porcelain chicken cups in doucai painted enamels, flasks with ruyi handles and figures decoration in underglaze blue, bright yellow cauldrons with animal-mask decorations, celadon water containers, Yue ware, warming bowls with celadon glaze, Ru ware and narcissus basins in bluish-green glaze, Ru ware. Come explore these incredible artifacts today!

1. Purple-ground Box with Bird-and-Flower Motif in Fencai Enamels

The Empress Dowager Cixi was a powerful ruler who lived a luxurious lifestyle. She loved jadeite, and many of the beautiful porcelains with the "Ta-ya Studio" mark were made for her.

2. Zun in the form of an elephant of peace

This object is an elephant with a vase on its back. The elephant is standing straight with its head turned back and eyes partially closed. The decoration on the saddle brocade symbolizes the mountains of longevity in seas of prosperity, chimes of auspiciousness for plenty, and times of peace.

3. Ruby Red-glazed Vase

Lang Tingji was ordered to go to Jingdezhen kilns factory in 1705 to manage the firing of ceramics at the imperial kiln works.

4. Green-ground Floral-shaped Vase with Fish-Dragon Motif

This vase is tall, thick, and curved. It is a beautiful yellowish-green color. It has two handles that look like animal masks. It also has panels with pictures of fish and dragons.

5. Porcelain chicken cup in doucai painted enamels

Ming dynasty collectors prized blue and white porcelain from the Xuande reign above all other ceramics.

6. Flask with ruyi handles and figures decoration in underglaze blue

The form of this flask was inspired by pottery and glassware from Central and Western Asia. It has a small mouth, slender neck, flat round belly, and flat base. On each side of the neck, there is a bow-shaped handle that links the neck and shoulders.

7. Bright Yellow Cauldron with Animal-Mask Decorations

This is an incense burner in the shape of a ting (cauldron). It has two handles and three legs. It is covered with a bright yellow glaze. On either side of the body is an engraved animal mask.

8. Celadon water container, Yue ware

This celadon water container has a sloping opening and a flat bottom. It was unearthed from the graves of members of the royal household of the Wuyue Kingdom. The color of glaze applied to celadon water containers was deeply influenced by the preference of literati and aesthetes.

9. Warming bowl with celadon glaze, Ru ware

This bowl was molded. The curves on its wall follow the contour of the mouthrim. The entire vessel is coated in celadon glaze, displaying a bluish green color. Both its interior and exterior walls are covered with crackles stained brown.

10. Narcissus basin in bluish-green glaze, Ru ware

This dish is oval-shaped with deep, slightly flaring sides. It has a flat base and four cloud-shaped feet. The body of the dish is very thin on the sides and becomes slightly thicker on the base and feet.

Welcome to the National Palace Museum's collection of ceramics from the Song dynasty! Here you can explore some of the most beautiful and unique pieces from this period. We have a variety of different ceramics on display here, including a Monk's cap ewer with ruby red glaze, Hibiscus-shaped Washer with Bluish-green Glaze, Kuan ware, Vase with phoenix-shaped handles in celadon glaze, Longquan ware, Vase with "Hundred Deer" motif in wucai enamel, White porcelain vase with loops, Xing ware, Sancai figure of a Lokapala, Guardian King, Pottery figure of a standing lady with painted colors, Teapot with blue landscape in falangcai polychrome enamels and Bowl with Blue Landscape in Falangcai Painted Enamels. Come take a look at these incredible artifacts today!

1. Monk's cap ewer with ruby red glaze

This ewer has a top that looks like the kind of cap worn by Tang dynasty monks. That's where it gets its name. It has a pointy spout and a flat handle with a "ju-i" decoration at both ends.

2. Hibiscus-shaped Washer with Bluish-green Glaze, Kuan ware

This is a cosmetics receptacle that was referred to as a "washer" in the past. The whole piece is in the style of a hibiscus, with six petals. The top is modelled to resemble the flower itself in a concave design that ends in a circular indentation in the center.

3. Vase with phoenix-shaped handles in celadon glaze, Longquan ware

This vase is made in the shape of a mallet, with a tray-shaped mouth and a straight neck and body. The neck has two handles in the shape of phoenixes or dragons, in a style that emerged during the early Song dynasty.

4. Vase with "Hundred Deer" motif in wucai enamel

This vase is called the "hundred deer" vase because it has a pattern of 89 deer painted on it. The vase is made of porcelain and is blue and white. It was made during the Wanli reign of the Ming Empire.

5. Pottery figure of ladies playing polo game in sancai tri-color glaze

In the Tang dynasty, people became interested in having more extravagant funerals. This meant that the grave goods – objects buried with the deceased – became more opulent.

6. White porcelain vase with loops, Xing ware

The Xing kilns were an important producer of Northern white wares, located in the NeiQiu and Lincheng regions of modern-day Hepei province. The ceramics manufactured by these kilns are characterized by their fine clay bodies and pure white glaze.

7. Sancai figure of a Lokapala, Guardian King

This sculpture was once used as a tomb guardian to protect against evil. It is very large and has three colors: green, brown, and white. It was given to the museum by the wife of a former Japanese Prime Minister.

8. Pottery figure of a standing lady with painted colors

During the Tang dynasty, funerary rituals were often very elaborate, and often included a lot of grave goods. These were meant to provide for the dead person in the afterlife, and also to show off the wealth of the deceased's family.

9. Teapot with blue landscape in falangcai polychrome enamels

This teapot has a wide mouth and shorter body than most, a curved handle, tubular spout, flat base, and concave foot.

10. Bowl with Blue Landscape in Falangcai Painted Enamels

Compared to enamelware ceramics of the Kangxi reign (1662-1722), official wares of the Yongzheng reign developed in a more image-oriented direction in terms of the surface decorations of vessels.

Welcome to the National Palace Museum's collection of ceramics from the Qianlong reign of the Qing dynasty! These pieces are truly unique and showcase the amazing craftsmanship of this period. On display here, you will find a Revolving Vase with Swimming Fish in Cobalt Blue Glaze, a Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels, a Six Conjoined Vases in Tea Dust Glaze, a Bowl with Indian Lotus Design on a Pink Brocade Ground and a Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs. Come explore these incredible artifacts today and discover the beauty of Chinese ceramics from the Qianlong era!

1. Revolving vase with swimming fish in cobalt blue glaze

This vase has an inverted mouth, inward sloping sides, a long neck, broad shoulders, tapered belly, and short ring foot. The shoulders of the vessel are decorated with four ring-shaped loops. The belly of the vase is divided into inner and outer layers.

2. Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels

The vase is round and flat, and it looks like there are two vases on the outside, one in front of the other. But there is only one vase - the two vases are joined together on the inside.

3. Six Conjoined Vases in Tea Dust Glaze

This unusual vessel consists of five conjoined vases of the same shape and size circling around a central main vase, forming a single complete vase.

4. Bowl with Indian lotus Design on a Pink Brocade Ground

This bowl has a flaring rim, a deep curving body, and a short foot ring. The outer wall is covered with a light pink glaze as a base, on top of which are engraved patterns of plants and geometric designs.

5. Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs

This vase has a special center that can turn, and a top and bottom that fit together. The vase is made with two parts that fit together at the rim. The rim is shaped like a cloud called a ju-i.

Welcome to the National Palace Museum's collection of other documents from the Qing dynasty! Here, you can explore a range of fascinating artifacts from this period, including the Gold-leaf Tributary Document from Siam, Diplomatic Credential Presented by the Great Qing Empire's Overseas Survey Envoy to the Great British Empire and Edicts for the Personal Rule of the T'ung-chih Emperor. These documents provide us with a unique insight into the diplomatic relations between China and other countries during this time, as well as the emperor's orders to his people. We hope you enjoy exploring these incredible artifacts!

1. Gold-leaf Tributary Document from Siam

This document from Siam has a very beautiful binding. The word "piao" was the term that the Qing dynasty government required vassal states to use when writing to the emperors of China.

2. Diplomatic Credential Presented by the Great Qing Empire's Overseas Survey Envoy to the Great British Empire

Diplomatic credentials are official documents sent by the head of state, as representative of his government, to the head of another country. They were used as instruments in international negotiations, and were sent by special emissaries.

3. Edicts: Edict for the Personal Rule of the T'ung-chih Emperor

An edict is a decree issued by the emperor. Edicts are designed to inform all officials, nobility, and commoners of the emperor's orders. Edicts usually deal with matters of great national importance, and are often intricately bound to some major historical event.

Welcome to the National Palace Museum's collection of documents from the Qing dynasty! Here you can explore a variety of documents from this period, including Archives in Old Manchu, Archives of the Diary-keeper, Tripitaka in Tibetan and Manchu, Palace Memorials, Manuscripts and Packets from the Historiography Institute, Map of Taiwan and Illustration of Victory: Archives of the Grand Council. These documents provide us with an invaluable insight into Chinese culture during the Qing dynasty, and are sure to fascinate readers of all ages. Come take a look at these incredible artifacts today!

1. Archives in Old Manchu

In 1599, Nurhaci, the Manchu leader, ordered scholars Erdeni and others to create a written language for the Manchu people. This early form of Manchu, derived from Mongolian, was called Old Manchu.

2. Archives of the Diary-keeper

The "Ch'i-chu chu" was an official in imperial China whose duty was to record the daily actions and sayings of the emperor into what was known as the "Archives of the Diary-keeper." This type of historical information was similar to a diary in form.

3. Tripitaka in Tibetan / Tripitaka in Manchu

Buddhism has long been a major world religion. The translation of Buddhist scriptures, known as sutras, into Tibetan and Manchu not only preserved the language and history of these people in China but also assists in the study of Eastern culture. Sutras are therefore a crucial source of historical material.

4. Palace Memorials

In the early Qing dynasty, documents were submitted to the court following the system used in the previous Ming dynasty.

5. Manuscripts and Packets from the Historiography Institute

The Historiography Institute was established by the Hanlin Academy in order to compile official histories. In 1914, the Republic of China approved the establishment of a Qing Historiography Institute on the premises of the former Institute.

6. Map of Taiwan

This map of Taiwan is very long (667 cm) and wide (46 cm). It is a scroll-type paper-based color painting. The map uses a landscape painting method, which makes it look bright and elegant. It also has a lot of artistic value.

7. Illustration of Victory: Archives of the Grand Council

The "Illustration of Victory:Archives of the Grand Council" illustrates the course of pacifying the rebellions led by Dawats and Amursana (leaders of the Zunghar tribe, Oirats, Mongolia) as well as those led by Bulanidun and Hojijan (

Welcome to the National Palace Museum's collection of rare books from various dynasties! Here you will find some of the most important texts in Chinese history, such as the Complete Library of the Four Treasuries, Illustrated Tributes to the Imperial Ch'ing and Vast Documents of the Yung-lo Era. These texts provide us with an invaluable insight into Chinese culture and history during these periods. We hope you enjoy exploring these incredible artifacts!

1. Complete Library of the Four Treasuries

The Complete Library of the Four Treasuries is a collection of major literary works produced in China over successive dynasties.

2. Illustrated Tributes to the Imperial Ch'ing

This book has nine chapters and was put together by Fuheng, Dong Gao, and others. Men Ch'ing-an and others did the illustrations. The book is divided by geography, with the first chapter covering foreign lands like Korea, Ryuku, Annam, England, and France.

3. Vast Documents of the Yung-lo Era

The Ming dynasty's Vast Documents of the Yung-lo Era is a grand compilation project that was started in 1403. The project was ordered by the Yung-lo Emperor who wanted to gather all the books from previous periods. The project was completed five years later and contained a lot of information.

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find the Literary Collection of Liu Ping-k'o, which was compiled into 40 chapters in "Hsin T'ang shu i-wen chih" (New Arts Section of the Tang History), as well as the Literary Collection of Nan-hsüan, which was praised by Zhu Xi for its character and erudition. These are both important pieces of literature that offer an interesting glimpse into life during the Song dynasty. Come explore these incredible artifacts today!

1. Literary Collection of Liu Ping-k'o

Liu Yuxi was a poet of the Tang dynasty whose literary collection was compiled into 40 chapters in "Hsin T'ang shu i-wen chih" (New Arts Section of the Tang History). In the early Sung, ten chapters were lost, leaving only 30.

2. Literary Collection of Nan-hsüan

Zhang Chi was a native of Sichuan. Zhu Xi praised him in his eulogy for his character and erudition. The original Song imprint was mentioned only once, in the collection of Chi Chen-i during the early Qing dynasty.

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find commentaries on ancient classics such as The Book of Mencius, memoirs from Zhao Gongwu who fled K'ai-feng when it was invaded in 1126, anthologies of works by Master Zhu Xi and Du Fu’s Poetry with Annotations. There are also commentaries on the Rites of Chou, Principal Meaning to The Book Of Etiquette And Ceremony, Erh-ya philology text, Illustrated Text Of The Hsuan-ho Emissary To Korea and Six Writings By Master K'ung. These texts are sure to provide an interesting and educational look into the history of China during the Song dynasty. We hope you enjoy exploring these incredible artifacts!

1. Exegeses on the Book of Mencius

The traditional study of the Classics is one of the sources of knowledge of Chinese culture. A large number of notes and commentaries has been left by many talented scholars over the ages. These texts were transcribed by hand until the spread of woodblock printing.

2. Memoirs of Master Chao-te's Readings in the Chun Studio

Mr. Chao-te (Zhao Gongwu) was a man from Shandong who lived in the Chao-te ward of the capital K'ai-feng during the Song dynasty.

3. New Imprint of the Grand and Illuminous Explication of Huai-nan-tzu

The Huai-nan-tzu was written by Liu An, a member of the imperial clan, during the Western Han dynasty (206 BC-9 AD). The book consists of 21 "central" volumes and 33 "peripheral" volumes.

4. New Revised Imprint of Du Fu's Poetry with Annotations

Du Fu was a great Chinese poet who lived during the An Lu-shan rebellion and the restoration of imperial rule in the mid-8th century.

5. Anthology of Works by Master Zhu Xi

The "Anthology of Works by Master Huian" includes the official Chekiang edition published during the reign of Emperor Ningzong (1195-1223).

6. Commentaries on the Rites of Chou

Woodblock editions of the traditional Classics were made as early as the Five Dynasties (907-960). They were carved into wood based on engraved stone Classics of the Tang dynasty (618-907), and included annotations compiled since the Six Dynasties (220-589).

7. Principal Meaning to The Book of Etiquette and Ceremony

Wei Liaoweng was a scholar who lived during the Southern Song dynasty. He got in trouble with the prime minister and was demoted to a countryside position. Wei Liaoweng then devoted his time to compiling information for his books on the essence of the Classics.

8. Erh-ya

The "Erh-ya" is an ancient text devoted to philology, but the identity of the author(s) still remains unclear today. The Qing (1644-1911) editors of the "Ssu-k'u ch'uan-shu" (Complete Library of the Four Tre

9. Illustrated Text of the Hsuan-ho Emissary to Korea

Geographical and travel texts have a long history in China. They go back to when specific officials in the Shang and Zhou dynasties (17th-3rd c. BC) dealt with compiling and organizing geographical texts. This book is an imprint from 1167.

10. Six Writings by Master K'ung

Kong Zhuan was a Chinese scholar who lived during the Song dynasty. He compiled a book of Confucius' teachings, which included six writings by Po Chu-i. This book was later reprinted during the Yuan and Ming dynasties.

Welcome to the National Palace Museum's collection of rare books from the Yuan dynasty! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find literary collections from Fan Zhongyan, exegeses on the Analects, Classified Drafts of the Yuan-feng Era, Essentials to the Collected Meaning of The Four Books, Dynastic Regulations for Sagacious Rule of the Great Yuan and Painting Catalogues of the Hsuan-ho Collection. These documents offer an incredible glimpse into the past and are sure to captivate and inspire you. Come explore these amazing artifacts today!

1. Literary Collection of Fan Zhongyan

Fan Zhongyan was born in 989. He was a diligent student who was very ambitious and talented. He believed in justice and promoting talented people. He also wanted to help the poor.

2. The Analects

This book is called "The Analects" but it is really a collection of exegeses on the Analects. He Yan was not the only author, there were four others. Scholars in the past only mentioned He Yan because he was the leader of the project.

3. Classified Draft of the Yuan-feng Era

Zeng Gong was a Chinese writer from Nan-feng in Chien-ch'ang (modernday Nanfeng County, Jiangxi Province). He was known for his wide learning and for his simple, elegant literary style.

4. Essentials to the Collected Meaning of The Four Books

Liu Yin (1249-1293) was a scholar of the Song dynasty. After the fall of the dynasty in 1279, he turned to a life of seclusion.

5. Dynastic Regulations for Sagacious Rule of the Great Yuan

This is the earliest surviving example of this text and it is also an important source for the study of the Yuan government. However, we do not know who the editor is or when it was printed because there are no prefatory inscriptions or end colophons.

6. Painting Catalogue of the Hsuan-ho Collection

This book is a catalogue of the paintings in the imperial collection of the Song dynasty emperor Huizong (r. 1101-1125). It is divided into ten sections by subject matter, and contains 20 chapters. The book mentions 231 artists from the Jin dynasty (265-317) to the Northern Song dynasty (

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different pieces on display here, including Calligraphing Poetry by Wang To, Five-character Couplet in Seal Script by Ch'i Pai-shih, Essay on Calligraphy by Sun Kuo-t'ing, Draft of a Requiem to My Nephew by Yen Chen-ch'ing and Autobiography by Huai-su. These are all incredible works of art that tell us about the skill and dedication of these artists. Come take a look at these amazing artifacts today!

1. Calligraphing Poetry

Wang To was a Chinese scholar who lived during the Ming and Qing dynasties. He was a Minister of Rites during the Qing dynasty. Wang was known for his skills in calligraphy, and he believed in copying the works of old masters and then writing as one pleases.

2. Five-character Couplet in Seal Script

Ch'i Pai-shih was originally known as Ch'un-chih, but later changed his name to Huang. He was also known by the style name P'ing-sheng and the sobriquet Pai-shih.

3. Essay on Calligraphy

Sun Kuo-t'ing was a famous calligraphy artist from Wu-chün. This work is a record of his experiences and thoughts on calligraphy. It is considered to be a preface to a longer work.

4. Draft of a Requiem to My Nephew

Yen Chen-ch'ing's ancestors came from the Shantung area. During the revolt of Li Hsi-lieh, Yen Chen-ch'ing was instructed to bring an imperial communique to the rebels.

5. Autobiography

Huai-su was a monk who originally went by the name Ch'ien Ts'ang-chen. He was also a devotee of the art of cursive script.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art created by some of China's most influential calligraphers. We have a variety of different pieces on display here, including Yuanhuan by Wang Xizhi, Timely Clearing After Snowfall by Wang Hsi-chih, Three Passages: Ping'an, Heru, and Fengju by Wang Xizhi, Letter to Abbot Zhongfeng (As If in a Drunken Dream) by Zhao Mengfu, Regulated Verse in Seven Characters by Chang Yu, Poetry on the Baotu Waterfall by Chao Meng-fu, Poetry on the Wan-chieh Hall by Yang Wei-chen, The Homecoming Ode by Shen Du, "Wu-i ko" Poems by Wang Ch'ung and Copy from the Ch'un-hua Modelbooks by Liu Yung. These are all stunning works of art that showcase the skill and creativity of Chinese calligraphers during this period. Come take a look at these incredible artifacts today!

1. Yuanhuan

Wang Xizhi was a very skilled calligrapher who was later known as the "Sage of Calligraphy." This piece of calligraphy, called "Xingbie," is actually a copy made by tracing the original and then filling the strokes with ink.

2. Timely Clearing After Snowfall

Wang Hsi-chih was a nobleman from Lin-i in Lang-ya province. He moved south with his father at the end of the Western Chin period (265-316). During his career, he held various official positions.

3. Three Passages: Ping'an, Heru, and Fengju

Wang Xizhi was a famous calligrapher of the Eastern Jin period who established the standards for modern cursive and running scripts.

4. Letter to Abbot Zhongfeng (As If in a Drunken Dream)

Zhao Mengfu was a Chinese artist who was born in Wuxing, Zhejiang. He was recruited by the Yuan dynasty to be a Hanlin Academician. Zhao Mengfu was skilled in calligraphy and painting and became one of the most respected masters of his time.

5. Regulated Verse in Seven Characters

Chang Yu was a Taoist who lived in the Yuan dynasty. He moved to Mao-shan at the age of 29. At the age of 59, he became a Confucian scholar and traveled through the Kiangsu and Chekiang area. He was friends with many artists and writers.

6. Poetry on the Baotu Waterfall

Chao Meng-fu was a Chinese painter and calligrapher. He was born into a family of the Sung imperial family, and served as an official in the Hanlin Academy during the Yuan dynasty. He was posthumously ennobled as the Duke of Wei and entitled Wen-min for his services.

7. Poetry on the Wan-chieh Hall

Yang Wei-chen was a Chinese official who lived during the late Yuan dynasty. He was known for his honesty and integrity, as well as his skill in writing, painting, and calligraphy.

8. The Homecoming Ode

Shen Du was a native of Huating, which is modern Shanghai.

9. "Wu-i ko" Poems

Wang Ch'ung was a native of Soochow, China. He was the son of a merchant, and he studied under the noted painter and calligrapher Wen Cheng-ming.

10. Copy from the Ch'un-hua Modelbooks

Liu Yung was a native of Chu-ch'eng in Shantung. His father served the Ch'ien-lung Emperor (r. 1736-1795) as grand secretary. Liu Yung passed the Presented Scholar civil service examinations in 1741 and entered officialdom.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here you can find some of the most impressive pieces of calligraphy ever written, including Commentary on the Book of Changes by Zhu Xi, Letter to Prefect Yuanbo (In a Pure Autumn) by Lu You, Letter to the Commandery Administrator Huizhi (In the Depths of Autumn) by Zhu Xi, Calligraphy of the Four Song Masters, The Cold Food Observance by Su Shih, Poem in Seven-character Verse by Huang T'ing-chien, Poem by Emperor Hui-tsung, On Szechwan Silk by Mi Fu and Letter to Officer-Gentleman Tu by Ts'ai Hsiang. These pieces are all masterpieces of Chinese calligraphy and provide us with a unique insight into the culture of the time. Come explore these incredible artifacts today!

1. Commentary on the Book of Changes

Zhu Xi was a native of Wuyuan in Huizhou in present day Jiangxi province. He was an important proponent of Lixue (also known as neo-Confucianism) who left behind an enormous corpus of written works.

2. Letter to Prefect Yuanbo (In a Pure Autumn)

Lu You was a talented scholar who excelled at poetry and prose. He wrote this letter in the Qiandao sixth year (1170) to his friend, Zeng Feng. The style is plump but dynamic, following his convention in letters written after his middle years.

3. Letter to the Commandery Administrator Huizhi (In the Depths of Autumn)

Zhu Xi was a famous thinker of the Southern Song period who spent his life pursuing the ambition of establishing a new order for the country. Zhu wrote this letter in the eighth lunar month of the Shaoxi fifth year (1194) after leaving his post as Administrator of Tanzhou (modern Changsha

4. Calligraphy of the Four Song Masters

The first section of this handscroll is the "Haiyu" modelbook, a letter written by Cai Xiang. The second section is "Poetry in Rhyme for the Master of the Three Colleges" done by Su Shi.

5. The Cold Food Observance

Su Shih, a native of Szechwan, is probably best known by his sobriquet, Tung-p'o. A bold personality and direct scholar-official, he was accused of literary slander and banished from the capital.

6. Poem in Seven-character Verse

Huang T'ing-chien was born in Fen-ning, Kiangsi. He became a Presented Scholar at the age of 23.

7. Poem

Emperor Hui-tsung, also known as Chao Chi, was the eighth emperor of the Sung dynasty. He ruled from 1101 to 1125 and was known for his extravagant lifestyle. This is believed to be part of the reason the dynasty nearly collapsed and he was eventually killed by enemies.

8. On Szechwan Silk

Mi Fu was a famous poet, painter, calligrapher, and collector from the Northern Sung period. He was known as one of the Four Sung Masters of calligraphy. This handscroll is made of Szechwan silk and was made in 1044.

9. Letter to Officer-Gentleman Tu

Ts'ai Hsiang, who went by the style name Chün-mo, was a Presented Scholar of 1030 and a gifted calligrapher. He studied the style of Yü Shih-nan, Yen Chen-ch'ing, and the styles of Chin dynasty masters.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including The Red Cliff, Pasturing Horses, A Palace Concert, Herd of Deer in an Autumnal Grove, Early Snow on the River and Storied Mountains and Dense Forests. These works of art provide us with a unique insight into Chinese culture during this period, and are sure to delight visitors of all ages. Come take a look at these incredible artifacts today!

1. The Red Cliff

The painting is unsigned, but the artist is Wu Yuan-chih (style name Shan-fu), a scholar under Emperor Chang-tsung who excelled at landscape painting. This work illustrates the "Ode to the Red Cliff" by Su Shih (1037-1101), which was written in

2. Pasturing Horses

This painting, the third leaf in the album "Collected Treasures of Famous Paintings," shows a groom riding on a white horse side-by-side with a black steed. The painting has an inscription by the Song dynasty emperor Huizong (1082-1135) that reads, "A

3. A Palace Concert

This painting shows ten ladies of the inner court sitting around a large rectangular table. Some enjoy tea, while others drink wine. The four figures at the far end seem to be responsible for playing music.

4. Herd of Deer in an Autumnal Grove

This painting shows a bunch of deer playing and relaxing in a woods full of maple trees. It's autumn, so the leaves are different colors. The deer are in light ink and the trees are in dark ink.

5. Early Snow on the River

This handscroll painting by Student Chao K'an of the Southern T'ang combines a vivid description of figures with a landscape as it unfolds from right to left. The painting provides contemporary proof of both the title and artist.

6. Storied Mountains and Dense Forests

Chu-jan was a monk at the K'ai-yuan Temple who originally specialized in painting the southern scenery of Kiangnan.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including Remote View of Streams and Hills by Hsia Kuei, Paised Egrets on a Snowy Bank by Ma Yuan, Evening Outing by Torchlight by Ma Lin, Scholar by an unknown artist, Immortal in Splashed Ink by Liang K'ai, Kuan-yin of a Thousand Arms and Eyes by an unknown artist, and Ancient Temple Concealed in Seclusion by Chia Shih-ku. These are all stunning pieces of artwork that will give you a unique insight into the culture of the Song dynasty. Come take a look at these amazing artifacts today!

1. Remote View of Streams and Hills

Hsia Kuei was a painter who lived during the Southern Sung period (1127-1279). He was born in Ch'ien-t'ang (modern Hangchow) and was promoted to the rank of Painter-in-Attendance during the reign of Emperor Ning-tsung

2. Paised Egrets on a Snowy Bank

Ma Yuan was from a family that originally lived in Ho-chung, Shansi. Later on, they moved to Hangchow, which is the capital of the Southern Sung.

3. Evening Outing by Torchlight

Ma Lin was born in a family from Ho-chung, Shansi that later moved to Ch'ien-t'ang. Ma Lin served as a "chih-hou" in the Painting Academy during the reigns of Emperors Ning-tsung and Li-tsung.

4. Scholar

A scholar is deep in thought, seated on a lounge bed with a brush in hand. A servant is pouring wine at his side. Behind him is a screen with a sandy shore and waterfowl painted on it.

5. Immortal in Splashed Ink

Liang K'ai was a very talented painter who excelled at painting figures, landscapes, Buddhist and Taoist subjects, and spirits and deities. He learned painting from his teacher Chia Shih-ku, but he was even better than his teacher at conveying the grace and bearing of figures.

6. Kuan-yin of a Thousand Arms and Eyes

Kuan-yin is a figure often seen in Buddhist art, who represents mercy and compassion. In this representation, Kuan-yin is standing on a lotus pedestal in the midst of waves, supported by four Heavenly Kings.

7. Ancient temple concealed in seclusion

Chia Shih-ku was a painter who lived in the Shaohsing reign (1131-1162). Not much is known about his life, but we do know that he was from K'ai-feng in Honan.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here you can explore a variety of works by some of China's most influential painters. You will find works such as Autumn Colors Among Streams and Mountains, Pair of Wild Geese on an Autumn Islet, Bamboo in Monochrome Ink, Travelers Among Mountains and Streams, Early Spring, Blue Magpie and Thorny Shrubs, Magpies and Hare, Wind in Pines Among a Myriad Valleys, Children at Play in an Autumnal Garden and Lohan. Each of these paintings provides us with a unique insight into Chinese culture during this period. We hope you enjoy exploring these incredible artifacts!

1. Autumn Colors among Streams and Mountains

This painting has layers of mountains with shoals and slopes in the lower half. The mountains are rounded and have light ink giving the effect of misty waters. The painting would date from the early Southern Song period.

2. Pair of Wild Geese on an Autumn Islet

The painting shows a pond on an autumn day with a slight breeze. The geese are resting on a shoal surrounded by reeds, red polygonum, and withered lotuses. A kingfisher has just taken flight, interrupting the scene as one of the geese looks up at it.

3. Bamboo in Monochrome Ink

Wen Tong was a talented poet and painter who is credited with inventing the genre of ink bamboo painting. This painting depicts bamboo growing from a cliff on the left, with the motifs being realistic and lively. This painting reflects the trend in Northern Song painting of focusing on the underlying principles of objects.

4. Travelers Among Mountains and Streams

Fan K'uan, a painter from Hua-yuan in Shensi province, is best known for his landscape paintings. He originally followed the style of the Shantung artist Li Ch'eng, but later realized that he needed to take Nature as his teacher in order to accurately portray the land.

5. Early Spring

Kuo Hsi was a court painter in China who specialized in painting large pine trees and scenery enveloped in mist and clouds. He served under Emperor Shen-tsung and was later promoted to the highest position of Painter-in-Attendance in the court Han-lin Academy of Painting.

6. Blue Magpie and Thorny Shrubs

This painting by Huang Chu-ts'ai is an excellent example of the balance between action and stillness. Take, for example, the blue magpie in the lower section of the scroll. It appears to have just jumped onto the rock as it bends down to take a drink from the stream below.

7. Magpies and Hare

Ts'ui Po was a painter from Anhwei province who was especially good at painting birds and flowers. This painting shows two magpies crying out at a hare.

8. Wind in Pines Among a Myriad Valleys

Li T'ang was a painter in the Han-lin Academy of Painting under Emperor Hui-tsung of the Northern Sung.

9. Children at Play in an Autumnal Garden

Su Han-ch'en was a painter who specialized in Buddhist and Taoist figures. He worked at the imperial academy during the Hsuan-ho era (1119-1125) under Emperor Hui-tsung of the Northern Sung. After the court moved south, he resumed his position there.

10. Lohan

Liu Sung-nien was a painter who lived in Ch'ien-t'ang (modern Hangchow) during the Ch'un-hsi and Shao-hsi eras (1174-1194).

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. Our collection includes Strange Peaks and Myriad Trees, River Boats and Mountain Town, The Buddha Preaching the Law, Preparing Clothes, The Ladies' Book of Filial Piety (Scroll 1), Literary Gathering, Scroll of Buddhist Images, Plants and Insects in Autumn, Reading in an Open Hall and Strange Peaks and Myriad Trees. These pieces are all unique and provide us with a glimpse into the culture and art of the Song dynasty. Come take a look at these incredible artifacts today!

1. Strange Peaks and Myriad Trees

This painting shows mountains with peaks that rise above the clouds and a foreground that is enveloped in mist. The mountains are skillfully echoed in three groups, and the blank areas of clouds and mist make them stand out more. Even though the painting is small, it still looks like a large and expansive view.

2. River Boats and Mountain Town

This painting shows two mountains rising up to surround a town with a temple on the mountainside and shops here and there in the countryside. The temple buildings are on a level outcropping and built up the slope.

3. The Buddha Preaching the Law

This painting shows the Buddha seated on a lotus pedestal, with two heavenly kings as his protectors. On either side of him are his great disciples, Ananda and Mahakashyapa, and a bodhisattva making offerings.

4. Preparing Clothes

This work, done in 1240, is based on "Poetry on Preparing Clothes" by Xie Huilian (397-433) of the Southern Dynasties period.

5. The Ladies' Book of Filial Piety (Scroll 1)

The Ladies' Book of Filial Piety was written by Madame Zheng during the Tang dynasty. Originally, the book had eighteen sections, but only half of them remain today. The book is a handscroll, with alternating texts and images.

6. Literary Gathering

This painting shows a group of scholars at a banquet in a garden by a pond. The figures are all spirited and elegant with clear expressions. The painting is beautiful and exacting, and it has a scholarly air that fully represents the requirements of and results sought by Huizong for his Painting Academy.

7. Scroll of Buddhist Images

This is the only surviving painting from the Dali kingdom, which was in what is now Yunnan and roughly concurrent with the Song dynasty. The colophon at the end of the scroll indicates it was completed during the Lizhen reign between 1172 and 1175, Zhang Shengwen being the principal artist.

8. Plants and Insects in Autumn

This painting is of a praying mantis trying to catch a beetle. It is from the Southern Song period.

9. Reading in an Open Hall

This painting is from the Song dynasty and it shows a courtyard by the water among hills. The courtyard is decorated with rocks from the lake and it is surrounded by tall pines and delicate bamboo. Inside the pavilion, there is a daybed, a screen, and hanging scrolls.

10. Strange Peaks and Myriad Trees

This painting shows mountains with peaks that are far away and appear to be above the clouds. There is also a part of the painting that is close up and surrounded by mist. The three different mountains echo each other and the blank spaces in the clouds and mist make them stand out more.

Welcome to the National Palace Museum's collection of paintings from the Qing dynasty! This collection features some of the most beautiful and unique works of art from this period, including Giuseppe Castiglione's One Hundred Horses. Castiglione was born in Milan, Italy and learned to paint from Carlo Cornara at the studio of the renowned Botteghe degli Stampatori. His work is a testament to the influence of Chinese culture on European art during this time. Come explore these incredible pieces today and learn more about the art of the Qing dynasty!

1. One Hundred Horses

Giuseppe Castiglione was born on July 19, 1688, in the central San Marcellino district of Milan, Italy. As a youth, he learned to paint from Carlo Cornara at the studio of the renowned Botteghe degli Stampatori.

Welcome to the National Palace Museum's collection of paintings from the Qing dynasty! Here, you can explore works by some of China's most famous painters, such as Shen Zhenlin, Yun Shouping, Wang Hui, Wang Shih-min, Wang Yuan-ch'i and Wu Li. These pieces range from depictions of the Twelve Lunar Months and Cats and Butterflies of Longevity to After Wang Wei's "Snow Over Rivers and Mountains" and Along the River During the Ch'ing-ming Festival. Come take a look at these incredible works of art today and learn more about Chinese culture during this period!

1. Cats and Butterflies of Longevity

Shen Zhenlin, also known as Fengchi, was a painter who served in the Qing court painting academy during the Xianfeng and Tongzhi reigns (1851-1874).

2. Activities of the Twelve Lunar Months: The Twelfth Month

This is one of a set of twelve paintings that is undated, but evidence suggests it was created during the early Qianlong reign (1736-1795). This scroll, which depicts a winter landscape with snow and frozen waters, shows various activities arranged in clusters.

3. The Five Purities

Yun Shouping was a native of Wujin in Jiangsu who was skilled in poetry, painting, and calligraphy. He was especially noted for his painting, and was one of the Six Early Qing Masters.

4. Summer Mountains and Misty Rain

Wang Hui was a native of Changshu in Jiangsu. He excelled in painting since childhood and received instruction from two of the other Four Wangs. He integrated past and present as well as northern and southern styles to develop his own style.

5. After Wang Wei's "Snow Over Rivers and Mountains"

Wang Shih-min was born into a family of scholars and artists in T'ai-ts'ang, Kiangsu.

6. The Peach Blossom Fishing Boat

Wang Hui was a painter from Ch'ang-shu in Kiangsu. He learned landscape painting from Wang Shih-min (1592-1680) and Wang Chien (1598-1677).

7. Peonies

Yun Shou-p'ing (sobriquet Nan-t'ien) was a native of Wu-chin (modern Ch'ang-chou, Kiangsu) who grew up in a family of limited means.

8. Green Mountains and White Clouds

Wu Li was a Chinese student who converted to Christianity and entered the Jesuit order.

9. After Wang Meng's "Mountain Dwelling on a Summer Day"

Wang Yuan-ch'i was a Chinese scholar and artist who lived in the 1700s. He earned a degree in civil service in 1670 and worked for the government in various positions.

10. Along the River During the Ch'ing-ming Festival

This work is based on an original by Chang Tse-tuan from the early 12th century. It shows life and customs at the Sung dynasty capital of Pien (K'ai-feng). This theme was popular in the Northern Sung period (960-1126) and has been copied often.

Welcome to the National Palace Museum's collection of paintings from the Ming dynasty! Here, you can explore some of the most incredible artwork from this period. We have a variety of different paintings on display here, including T'ao Ku Presenting a Lyric to Ch'in Jo-lan, Spring Dawn in the Han Palace, Flowers and Bamboo, Shady Trees in a Summer Landscape, Ducks Sleeping on a Lotus Bank, After the Line "Idly Watching Children Catch Willow Flowers", Returning Late from a Spring Outing, Plum Blossoms and Wild Bird and Enjoying Antiquities. These are all important pieces in Chinese art history that tell us about the culture and people during this time period. Come take a look at these stunning artifacts today!

1. T'ao Ku Presenting a Lyric to Ch'in Jo-lan

T'ang Yin was a painter from Wu-hsien, China. He was one of the Four Great Masters of the Ming. This means he was one of the four best painters during the Ming dynasty. He studied under Chou Ch'en and copied the works of other great painters.

2. Spring Dawn in the Han Palace

Ch'iu Ying was born into a poor family and moved with his family to Soochow. Ch'iu learned the art of painting from Chou Ch'en and became successful at it. His copies and the originals were indistinguishable.

3. Flowers and Bamboo

Hsu Wei was a painter from Shan-ying, China. He was especially good at painting landscapes, figures, flowers, insects, bamboo, and stones.

4. Shady Trees in a Summer Landscape

Tung Ch'i-ch'ang was a native of Hua-t'ing, near Shanghai. He was a civil service degree candidate of 1588 and became President of the Board of Rites. He was famous as a connoisseur, and his paintings increased in value dramatically.

5. Ducks Sleeping on a Lotus Bank

Lu Chi was a famous court painter during the middle Ming dynasty. He was provided with a sinecure post in the Imperial Bodyguard. This work bears his signature, but its authenticity is in question due to the weakness of the brushwork.

6. After the Line "Idly Watching Children Catch Willow Flowers"

Chou Ch'en, whose style name is Shun-ch'ing, was a painter who excelled at landscape and figure painting. He was a native of Wu-chun in the modern Soochow city in the Jiangsu province.

7. Returning Late from a Spring Outing

Tai Chin was a famous painter from Ch'ien-t'ang (modern Hangchow). He studied under local artists and specialized in landscapes and figures. During the Hsuan-te reign (1426-1435), he was recommended for service at court, where he was admired for his skill.

8. Plum Blossoms and Wild Bird

Ch'en Hung-shou was a painter and calligrapher who lived during the Ming and Ch'ing dynasties. He was known for his solid forms and drapery lines, which were influenced by Li Kung-lin and Chao Meng-fu.

9. Enjoying Antiquities

Tu Chin was a native of Tan-t'u, but later resided in Nanking. His style name was Chu-nan and he also signed his name Ch'ing-hsia t'ing-chang.

Welcome to the National Palace Museum's collection of Ming dynasty paintings! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including Picking Lotuses by Tang Yin, Waiting for the Ferry on an Autumn River by Qiu Ying, Four Immortals Paying Homage to Longevity by Shang Xi, Crossing a Bridge over a Stream by Dai Jin, The Three Friends and a Hundred Birds by Bian Wenjin, Fishing in Reclusion Among Mountains and Streams, Departure Herald, Return Clearing, Lofty Mount Lu by Shen Chou and Old Trees by a Cold Waterfall by Wen Cheng-ming. These are all important pieces in Chinese history that tell us about how people interacted with each other during this time period. Come take a look at these incredible artifacts today!

1. Picking Lotuses

Tang Yin was a very talented artist and scholar from Wu County in Jiangsu province. He was especially skilled in calligraphy, painting, poetry, and prose. Tang Yin was very famous in the Jiangsu region during the middle years of the Ming dynasty and also worked professionally as a painter.

2. Waiting for the Ferry on an Autumn River

Qiu Ying, also known as Shifu or Shizhou, was a painter from Suzhou. He was known for his landscape and figural paintings, and was one of the Four Ming Masters along with Shen Zhou, Wen Zhengming, and Tang Yin.

3. Four Immortals Paying Homage to Longevity

Shang Xi was a Ming dynasty court painter who served during the Xuande reign (1426-1435). He was especially skilled at painting figural and narrative subjects. This hanging scroll, which depicts four immortals of Buddhist and Daoist origin (Li Tieguai, Liu Haich

4. Crossing a Bridge over a Stream

Dai Jin was the founder of the "Zhe School" of landscape painting in the Ming dynasty. His style became a model for later generations, and he is venerated as the Zhe School patriarch. This painting depicts a roaring torrent with rocks dispersed therein and a cliff in the background.

5. The Three Friends and a Hundred Birds

Bian Wenjin was an important painter during the early Ming dynasty who was active at the Yongle and Xuande courts. His style followed the tradition of fine brushwork and strong colors that traced back to the Northern Song school of Huang Quan, but he also integrated the Southern Song Painting Academy manner.

6. Fishing in Reclusion Among Mountains and Streams

This handscroll painting depicts pine trees, red maples, and yellow leaves against a waterfall and flowing stream with thatched cottage and water kiosk buildings scattered among rocky banks.

7. Departure Herald

In this handscroll, you can see a great imperial procession making its way to the imperial tombs. The procession starts at the Te-sheng ("Victory") Gate of the Peking city wall and goes all the way to the final destination of the imperial tombs, which are 45 kilometers from the capital

8. Return Clearing

In this handscroll, we see a great imperial procession making its way to pay respects at the imperial tombs. The procession starts at the Te-sheng ("Victory") Gate of the Peking city wall and passes by various shops along the way.

9. Lofty Mount Lu

Shen Chou was a talented artist who was born in Ch'ang-chou, Kiangsu province. He was skilled in painting, calligraphy and poetry. It is said that he was influenced by the style of Yuan painter Wang Meng before he turned 40.

10. Old Trees by a Cold Waterfall

Wen Cheng-ming was a scholar from Soochow who excelled in poetry, prose, calligraphy, and painting. He was especially skilled in calligraphy and painting, and was one of the Four Great Masters of the Ming Dynasty.

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! These paintings were created by some of the most talented artists of their time, and they provide us with a unique insight into Chinese culture during this period. You will find works such as Dwelling in the Fu-ch'un Mountains (Wu-yung Version), Twin Pines, Forest Chamber Grotto at Chu-ch'u, The Jung-hsi Studio, Fishermen Returning on a Frosty Bank and Kublai Khan Hunting. All of these paintings are incredible examples of the skill and creativity of the artists of the Yuan dynasty. We hope you enjoy exploring these amazing artifacts!

1. Dwelling in the Fu-ch'un Mountains (Wu-yung Version)

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2. Twin Pines

This painting is from 1328 and is by Wu Chen. It is the earliest known work by Wu Chen. The painting is of two cypresses and a stream. The brushwork and layers of ink give the scroll a simple and peaceful harmony.

3. Forest Chamber Grotto at Chu-ch'u

Wang Meng was a grandson of the famous artist Chao Meng-fu. He was implicated in the case of Hu Wei-yung and subsequently died in prison.

4. The Jung-hsi Studio

Ni Tsan was a native of Wu-hsi, Kiangsu. He was a bibliophile, collector, amateur poet, and painter. He was one of the Four Great Masters of the Yuan.

5. Fishermen Returning on a Frosty Bank

T'ang Ti was a precocious youth from Wu-hsing in Chekiang. His poetry and painting were held in high esteem by the local elite. He initially studied the landscape style of Chao Meng-fu, acquiring his polished and luxuriant manner.

6. Kublai Khan Hunting

Liu Kuan-tao was a court painter during the Yuan dynasty, during the reign of Kublai Khan. In 1279, he was appointed to the Imperial Wardrobe Service. His paintings were in the style of early Chin and T'ang masters.

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! This collection features some of the most iconic works from this period, such as Manual of Ink Bamboo by Wu Zhen, Meeting Friends in a Pavilion among Pines by Wang Yuan, Cloud-girdled Peaks by Gao Kegong, Pair of Lohan Paintings, Riverside Pavilion and Mountain Hues by Ni Zan, Inscribing a Portrait of Ni Zan, Wild Duck by a River by Chen Lin, Nymph of the Luo River, Five Horses by Zhao Yong, and Autumn Colors on the Qiao and Hua Mountains by Zhao Mengfu. These works of art provide us with a unique insight into Chinese culture during this time period, and we hope you enjoy exploring them!

1. Manual of Ink Bamboo

Wu Zhen, a Chinese artist from Jiaxing, was one of the Four Great Masters of the Yuan dynasty. In 1350, at the age of 71, he painted an album of bamboo images for his son, Fonu.

2. Meeting Friends in a Pavilion among Pines

Wang Yuan was a famous painter who was born in Qiantang, Zhejiang. He started painting at a young age and was once taught by the master painter Zhao Mengfu.

3. Cloud-girdled Peaks

The painting depicts a massive mountain rising in the center, in the style of Northern Song landscape painting. The ancestors of the painter, Gao Kegong, came from Western Asia. Gao Kegong served in office in the Jiangnan area and resided in Hangzhou.

4. Pair of Lohan Paintings

This painting shows nine lohans, or Buddhist worthies, with two attendants. The lohans are shown with various objects, such as a scroll, flywhisk, prayer beads, lotus, and incense burner.

5. Riverside Pavilion and Mountain Hues

Ni Zan was a talented painter and calligrapher who was considered one of the Four Yuan Masters.

6. Inscribing a Portrait of Ni Zan

This scroll features Ni Zan (1301-1374), one of the Four Yuan Masters of painting. The landscape on the screen behind is done in imitation of Ni's style.

7. Wild Duck by a River

Chen Lin was a close associate of Zhao Mengfu and, like him, a famous painter from the late Song into the Yuan dynasty. This small hanging scroll depicts a mallard standing on a riverbank below some hibiscus.

8. Nymph of the Luo River

This scroll is done in "baimiao" fine ink lines to depict the goddess of the Luo River riding on clouds and gliding over ripples of misty river waters.

9. Five Horses

Zhao Yong, the second son of famous scholar-artist Zhao Mengfu, was also a gifted painter and calligrapher. He was especially skilled at depicting figures and horses. This painting, from 1352, shows horses at rest and a groom dozing against a pine, creating a tranquil atmosphere.

10. Autumn Colors on the Qiao and Hua Mountains

Zhao Mengfu was a master of painting and calligraphy. He was an advocate of revivalism and had a great influence on the literati painting and calligraphy movements.

Welcome to the National Palace Museum's collection of curios! Here, you can explore some of the most interesting artifacts from China's imperial past. We have a variety of different items on display here, including a Carved Bamboo Root Carving of a Well-Wishing Horse and Monkey, a Cloisonne Censer in the Form of a Wild Duck, a Tuan Inkstone with Cloud-and-Dragon Decor and 99 Columns and a Round Box with Peony Decor Filled-In Lacquerware. These are all unique pieces that tell us about how people lived during this time period. Come take a look at these fascinating artifacts today!

1. Carved bamboo root carving of a well-wishing horse and monkey

This carving of a bamboo root depicts a horse in a semi-reclining position, with a small monkey sitting on its back and holding a peach.

2. Cloisonne censer in the form of a wild duck

This is a censer in the form of a wild duck from the Ming dynasty. It is made of copper and the lid and body of the vessel fit seamlessly at the abdomen of the duck, while the incense smoke passes through the neck and out of the bill.

3. Tuan Inkstone with Cloud-and-Dragon Decor and 99 Columns

This inkstone was carved from a single piece of Tuan River stone. It is greyish-black with yellowish-green eyes that look like oval pupils with brownish-yellow points in the center.

4. Round Box with Peony Decor Filled-In Lacquerware

The Great Depression was a time of economic hardship for many Americans. The unemployment rate reached 25%, and the stock market lost about 90% of its value.

Welcome to the National Palace Museum's collection of curios! Here you can explore a variety of unique and interesting artifacts from China's imperial past. We have a range of different objects on display, including a Silver Raft Cup of "Zhang Qian Riding a Raft" with the mark of Zhu Bishan, a Glass-body Painted Enamel Snuff Bottle in the Shape of a Bamboo Section, a Painted Enamel Vase with Dragons and Peony Decoration, a Cloisonne Box with Lotus Decoration, a Copper-body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay, Ivory Balls of Nested Concentric Layers with Human Figures in Openwork Relief, a Brush Holder with Letter-reading Scene, a Pair of "Bovet" Pocket Watches with Pearls and Painted Enamel, a Glass Inside-Painted Snuff Bottle with a Traveling Scene, and a Ch'in (Chinese Unfretted Zither). Come take a look at these incredible artifacts today!

1. Silver raft cup  of "Zhang Qian Riding a Raft" with the mark of Zhu Bishan

The silver raft cup is based on the story of Zhang Qian of the Han dynasty, who was said to have ridden a raft to trace the source of the Yellow River. He eventually travelled to the Milky Way, where he met the Cowherd and the Weaver Girl.

2. Glass-body Painted Enamel Snuff Bottle in the Shape of a Bamboo Section

Enamelware from the Yongzheng reign was similar to that from the Kangxi reign, but reached new levels of sophistication.

3. Painted enamel vase with dragons and peony decoration

During the Yongzheng reign, painted enamelware from the West became popular in China. These pieces were brightly colored and very detailed. This vase shows traditional Chinese dragons and floral patterns. It is an example of how Chinese craftsmanship was influenced by Western techniques.

4. Cloisonne Box with Lotus Decoration

This lotus cloisonné box is composed of filigree work on a copper body. The flat lid is decorated with lotus blossoms and pods. The sides of both the box and lid are curved after the shape of lotus petals.

5. Copper-body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay

The snuff bottle has a decorative style that combines East and West. The panel in the center of the object represents plum blossoms painted in gold lacquer, representing the Japanese style of maki-e that was popular in European markets.

6. Ivory balls of nested concentric layers with human figures in openwork relief

This set of movable ivory balls, nested in concentric layers, comprises four main parts: a dragon fish hook, two ladies-in-waiting carved in the round, a set of hollow nested concentric balls, and a pendant depicting the Heavenly Twins of Conjugal Felicity.

7. Brush Holder with Letter-reading Scene

A segment of bamboo has been carved into a brush holder, with a flat mouth and the dividing part of the bamboo as the bottom. The outside is carved in relief with the image of a lady with an elegant hairstyle standing before a screen reading a handscroll.

8. Pair of "Bovet" pocket watches with pearls and painted enamel

Since they were first brought to China during the Ming and Qing eras, western clocks and watches have been highly prized and much beloved by the imperial court, government officials, and merchant class. In the modern era, they have become an important medium for cultural interaction between China and the west.

9. Glass Inside-Painted Snuff Bottle with a Traveling Scene

Snuff and snuff containers from Western countries first entered China in the late 17th century. At that time, various Western countries and the Vatican in Rome would often give snuff and snuff containers as gifts to the Chinese court.

10. Ch'in (Chinese unfretted zither)

The "ch'in," or zither, is an ancient Chinese stringed instrument. Its appearance has changed over the centuries, and there are also stylistic differences observable in "ch'in" made from different locations and makers in China.

Welcome to the National Palace Museum's collection of curios from the Qianlong reign in the Qing dynasty! Here, you can explore some of the most beautiful and intricate artifacts from this period. Our collection includes a Cloisonne and painted enamel butter tea jar, a Round Bamboo-Veneered Curio Box with Lotus Blossom Decor, Inkstones for Imperial Usage, Carved Polychrome Lacquer Box in the Shape of Conjoined Spheres, and a Square Sandalwood Curio Case. All of these items are unique pieces of Chinese history that tell us about the culture and artistry of the time. Come take a look at these amazing artifacts today!

1. Cloisonne and painted enamel butter tea jar

This tea jar was made during the Qianlong reign in China (1736-1795). It is a full, round shape with an ornate, gilt-gold lid knob and three gilt-gold bands.

2. Round Bamboo-Veneered Curio Box with Lotus Blossom Decor (Containing 27 Curios)

This curio box has been joined by bamboo thread and has a "chu-huang" bamboo veneer carved with lotuses on the outer surface. The four fan-shaped quadrants of the body can be spread out in a straight line or turned around 360° to form a square display box.

3. Inkstones for Imperial Usage

The inkstone has six cloud-head feet at the base, and a round and square seal carved in the middle. On the top in relief is a carving in clerical script in two lines that reads "Pure Curio of the Qianlong [Emperor]".

4. Carved Polychrome Lacquer Box in the Shape of Conjoined Spheres

This is a Double-union Treasure Chest. It has two colors of lacquer on the surface. The bottom is dark yellow and the top is bright red.

5. Square Sandalwood Curio Case (Containing 32 Curios)

This curio box looks like a plain container when it is closed. It does not take up much space, which is an advantage. Although the outside looks simple, it is actually quite intricate. The reason lies in the decorative method used by the artisans who made it.

Welcome to the National Palace Museum's collection of curios from the Qing dynasty! Here, you can explore some of the most interesting and unique artifacts from this period. We have a variety of different items on display here, including a Planter with a coral carving of the planetary deity Kuixing, a Gilt Flint Case with Coral-and-Turquoise Inlay, a Bamboo Water Container in the Shape of a Lotus Leaf, a Champleve Box with Filigree Work, an Ivory Four-tiered Food-Carrying Case in Openwork Relief, a Meat-shaped Stone, a Set of Square Maki-e Lacquer Boxes decorated with Cherry Blossom Designs, a Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom, a Pair of Gilded Bronze Pocket Watches Decorated with Painted Enamel, and a Gold Mandala with Turquoise Inlay. Come take a look at these incredible artifacts today!

1. Planter with a coral carving of the planetary deity Kuixing

This planter has a special kind of sculpture inside instead of a plant. This type of sculpture was very popular in the Qing dynasty court.

2. Gilt flint case with coral-and-turquoise inlay (with carved lacquer box and Qianlong reign mark)

This rectangular box-shaped case has thin iron plates inlaid at the bottom. When you release the coral knob at the top, you can open the case to reveal a long, narrow container made of thin gold plate. This is where the flint and tinder were stored.

3. Bamboo Water Container in the Shape of a Lotus Leaf, with signature of Zhu Sansong

The root of a bamboo has been carved into the shape of a lotus leaf, with its curled edges forming a pool. This is where a brush can be washed with water.

4. Champleve Box with Filigree Work

This box is decorated with flowers and a symbol for longevity. The enamelware is lustrous and colorful.

5. Ivory Four-tiered Food-Carrying Case in Openwork Relief

This handled food container has four levels, into which different kinds of food can be placed. The exterior suggests it was more likely used as a decorative object as opposed to an actual functional utensil.

6. Meat-shaped Stone

The "Meat-shaped stone" was carved from jasper minerals. The artist used the natural layered patterns to create the effect of marinated pork skin. The top layer was dyed brownish-red to mimic the color of soy sauce.

7. Set of Square Maki-e Lacquer Boxes, Decorated with Cherry Blossom Designs

This small set of Japanese lacquered boxes includes three small boxes and a shallow dish. The boxes were used as a curio box for objects in the Qing dynasty, which explains why a small jade object is found stored in each of the small boxes.

8. Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom

Chen Zuzhang was originally from Guandong and entered the Imperial Bureau of Manufacture during the Yongzheng reign (1723-1735). In 1737, he carved a small boat from an olive pit. On the boat are eight figures, each with their own unique expression.

9. Pair of Gilded Bronze Pocket Watches Decorated with Painted Enamel

In the middle of the 18th century, the center for the production of pocket watches was in London. This pair of pocket watches is a testimony to Sino-Western exchange, and is also a marvel of mechanical and artistic craftsmanship.

10. Gold Mandala with Turquoise Inlay

This mandala comes with a finely worked leather box made in the Qianlong era (1736-1795). It includes a piece of white silk, on which is an inscription in four languages (Manchu, Chinese, Mongolian, and Tibetan) and a recording an important historical event.

Welcome to the National Palace Museum's collection of jades from the Song dynasty! These artifacts are some of the most beautiful and intricate pieces of Chinese art and culture. You will find a variety of different objects on display here, including a Jade Hooked Cloud-shaped Pei Ornament, a Jade Pig-dragon, a Jade Staff Finial in the Shape of a Pigeon, a Jade Tablet, a Jade Gui Tablet, a Jade Ornament in the Shape of Phoenix Crowned with Dragon, a Jade Cong Tube, and a Jade Brush Wash in the Shape of Lotus Leaf. All of these pieces are unique and special in their own way, and they provide us with a glimpse into the past. Come explore these incredible artifacts today!

1. Jade Hooked Cloud-shaped Pei Ornament

The ancient Chinese culture saw birds of prey as mystical creatures that represented the gods. They would often use jade, a strong and lustrous stone, to carve ceremonial objects that they would use when offering sacrifices or praying to their ancestors.

2. Jade Pig-dragon

This unusual shaped pig-dragon is a jade object from the Hongshan Culture. Its round form recalls the jade chueh earrings of the Xinglonghua culture.

3. Jade Staff Finial in the Shape of a Pigeon

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4. Jade Tablet

This jade tablet is from the Neolithic period. It is ochre-red with spots that look like stars. It is not perfectly rectangular. The top and bottom edges were colored with dark ochre-red pigment.

5. Jade Gui Tablet

The Longshan Culture was a period of time in China where social divisions became increasingly distinct. Only members of the ruling class were allowed to use jade during this time. Long, narrow pieces of jade were called gui, while larger, broader pieces were known as yue.

6. Jade Gui Tablet

This jade gui tablet is yellow on both sides, with the lower half of the reverse side having a red tinge. The cutting edge of the blade is much darker, almost black, and exhibits many nicks. The other end, where the tablet was held, also shows signs of damage.

7. Jade Ornament in the Shape of Phoenix Crowned with Dragon

This phoenix has a kui-dragon as a crown. It has been carved with great precision to give it great spirit.

8. Jade Cong Tube

The Liangzhu Culture developed in the area around Lake T'ai in the lower Yangtze River region about 4000-5000 years ago. Cong tubes were cylindrical objects with a hole through the center, running from top to bottom.

9. Jade Brush Wash in the Shape of Lotus Leaf

This jade cup is mostly brownish yellow, with some grey-white mottling and a russet red that follows the lines of an inscription.

Welcome to the National Palace Museum's collection of other jades! Here you can explore some of the most exquisite pieces of jade from China's imperial past. We have a variety of different pieces on display here, including a Jadeite Cabbage in a cloisonne flowerpot, Jasper Plate with Gold Tracery, Xi Bodkin with Chi Tiger Pattern, Jade Divine Beast, Jade Horn-shaped Cup, Jade Cong Tube, Jade High-stemmed Cup, Jade Pi-Hsieh Auspicious Beast, Jade Duck and Jade Flower-holder in the Shape of Fish-Creature. These pieces are all incredibly intricate and beautiful, and they tell us a lot about the craftsmanship and artistry of the time period. Come take a look at these amazing artifacts today!

1. Jadeite Cabbage, in a cloisonne flowerpot

This piece looks a lot like a piece of bokchoy cabbage. It's carved from green jadeite, and it has the same pure white vegetable body and brilliant green leaves. It also has two insects on the leaves - a locust and a katydid.

2. Jasper Plate with Gold Tracery

This plate has a gold rim and a center inlaid with red glass, which is a unique technique used in pieces from the Mughal Empire of Northern India. The Qianlong Emperor (r. 1736-1795) considered Hindustan jade from Northern India to be better than Chinese jades

3. Xi Bodkin with Chi Tiger Pattern

This piece is a carving of a "xi" dragon, a type of hornless dragon that looks like a tiger. The dragon is shown in profile, with its head turned back. The carving is made from a type of jade that has hints of russet red, which makes it quite unique.

4. Jade Divine Beast

This work depicts a winged divine beast carved in the round. The beast has a tiger head, with its mouth open and teeth bared. It also has a goatee on its chin.

5. Jade Horn-shaped Cup

The cup is made of greenish-white jade and shaped like a horn. It is decorated with the carving of a coiling dragon.

6. Jade Cong Tube

This jade cong tube was probably brought into the Qing court in the 19th century. It is carved from a piece of deep green nephrite with light and dark ochre spotting. The surface still has the arcing traces of depressions from when the jade was first cut.

7. Jade High-stemmed Cup

This is an example of a jade single-handled cup with a high foot, carved from a piece of lustrous, semi-translucent white jade. The cup is long and slender, with a round cavity bored through, fitted with a handle and given a high foot.

8. Jade Pi-Hsieh, auspicious beast

The "pi-hsieh" is a mythological creature that people in ancient China thought could ward off evil forces with its magical powers. "Pi-hsieh" were usually represented as winged, four-legged beasts in paintings and sculptures from the Han dynasty.

9. Jade Duck

This jade duck was sculpted using a yellow nephrite. Its head, belly, and feet are dark brown in color. The jade duck features simple sculpting techniques, but its physical features (i.e., lifted tail and rounded bottom) were accurately portrayed to evoke a sense of adorability

10. Jade flower-holder in the Shape of Fish-Creature

This work features a fish jumping out of the water with its tail curled. The waves beneath the fish are carved into the wood, making it look like the fish is leaping out of the water.

Welcome to the National Palace Museum's collection of other bronze artifacts from the Song dynasty! This collection includes a variety of fascinating pieces, such as a Shakyamuni Buddha statue, a Ting Vessel with Inscription of the Zhenghe period, a P'an with Coiled K'uei-dragon Pattern, a Chime-bell set of Zi-fan and a Ting with Coiled Serpent Pattern. Each of these pieces is an important part of Chinese history and provides us with a unique insight into the culture of the time. Come explore these incredible artifacts today!

1. Shakyamuni Buddha

This statue shows the Buddha sitting in the full lotus position on a two-tiered stand. The inner section of the body halo behind the Buddha figure has seven Buddha icons, with U-shaped flames adorning the outer section. The top tier of the stand is a Mt.

2. Ting Vessel with Inscription of the Zhenghe period

The Great Depression was a time when the economy was bad and people were struggling. It started in the late 1920s and lasted until the early 1940s.

3. P'an with Coiled K'uei-dragon Pattern

Back in ancient times, water vessels were used in ceremonial washing. This gradually became popular during the middle and late Western Zhou period, and flourished even more during the Spring and Autumn period. We know this because of the contents inscribed on some bronze vessels.

4. Chime-bell set of Zi-fan

The Museum purchased 12 pieces of "Zi-fan" chimes in September 1994. By joining the respective inscription on each chime, the Museum was able to put together two sets of chimes - 8 pieces in one set and 4 pieces in the other.

5. Ting with Coiled Serpent Pattern

As the state of Qin began to emerge during the mid Spring and Autumn period, so too did its unique bronze ceremonial vessels. However, it was not until the middle of the Warring States period that these vessels began to strongly resemble those from Wei of San-chin.

Welcome to the National Palace Museum's collection of Other Bronzes from the Song dynasty! Here, you can explore some of the most amazing artifacts from China's imperial past. We have a variety of different bronze pieces on display here, including a Gui food container of Lady Xian Ji, Hsing Chi Shih Tsun, He wine/water vessel of Bo-ding, Gui food container with square base and phoenix pattern, Zun wine vessel to Yi the grandfather, Square Ding cauldron of Marquis of Kang, Zun wine vessel in the shape of animal with metal wire and turquoise inlay, Oval Liang Measure by imperial decree of 26th year, Pan water vessel with coiling dragon pattern and Lei wine vessel with goat-head high reliefs and knob pattern. These are all important pieces in Chinese history that tell us about how people interacted with each other during this time period. Come take a look at these fascinating artifacts today!

1. Gui food container of Lady Xian Ji

Jade was mostly used for rewards, edicts, gifts, entertaining, and sacrifices, according to the bronze inscription.

2. Hsing Chi Shih Tsun

The phoenix bird is a new form of decoration that first appeared during the time of King Mu in the mid Western Zhou period. This bird is characterized by its large tail, and it quickly became a popular form of decoration during this time period.

3. He wine/water vessel of Bo-ding

The inscription on the vessel and its cover are in different styles of writing. It is likely that the inscription on the mold was originally done by two different people. The new style is beginning to replace the old one.

4. Gui food container with square base and phoenix pattern

Gui vessels and ding cauldrons were important types of bronze food containers often used together. The cauldrons were used to hold meat, while the gui vessels held cooked rice, maize, and other grains.

5. Zun wine vessel to Yi the grandfather

This vessel has a flared mouth and a slightly rotund belly. The exterior surfaces of the lip and neck are decorated with tapering leaf-shaped simplified upside-down kui patterns, below which kui dragon patterns with curled tails can be seen.

6. Square Ding cauldron of Marquis of Kang

This vessel is shaped like a cube and has four cylindrical feet. The outer wall of the vessel is decorated with simplified patterns of beast masks.

7. Zun wine vessel in the shape of animal with metal wire and turquoise inlay

This vessel is in the shape of a strong four-legged creature with hooves, big ears, round eyes, and a hanging tail. The muscles and posture look realistic.

8. Oval Liang Measure by imperial decree of 26th year

The First Emperor of Imperial Qin annexed the other six states and established one grand empire under the heaven. He called himself the First Emperor, replaced the antiquated feudal system with centralized governance, and standardized the written language as well as weights and measures.

9. Pan water vessel with coiling dragon pattern

This pan plate has a coiled dragon on the well, with the head slightly raised and positioned at the center of the plate. The edges of the plate have kui dragon patterns, bird patterns, and fish patterns.

10. Lei wine vessel with goat-head high reliefs and knob pattern

This vessel has a tapered mouth and round shoulders. It is decorated with goat heads in high relief, flat bird patterns in relief, and patterns of kui dragons with lowered heads. The belly of the vessel is completely covered with nipple patterns with linked hooks, round spiral patterns, and four-petaled flower patterns.

Welcome to the National Palace Museum's collection of other bronze artifacts from ancient China! Here, you can explore some of the most incredible pieces of history. We have a variety of different items on display here, including a Square Zun wine vessel of Ya-chou, Yue battle ax with animal mask pattern and turquoise inlay, Zun wine vessel of Ya-qin to Yi the father, Hu vessel with Hunting Scenes Inlaid in Copper-like Paste, Square gui food container with Ya Chou emblem, P'eng-tsu-ting Ting, Mirror of Shang-fang with TLV pattern, Mirror with Lion and Grapevine Decorations, Chia Measure and Gilt Beast-footed Tsun with Mountain Design. These are all amazing artifacts that tell us about the culture and society of ancient China. Come take a look at these incredible pieces today!

1. Square Zun wine vessel of Ya-chou

The "Yachou" vessels that have been excavated from Suputun in Itu, Shandong, suggest that the "Poku" clan mentioned in the ancient "Zozhuan" text was based in that area.

2. Yue battle ax with animal mask pattern and turquoise inlay

The "yue" axe is a weapon that was used during the late Shang to early Zhou dynasties. This type of axe was a symbol of the high status of the owner.

3. Zun wine vessel of Ya-qin to Yi the father

The Ya-qin crest is found on both the bronze zun vessel and the bronze seal. The zun vessel is decorated with animal mask patterns, dragon-head and phoenix-body patterns, and thin grid patterns.

4. Hu vessel with Hunting Scenes Inlaid in Copper-like Paste

This vessel has shallow relief designs of birds with snakes in their mouths and winged spirit figures on the neck and shoulders. The belly is decorated with figures and animals, and the area below is filled with hooked-cloud and geometric patterns.

5. Square gui food container with Ya Chou emblem

This gui food container has a square body and wide mouth. The neck and longer sides of the ring foot are decorated with kui phoenix patterns, while the belly is adorned with animal mask patterns. The shorter sides of the ring foot are decorated with bird patterns.

6. P'eng-tsu-ting Ting

This is the heaviest and largest object in the National Palace Museum collection. It measures 85.5 centimeters in height, 94.65 kilograms in weight, and has a rim diameter of 59.4 cm.

7. Mirror of Shang-fang with TLV pattern

This mirror has a round knob in the center, and is decorated with geometric patterns, protrusions, the Four Spirits, and immortal figures.

8. Mirror with Lion and Grapevine Decorations

The mirrors made in the Tang dynasty were very well-crafted, and often featured designs with a foreign influence. This mirror with lions and grape vines is a great example of such a work.

9. Chia Measure

The Chia liang measures were created by Wang Mang when he took over the throne from the Han dynasty and established the Xin dynasty. The Chia liang measures are a combination of five different measures.

10. Gilt Beast-footed Tsun with Mountain Design

The tsun was a wine vessel used in the Han dynasty. The surface of this vessel was often gilt, and its outer decoration composed of images of spirits, auspicious beasts, and winged (immortal) figures, representing paradise as envisioned by people in the Han dynasty.

Welcome to the National Palace Museum's collection of bronze artifacts from the Late Western Zhou dynasty! These artifacts are incredibly important in terms of understanding Chinese culture and history during this period. On display here, you will find the Hu wine vessel of Song, Mao-kung Ting, Bell of Zong-zhou, Pan water vessel of San and Xu food container of Le Ji-xian. Each of these artifacts is unique and tells a different story about life during this time. Come take a look at these incredible artifacts today!

1. Hu wine vessel of Song

This wine vessel was used on special occasions. It is very large and has many layers of decoration, making it look very impressive. The same 152-character inscription can be found on the vessel's lid and inside its body.

2. Mao-kung Ting

King Xuan of Zhou came to the throne and charged his uncle, the Duke of Mao, with governing the domestic and external affairs of state. The King then presented the Duke with official vestments and gifts, and this vessel was cast in order to record the honor given to the Duke for his descendants.

3. Bell of Zong-zhou

This bell has a flat oval shape and is decorated with cloud patterns and twin kui dragon patterns. There is an inscription of 111 characters on the central strip and soundbow.

4. Pan water vessel of San

This water vessel presents a sense of reserved dignity. The inscription on the inside of the vessel is 350 characters long and describes the state of Zhe's failure to invade the state of San, as well as San's subsequent annexation of a portion of Zhe's land.

5. Xu food container of Le Ji-xian

The vessel was commissioned by Le Ji-xian to be cherished by all descendants.

Welcome to the National Palace Museum's collection of ceramics from the Song dynasty! Here, you can explore some of the most beautiful and unique pieces from this era. Our collection includes a Bowl with sky-blue glaze and purple splashes, Ju-i Pillow with Azure Glaze and Purple Splashes, Celadon Stembowls, Warming bowl with celadon glaze, Narcissus basin in bluish-green glaze, Pillow in the shape of a recumbent child with white glaze, Ruby Red-glazed Vase, Celadon water container and Monk's cap ewer with ruby red glaze. All of these pieces were made by master craftsmen and are sure to impress. Come take a look at these incredible artifacts today!

1. Bowl with sky-blue glaze and purple splashes, Jun ware

This water jar has a deep wall and a wide inward mouth. The lower body has a slight flare and constricts to form a small base. The center of the base has a sharp protruding point. The inside of the jar is glazed with a dark color.

2. Ju-i Pillow with Azure Glaze and Purple Splashes, Jun ware

This porcelain pillow is in the shape of the "ju-i" symbol, which is a symbol of good luck in Chinese culture. The top of the pillow is slightly indented towards the center, which is said to help bring good luck to whoever uses it.

3. Celadon Stembowls, Ko ware

This bowl has a wide, flaring rim and a curved body. The stem is thin and tall, and slightly wider at the bottom than at the top. The entire piece is covered with a creamy glaze, which has ash white specks and clear crackle lines on the exterior.

4. Warming bowl with celadon glaze, Ru ware

This bowl was molded and has smooth curves. It is a bluish green color and has crackles stained brown. It has a high, splayed ring foot and five spur marks along the edge of its base.

5. Narcissus basin in bluish-green glaze, Ru ware

This oval dish has deep, slightly flaring sides and a flat base. It is covered all over in a light blue, highly lustrous glaze, which shows a hint of green at the base. It has four cloud-shaped feet.

6. Pillow in the shape of a recumbent child with white glaze, Ding ware

The Tang dynasty had two types of ceramic pillows: one for sleeping and one for taking a pulse. By the Song dynasty, there was a greater variety of designs, including one made especially to be buried with the deceased.

7. Ruby Red-glazed Vase

Lang Tingji was ordered to go to the Jingdezhen kilns factory in 1705 and manage the firing of ceramics there. Among the porcelains produced was a red-glazed vessel in imitation of one from the Ming dynasty.

8. Celadon water container, Yue ware

This is a celadon water container from the Wuyue Kingdom. It is a Yue celadon piece, similar to those found in the Famen Temple underground hoard.

9. Monk's cap ewer with ruby red glaze

This ewer has a stepped rim that resembles the cap worn by Tang dynasty monks. It has a pointed spout and a flat handle decorated with a "ju-i" motif at both ends. It is attached to the curvature of the belly at one end and the rim at the other.

Welcome to the National Palace Museum's collection of ceramics from the Song dynasty! This collection includes a variety of different pieces, from teapots with blue landscapes in falangcai polychrome enamels to bowls with blue landscapes in falangcai painted enamels. There are also green-ground floral-shaped vases with fish-dragon motifs, cocoon-shaped hu vessels, hibiscus-shaped washers with bluish-green glazes, vases with phoenix-shaped handles in celadon glaze, purple-ground boxes with bird-and-flower motifs in fencai enamels, vases with "hundred deer" motifs in wucai enamels, black pottery stemcups and zuns in the form of an elephant of peace.

1. Teapot with blue landscape in falangcai polychrome enamels

This teapot has a wide mouth, squat body, curved handle, tubular spout, flat base, and concave foot. The teapot's lid is slightly domed with a flattened top. There is a round knob on top of the lid with a hole to the side to let air in.

2. Bowl with Blue Landscape in Falangcai Painted Enamels

Compared to enamelware ceramics from the Kangxi reign, official wares from the Yongzheng reign were more image-oriented in terms of surface decorations.

3. Green-ground Floral-shaped Vase with Fish-Dragon Motif

This large vase is beautiful and has the shape of an eight-petal flower. It has a bright yellowish-green glaze and looks almost modern in appearance. The vase has two handles in the shape of animal masks with rings in their mouths.

4. Cocoon-shaped Hu

This piece of black pottery is in the shape of a silkworm cocoon. The outside has lots of lines, and in between them are ninety characters of a poem written by the Qianlong Emperor (r. 1736-1795). The vessel was originally used for holding alcoholic beverages.

5. Hibiscus-shaped Washer with Bluish-green Glaze, Kuan ware

This piece is a cosmetics receptacle in the style of a hibiscus flower. It is glazed in blue-green, with yellowish-brown around areas where the body of the receptacle can be seen through thinner areas of glaze.

6. Vase with phoenix-shaped handles in celadon glaze, Longquan ware

This vase is shaped like a mallet, with a tray-shaped mouth and a straight neck and body. It has a two-piece design, with handles in the shape of phoenixes or dragons. This style emerged in the early Song dynasty.

7. Purple-ground Box with Bird-and-Flower Motif in Fencai Enamels

The Empress Dowager Cixi was a powerful woman who controlled the Qing dynasty court for many years.

8. Vase with "Hundred Deer" motif in wucai enamel

This "hundred deer" vase has a slightly flared mouth, a short straight neck, sloping curved shoulders, a broad belly that is slightly tapered, and a flat base.

9. Black pottery stemcup

The Shandon Longshan Culture was known for its development of pottery using a potting wheel. This allowed for the creation of very thin-walled vessels that could be carved with openwork patterns, known as "egg-shell pottery".

10. Zun in the form of an elephant of peace

This object is an elephant with a vase on its back. The elephant is standing straight with its head turned back and eyes partially closed. The decoration of the saddle brocade symbolizes the mountains of longevity in seas of prosperity, chimes of auspiciousness for plenty, and times of peace.

Welcome to the National Palace Museum's collection of other ceramics! Here, you can explore some of the most exquisite ceramic artifacts from China's imperial past. We have a variety of different pieces on display here, including White pottery guei-pitcher, Flask with ruyi handles and figures decoration in underglaze blue, Bowl in black glaze with "hare's fur" striations, Bright Yellow Cauldron with Animal-Mask Decorations, Pottery figure of ladies playing polo game in sancai tri-color glaze, White porcelain vase with loops, Xing ware, Sancai figure of a Lokapala, Guardian King, Pottery figure of a standing lady with painted colors, Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground and Porcelain chicken cup in doucai painted enamels. These are all amazing pieces that tell us about the craftsmanship and artistry of ancient Chinese culture. Come take a look at these incredible artifacts today!

1. White pottery guei-pitcher

Pottery was an important artifact in ancient civilizations, with sage rulers of China's high antiquity particularly emphasizing the importance of pottery-making for the people's livelihood.

2. Flask with ruyi handles and figures decoration in underglaze blue

This flask is decorated with blue and white glaze, and the neck is adorned with blue and white plantain leaf patterns. Rings of upward-and downward-facing lotus petal patterns encircle the shoulders and the bottom of the flask.

3. Bowl in black glaze with "hare's fur" striations

This bowl has a flared mouth, deep belly walls, and a small ring foot. The ceramic body is thick and heavy, and has been covered in a thick, flowing black glaze.

4. Bright Yellow Cauldron with Animal-Mask Decorations

This incense burner is in the shape of a round ting (cauldron). It has two handles along the rim and three legs joined to the body. The entire vessel is covered with bright yellow glaze. On either side of the body is an engraved animal mask.

5. Pottery figure of ladies playing polo game in sancai tri-color glaze

In the Tang dynasty, lavish funerals became popular, with grave goods being exceptionally resplendent. Various figurines of different sizes were fashioned from clay and then covered with yellow, white, green, and brown low-temperature glazes, creating a beautiful and dazzling effect.

6. White porcelain vase with loops, Xing ware

The Xing kilns were an important producer of Northern white wares located in the NeiQiu and Lincheng regions of modern-day Hepei province. The ceramics manufactured by these kilns are characterized by their fine clay bodies and pure white glaze.

7. Sancai figure of a Lokapala, Guardian King

This enormous tri-color Virüdhaka served as a tomb guardian used to ward off evil. On the head of the heavenly king is a bird with wings as if about to fly.

8. Pottery figure of a standing lady with painted colors

This figure is an example of a Tang Dynasty tomb figurine. The Tang people placed a lot of importance on funerary rituals, which often included a lot of grave goods. These were meant to provide for the dead in the afterlife and to show off the wealth of the deceased's family.

9. Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground

This jar was likely used as a tea container.

10. Porcelain chicken cup in doucai painted enamels

Late Ming collectors prized blue and white porcelain from the Xuande reign above all other ceramics, followed by wucai porcelain from the official kilns of the Chenghua reign.

Welcome to the National Palace Museum's collection of ceramics from the Qianlong reign of the Qing dynasty! Here, you can explore some of the most exquisite pieces of art from this period. We have a variety of different pieces on display here, including a Revolving Vase with Swimming Fish in Cobalt Blue Glaze, Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels, Six Conjoined Vases in Tea Dust Glaze, Bowl with Indian Lotus Design on a Pink Brocade Ground and Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs. These are all beautiful pieces that showcase the skill and creativity of Chinese artisans during this time period. Come take a look at these amazing artifacts today!

1. Revolving vase with swimming fish in cobalt blue glaze

This vase has an inverted mouth, inward sloping sides, a long neck, broad shoulders, tapered belly, and short ring foot. The shoulders of the vessel are decorated with four ring-shaped loops. The belly of the vase is divided into inner and outer layers.

2. Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels

This vase has a round, flat shape that makes it look like there are two vases, one in front of the other. But actually, it's just one vase with two bodies joined together. The rims are slightly inverted, the necks are short, and the bases are rectangular.

3. Six Conjoined Vases in Tea Dust Glaze

This vessel consists of five vases of the same shape and size circling around a central main vase, forming a single complete vase. The surface is covered with a glaze in the color of tea dust, the hue becoming slightly deeper where it gathered and thickened.

4. Bowl with Indian lotus Design on a Pink Brocade Ground

This bowl has a flaring rim, a deep curving body, and a short foot ring. The outer wall is covered with a light pink glaze. On top of the pink enamel are winding stalks of lotus flowers, and near the rim is an encircling geometric pattern in blue pigment.

5. Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs

This vase set is made up of a revolving center and an interlocking top and bottom. The vase can be taken apart into two pieces, the neck and body, and the upper part of the inner vase is attached to the neck.

Welcome to the National Palace Museum's collection of documents from the Qing dynasty! Here you will find a variety of different documents that tell us about the history of China during this period. We have Edicts for the Personal Rule of the T'ung-chih Emperor, Gold-leaf Tributary Document from Siam and Diplomatic Credentials Presented by The Great Qing Empire's Overseas Survey Envoy to The Great British Empire. These documents provide us with an insight into how people interacted with each other during this time period and how the government responded to foreign affairs. Come take a look at these fascinating artifacts today!

1. Edicts: Edict for the Personal Rule of the T'ung-chih Emperor

An edict is a decree or instruction issued by the emperor. It is written in both Chinese and Manchu.

2. Gold-leaf Tributary Document from Siam

This document is the "Gold-leaf Tributary Document from Siam" and it has a very beautiful binding. The word "piao" was the term that the Qing dynasty government required that its vassal states use to refer to themselves when writing to the emperors of China.

3. Diplomatic Credential Presented by the Great Qing Empire's Overseas Survey Envoy to the Great British Empire

The diplomatic credentials in the National Palace Museum collection include dispatches to various countries. After the Opium War and the campaign against the allied English and French forces, the Qing government began to change its attitude towards foreign affairs in an attempt to adapt to the new political climate.

Welcome to the National Palace Museum's collection of documents from the Qing dynasty! Here, you can explore a variety of different documents from this period, including Archives in Old Manchu, Archives of the Diary-keeper, Tripitaka in Tibetan and Manchu, Palace Memorials, Manuscripts and Packets from the Historiography Institute, Map of Taiwan and Illustration of Victory: Archives of the Grand Council. These documents are all important pieces of Chinese history that tell us about how people interacted with each other during this time period. Come take a look at these fascinating artifacts today!

1. Archives in Old Manchu

In the 1500s, the Manchu leader Nurhaci needed a way to send written messages and keep records. He ordered scholars to create a written language for the Manchu people, based on the Mongolian alphabet and combined with Jurchen phonetics. This early form of Manchu was called Old Manchu.

2. Archives of the Diary-keeper

The "Ch'i-chu chu" was an official in imperial China whose duty was to record the daily actions and sayings of the emperor into what was known as the "Archives of the Diary-keeper." This system has ancient origins in China, extending as far as the Zhou dynasty ca.

3. Tripitaka in Tibetan / Tripitaka in Manchu

Buddhism has been a major world religion for over 2000 years. The Buddhist scriptures, known as Sutras, were translated into Tibetan and Manchu in order to preserve the language and history of China. The Sutras are a crucial source of historical material.

4. Palace Memorials

The way documents were submitted to the court during the early Qing dynasty followed the system used during the Ming dynasty. However, starting from the middle of the Kangxi Emperor's reign, the system was changed. Now, the contents of these confidential memorials included both public and private matters.

5. Manuscripts and Packets from the Historiography Institute

The Qing Historiography Institute was established in 1914. The National Palace Museum archives manuscripts and final drafts of many documents from the Institue, which reveal important aspects of society at the time.

6. Map of Taiwan

The "Map of Taiwan" is a long and skinny map that stretches from Shamajitou in the south to the City of Dajilong in the north, and from mountains in the east to seas in the west.

7. Illustration of Victory: Archives of the Grand Council

"Poem and Illustration on 'Battle Breaking the Defense of Hei-shui'" is the first type of copperplate print-based war painting to be produced during the Qianlong era.

Welcome to the National Palace Museum's collection of rare books from various dynasties! Here, you can explore some of the most important texts in Chinese history. We have a variety of different documents on display here, including the Vast Documents of the Yung-lo Era, the Complete Library of the Four Treasuries and the Illustrated Tributes to the Imperial Ch'ing. These are all fascinating artifacts that tell us about how people interacted with each other during these times. Come take a look at these incredible artifacts today!

1. Vast Documents of the Yung-lo Era

The Ming dynasty compiled a classified book entitled "Wen-hsien ta-ch'eng" (Great Collection of Documents) in 1403.

2. Complete Library of the Four Treasuries

The "Complete Library of the Four Treasuries" is a collection of major literary works produced in China over successive dynasties. It comprises over 3,400 titles bound in more than 36,000 volumes, and is arranged into four main sections--classical writings, histories, philosophical texts, and literature.

3. Illustrated Tributes to the Imperial Ch'ing

This text in nine chapters was compiled by Fuheng, Dong Gao, and others, and it was illustrated by Men Ch'ing-an and others. The text is divided geographically, with each chapter dealing with different areas.

Welcome to the National Palace Museum's collection of rare books from the Yuan dynasty! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find literary collections from Fan Zhongyan, annotated editions of The Analects, classified drafts of the Yuan-feng Era, essentials to the collected meaning of The Four Books, dynastic regulations for sagacious rule of the Great Yuan, and painting catalogues of the Hsuan-ho Collection. We hope you enjoy exploring these incredible artifacts!

1. Literary Collection of Fan Zhongyan

Fan Zhongyan was a native of Wuxian, Jiangsu province. He was a diligent student who was very ambitious and talented. He also had a strong sense of social duty. Fan's collected writings were originally called "Tan-yang chi" (Tan-yang Anthology), but after he died,

2. The Analects

"Lun-yu chi-chieh" is an annotated edition of "Lun-yu", a book by He Yan, Sun Yung, Cheng Ch'ung, Ts'ao Hsi, and Hsun I.

3. Classified Draft of the Yuan-feng Era

Zeng Gong was a man from Nan-feng in Chien-ch'ang during the Tang and Song Dynasties. He was known for his wide range of knowledge, having assembled and collated a library of rare works.

4. Essentials to the Collected Meaning of The Four Books

Liu Yin, a scholar from the Song dynasty, became a hermit after the fall of the dynasty in 1279. His book "Essentials to the Collected Meaning of The Four Books" was printed with exceptional quality.

5. Dynastic Regulations for Sagacious Rule of the Great Yuan

The Yuan dynasty imprint is one of the earliest examples of a text describing the government's rule. Although there is no information about the editor or date of printing, it is still an important source for the study of the Yuan dynasty.

6. Painting Catalogue of the Hsuan-ho Collection

This book is a catalogue of the imperial collection of paintings from the Jin dynasty to the Northern Song dynasty, including 6396 paintings and even some Japanese paintings. The book was completed in 1120, but the editor(s) remain unknown.

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find the Literary Collection of Liu Ping-k'o, which was compiled into 40 chapters in the "Hsin T'ang shu i-wen chih" (New Arts Section of the Tang History), as well as the Literary Collection of Nan-hsüan, written by the famous Neo-Confucianist Zhu Xi. These are both important pieces of Chinese history that tell us about how people interacted with each other during this time period. Come take a look at these fascinating artifacts today!

1. Literary Collection of Liu Ping-k'o

Liu Yuxi was a Tang dynasty poet whose literary collection was compiled into 40 chapters in the "Hsin T'ang shu i-wen chih" (New Arts Section of the Tang History). In the early Sung dynasty, ten chapters were lost, leaving only 30.

2. Literary Collection of Nan-hsüan

Zhang Chi was a Chinese philosopher who lived during the Song dynasty. He was praised by the famous Neo-Confucianist Zhu Xi for his character and erudition.

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! This amazing collection includes texts written by some of the most influential scholars in Chinese history. Here, you can find commentaries on ancient classics such as The Book of Mencius, memoirs from Zhao Gongwu who fled K'ai-feng when it was invaded in 1126, anthologies of works by Master Zhu Xi and Du Fu’s Poetry with Annotations. There are also commentaries on the Rites of Chou, Principal Meaning to The Book Of Etiquette And Ceremony, Erh-ya philology text and Illustrated Text Of The Hsuan-ho Emissary To Korea. Finally there is Six Writings By Master K'ung which was written after Confucius descendant Kong Duanyou moved south following the fall Northern Song Dynasty in 1126. We invite you to explore these incredible artifacts and gain a better understanding of Chinese culture during this period!

1. Exegeses on the Book of Mencius

The study of the Classics is one of the sources of knowledge of Chinese culture. Over the ages, many talented scholars have left behind a large number of notes and commentaries. These texts were originally transcribed by hand, but the spread of woodblock printing led to their being printed instead.

2. Memoirs of Master Chao-te's Readings in the Chun Studio

Zhao Gongwu was a Chinese scholar who lived in the 12th century. He was from Shandong but had to flee to Sichuan when the Jin forces invaded the Song capital.

3. New Imprint of the Grand and Illuminous Explication of Huai-nan-tzu

The Huainanzi was written during the Western Han dynasty by Liu An, a member of the imperial clan. There were 21 "central" volumes and 33 "peripheral" volumes. Nowadays, only 21 volumes survive, and they are all from the central section.

4. New Revised Imprint of Du Fu's Poetry with Annotations

Du Fu (712-770) was one of the greatest poets in Chinese history. He lived through the An Lu-shan rebellion and the restoration of imperial rule in the mid-8th century, two of the most tumultuous periods of the Tang dynasty.

5. Anthology of Works by Master Zhu Xi

Zhu Xi (1130-1200) was a Chinese philosopher and thinker who lived during the Song dynasty. He is considered one of the most important and influential figures in the development of Chinese metaphysics.

6. Commentaries on the Rites of Chou

The Chinese Classics are a set of texts that were written during the Tang dynasty. They were carved into wood, based on engraved stone Classics of the Tang dynasty. Around 988, during the Northern Song dynasty, commentaries were carved below the text of the Classic.

7. Principal Meaning to The Book of Etiquette and Ceremony

Wei Liaoweng was a Song dynasty official who compiled information for books on the Classics. He served as an official in the Southern Song dynasty, but was demoted after running into trouble with the prime minister.

8. Erh-ya

The "Erh-ya" is an ancient text devoted to philology, but the identity of the author(s) still remains unclear today. The Qing (1644-1911) editors of the "Ssu-k'u ch'uan-shu" (Complete Library of the Four Tre

9. Illustrated Text of the Hsuan-ho Emissary to Korea

Geographical and travel texts have a long history in China, extending back to the Shang and Zhou dynasties (17th-3rd c. BC), when specific officials compiled and organized such texts. Following "Fo-kuo chi" (Record of the Land of the Buddha) by Jin

10. Six Writings by Master K'ung

Confucius was a famous figure in ancient China, and his descendants were respected for many years. When the Northern Song dynasty ended in 1126, Kong Duanyou, the 47th descendant of Confucius, moved south. This text was written after he moved south.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here you can explore a variety of different styles of calligraphy, from Chang Yu's Regulated Verse in Seven Characters to Yang Wei-chen's Poetry on the Wan-chieh Hall. You will also find Shen Du's The Homecoming Ode and Wang Ch'ung's "Wu-i ko" Poems, which are both examples of semi-cursive calligraphy. These pieces are all important works of art that show us how Chinese calligraphy has evolved over time. Come take a look at these incredible artifacts today!

1. Regulated Verse in Seven Characters

Chang Yu was a well-known Taoist who lived during the Yuan dynasty. He moved to Mao-shan at the age of 29, and then gave up his life as a Taoist at 59 to become a Confucian scholar.

2. Poetry on the Baotu Waterfall

Chao Meng-fu was a relative of the Sung imperial family and a native of Hu-chou (modern Wu-hsing, Chekiang). After the fall of the Sung, he served the Yüan dynasty as an official in the Hanlin Academy.

3. Poetry on the Wan-chieh Hall

Yang Wei-chen was a native of Kuei-chi who went by a variety of names, including the style name Lien-fu and sobriquet Tung-wei-tzu.

4. The Homecoming Ode

Shen Du was a native of Huating, which is now modern Shanghai. He was praised by the Ming emperor Chengzu as the "Wang Xizhi of Our Dynasty" for leading the formation of the "Academic Style" of Ming dynasty calligraphy.

5. "Wu-i ko" Poems

Wang Ch'ung was from Soochow and his dad was a merchant. He studied with his brother under Wen Cheng-ming and Ts'ai Yu. This is a handscroll of semi-cursive calligraphy that moves across the paper quickly and smoothly.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here you can explore some of the most beautiful and intricate pieces of calligraphy from this era. We have a variety of different pieces on display, including Copy from the Ch'un-hua Modelbooks, Calligraphing Poetry, Five-character Couplet in Seal Script, Essay on Calligraphy, Draft of a Requiem to My Nephew, Autobiography, Yuanhuan, Timely Clearing After Snowfall, Three Passages: Ping'an, Heru, and Fengju and Letter to Abbot Zhongfeng (As If in a Drunken Dream). These pieces were written by some of the most influential calligraphers in Chinese history, such as Wang Xizhi and Zhao Mengfu. Come take a look at these incredible artifacts today!

1. Copy from the Ch'un-hua Modelbooks

Liu Yung (style name Ch'ung-ju and sobriquet Shih-an) was a native of Chu-ch'eng in Shantung. His father served the Ch'ien-lung Emperor (r. 1736-1795) as grand secretary.

2. Calligraphing Poetry

Wang To was a Chinese scholar and calligrapher who lived during the Ming and Ch'ing dynasties. He was known for his skill in copying the works of old masters and for his lively and varied cursive script.

3. Five-character Couplet in Seal Script

Ch'i Pai-shih originally went by the name Ch'un-chih, but later changed it to Huang.

4. Essay on Calligraphy

The author's name is Sun Kuo-t'ing. He was from Wu-chün. He was of high moral integrity, and resigned from officialdom after being slandered at court. He then turned to focus on the study of calligraphy.

5. Draft of a Requiem to My Nephew

Yen Chen-ch'ing's ancestors were from the Shantung area. In the revolt of Li Hsi-lieh, Yen Chen-ch'ing was supposed to bring an imperial communique to the rebels, but he was detained and eventually executed.

6. Autobiography

Huai-su was a monk who originally went by the name Ch'ien Ts'ang-chen. He was born in Ling-ling County, Hunan, but later moved to Ch'ang-sha. Even as a youth, he was interested in Buddhism, eventually taking the tonsure.

7. Yuanhuan

Wang Xizhi was a very skilled calligrapher who was later known as the "Sage of Calligraphy." This particular piece of calligraphy, called "Xingbie," is actually a copy that was made by tracing the original and then filling it in with ink.

8. Timely Clearing After Snowfall

Wang Hsi-chih was a Chinese nobleman and calligrapher who lived in the 4th century. He was born in Lin-i, in the Shantung province, and studied poetry, music and calligraphy.

9. Three Passages: Ping'an, Heru, and Fengju

Wang Xizhi was a famous calligrapher from the Eastern Jin period. He is known as the "Sage Calligrapher" because he established the standards for modern cursive and running scripts. "Ping'an" and "Heru" are two letters written by Wang.

10. Letter to Abbot Zhongfeng (As If in a Drunken Dream)

Zhao Mengfu was a Chinese painter and calligrapher who lived during the Yuan dynasty. He came from a family of the Song imperial family, and was recruited by the Yuan dynasty to be a Hanlin Academician. This meant he was good at his job and respected by many.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. You will find commentaries on the Book of Changes, letters to prefects and administrators, calligraphy of the four Song masters, the Cold Food Observance, poems in seven-character verse, poems by Emperor Hui-tsung, On Szechwan Silk and a letter to Officer-Gentleman Tu. These pieces are all unique and provide us with a glimpse into the culture of the time. Come take a look at these amazing artifacts today!

1. Commentary on the Book of Changes

Zhu Xi was a Chinese philosopher who lived in the 12th century. He was a major proponent of the philosophy known as Lixue, and wrote many works on the subject.

2. Letter to Prefect Yuanbo (In a Pure Autumn)

Lu You was a talented and untrammeled scholar who excelled at poetry and prose. This letter is concrete evidence of Lu's studying the calligraphy of both Yan and Su. The style is plump but dynamic, following his convention in letters written after his middle years.

3. Letter to the Commandery Administrator Huizhi (In the Depths of Autumn)

Zhu Xi talks about the government affairs to be addressed in Tanzhou. He mentions the death of Retired Emperor Xiaozong in the sixth month of that year. Zhu Xi had the opportunity to go to court and serve as an Instructor, bringing him joy.

4. Calligraphy of the Four Song Masters

The first section of this handscroll is the "Haiyu" modelbook, a letter written by Cai Xiang. This letter is an excellent example of Northern Song calligraphy in the style of Yan Zhenqing (709-785).

5. The Cold Food Observance

Su Shih, a Chinese poet, was banished from the capital after being accused of slander. Although he faced many challenges throughout his career, he is still considered one of the greatest poets of all time.

6. Poem in Seven-character Verse

Huang T'ing-chien was a native of Fen-ning, Kiangsi. At the age of 23, he became a Presented Scholar, which meant he could work in the civil service.

7. Poem

Hui-tsung was the eighth emperor of the Sung dynasty. He is known for his extravagant lifestyle, which is believed to be part of the reason for the near collapse of the dynasty. Hui-tsung was also known for his passion for painting, calligraphy, poetry, and prose.

8. On Szechwan Silk

Mi Fu, a native of Hsiang-yang in Hupeh province, was an official, poet, painter, calligrapher, and collector in the Northern Sung period. He was known as one of the Four Sung Masters of calligraphy.

9. Letter to Officer-Gentleman Tu

Ts'ai Hsiang, a native of Hsien-yu in Hsing-hua, went by the style name Chün-mo. A Presented Scholar of 1030, he served in government and was renowned for his straightforward speech and courage in remonstrating.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most beautiful works of art from this period. We have a variety of different paintings on display here, including Herd of Deer in an Autumnal Grove, Early Snow on the River, Storied Mountains and Dense Forests, Pasturing Horses and A Palace Concert. These are all masterpieces that capture the beauty of nature and the sophistication of Chinese culture during this time period. Come take a look at these incredible artifacts today!

1. Herd of Deer in an Autumnal Grove

This painting is from the Liao dynasty and is from the late 10th century. It depicts a herd of deer in a maple forest. The deer are in light ink and the trees are in dark ink. The leaves are in light and dark shades of red, white, yellow, ink, and light blue.

2. Early Snow on the River

This handscroll painting depicts a winter landscape with figures and animals. The artist, Chao K'an, paid attention to detail, even spraying dots of white pigment to illustrate the first wind-driven flakes of snow.

3. Storied Mountains and Dense Forests

Chu-jan was a monk at the K'ai-yuan Temple who originally specialized in painting the southern scenery of Kiangnan.

4. Pasturing Horses

This work, the third leaf in the album "Collected Treasures of Famous Paintings," shows a groom riding on a white horse side-by-side leading a black steed. The painting has an inscription by the Song dynasty emperor Huizong (1082-1135) that reads, "

5. A Palace Concert

This painting shows ten ladies of the inner court sitting around a large rectangular table. Some enjoy tea, while others drink wine. The four figures at the far end seem to be responsible for playing music and livening up the atmosphere.

6. The Red Cliff

The painting is unsigned, but it is believed to be by Wu Yuan-chih, a famous scholar under Emperor Chang-tsung who excelled at landscape painting. This work illustrates the immortal "Ode to the Red Cliff" by Su Shih (1037-1101), which was written in 10

Welcome to the National Palace Museum's collection of paintings from the Ming dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including T'ao Ku Presenting a Lyric to Ch'in Jo-lan, Spring Dawn in the Han Palace, Flowers and Bamboo, Shady Trees in a Summer Landscape, Ducks Sleeping on a Lotus Bank, After the Line "Idly Watching Children Catch Willow Flowers", Returning Late from a Spring Outing, Plum Blossoms and Wild Bird and Enjoying Antiquities. These are all masterpieces that will provide you with an insight into Chinese culture during this time period. Come take a look at these incredible works of art today!

1. T'ao Ku Presenting a Lyric to Ch'in Jo-lan

T'ang Yin was a painter who studied under Chou Ch'en and copied the works of Sung masters. He had a talent for painting and was able to create a distinct personal style.

2. Spring Dawn in the Han Palace

Ch'iu Ying was born in T'ai-ts'ang, China. He later moved to Soochow to study painting under Chou Ch'en. He eventually became successful in his craft, to the point where his copies were indistinguishable from originals.

3. Flowers and Bamboo

Hsu Wei was a painter from Shan-ying, China. He was good at painting landscapes, figures, flowers, insects, bamboo, and stones. He was also good at calligraphy, poetry, and prose. He attempted suicide several times. He is one of the most eccentric figures in Chinese art history.

4. Shady Trees in a Summer Landscape

Tung Ch'i-ch'ang was a Chinese artist and art theorist who lived in the late Ming period. He was born in Hua-t'ing, near Shanghai, and became a civil service degree candidate in 1588.

5. Ducks Sleeping on a Lotus Bank

The painting "Four Geese on a Sand Bar" by Lu Chi is of four geese on a sand bar. Some people question the painting because the brushwork is not as strong as in other paintings by Lu Chi.

6. After the Line "Idly Watching Children Catch Willow Flowers"

Chou Ch'en, also known as Shun-ch'ing, was a Chinese painter who was born in Wu-chun in the modern day city of Soochow, Kiangsu.

7. Returning Late from a Spring Outing

Tai Chin was a painter who was born in Ch'ien-t'ang (modern Hangchow). He is said to have studied under local artists as a youth, and specialized in landscapes and figures. During the Hsuan-te reign (1426-1435), he was recommended for service at

8. Plum Blossoms and Wild Bird

Ch'en Hung-shou was a painter and calligrapher who lived during the Ming and Ch'ing dynasties. He was known for his paintings of figures, but he was also skilled at painting birds and flowers, landscapes, and grasses and insects.

9. Enjoying Antiquities

Tu Chin was a native of Tan-t'u, but later resided in Nanking. His style name was Chu-nan and his sobriquets were Ch'eng-chu and Ku-k'uang.

Welcome to the National Palace Museum's collection of paintings from the Ming dynasty! Here, you can explore the works of some of China's most influential painters, including Tang Yin, Qiu Ying, Bian Wenjin, Dai Jin, and Wen Cheng-ming. You will find a variety of different styles, from landscapes to bird-and-flower paintings to imperial processions. These paintings provide us with a unique insight into Chinese culture during this period. Come take a look at these incredible artifacts today!

1. Picking Lotuses

Tang Yin was a talented painter, calligrapher, and poet from Wu County, Jiangsu province in China. He was especially skilled in painting landscapes. This particular painting, completed when Tang Yin was 51 years old, depicts a summer morning on a lake.

2. Waiting for the Ferry on an Autumn River

Qiu Ying (style name Shifu, sobriquet Shizhou) was a painter from Suzhou. He studied under Zhou Chen (1460-1535) and became known for his landscape and figural paintings, along with Shen Zhou, Wen Zhengming, and Tang Yin as one of

3. Four Immortals Paying Homage to Longevity

This hanging scroll is a type of auspicious subject to bless for long life, a traditional theme for birthdays. It depicts four immortals of Buddhist and Daoist origin (Li Tieguai, Liu Haichan, Hanshan, and Shide) together in the same work standing on waves

4. Crossing a Bridge over a Stream

Dai Jin was the founder of the "Zhe School" of landscape painting in the Ming dynasty. His style became a model for later generations, and he is venerated as the Zhe School patriarch. This painting depicts a roaring torrent with rocks dispersed therein and a cliff in the background.

5. The Three Friends and a Hundred Birds

Bian Wenjin was an important Ming dynasty painter who specialized in bird-and-flower paintings. His style followed the tradition of fine brushwork and strong colors tracing back to the Northern Song school of Huang Quan, but also incorporated elements from the Southern Song Painting Academy.

6. Fishing in Reclusion Among Mountains and Streams

This handscroll painting by Tang Yin depicts pine trees, red maples, and yellow leaves against a waterfall and flowing stream with thatched cottage and water kiosk buildings scattered among rocky banks.

7. Departure Herald

This handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tom

8. Return Clearing

The "Departure Herald" handscroll depicts an imperial procession making its way to the imperial tombs at Mt. T'ien-shou. The scroll shows the shops along the way and the ceremonial guards at the final destination.

9. Lofty Mount Lu

Shen Chou was a Chinese artist who was born in Ch'ang-chou, Kiangsu province. He was good at writing poems, essays, and painting. In 1467, when he was 40 years old, he finished this work.

10. Old Trees by a Cold Waterfall

Wen Cheng-ming was a gifted artist who excelled at painting and calligraphy. He came from a family of artists, and his style influenced many other artists who came after him. He was one of the Four Great Masters of the Ming dynasty.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here you will find some of the most beautiful and unique works of art from this time period. We have Remote View of Streams and Hills by Hsia Kuei, Paised Egrets on a Snowy Bank by Ma Yuan, Evening Outing by Torchlight by Ma Lin, Scholar by an unknown artist, Immortal in Splashed Ink by Liang K'ai, Kuan-yin of a Thousand Arms and Eyes by an unknown artist, and Ancient Temple Concealed in Seclusion by Chia Shih-ku. These works of art are sure to captivate your imagination and provide you with a glimpse into the past. Come explore these incredible artifacts today!

1. Remote View of Streams and Hills

Hsia Kuei was a painter who worked for the Southern Sung court. He was often compared to another famous painter from the same time period, Ma Yuan.

2. Paised Egrets on a Snowy Bank

Ma Yuan was a painter who came from a family that originally lived in Ho-chung, Shansi. His family later moved to Hangchow, which is the capital of the Southern Sung.

3. Evening Outing by Torchlight

Ma Lin was born into a family of painters from Ho-chung, Shansi. The family moved to Ch'ien-t'ang (Hangchow) when Ma Lin was young.

4. Scholar

In this painting, a scholar is shown seated on a lounge bed. He is deep in thought, and holds a brush in his hand. It looks like he is taking a break from his studies or is about to write something. His servant is next to him, pouring wine.

5. Immortal in Splashed Ink

Liang K'ai was a painter who excelled at painting figures, landscapes, Buddhist and Taoist subjects, as well as spirits and deities. He learned painting from Chia Shih-ku, but he was able to paint better than his teacher.

6. Kuan-yin of a Thousand Arms and Eyes

Kuan-yin is a bodhisattva, which is a Buddhist figure who represents mercy and compassion. The painting shows a different representation of Kuan-yin than what is typically seen, with one head and two arms. This painting is an important masterpiece of Southern Sung Buddhist painting.

7. Ancient temple concealed in seclusion

Chia Shih-ku served in the Imperial Painting Academy during the Shaohsing reign. Not much is known about him, but he was good at painting Buddhist and Taoist figures in a style similar to Li Kung-lin.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! These works of art were created by some of China's most talented painters, and they provide us with a unique insight into Chinese culture during this period. You will find landscapes such as Autumn Colors among Streams and Mountains, Pair of Wild Geese on an Autumn Islet and Wind in Pines Among a Myriad Valleys. There are also bird-and-flower paintings like Blue Magpie and Thorny Shrubs and Magpies and Hare. Other works include Bamboo in Monochrome Ink, Travelers Among Mountains and Streams, Early Spring and Children at Play in an Autumnal Garden. Finally there is Lohan, which was painted by Liu Sung-nien in Ch'ien-t'ang during the Ch'un-hsi era. We hope you enjoy exploring these incredible artifacts!

1. Autumn Colors among Streams and Mountains

This painting has multiple layers of mountains with different areas of slope and elevation. The peaks are rounded and shaded with light ink to create a misty, lyrical quality to the landscape.

2. Pair of Wild Geese on an Autumn Islet

This painting shows a pond on an autumn day with a slight breeze. The geese are resting on a shoal in the middle of the pond, surrounded by dry reeds, red polygonum, and withered lotuses.

3. Bamboo in Monochrome Ink

Wen Tong was gifted in poetry, prose, and calligraphy. He is also credited with inventing the genre of ink bamboo painting. This painting depicts bamboo extending into the composition from the upper left, probably growing from a cliff left unseen.

4. Travelers Among Mountains and Streams

Fan K'uan was a painter from Hua-yuan in Shensi province. He was known for his kind personality, straightforward personality, and love of drink and the Tao. He is now famous for his landscape paintings.

5. Early Spring

Kuo Hsi, who is from Wen-hsien in Honan province, served as a court painter under Emperor Shen-tsung. He started his career by painting large screens and walls for palaces and halls in the capital, which caught the attention of the emperor.

6. Blue Magpie and Thorny Shrubs

Huang Chu-ts'ai, also known as Po-luan, was a famous bird-and-flower painter from Szechwan province. He followed in his father's style of thin brushstrokes and vibrant colors.

7. Magpies and Hare

Ts'ui Po was a painter from Anhwei province who was especially good at painting birds and flowers. This painting depicts two magpies crying out at a hare.

8. Wind in Pines Among a Myriad Valleys

Li T'ang was a painter who lived during the Northern Sung dynasty. He fled to the south when the dynasty fell in 1126, and eventually settled under the Southern Sung government. This painting bears his signature, which is dated to 1124.

9. Children at Play in an Autumnal Garden

Su Han-ch'en was a painter who specialized in painting Buddhist and Taoist figures. He worked at the imperial academy during the Hsuan-ho era (1119-1125) under Emperor Hui-tsung of the Northern Sung.

10. Lohan

Liu Sung-nien was a painter who lived in Ch'ien-t'ang during the Ch'un-hsi era. He specialized in figures and landscapes, and was known for his fine and spirited workmanship.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! These works of art were created by some of the most talented artists in Chinese history, and they provide us with a unique insight into Chinese culture during this period. You will find landscapes such as Strange Peaks and Myriad Trees, River Boats and Mountain Town, and Reading in an Open Hall. There are also religious works such as The Buddha Preaching the Law and Scroll of Buddhist Images. Other pieces include Preparing Clothes, The Ladies' Book of Filial Piety (Scroll 1), Literary Gathering, and Plants and Insects in Autumn. We hope you enjoy exploring these incredible artifacts!

1. Strange Peaks and Myriad Trees

This painting shows a scene with high mountains in the distance, appearing above clouds and mist. In the foreground, there are more mountains enveloped in mist. The three groups of mountains skillfully echo each other. The blank areas of clouds and mist make the mountains stand out even more.

2. River Boats and Mountain Town

This painting shows two mountains rising up to surround a town. The temple buildings are on a level outcropping and built up the slope. The valley below is filled with clouds and mists, and birds are flying around. This conveys the sense of a scene at dusk.

3. The Buddha Preaching the Law

The painting shows the Buddha seated with legs crossed on a lotus pedestal. On each side of him are a heavenly king who protects the Buddhist law, the great disciples Ananda and Mahakashyapa, and a bodhisattva making offerings.

4. Preparing Clothes

The painting shows 32 women making clothes for their husbands who are at the battlefront. The women's faces look round and full, and their robes look large and flowing. This suggests that they have some old-fashioned features from the Tang dynasty.

5. The Ladies' Book of Filial Piety (Scroll 1)

The Ladies' Book of Filial Piety was written by Madame Zheng, the wife of Houmo-Chen Miao, during the Tang dynasty (618-907). This handscroll originally had eighteen sections, but only half of them remain today.

6. Literary Gathering

This painting shows a group of scholars enjoying a banquet in a garden by a pond. There is a large table with food and drinks under a tree, and in the foreground there is a group of young attendants preparing tea. The figures are all spirited and elegant, and the painting is very detailed.

7. Scroll of Buddhist Images

This painting is the only one that has survived from the Dali kingdom. It is very important for understanding the history, religion, culture, and art of that time period. The painting is divided into four sections.

8. Plants and Insects in Autumn

Li Di was a painter who worked at the court during the Northern to Southern Song period. He was especially good at painting birds, flowers, insects, and grass. This particular painting shows a praying mantis raising its forelimbs in an attempt to catch a beetle that has just flown away.

9. Reading in an Open Hall

This painting depicts a courtyard near a lake, surrounded by hills and decorated with rocks from the lake. There is a pavilion in the courtyard with a daybed, a screen, and hanging scrolls. There is also a table with a porcelain vase and an incense burner.

10. Strange Peaks and Myriad Trees

This painting depicts the scenery of high mountains with distant peaks appearing above clouds and a rising foreground enveloped in mist. The painting is small in size but gives the effect of a broad vista. The painting is a masterful work of the early Southern Song dynasty (1127-1279) influenced by Li Tang

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! These incredible works of art are a testament to the skill and creativity of Chinese artists during this period. Here you will find works such as Dwelling in the Fu-ch'un Mountains (Wu-yung Version), Twin Pines, Forest Chamber Grotto at Chu-ch'u, The Jung-hsi Studio, Fishermen Returning on a Frosty Bank and Kublai Khan Hunting. Each painting is unique and tells us something about the culture and society of the time. Come take a look at these amazing artifacts today!

1. Dwelling in the Fu-ch'un Mountains (Wu-yung Version)

A hypothesis is a proposed explanation for something that is observed. A theory is an explanation that has been well-supported by evidence.

2. Twin Pines

Wu Chen was a native of Chia-hsing in Chekiang province and excelled at poetry, painting landscapes and bamboo in monochrome ink, and cursive script calligraphy.

3. Forest Chamber Grotto at Chu-ch'u

Wang Meng was a grandson of the famous artist Chao Meng-fu. He was implicated in the case of Hu Wei-yung and subsequently died in prison. Wang Meng's painting followed the styles of Wang Wei 701-761, Tung Yuan fl.

4. The Jung-hsi Studio

Ni Tsan was a native of Wu-hsi, Kiangsu. Son of a wealthy merchant, he was a bibliophile, collector, amateur poet and painter. He remained aloof of any official commitment and spent the later part of his life wandering the streams and lakes of his native province.

5. Fishermen Returning on a Frosty Bank

T'ang Ti was a native of Wu-hsing in Chekiang. He was a landscape painter who studied under Chao Meng-fu and later also Kuo Hsi. He is known for his polished and luxuriant style.

6. Kublai Khan Hunting

The painting is of Kublai Khan and his empress on horseback, surrounded by servants and officials. The scene is set in a barren landscape with a camel train in the background. Every aspect of the painting is rendered with exceptional detail. The artist's signature and the date (1280) appear in the

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! This collection features some of the most renowned Chinese painters from this period, such as Wu Zhen, Wang Yuan, Gao Kegong, Chen Lin, Zhao Yong and Zhao Mengfu. You will find a variety of different styles of painting here, including Manual of Ink Bamboo, Meeting Friends in a Pavilion among Pines, Cloud-girdled Peaks, Pair of Lohan Paintings, Riverside Pavilion and Mountain Hues, Inscribing a Portrait of Ni Zan, Wild Duck by a River, Nymph of the Luo River, Five Horses and Autumn Colors on the Qiao and Hua Mountains. These incredible works of art provide us with a unique insight into the culture and history of China during this time period. Come explore these amazing artifacts today!

1. Manual of Ink Bamboo

Wu Zhen, a Chinese painter from Jiaxing, was one of the Four Great Masters of the Yuan dynasty. In 1350, at the age of 71, he completed an album of bamboo paintings for his son, Fonu.

2. Meeting Friends in a Pavilion among Pines

Wang Yuan was born in Qiantang, Zhejiang, and started painting when he was a child. He was taught by the master painter Zhao Mengfu. In bird-and-flower painting, Wang followed the tenth-century tradition of Huang Quan.

3. Cloud-girdled Peaks

Gao Kegong was a minister in the Yuan dynasty. He had the opportunity to travel to and appreciate the scenic wonders of the south. This painting reflects the archaistic movement in early Yuan dynasty art.

4. Pair of Lohan Paintings

There are eighteen lohans in the painting, which is a traditional number. Some of the lohans are Indian and some are Chinese. They are holding different objects, like a scroll, flywhisk, prayer beads, lotus, and incense burner.

5. Riverside Pavilion and Mountain Hues

This painting from the year 1372 is a typical example of the "Three Perfections" of painting, poetry, and calligraphy in a single work. It is inscribed with poetry that Ni Zan wrote himself, and was done for his friend Huanbo.

6. Inscribing a Portrait of Ni Zan

This painting is a portrait of Ni Zan, one of the Four Yuan Masters of painting. It is done in imitation of Ni's style. The pose of the figure is borrowed from Vimalakirti in Buddhist painting, transforming Ni Zan into a refined and lofty recluse.

7. Wild Duck by a River

Chen Lin was a close associate of Zhao Mengfu and, like him, a famous painter from the late Song into the Yuan dynasty. This small hanging scroll depicts a mallard standing on a riverbank below some hibiscus.

8. Nymph of the Luo River

This painting of the goddess of the Luo River is done in "baimiao" fine ink lines. It shows the goddess riding on clouds and gliding over the misty waters of the river. The painting is rare and especially precious.

9. Five Horses

Zhao Yong was the second son of the famous scholar-artist Zhao Mengfu. Zhao Yong was especially gifted at depicting figures and saddled horses. This painting, dated to the equivalent of 1352, depicts horses at leisure and a groom dozing against a pine to highlight the relaxed atmosphere.

10. Autumn Colors on the Qiao and Hua Mountains

Zhao Mengfu was excellent at painting and calligraphy. He painted this image of his travels through Shandong in 1295 as a way to make Zhou Mi feel better about longing for and thinking of his ancestral homeland there. The handscroll is split into three sections; the first on the right shows Hua(

Welcome to the National Palace Museum's collection of paintings from the Qing dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including One Hundred Horses by Giuseppe Castiglione. This painting is a classic example of the Italian Baroque style, and is sure to captivate viewers with its vibrant colors and dynamic composition. Come take a look at these amazing works of art today!

1. One Hundred Horses

Giuseppe Castiglione was born in 1688 in Milan, Italy. He learned to paint at a local studio, and came under the influence of the painter Andrea Pozzo. In 1707, he formally entered the Society of Jesus and traveled to Genoa for training.

Welcome to the National Palace Museum's collection of Qing dynasty paintings! These works were created by some of the most influential painters in Chinese history, including Shen Zhenlin, Yun Shouping, Wang Hui, Wang Shih-min, Wu Li and Wang Yuan-ch'i. The collection includes Cats and Butterflies of Longevity, Activities of the Twelve Lunar Months: The Twelfth Month, The Five Purities, Summer Mountains and Misty Rain, After Wang Wei's "Snow Over Rivers and Mountains", The Peach Blossom Fishing Boat, Peonies, Green Mountains and White Clouds, After Wang Meng's "Mountain Dwelling on a Summer Day" and Along the River During the Ch'ing-ming Festival. Come explore these incredible pieces of art today!

1. Cats and Butterflies of Longevity

Shen Zhenlin was a painter who served in the Qing court painting academy during the Xianfeng and Tongzhi reigns.

2. Activities of the Twelve Lunar Months: The Twelfth Month

This is one of a set of twelve paintings that is undated, but evidence suggests it was created during the early Qianlong reign (1736-1795). This scroll, which depicts a landscape with snow and frozen waters, is believed to have been painted during the twelfth lunar month.

3. The Five Purities

Yun Shouping was a painter who was born in Wujin, Jiangsu. He was originally good at landscape painting, but he felt like he couldn't compete with Wang Hui, who was one of the Four Wangs who specialized in landscapes.

4. Summer Mountains and Misty Rain

Wang Hui was one of the "Four Wangs" of the early Qing dynasty. He was an excellent painter and received instruction from two of the other Four Wangs, Wang Jian and Wang Shimin.

5. After Wang Wei's "Snow Over Rivers and Mountains"

Wang Shih-min was the grandson of Wang Hsi-chueh, prime minister in the late Ming dynasty. Wang Heng, Wang Shih-min's father, served as a Hanlin Academy editor for the court.

6. The Peach Blossom Fishing Boat

Wang Hui was a native of Ch'ang-shu in Kiangsu who studied landscape painting as a youth under Wang Shih-min (1592-1680) and Wang Chien (1598-1677).

7. Peonies

Yun Shou-p'ing was a native of Wu-chin who grew up in a family of limited means. He excelled at landscape painting, especially in the manners of the ancients. Yun thereupon abandoned landscapes and studied flower painting, bamboo in monochrome ink, animals, and insects.

8. Green Mountains and White Clouds

Wu Li was a native of Ch'ang-shu, Kiangsu. He and Wang Hui were both students of Wang Chien and Wang Shih-min.

9. After Wang Meng's "Mountain Dwelling on a Summer Day"

Wang Yuan-ch'i was a native of T'ai-ts'ang, Kiangsu. He received his "chin-shih" civil service degree in 1670 and served in a number of posts.

10. Along the River During the Ch'ing-ming Festival

This painting is based on an original by Chang Tse-tuan from the early 12th century. It shows everyday life and customs in the Sung dynasty capital of Pien (K'ai-feng).

Welcome to the National Palace Museum's collection of Other Curios! Here you can explore some of the most interesting artifacts from China's imperial past. We have a variety of different items on display here, including a pair of Bovet pocket watches with pearls and painted enamel, ivory balls of nested concentric layers with human figures in openwork relief, a silver raft cup of Zhang Qian Riding a Raft with the mark of Zhu Bishan and a cloisonne box with lotus decoration. These pieces are all unique and tell us about the culture and craftsmanship of the time period. Come take a look at these fascinating artifacts today!

1. Pair of "Bovet" pocket watches with pearls and painted enamel

Since being brought to China during the Ming and Qing eras, western clocks and watches have been held in high esteem. They were originally only owned by the imperial court, government officials, and merchant class, but eventually became an important medium for cultural interaction between China and the west during the modern era.

2. Ivory balls of nested concentric layers with human figures in openwork relief

This set of movable openwork ivory balls is made up of four main parts: a dragon fish hook, two ladies-in-waiting carved in the round, a set of hollow nested concentric balls, and a pendant depicting the Heavenly Twins of Conjugal Felicity.

3. Silver raft cup  of "Zhang Qian Riding a Raft" with the mark of Zhu Bishan

This silver cup is in the shape of a raft, inspired by the story of Han dynasty explorer Zhang Qian. Zhang Qian is said to have ridden a raft down the Yellow River to trace its source. He eventually travelled to the Milky Way, where he met the Cowherd and the Weaver Girl.

4. Cloisonne Box with Lotus Decoration

This lotus cloisonné box is made of filigree work on a copper body. The flat lid is decorated with lotus blossoms and pods. The sides of both the box and lid are curved to look like lotus petals.

Welcome to the National Palace Museum's collection of curios! Here, you can explore some of the most unique and interesting artifacts from China's imperial past. We have a variety of different pieces on display here, including a Carved Bamboo Root Carving of a Well-Wishing Horse and Monkey, Glass Inside-Painted Snuff Bottle with a Traveling Scene, Copper-Body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay, Brush Holder with Letter-Reading Scene, Cloisonne Censer in the Form of a Wild Duck, Tuan Inkstone with Cloud-and-Dragon Decor and 99 Columns, Round Box with Peony Decor Filled-In Lacquerware, Ch'in (Chinese Unfretted Zither), Glass-Body Painted Enamel Snuff Bottle in the Shape of a Bamboo Section, and a Painted Enamel Vase with Dragons and Peony Decoration. Come take a look at these amazing artifacts today!

1. Carved bamboo root carving of a well-wishing horse and monkey

This carving of a bamboo root shows a horse reclining with a small monkey holding a peach on its back. The imagery symbolizes "immediate conferral of a high-ranking position". The carving was originally kept in a treasure box.

2. Glass Inside-Painted Snuff Bottle with a Traveling Scene

In the late 17th century, Western snuff and snuff containers entered China. At its peak, various Western countries and the Vatican in Rome often presented snuff and snuff containers as gifts to the court.

3. Copper-body Painted Enamel Snuff Bottle with a Maki-e Floral Lacquer Inlay

This snuff bottle has a decorative style that combines elements from both East and West. The central panel features plum blossoms painted in gold lacquer, in the Japanese style of maki-e.

4. Brush Holder with Letter-reading Scene

A brush holder has been carved out of a piece of bamboo. The outside is carved with the image of a lady reading a handscroll. Another lady is seen hiding behind the screen. The artist paid attention to the composition and carving.

5. Cloisonne censer in the form of a wild duck

Enamelwork is a decorative craft that involves decorating the surface of a metal body with a vitreous glaze and then firing it. Cloisonné is one of the earliest enamelwork techniques, which involves creating compartments (known as "cloisons") on the surface of the metal body

6. Tuan Inkstone with Cloud-and-Dragon Decor and 99 Columns

This inkstone is carved from a single piece of Tuan River stone. The color of the stone is greyish-black, and there are yellowish-green eyes with brownish-yellow points in the center on the reverse side.

7. Round Box with Peony Decor Filled-In Lacquerware

The article "The Evolution of the American Dream" discusses how the American Dream is changing. The article discusses how the American Dream is no longer about owning a house, but about being able to live in a place that is safe and has good schools.

8. Ch'in (Chinese unfretted zither)

The "ch'in," or zither, is an ancient Chinese stringed instrument. It has been around for centuries and its appearance has changed over time. There are also stylistic differences observable in "ch'in" made from different locations and makers in China.

9. Glass-body Painted Enamel Snuff Bottle in the Shape of a Bamboo Section

This enamelware piece from the Yongzheng reign is characterized by its panels in a full composition, traditional bird-and-flower painting as subject matter, colorful background, and inscriptions in panels of auspicious shapes.

10. Painted enamel vase with dragons and peony decoration

During the Yongzheng reign, painted enamelware from the West entered a stage of full-scale development in China. Not only were the bodies of vessels such as porcelains, bronzes, glasses, or painted enamels done with opulent colors, the decoration was also extremely refined.

Welcome to the National Palace Museum's collection of curios from the Qianlong reign of the Qing dynasty! Here you can find a variety of unique and interesting artifacts, such as Cloisonne and painted enamel butter tea jars, Round Bamboo-Veneered Curio Boxes with Lotus Blossom Decor, Inkstones for Imperial Usage, Carved Polychrome Lacquer Boxes in the Shape of Conjoined Spheres and Square Sandalwood Curio Cases. These items are all incredibly intricate and beautiful, and they provide us with a glimpse into the life of the imperial court during this period. Come explore these fascinating artifacts today!

1. Cloisonne and painted enamel butter tea jar

Cloisonné enamelware from the Qing dynasty is some of the best in the world. Painted enamelware is made by putting a layer of glaze on the surface of the piece, firing it, painting a scene over the glaze, and then firing it again at a low temperature.

2. Round Bamboo-Veneered Curio Box with Lotus Blossom Decor (Containing 27 Curios)

This curio box has four sections that can be opened up to form a straight line or turned around to form a square.

3. Inkstones for Imperial Usage

This inkstone has six cloud-head feet and is carved with a round and square seal. The upper carving is in clerical script and reads "Pure Curio of the Qianlong [Emperor]", while the lower carving is in seal script and reads "Presented to the Three Altruisms." The cover

4. Carved Polychrome Lacquer Box in the Shape of Conjoined Spheres

The Double-union Treasure Chest is a type of round vessel that is conjoined together. The surface of the object is applied with two kinds of lacquer, and the decoration is carved in relief with images of tribute.

5. Square Sandalwood Curio Case (Containing 32 Curios)

This curio box looks like a plain container when closed. The advantage to this type of container is that it doesn't take up much space in storage. The outside may appear quite simple, but it is actually quite intricate.

Welcome to the National Palace Museum's collection of curios from the Qing dynasty! Here, you can explore some of the most exquisite artifacts from this period, such as a Planter with a coral carving of the planetary deity Kuixing, a Gilt Flint Case with Coral-and-Turquoise Inlay, and an Ivory Four-tiered Food-Carrying Case in Openwork Relief. You can also find a Meat-shaped Stone, a Set of Square Maki-e Lacquer Boxes decorated with Cherry Blossom Designs, a Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom, a Pair of Gilded Bronze Pocket Watches Decorated with Painted Enamel, and a Gold Mandala with Turquoise Inlay. These artifacts are all unique pieces of Chinese history that tell us about how people lived during this time period. Come take a look at these incredible artifacts today!

1. Planter with a coral carving of the planetary deity Kuixing

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2. Gilt flint case with coral-and-turquoise inlay (with carved lacquer box and Qianlong reign mark)

This gold case has thin iron plates at the bottom. The coral knob at the top opens the case to reveal a long, narrow container made of thin gold plate, which is where the flint and tinder were stored. To create sparks, the flint was struck against the inlaid iron plates.

3. Bamboo Water Container in the Shape of a Lotus Leaf, with signature of Zhu Sansong

This bamboo root has been carved into the shape of a lotus leaf, with its curled edges forming a pool. A brush can be washed with water in this pool.

4. Champleve Box with Filigree Work

This decorative box is made of gilt and features two levels of gold workmanship. The flowers, longevity character, and bat are highlighted against the background. The enamelware is lustrous and colorful.

5. Ivory Four-tiered Food-Carrying Case in Openwork Relief

This handled food container is divided into four levels, into which different kinds of food can be placed. The exterior is frail and delicate, and it is more likely that this container was used as a decorative object rather than an actual functional utensil.

6. Meat-shaped Stone

This "Meat-shaped stone" was carved from jasper minerals. The artist used the natural layered patterns to create a realistic-looking piece of pork marinated in soy sauce.

7. Set of Square Maki-e Lacquer Boxes, Decorated with Cherry Blossom Designs

This small set of Japanese lacquered boxes includes three small boxes and a shallow dish. The surface of the box employs the techniques of maki-e and taka-maki-e to present a tree of cherry blossoms in nature.

8. Ganlan Olive Stone Miniature Boat with the Ode to the Red Cliff Carved on the Bottom

Chen Zuzhang was originally from Guandong. He entered the Imperial Bureau of Manufacture during the Yongzheng reign (1723-1735). In 1737, he carved a small boat from an olive pit. The boat has eight figures, each with their own unique expression.

9. Pair of Gilded Bronze Pocket Watches Decorated with Painted Enamel

In the middle of the 18th century, London was the center for the production of pocket watches. This pair of pocket watches is a testimony to Sino-Western exchange, and they are also a marvel of mechanical and artistic craftsmanship.

10. Gold Mandala with Turquoise Inlay

The mandala comes with a finely worked leather box made in the Qianlong era (1736-1795). The mandala was brought to Chinese soil by the Fifth Dalai Lama from Tibet, and offered to the Xihuang Temple.

Welcome to the National Palace Museum's collection of Other Jades! Here you can explore some of the most exquisite pieces of jade from China's imperial past. We have a variety of different jades on display here, including a Jade Divine Beast, Jade Horn-shaped Cup, Jade Duck, Jade Flower-holder in the Shape of Fish-Creature, Jade Pi-Hsieh, Auspicious Beast, Jade Brush Wash in the Shape of Lotus Leaf, Jadeite Cabbage in a Cloisonne Flowerpot, Jasper Plate with Gold Tracery and Jade Staff Finial in the Shape of a Pigeon. These are all beautiful pieces of art that tell us about the craftsmanship and culture of this period. Come take a look at these incredible artifacts today!

1. Jade Divine Beast

This work depicts a winged divine beast carved in the round. The beast has a tiger head, with mouth open and teeth bared, and a goatee on the chin.

2. Jade Horn-shaped Cup

This vessel is made of greenish-white jade. It is shaped like a horn cup and has a coiling dragon carved into its surface. The dragon is strong and forceful, revealing the unique vigor of Han dynasty craftsmanship.

3. Jade Duck

This jade duck was made using a yellow nephrite. Its head, belly, and feet are dark brown. The jade duck has simple sculpting techniques, but its physical features were accurately portrayed to look cute and lively.

4. Jade flower-holder in the Shape of Fish-Creature

This work of art is designed to look like a fish jumping up out of the waves. The head of the fish is especially noteworthy, as it has bulging eyes, long whiskers, and a prominent nose. The horns on the head indicate that the fish is in the process of transforming into a dragon.

5. Jade Pi-Hsieh, auspicious beast

The pi-hsieh is a mythological creature that was thought to have magical powers that could protect against evil forces. In the Han dynasty, pi-hsieh were commonly represented as winged, four-legged beasts, a form that was likely inspired by similar creatures from Western Asia.

6. Jade Brush Wash in the Shape of Lotus Leaf

This jade cup has a brownish yellow color with occasional grey-white mottling and a russet red color along the lines of an inscription. The shape of the cup is like a dried lotus leaf, with crinkled edges and a triangular shape with veins on the surface.

7. Jadeite Cabbage, in a cloisonne flowerpot

This piece of jadeite is carved to look like a piece of bokchoy cabbage. It is white with green leaves, and there are two insects on the leaves. These insects are traditionally seen as metaphors for having numerous children.

8. Jasper Plate with Gold Tracery

Hindustan jade is a type of jade from Northern India that is known for its beautiful craftsmanship. This plate has a gold filament and red glass inlay around the edge, which is a typical decoration for pieces from the Mughal Empire of Northern India. The Qianlong Emperor (r. 1736

9. Jade Staff Finial in the Shape of a Pigeon

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Welcome to the National Palace Museum's collection of Other Jades! Here you will find a variety of jade artifacts from different periods in Chinese history. You can explore the Jade Hooked Cloud-shaped Pei Ornament from the Liao River region, the Jade Pig-dragon from the Hongshan Culture, and the Jade Cong Tube from the Qing court. We also have Jade Gui Tablets from the Longshan culture, Jade Tablet from the Qianlong reign, and a Jade Ornament in the Shape of Phoenix Crowned with Dragon. Additionally, there is a Xi Bodkin with Chi Tiger Pattern from the Warring States period and a Jade High-stemmed Cup. Come take a look at these incredible artifacts today!

1. Jade Hooked Cloud-shaped Pei Ornament

The ancient Chinese people believed that birds of prey were mystical creatures that could communicate with the gods. They would often see these birds soaring over the deserts and steppes to the west of the Liao River and north of Mount Yan.

2. Jade Pig-dragon

This pig-dragon is a jade object from the Hongshan Culture. It is shaped differently than other pigs, with bat ears, a wrinkled nose, and an arched mouth. Some people think it looks like an embryo.

3. Jade Cong Tube

This large jade cong probably entered the Qing court in the 19th century. It is carved from a piece of deep green nephrite with light and dark ochre spotting. The surface still reveals the arcing traces of depressions left when the jade was first cut.

4. Jade Gui Tablet

The Longshan culture was a period of time in China when people were divided into social classes and jade was used as a symbol of social status. This jade piece is a ceremonial jade from an area located in the middle to lower part of the Yellow River during the Longshan period.

5. Jade Gui Tablet

This jade gui tablet is yellow on both sides, with the lower half of the reverse side having a red tinge. The cutting edge of the blade is much darker, almost black, and exhibits many nicks. The other end, where the tablet was held, also shows signs of damage.

6. Jade Cong Tube

The Liangzhu Culture developed in the area around Lake T'ai in the lower Yangtze River region about 4000 to 5000 years ago. An important ritual vessel used by the people of this culture in religious ceremonies was the jade cong tube.

7. Jade Tablet

The jade tablet is hard, has a warm luster, and is ochre-red with yellow and green spots. Its shape is slightly trapezoidal. The jade tablet was originally plain, but in the Qianlong reign it was engraved with two imperial poems of different dates.

8. Jade Ornament in the Shape of Phoenix Crowned with Dragon

This carving depicts a phoenix with a kui-dragon as a crown. It has been carved with great precision, giving it a lot of spirit. The head of the phoenix bears the kui-dragon as a crown.

9. Xi Bodkin with Chi Tiger Pattern

This piece is a carved jade dragon from the Warring States period. The dragon, called a "xi", is hornless and resembles a tiger. The jade is a unique russet red color, and the dragon is shown with its head turned back.

10. Jade High-stemmed Cup

This is a beautiful, elegant jade cup with a high foot and a single handle. It is carved from a piece of lustrous, semi-translucent white jade. The cup is long and slender, with a round cavity bored through it. It has a handle and a high foot.

Welcome to the National Palace Museum's collection of Other Bronze artifacts from China's imperial past! Here, you can explore some of the most interesting and unique bronze artifacts from this period. We have a variety of different pieces on display here, including an Oval Liang Measure by imperial decree of 26th year, a Chia Measure, a Square Zun wine vessel of Ya-chou, a Yue battle ax with animal mask pattern and turquoise inlay, and a Mirror with Lion and Grapevine Decorations. These are all important pieces in Chinese history that tell us about how people lived during this time period. Come take a look at these fascinating artifacts today!

1. Oval Liang Measure by imperial decree of 26th year

The First Emperor of Imperial Qin annexed the other six states and established one grand empire. He standardized the written language, weights, and measures. A decree announcing the standard units was inscribed on many devices, including the liang measure in the Museum collection.

2. Chia Measure

Wang Mang established the Xin dynasty after usurping the throne from the Han dynasty. He followed the standards of the past and had the measures recast, which were known by the name "Chia liang (measures)". This Chia measure is a combination of five such measures.

3. Square Zun wine vessel of Ya-chou

Many "Yachou" vessels have been found at the Suputun site in Itu, Shandong. This has led scholars to believe that "Yachou" represents the "Poku" clan mentioned in the ancient "Zozhuan" text.

4. Yue battle ax with animal mask pattern and turquoise inlay

This axe-blade object is a weapon known as a "yue". It is mainly from the late Shang to the early Zhou dynasty. The person in battle who could use such a weapon was generally a very high-ranking military commander charged with royal authority.

5. Mirror with Lion and Grapevine Decorations

During the Tang dynasty, mirrors were often cast with foreign-inspired decorations. This mirror with lions and grape vines is an important example of such a work. The lions on this mirror are all in unique postures, with insects and birds cavorting between them and the grapevines in a beautiful and uninterrupted symmetry.

Welcome to the National Palace Museum's collection of other bronze artifacts from the Song dynasty! Here, you can explore a variety of different bronze vessels and objects, including Gui food containers with square bases and phoenix patterns, Zun wine vessels dedicated to Yi the grandfather, Square Ding cauldrons of Marquis of Kang, Mirrors of Shang-fang with TLV patterns, Square gui food containers with Ya Chou emblems, P'eng-tsu-ting Tings, Gilt Beast-footed Tsuns with Mountain Designs, Gui food containers of Lady Xian Ji, Hsing Chi Shih Tsuns and He wine/water vessels of Bo-ding. These artifacts provide us with a unique insight into the culture and customs of the time period. Come take a look at these incredible artifacts today!

1. Gui food container with square base and phoenix pattern

Gui vessels and ding cauldrons were important types of bronze food containers often used together. Cauldrons were used to hold meat, while gui vessels held cooked rice, maize, and other grains.

2. Zun wine vessel to Yi the grandfather

The vessel is decorated with four openwork flanges. The exterior surfaces of the lip and neck are decorated with tapering leaf-shaped patterns, below which dragon patterns with curled tails can be seen.

3. Square Ding cauldron of Marquis of Kang

The vessel was commissioned by Marquis of Kang and is named Fong 封. According to historical documents, he was an uncle of King Cheng and the youngest brother of the King's father. The vessel is a cubiform body that stands on four straight cylinder feet with a cicada motif.

4. Mirror of Shang-fang with TLV pattern

This mirror has a round knob on the back and is decorated with geometric patterns, protrusions, the Four Spirits, and immortal figures. There is also a ring of auspicious text that states that "the making of this 'fine' mirror is of great favor.

5. Square gui food container with Ya Chou emblem

This gui food container has a square body and a wide mouth. The neck and the longer sides of the ring foot are decorated with kui phoenix patterns, while the belly is adorned with animal mask patterns. The shorter sides of the ring foot are decorated with bird patterns.

6. P'eng-tsu-ting Ting

The ting is the heaviest and largest vessel in the National Palace Museum. It is decorated with animal-mask patterns, which creates a grand and majestic effect. The initial character of the inscription, "P'eng," is the symbol of the clan of which the person who made this vessel belonged to.

7. Gilt Beast-footed Tsun with Mountain Design

The tsun was a type of wine vessel used in the Han dynasty. The surface of the vessel was often gilt, and it was decorated with images of spirits, auspicious beasts, and winged (immortal) figures. These images represented paradise as envisioned by people in the Han dynasty.

8. Gui food container of Lady Xian Ji

The use of jade mentioned in the bronze inscription indicates that it was chiefly used for rewards, edicts, gifts, entertaining, and sacrifices.

9. Hsing Chi Shih Tsun

The phoenix bird is a mythical bird that is said to live for 500 years before it dies, then it is reborn from the ashes. The phoenix bird with a large tail seen here was a brand new form of decoration that rose around the time of King Mu in the mid Western Zhou period.

10. He wine/water vessel of Bo-ding

The inscription on the vessel and cover are in different styles of writing, which suggests that they were done by two different people. The inscription on the mold represents a time when the new was beginning to replace the old.

Welcome to the National Palace Museum's collection of other bronze artifacts from China's imperial past! Here, you can explore a variety of different pieces, including a P'an with Coiled K'uei-dragon Pattern, Chime-bell Set of Zi-fan, Ting with Coiled Serpent Pattern, Zun Wine Vessel of Ya-qin to Yi the Father, Pan Water Vessel with Coiling Dragon Pattern, Lei Wine Vessel with Goat-head High Reliefs and Knob Pattern, Hu Vessel with Hunting Scenes Inlaid in Copper-like Paste, Zun Wine Vessel in the Shape of Animal with Metal Wire and Turquoise Inlay, Ting Vessel with Inscription of the Zhenghe Period, and Shakyamuni Buddha. These artifacts provide us with a unique insight into Chinese culture during this time period and are an important part of our history. Come take a look at these incredible artifacts today!

1. P'an with Coiled K'uei-dragon Pattern

Water vessels were used in ceremonial washing and became popular in the late Western Zhou period. They flourished during the Spring and Autumn period.

2. Chime-bell set of Zi-fan

The Museum purchased 12 pieces of "Zi-fan" chimes in September 1994. By joining the respective inscription on each chime, eight proved to have belonged to one set, together with 132 characters (two dittoed) in the complete text. The remaining four were the second half of another set.

3. Ting with Coiled Serpent Pattern

As the state of Qin began to emerge during the mid Spring and Autumn period, so too did its unique bronze ceremonial vessels. These vessels gradually began to be influenced by those from Wei of San-chin during the Warring States period.

4. Zun wine vessel of Ya-qin to Yi the father

This ceremonial wine vessel was made for the purpose of worshiping Yi the father in the ancestral temple. It features the Ya-qin crest prominently on both the bronze zun vessel and the bronze seal. The inscriptions are in four characters per line.

5. Pan water vessel with coiling dragon pattern

This pan plate has a coiled dragon on the well, with the head slightly raised and in the center of the plate. There are kui dragon, bird, and fish patterns on the edges of the plate.

6. Lei wine vessel with goat-head high reliefs and knob pattern

This vessel has a tapered mouth and round shoulders. The goat heads, bird patterns, and kui dragons are all in high relief. The belly of the vessel is completely covered in nipple patterns with linked hooks, round spiral patterns, and four-petaled flower patterns.

7. Hu vessel with Hunting Scenes Inlaid in Copper-like Paste

This vessel has shallow relief design, with birds holding snakes in their mouths and winged spirit figures. The belly has figures and animals, with hooked-cloud and geometric patterns below. The shape of a hu is an extended container from the early Warring States period.

8. Zun wine vessel in the shape of animal with metal wire and turquoise inlay

This is a wine vessel from the Warring States period that is in the shape of a sturdily standing four-legged hoofed animal. The mouth of the animal is the spout and there is an opening on the back with a removable lid that enabled wine to be replenished.

9. Ting Vessel with Inscription of the Zhenghe period

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10. Shakyamuni Buddha

The Buddha is sitting in the full lotus position on a two-tiered stand. His right hand is in the abhaya mudra and his left hand is resting on his robe.

Welcome to the National Palace Museum's collection of bronze artifacts from the Late Western Zhou dynasty! Here you will find a variety of pieces, including the Hu wine vessel of Song, Mao-kung Ting, Bell of Zong-zhou, Pan water vessel of San and Xu food container of Le Ji-xian. These pieces are all incredibly detailed and intricate, and they tell us a lot about the culture and customs of this period in Chinese history. Come explore these amazing artifacts today and learn more about the Late Western Zhou dynasty!

1. Hu wine vessel of Song

This wine vessel was probably only used for special occasions because it is so big and decorated so nicely. There is a long 152-character inscription on the lid and inside the vessel. The inscription tells about a ceremony where the King of Zhou gave Song, the owner of this vessel, a title of nobility.

2. Mao-kung Ting

This "ting" cauldron has a wide, flared mouth, a linked ring motif decorating the rim, upright handles, and three hoofed feet.

3. Bell of Zong-zhou

This flat oval yong bell has a closed tile shape, with a curved mouth. There are 18 mei bosses on either side of the bell.

4. Pan water vessel of San

This water vessel looks very important and serious. The writing on the inside of the vessel is 350 characters long and tells the story of Zhe's failed attempt to invade the state of San, and how San took over a part of Zhe's land afterwards.

5. Xu food container of Le Ji-xian

Le Ji-xian commissioned a vessel to be cherished by all of their descendants.

Welcome to the National Palace Museum's collection of ceramics from various dynasties! Here you will find a wide variety of pieces, from pottery figures in sancai tri-color glaze to white porcelain vases with loops and Xing ware. You can also explore sancai figures of Lokapala, Guardian Kings, pottery figures of standing ladies with painted colors, teapots with blue landscapes in falangcai polychrome enamels, bowls with blue landscapes in falangcai painted enamels, porcelain chicken cups in doucai painted enamels, purple-ground boxes with bird-and-flower motifs in fencai enamels, and celadon water containers in Yue ware. Come take a look at these amazing artifacts today!

1. Pottery figure of ladies playing polo game in sancai tri-color glaze

In the Tang dynasty, lavish funerals became popular, with grave goods being exceptionally resplendent. Various figurines of different sizes were fashioned from clay and then covered with yellow, white, green, and brown low-temperature glazes, creating a beautiful and dazzling effect.

2. White porcelain vase with loops, Xing ware

The Xing kilns were an important producer of Northern white wares located in the NeiQiu and Lincheng regions of modern-day Hepei province.

3. Sancai figure of a Lokapala, Guardian King

This enormous sculpture of Virüdhaka once served as a tomb guardian used to ward off evil. The figure's eyebrows are knitted and eyes bulging, one hand being placed at the waist while the other in fist is held aloft.

4. Pottery figure of a standing lady with painted colors

This female figure is one example of the many earthenware tomb figurines found in Tang burial. The woman has a plump figure, long, attenuated brows and lashes, a small peach-shaped mouth, round face, and a composed expression.

5. Teapot with blue landscape in falangcai polychrome enamels

This teapot has a wide mouth and relatively squat body. It has a curved handle, a tubular spout, a flat base, and a concave foot. The lid has a flattened top and a round knob with a hole to the side to let air in.

6. Bowl with Blue Landscape in Falangcai Painted Enamels

During the Yongzheng reign, official wares developed in a more image-oriented direction than during the Kangxi reign, with surface decorations becoming more refined and delicate. This was due to the pursuit of imitating the elegant pastimes of painting and calligraphy practiced by literati.

7. Porcelain chicken cup in doucai painted enamels

Blue and white porcelain from the Xuande reign was prized by late Ming collectors, followed by wucai porcelain from the official kilns of the Chenghua reign.

8. Purple-ground Box with Bird-and-Flower Motif in Fencai Enamels

The Empress Dowager Cixi controlled the court in China for many years. She was known for her luxurious lifestyle and love of jadeite.

9. Celadon water container, Yue ware

This celadon water container has a sloping opening with a flat folded rim, deep arched body, flat bottom, and slightly concave base.

Welcome to the National Palace Museum's collection of other ceramics from the Song dynasty! Here you will find some of the most beautiful and unique pieces of pottery from this period. From the Ju-i Pillow with Azure Glaze and Purple Splashes, Jun ware to the Green-ground Floral-shaped Vase with Fish-Dragon Motif, there is something for everyone. You can also explore the Monk's Cap Ewer with Ruby Red Glaze, the Cocoon-shaped Hu, the Bright Yellow Cauldron with Animal-Mask Decorations, the Black Pottery Stemcup, the Zun in the form of an Elephant of Peace, the Hibiscus-shaped Washer with Bluish-green Glaze, Kuan ware and the Vase with Phoenix-shaped Handles in Celadon Glaze, Longquan ware. Come take a look at these incredible artifacts today!

1. Ju-i Pillow with Azure Glaze and Purple Splashes, Jun ware

This porcelain pillow is in the shape of the "ju-i" symbol. It has a flat base and is inscribed with a poem written by the Qianlong Emperor in 1776. Both sides of the pillow have gourd-shaped holes, revealing a hollow inside.

2. Celadon Stembowls, Ko ware

This bowl has a wide, flaring rim and a curved body. The stem is thin and tall, and slightly wider at the bottom than at the top. The entire piece is covered with a creamy glaze. The exterior of the glaze has ash white specks and is covered with clear crackle lines.

3. Monk's cap ewer with ruby red glaze

The Tang Monk's Ewer gets its name from the hat that Tang Dynasty monks wore. It has a stepped rim like the hat, a pointed spout, and a flat handle. The handle is decorated with a "ju-i" motif, which is a symbol of good luck.

4. Green-ground Floral-shaped Vase with Fish-Dragon Motif

The vase is large and has a bright yellowish-green glaze. It is also curvaceous and has two handles. The vase has panels that are in the shape of caltrop blossoms. Within each frame is a fish and dragon.

5. Cocoon-shaped Hu

This piece of black pottery is in the shape of a silkworm cocoon. On the surface of the vessel are sets of parallel lines, with ninety characters of a poem written by the Qianlong Emperor in between them. The vessel was originally used for storing alcoholic beverages.

6. Bright Yellow Cauldron with Animal-Mask Decorations

This incense burner is in the shape of a cauldron and features two handles and three legs. It is covered in yellow glaze, which is very translucent. On either side of the body is an engraved animal mask.

7. Black pottery stemcup

The Shandon Longshan Culture developed a technique for making ceramic objects using a potting wheel. This allowed them to make vessels with very thin walls, which could be carved with openwork patterns.

8. Zun in the form of an elephant of peace

This object is an elephant with a vase on its back. The elephant is standing straight with its head turned back and eyes partially closed. The trunk is curled upward with tusks on either side.

9. Hibiscus-shaped Washer with Bluish-green Glaze, Kuan ware

This was once called a "washer" and it is shaped like a hibiscus flower with six petals. The top is designed to look like the flower with a dip in the center. The glaze is a deep blue color with some areas of light brown where the glaze is thinner.

10. Vase with phoenix-shaped handles in celadon glaze, Longquan ware

This vase has a mallet-shaped body with a tray-shaped mouth and straight neck. It has two handles in the shape of phoenixes or dragons, which is a style that emerged in the early Song dynasty.

Welcome to the National Palace Museum's collection of ceramics from various dynasties! Here you can explore some of the most beautiful and unique pieces of ceramic art ever created. We have a wide range of different pieces, including a White pottery guei-pitcher, Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground, Vase with "Hundred Deer" motif in wucai enamel, Ruby Red-glazed Vase, Warming bowl with celadon glaze, Ru ware, Narcissus basin in bluish-green glaze, Ru ware, Pillow in the shape of a recumbent child with white glaze, Ding ware, Flask with ruyi handles and figures decoration in underglaze blue, Bowl in black glaze with "hare's fur" striations, and Bowl with sky-blue glaze and purple splashes, Jun ware. Come take a look at these incredible artifacts today!

1. White pottery guei-pitcher

Pottery was an important artifact in ancient civilizations. It is said that the sage rulers of ancient China emphasized the making of pottery as an important skill for the people's livelihood.

2. Tea Caddy with Gold Tracery Decoration of "Continuous Happiness" Symbols on a Red Ground

This jar was probably used to hold tea. It's very fancy, with a red ground and gold pigment filling it from top to bottom.

3. Vase with "Hundred Deer" motif in wucai enamel

This vase, called the "hundred deer" vase, has a slightly flared mouth, a short straight neck, sloping curved shoulders, a broad belly that is slightly tapered, and a flat base. The vessel is decorated with alternating branched flower patterns and peach fruit patterns.

4. Ruby Red-glazed Vase

Lang Tingji was the governor of Jiangsi and was ordered to go to Jingdezhen kilns factory and manage the firing of ceramics at the imperial kiln works.

5. Warming bowl with celadon glaze, Ru ware

This bowl was molded. The curves on its wall follow the contour of the mouthrim. The vessel is coated in celadon glaze, displaying a bluish green color. Both its interior and exterior walls are covered with crackles stained brown.

6. Narcissus basin in bluish-green glaze, Ru ware

This oval dish has deep, slightly flaring sides and a flat base. It is covered in a light blue, highly lustrous glaze, which shows a hint of green at the base. The glaze is slightly thinner at the rim and the corners.

7. Pillow in the shape of a recumbent child with white glaze, Ding ware

The Tang dynasty had two types of ceramic pillows: one for sleeping and the other for taking a pulse. By the Song dynasty, there was a greater variety of designs, including one made especially to be buried with the deceased.

8. Flask with ruyi handles and figures decoration in underglaze blue

The form of this flask was inspired by Central and Western Asian pottery and glassware. It has a small mouth, slender neck, flat round belly, and flat base. On each side of the neck, a bow-shaped handle links the neck and shoulders.

9. Bowl in black glaze with "hare's fur" striations

This bowl has a wide mouth, deep walls, and a small ring foot. The ceramic body is thick and heavy, and has been covered in a thick, flowing black glaze.

10. Bowl with sky-blue glaze and purple splashes, Jun ware

This deep-walled water jar has a wide mouth and a slightly flaring lower body. The base is small and has a sharp protruding point in the center. The jar is covered with sky-blue glaze and has a linear crackle pattern.

Welcome to the National Palace Museum's collection of ceramics from the Qianlong reign of the Qing dynasty! These pieces are truly unique and showcase the skill and craftsmanship of Chinese artisans during this period. You will find a variety of different styles and designs, from the Revolving Vase with Swimming Fish in Cobalt Blue Glaze to the Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels and Six Conjoined Vases in Tea Dust Glaze. There is also a Bowl with Indian Lotus Design on a Pink Brocade Ground and a Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs. Come explore these beautiful artifacts today!

1. Revolving vase with swimming fish in cobalt blue glaze

This reticulated vase has an inverted mouth and inward sloping sides. It is decorated with four ring-shaped loops on the shoulders and has a long neck and broad shoulders. The belly of the vase is divided into inner and outer layers.

2. Coupled Vase with Flower-and-Bird Panels in Fencai Rose Enamels

This vase is in the shape of two vases that are joined together. The surface is decorated with patterns of blue and violet backgrounds. The bottom and interior of the vessel are covered with lake-green glaze.

3. Six Conjoined Vases in Tea Dust Glaze

This unusual vessel consists of five vases of the same shape and size circling around a central main vase, forming a single complete vase. The interior of the six vases is joined together, with only the slender necks helping to exaggerate their individuality.

4. Bowl with Indian lotus Design on a Pink Brocade Ground

This bowl has a flaring rim, a deep curving body, and a short foot ring. It is covered with a light pink glaze, on top of which are engraved patterns of plants and geometric designs.

5. Porcelain Vase Decorated in Fencai Enamels against a Yellow Ground, with Rotating Interior and Openwork Eight Trigram and Ju-i Motifs

This vase set contains a revolving center and an interlocking top and bottom. The center of the vase body is divided into two parts, with the rims where they meet fashioned into the shape of a cloud-shaped ju-i pattern. The vase is quite complex in structure.

Welcome to the National Palace Museum's collection of documents from the Qing dynasty! Here, you can explore some of the most important documents from this era. We have a variety of different documents on display here, including a Gold-leaf Tributary Document from Siam, Edicts for the Personal Rule of the T'ung-chih Emperor and Diplomatic Credentials Presented by The Great Qing Empire's Overseas Survey Envoy to The Great British Empire. These documents provide us with an insight into the diplomatic relationships between China and other countries during this time period. Come take a look at these fascinating artifacts today!

1. Diplomatic Credential Presented by the Great Qing Empire's Overseas Survey Envoy to the Great British Empire

The National Palace Museum in Taiwan has a collection of diplomatic credentials that were sent by the Qing government to other countries. These credentials were used in international negotiations or presented by envoys when they were appointed or dismissed.

2. Edicts: Edict for the Personal Rule of the T'ung-chih Emperor

An edict is an official document issued by the emperor. It starts with the phrase, "Entrusted as such by the Heavens, the Emperor hereby proclaims...." The purpose of an edict is to inform all officials, nobility, and commoners of the land about the emperor's orders.

3. Gold-leaf Tributary Document from Siam

This document is a gold-leaf tributary document from Siam. It is highly exquisite and was sent by Taksin, the king of Siam, on a tribute mission to the Qing government.

Welcome to the National Palace Museum's collection of documents from the Qing dynasty! This collection includes a variety of documents from this period, such as Archives in Old Manchu, Archives of the Diary-keeper, Tripitaka in Tibetan and Manchu, Palace Memorials, Manuscripts and Packets from the Historiography Institute, Map of Taiwan and Illustration of Victory: Archives of the Grand Council. These documents provide us with an insight into the history and culture of the Qing dynasty, and are a great resource for those looking to learn more about this time period. We hope you enjoy exploring these incredible artifacts!

1. Archives in Old Manchu

In 1599, the Manchu leader Nurhaci ordered the scholars Erdeni and others to create a written language for the Manchu, based on the Mongolian alphabetic system and combined with Jurchen phonetics.

2. Archives of the Diary-keeper

The "Ch'i-chu chu" (Diary-keeper) was an official in imperial China who recorded the emperor's daily actions and sayings in the "Archives of the Diary-keeper." This type of historical information was similar to a diary in form.

3. Tripitaka in Tibetan / Tripitaka in Manchu

Buddhism has been a major world religion for more than 2000 years. The translation of Buddhist scriptures, known as sutras, into Tibetan and Manchu not only preserved the language and history of these people in China but also assists in the study of Eastern culture.

4. Palace Memorials

The system for drafting and submitting documents to the court in the early Qing dynasty followed the system used in the previous Ming dynasty (1368-1644). Public matters were dealt with in subject memorials, while private ones in confidential memorials.

5. Manuscripts and Packets from the Historiography Institute

The Historiography Institute was established in 1690 as part of the Hanlin Academy. Its responsibility was to compile materials for writing official histories. In 1914, the Qing Historiography Institute was established on the premises of the former Institute.

6. Map of Taiwan

The "Map of Taiwan" is a large map measuring 667 cm long and 46 cm wide. It shows the island of Taiwan from Shamajitou in the south to the City of Dajilong in the north, and from the mountains in the east to the seas in the west.

7. Illustration of Victory: Archives of the Grand Council

The "Illustration of Victory:Archives of the Grand Council" is a painting that depicts the pacification of rebellions in 1755, 1758, and 1759. In 1764, the painting was sent to France, where it caught the attention of Louis XVI.

Welcome to the National Palace Museum's collection of rare books from the Ming and Qing dynasties! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find the Vast Documents of the Yung-lo Era, the Complete Library of the Four Treasuries and the Illustrated Tributes to the Imperial Ch'ing. These documents offer a glimpse into the lives of people during these dynasties, and are an invaluable resource for understanding Chinese history. Come explore these incredible artifacts today!

1. Vast Documents of the Yung-lo Era

The Ming dynasty was a time period in China that lasted from 1368-1644. During this time, the Yung-lo Emperor ordered the Hanlin Academician Jie Jin and others to compile a classified book.

2. Complete Library of the Four Treasuries

The "Ssu-k'u ch'uan-shu" is a collection of ancient Chinese books that were compiled and edited during the early Qing dynasty. This collection is a valuable record of Chinese history and culture.

3. Illustrated Tributes to the Imperial Ch'ing

This book has nine chapters and is illustrated with pictures of people from different countries. The first chapter is about countries like Korea, Ryuku, Annam, England, and France. The second chapter is about areas of Tibet, Ili, and Kazakh.

Welcome to the National Palace Museum's collection of rare books from the Yuan dynasty! This collection includes some of the most important works from this period, such as the Literary Collection of Fan Zhongyan, The Analects and its Collected Exegeses, Classified Draft of the Yuan-feng Era, Essentials to the Collected Meaning of The Four Books, Dynastic Regulations for Sagacious Rule of the Great Yuan, and Painting Catalogue of the Hsuan-ho Collection. These documents provide us with a unique insight into the culture and politics of the Yuan dynasty, and are an invaluable source of knowledge for anyone interested in Chinese history. Come explore these incredible artifacts today!

1. Literary Collection of Fan Zhongyan

Fan Zhongyan was born in 989 in Wuxian, Jiangsu province. He was a diligent student who was very ambitious and had a strong sense of social duty. Fan Zhongyan's collected writings were originally called "Tan-yang chi" (Tan-yang Anthology), but after he died

2. The Analects

The Analects is a book of sayings by Confucius and his followers. The Collected Exegeses of the Analects is a book of commentaries on the Analects.

3. Classified Draft of the Yuan-feng Era

Zeng Gong was a native of Nan-feng in Chien-ch'ang (modernday Nanfeng County, Jiangxi Province). He was a lifelong collector of books and assembled a library of rare works that he also collated himself, becoming noted at the time for his wide learning.

4. Essentials to the Collected Meaning of The Four Books

Liu Yin (1249-1293) was a scholar who lived in seclusion after the fall of the Song dynasty in 1279. He was highly respected by his contemporaries and was backed by the Yuan government.

5. Dynastic Regulations for Sagacious Rule of the Great Yuan

This Yuan imprint is one of the earliest examples of this text, and it is an important source for the study of the Yuan government. The editor(s) and date of printing are unknown, but the style of the characters in the imprint suggests that it is from Chien-yang.

6. Painting Catalogue of the Hsuan-ho Collection

This book is a catalogue of the imperial collection of paintings from the Jin dynasty to the Northern Song dynasty, including Japanese paintings. It is composed of 20 chapters and was completed in 1120. The editor(s) remain unknown, but it appears to have been composed by officials at court and submitted to Huizong.

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find Literary Collection of Liu Ping-k'o, which was compiled into 40 chuan (chapters) in "Hsin T'ang shu i-wen chih" (New Arts Section of the Tang History). You will also find Literary Collection of Nan-hsüan, written by the famous Neo-Confucianist Zhang Chi. These texts are an important part of Chinese history and culture, and we hope you enjoy exploring them!

1. Literary Collection of Liu Ping-k'o

The text is a compilation of Liu Yuxi's poems and prose writings. The text was originally compiled into 40 chuan (chapters) in "Hsin T'ang shu i-wen chih" (New Arts Section of the Tang History). In the early Sung (960-1279),

2. Literary Collection of Nan-hsüan

Zhang Chi, a native of Sichuan, was the sobriquet of Zhang Chi, a famous Neo-Confucianist.

Welcome to the National Palace Museum's collection of rare books from the Song dynasty! These texts were written by some of China's most influential scholars, and they provide us with a unique insight into Chinese culture during this period. You will find commentaries on ancient classics such as The Book of Mencius, memoirs from Zhao Gongwu who fled K'ai-feng when it was invaded in 1126, anthologies of works by Master Zhu Xi and Du Fu’s Poetry with Annotations. There are also commentaries on the Rites of Chou, Principal Meaning to The Book Of Etiquette And Ceremony, Erh-ya philology text, Illustrated Text Of The Hsuan-ho Emissary To Korea and Six Writings By Master K'ung. These books offer a fascinating look into the past and can help high schoolers gain a deeper understanding of Chinese culture. Come explore these incredible artifacts today!

1. Exegeses on the Book of Mencius

The study of the Classics is one of the sources of knowledge of Chinese culture. A large number of notes and commentaries have been left by many talented scholars over the ages. These texts were transcribed by hand until the spread of woodblock printing.

2. Memoirs of Master Chao-te's Readings in the Chun Studio

Zhao Gongwu was a native of Shandong, China who resided in the Chao-te ward of the capital K'ai-feng (Pien-liang). After enemy Jin forces invaded the Song capital in 1126, he fled with his family to Sichuan.

3. New Imprint of the Grand and Illuminous Explication of Huai-nan-tzu

"Huai-nan-tzu" was written during the Western Han dynasty by Liu An, a member of the imperial clan.

4. New Revised Imprint of Du Fu's Poetry with Annotations

Du Fu (712-770) was one of the greatest poets in Chinese history. He lived through one of the most tumultuous periods of the Tang dynasty, witnessing the An Lu-shan rebellion and the restoration of imperial rule.

5. Anthology of Works by Master Zhu Xi

Zhu Xi (1130-1200) was a Chinese philosopher who incorporated ideas from the "Loyang School" founded by the Ch'eng brothers, Ch'eng I and Ch'eng Hao.

6. Commentaries on the Rites of Chou

The text is an annotated edition of the traditional Classics, carved into wood based on engraved stone Classics of the Tang dynasty, and includes annotations compiled since the Six Dynasties.

7. Principal Meaning to The Book of Etiquette and Ceremony

Wei Liaoweng was a Song dynasty official who compiled information for his books on the essence of the Classics. His books were later printed in 1252 and placed in the Tz'u-yang Academy. However, in 1276, the books were destroyed during the collapse of the Song dynasty.

8. Erh-ya

The "Erh-ya" is an ancient text devoted to philology, but the identity of the author(s) still remains unclear today. The Qing (1644-1911) editors of the "Ssu-k'u ch'uan-shu" (Complete Library of the Four Tre

9. Illustrated Text of the Hsuan-ho Emissary to Korea

Geographical and travel texts are very old in China, going back to when the Shang and Zhou dynasties ruled (17th-3rd c. BC). Back then, there were officials whose job it was to put together these texts.

10. Six Writings by Master K'ung

Kong Zhuan was a Confucian scholar who lived during the Song dynasty. He compiled a book of Confucian writings called "Six Writings by Master K'ung".

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! This collection includes works from some of the most renowned calligraphers of the time, such as Chang Yu, Chao Meng-fu, Yang Wei-chen, Liu Yung and Wang To. Here you will find Regulated Verse in Seven Characters, Poetry on the Baotu Waterfall, Poetry on the Wan-chieh Hall, Copy from the Ch'un-hua Modelbooks and Calligraphing Poetry. These masterpieces are sure to captivate and inspire you with their beauty and skillful craftsmanship. Come explore these amazing works of art today!

1. Regulated Verse in Seven Characters

Chang Yu, a well-known Taoist of the Yuan dynasty, moved at the age of 29 to Mao-shan (Chu-ch'u-shan, Chu-jung, Kiangsu).

2. Poetry on the Baotu Waterfall

Chao Meng-fu, style name Tzu-ang and sobriquet Sung-hsueh tao-jen, served the Yüan dynasty as an official in the Hanlin Academy. He was posthumously ennobled as the Duke of Wei and entitled Wen-min for his services.

3. Poetry on the Wan-chieh Hall

Yang Wei-chen was a native of Kuei-chi who went by a variety of names, including the style name Lien-fu and sobriquet Tung-wei-tzu.

4. Copy from the Ch'un-hua Modelbooks

Liu Yung was a native of Chu-ch'eng in Shantung. His father served the Ch'ien-lung Emperor (r. 1736-1795) as grand secretary. Liu Yung passed the Presented Scholar civil service examinations in 1741 and entered officialdom.

5. Calligraphing Poetry

Wang To was a Chinese calligrapher and politician who lived in the Ming and Qing dynasties.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! These pieces of calligraphy were created by some of the most influential Chinese calligraphers, including Wang Xizhi, Wang Hsi-chih, Shen Du, Wang Ch'ung, Sun Kuo-t'ing, Yen Chen-ch'ing, Huai-su, Ch'i Pai-shih and Zhao Mengfu. You will find a variety of different styles, from Yuanhuan to Timely Clearing After Snowfall, Three Passages: Ping'an, Heru, and Fengju, The Homecoming Ode, "Wu-i ko" Poems, Essay on Calligraphy, Draft of a Requiem to My Nephew, Autobiography, Five-character Couplet in Seal Script and Letter to Abbot Zhongfeng (As If in a Drunken Dream). We hope you enjoy exploring these incredible works of art!

1. Yuanhuan

Wang Xizhi was a Chinese calligrapher who was later known as the "Sage of Calligraphy." This piece of calligraphy, called "Xingbie," is actually a copy made by outlines filled with ink.

2. Timely Clearing After Snowfall

Wang Hsi-chih was a Chinese calligrapher who created a new style by combining elements of different scripts.

3. Three Passages: Ping'an, Heru, and Fengju

Wang Xizhi was a famous calligrapher of the Eastern Jin period.

4. The Homecoming Ode

Shen Du led the formation of the "Academic Style" of Ming dynasty calligraphy.

5. "Wu-i ko" Poems

Wang Ch'ung was the son of a merchant, and studied calligraphy with his brother under the guidance of Wen Cheng-ming and Ts'ai Yu.

6. Essay on Calligraphy

Sun Kuo-t'ing, from Wu-chün, writes about his experiences with calligraphy, including an essay on essential points and some basic principles of calligraphy. The second chapter, which is the main essay, was not finished.

7. Draft of a Requiem to My Nephew

Yen Chen-ch'ing's ancestors came from the Shantung area. During the revolt of Li Hsi-lieh, Yen Chen-ch'ing was instructed to bring an imperial communique to the rebels.

8. Autobiography

Huai-su was a monk who originally went by the name Ch'ien Ts'ang-chen. Born in Ling-ling County, Hunan, he later moved to Ch'ang-sha. Even as a youth, he was interested in Buddhism, eventually taking the tonsure.

9. Five-character Couplet in Seal Script

Ch'i Pai-shih, originally known as Ch'un-chih, was a Chinese artist who specialized in painting, calligraphy, poetry, and seal carving. He was born in Hunan province and studied carpentry as a youth.

10. Letter to Abbot Zhongfeng (As If in a Drunken Dream)

Zhao Mengfu was a native of Wuxing in Zhejiang. He was recruited by and took up office under the following Yuan dynasty as a Hanlin Academician.

Welcome to the National Palace Museum's collection of calligraphy from the Song dynasty! Here, you can explore some of the most exquisite and beautiful pieces of Chinese calligraphy from this period. You will find works by some of the most influential calligraphers of the time, such as Zhu Xi, Lu You, Cai Xiang, Su Shih, Huang T'ing-chien, Mi Fu and Ts'ai Hsiang. These works range from commentaries on the Book of Changes to Letters to Prefect Yuanbo (In a Pure Autumn) and Poems in Seven-character Verse. Come take a look at these amazing pieces of art today!

1. Commentary on the Book of Changes

This is a calligraphy work by Zhu Xi (1130-1200) that is the only extant example of large calligraphic characters written in Zhu Xi's hand. The calligraphy is written in a fast-moving brush and composed so that they appear to have top-heavy structures.

2. Letter to Prefect Yuanbo (In a Pure Autumn)

Lu You was a talented scholar who excelled at poetry and prose. His works were full of dramatic sentiment and reflected the trend at the time. He was the most important poet of the Southern Song period. In 1170, he wrote a letter to his friend Zeng Feng (style name Yuanbo).

3. Letter to the Commandery Administrator Huizhi (In the Depths of Autumn)

Zhu Xi was a famous thinker of the Southern Song period who pursued the ambition of establishing a new order for the country. He wrote this letter in the eighth lunar month of the Shaoxi fifth year (1194) after leaving his post as Administrator of Tanzhou (modern Changsha, Hunan) and on

4. Calligraphy of the Four Song Masters

The first section of this handscroll contains the "Haiyu" modelbook, a letter written by Cai Xiang in his thirties to his friend Han Qi. The letter is an excellent example of Northern Song calligraphy in the style of Yan Zhenqing (709-785).

5. The Cold Food Observance

Su Shih, also known as Tung-p'o, was a scholar-official from Szechwan. He was known for his bold personality and directness, and was accused of literary slander and banished from the capital.

6. Poem in Seven-character Verse

Huang T'ing-chien was a native of Fen-ning, Kiangsi. At the age of 23, he received his Presented Scholar (chin-shih) civil service degree. He served as Prefect of T'ai-ho in Shansi and Editor at court.

7. Poem

Emperor Hui-tsung was known for his passion for painting, calligraphy, poetry, and prose. His paintings and calligraphy are marked by exceptional refinement and observation to detail. His paintings of birds-and-flowers, in particular, are renowned for their realism and beauty.

8. On Szechwan Silk

Mi Fu was a famous poet, painter, and calligrapher from the Northern Sung period. He was known as one of the Four Sung Masters of calligraphy, along with Ts'ai Hsiang, Su Shih, and Huang T'ing-chien.

9. Letter to Officer-Gentleman Tu

This letter was written by Ts'ai Hsiang during a period of mourning for his eldest son. While he still maintained his poise and vigor in his calligraphy, a few strokes of the brush reveal the fluctuations of emotion and pain that he must have felt while writing.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here you can explore some of the most beautiful and intricate works of art from this period. We have a variety of different paintings on display here, including The Red Cliff, Pasturing Horses, A Palace Concert, Herd of Deer in an Autumnal Grove, Early Snow on the River and Storied Mountains and Dense Forests. These are all masterpieces that show us how people interacted with nature during this time period. Come take a look at these incredible works of art today!

1. The Red Cliff

This painting is unsigned, but it is believed to be by Wu Yuan-chih, a famous scholar who excelled at landscape painting during the time of Emperor Chang-tsung.

2. Pasturing Horses

This work, the third leaf in the album "Collected Treasures of Famous Paintings," shows a groom riding on a white horse side-by-side leading a black steed. On the painting is an inscription by the Song dynasty emperor Huizong (1082-1135) that reads, "

3. A Palace Concert

This painting depicts ten ladies of the inner court sitting around a large rectangular table. Some of the ladies are enjoying tea, while others are drinking wine. The four figures at the far end of the table are responsible for playing music and livening up the atmosphere.

4. Herd of Deer in an Autumnal Grove

This painting shows a bunch of deer playing and relaxing in a forest of maple trees with some white birch trees mixed in. You can tell it's autumn by all of the leaves on the ground and in the trees. The deer look like they're having a blast, frolicking around in the leaves.

5. Early Snow on the River

This handscroll painting is by Student Chao K'an of the Southern T'ang. It has a landscape that goes from right to left, with an inscription at the beginning by the Southern T'ang emperor Li Yü.

6. Storied Mountains and Dense Forests

Chu-jan was a monk who specialized in painting the southern scenery of Kiangnan.

Welcome to the National Palace Museum's collection of paintings from the Qing dynasty! Here, you can explore some of the most amazing artwork from this period in Chinese history. We have a variety of different paintings on display here, including One Hundred Horses by Giuseppe Castiglione and many more. These are all important pieces in Chinese history that tell us about how people interacted with each other during this time period. Come take a look at these fascinating artifacts today!

1. One Hundred Horses

Giuseppe Castiglione was born on July 19, 1688, in Milan, Italy. He learned to paint from Carlo Cornara at the studio, and he also came under the influence of the famous painter Andrea Pozzo.

Welcome to the National Palace Museum's collection of paintings from the Qing dynasty! This collection features works from some of China's most renowned painters, including Shen Zhenlin, Yun Shouping, Wang Hui, Wang Shih-min, Wang Yuan-chi, Wu Li and Chang Tse-tuan. You will find a variety of different styles, from Cats and Butterflies of Longevity to Activities of the Twelve Lunar Months: The Twelfth Month to After Wang Wei's "Snow Over Rivers and Mountains". There are also landscapes such as Summer Mountains and Misty Rain and Green Mountains and White Clouds. Finally, there is Along the River During the Ch'ing-ming Festival, which is based on an original by Chang Tse-tuan. We hope you enjoy exploring these incredible works of art!

1. Cats and Butterflies of Longevity

Shen Zhenlin was a painter from Wuxian who worked for the Qing court during the Xianfeng and Tongzhi reigns. He was good at painting figures and portraits, but could also sketch birds and flowers from life, as well as landscapes.

2. Activities of the Twelve Lunar Months: The Twelfth Month

This painting is one of twelve from the Qianlong reign in China (1736-1795). It shows a winter landscape with people skating on the frozen water and playing in the snow. The buildings are depicted in great detail, and the painting is done in ink and colors.

3. The Five Purities

Yun Shouping was a native of Wujin in Jiangsu. He was a gifted poet and painter, and was especially skilled in calligraphy. He originally excelled at landscape painting but later felt he could not compete with Wang Hui, one of the Four Wangs specializing in landscapes.

4. Summer Mountains and Misty Rain

Wang Hui was one of the "Four Wangs" of the early Qing dynasty. He was a talented painter and was taught by two of the other Four Wangs. Wang Hui developed his own style by blending past and present, as well as northern and southern styles.

5. After Wang Wei's "Snow Over Rivers and Mountains"

Wang Shih-min was born into a family of scholars and artists. He was introduced to the study of painting and calligraphy at a young age. He is considered one of the most important painters of his time.

6. The Peach Blossom Fishing Boat

Wang Hui was a native of Ch'ang-shu in Kiangsu who studied landscape painting as a youth under Wang Shih-min and Wang Chien. He was gifted at both northern and southern styles as well as ancient and modern ones.

7. Peonies

Yun Shou-p'ing was a native of Wu-chin, Kiangsu who grew up in a family of limited means. He devoted himself to studying and even surprised his elders at the age of eight by composing poetry.

8. Green Mountains and White Clouds

Wu Li was a native of Ch'ang-shu, Kiangsu. He and Wang Hui were both students of Wang Chien and Wang Shih-min.

9. After Wang Meng's "Mountain Dwelling on a Summer Day"

Wang Yuan-ch'i was a scholar and artist from T'ai-ts'ang, Kiangsu. He received his degree in 1670 and worked in various positions before becoming Attendant Gentleman of the Ministry of Revenue.

10. Along the River During the Ch'ing-ming Festival

This work is based on an original by Chang Tse-tuan (active early 12th century). It is a masterful unfolding of Sung dynasty life and customs at the capital of Pien (K'ai-feng) in a long handscroll format. This theme, popular in the Northern Sung (

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! Here, you can explore works by some of the most renowned Chinese painters of the time. We have a variety of different paintings on display here, including Dwelling in the Fu-ch'un Mountains (Wu-yung Version), Twin Pines, Forest Chamber Grotto at Chu-ch'u, The Jung-hsi Studio, Fishermen Returning on a Frosty Bank and Kublai Khan Hunting. These are all important pieces in Chinese art history that tell us about the culture and lifestyle of the people during this period. Come take a look at these incredible artifacts today!

1. Dwelling in the Fu-ch'un Mountains (Wu-yung Version)

"The New York Times" The New York Times is an American newspaper that is published in New York City. It is one of the most widely circulated newspapers in the United States.

2. Twin Pines

Wu Chen was a Chinese artist who was born in Chia-hsing, Chekiang province. He was skilled in poetry, painting landscapes, and bamboo. He was also good at calligraphy.

3. Forest Chamber Grotto at Chu-ch'u

Wang Meng was a grandson of the famous artist Chao Meng-fu. He was implicated in the case of Hu Wei-yung and subsequently died in prison.

4. The Jung-hsi Studio

Ni Tsan was a native of Wu-hsi, Kiangsu. He was a bibliophile and collector who also enjoyed amateur poetry and painting. This work was done by Ni at the age of 72.

5. Fishermen Returning on a Frosty Bank

T'ang Ti was a native of Wu-hsing in Chekiang. When he came of age, his poetry and painting were held in high esteem by the local elite. He initially studied the landscape style of Chao Meng-fu, acquiring his polished and luxuriant manner.

6. Kublai Khan Hunting

Liu Kuan-tao was a celebrated court painter of the early Yuan dynasty, probably during the reign of Kublai Khan. In 1279, he was appointed to the Imperial Wardrobe Service.

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! These works of art were created by some of China's most talented painters, and they provide us with a unique insight into Chinese culture during this period. You will find Manual of Ink Bamboo by Wu Zhen, Meeting Friends in a Pavilion among Pines by Wang Yuan, Cloud-girdled Peaks by Gao Kegong, Pair of Lohan Paintings, Riverside Pavilion and Mountain Hues by Ni Zan, Inscribing a Portrait of Ni Zan, Wild Duck by a River by Chen Lin, Nymph of the Luo River, Five Horses by Zhao Yong, and Autumn Colors on the Qiao and Hua Mountains by Zhao Mengfu. We hope you enjoy exploring these incredible artifacts!

1. Manual of Ink Bamboo

Wu Zhen, a Chinese artist from Jiaxing, created this album of bamboo drawings in 1350. The album depicts different types of bamboo in various settings, including new shoots, old stalks, and leaves in wind, rain, and even snow.

2. Meeting Friends in a Pavilion among Pines

Wang Yuan was a painter who was born in Qiantang, Zhejiang. He was taught by the master Zhao Mengfu when he was younger. In bird-and-flower painting, he followed the style of Huang Quan from the 10th century.

3. Cloud-girdled Peaks

The ancestors of Gao Kegong came from Western Asia. Gao rose to Minister of Justice in the Yuan dynasty under the Mongols. He also served in office in the Jiangnan area and resided in Hangzhou.

4. Pair of Lohan Paintings

The painting is a pair of scrolls, each with nine lohans. The lohans are shown in various forms, some Indian and others Chinese.

5. Riverside Pavilion and Mountain Hues

This painting, from the year 1372, is inscribed with poetry written by Ni Zan himself. It's a typical example of a "Three Perfections" painting, which combines poetry, calligraphy, and painting in a single work.

6. Inscribing a Portrait of Ni Zan

The main figure in this scroll is Ni Zan (1301-1374), one of the Four Yuan Masters of painting. The landscape behind him is intentionally done in imitation of Ni's style.

7. Wild Duck by a River

Chen Lin was a famous painter from the late Song dynasty. This painting features the brushwork of two Yuan masters. The brushwork for depicting the duck is delicate but not overly refined or with any stiffness.

8. Nymph of the Luo River

This painting is of the goddess of the Luo River riding on clouds and gliding over misty waters. The painting is mostly of the goddess and the scenery is lofty and archaic. The painting is rare and precious.

9. Five Horses

Zhao Yong was the second son of the famous scholar-artist Zhao Mengfu. Like his father, he was skilled in painting and calligraphy. He was especially good at depicting figures and saddled horses.

10. Autumn Colors on the Qiao and Hua Mountains

Zhao Mengfu was a skilled painter and calligrapher who advocated for revivalism. His work had a big impact on literati painting and calligraphy. In 1295, he painted a picture of his travels through Shandong for Zhou Mi.

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! This collection includes works by some of China's most influential painters, such as Hsia Kuei, Ma Yuan, Ma Lin, Liang K'ai, and Chia Shih-ku. You will find a variety of different styles and subjects, from Remote View of Streams and Hills to Paised Egrets on a Snowy Bank, Evening Outing by Torchlight, Scholar, Immortal in Splashed Ink, Kuan-yin of a Thousand Arms and Eyes, and Ancient Temple Concealed in Seclusion. We hope you enjoy exploring these incredible works of art!

1. Remote View of Streams and Hills

Hsia Kuei was a painter who worked at the Southern Sung court. He was born in Ch'ien-t'ang (modern Hangchow) and during the reign of Emperor Ning-tsung (r. 1195-1224), he was given the Golden Belt and promoted to the

2. Paised Egrets on a Snowy Bank

Ma Yuan was from a family originally from Ho-chung, Shansi, but which later moved to Hangchow, the capital of the Southern Sung dynasty. He served as a Painter-in-Attendance at the court of Emperors Kuang-tsung and Ning-tsung.

3. Evening Outing by Torchlight

Ma Lin was born into a family from Ho-chung, Shansi (now modern Yung-chi County) that had moved to Ch'ien-t'ang (Hangchow).

4. Scholar

This painting shows a scholar deep in thought, holding a brush.

5. Immortal in Splashed Ink

Liang K'ai was a highly skilled painter, known for his beautiful figure paintings, landscapes, and religious subjects. He learned from Chia Shih-ku, but eventually surpassed his teacher.

6. Kuan-yin of a Thousand Arms and Eyes

Kuan-yin is a bodhisattva of mercy and compassion in Buddhism. A common figure in Buddhist art, the representation here differs from the one with one head and two arms often seen. Here, the head of the figure has 26 bodhisattva heads and one Buddha head.

7. Ancient temple concealed in seclusion

Chia Shih-ku served in the Imperial Painting Academy during the Shaohsing reign, which lasted from 1131 to 1162. Not much is known about his life, but we do know that he excelled at painting Buddhist and Taoist figures in a style similar to that of Li Kung-lin (10

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! This collection features some of the most iconic and influential works of art from this period. Here you can find paintings such as Autumn Colors among Streams and Mountains, Pair of Wild Geese on an Autumn Islet, Bamboo in Monochrome Ink, Travelers Among Mountains and Streams, Early Spring, Blue Magpie and Thorny Shrubs, Magpies and Hare, Wind in Pines Among a Myriad Valleys, Children at Play in an Autumnal Garden and Lohan. These pieces were created by some of the most renowned painters of the time, and they provide us with a unique insight into Chinese culture during this period. We hope you enjoy exploring these incredible artifacts!

1. Autumn Colors among Streams and Mountains

This painting has several layers of mountains, with shoals and slopes in the lower half. The mountains are rounded and shaded with light ink, giving them a misty appearance. This creates a lyrical quality to the landscape.

2. Pair of Wild Geese on an Autumn Islet

This painting shows a pond on an autumn day. The geese are resting on a shoal surrounded by dry reeds, red polygonum, and withered lotuses.

3. Bamboo in Monochrome Ink

Wen Tong was a gifted poet and calligrapher who is also credited with inventing the genre of ink bamboo painting. This painting depicts bamboo extending into the composition from the upper left, probably growing from a cliff left unseen. Rendered with centered brushwork, the tip of the brush turns and flies.

4. Travelers Among Mountains and Streams

Fan K'uan is a native of Hua-yuan in Shensi province. He is famous for his landscape paintings.

5. Early Spring

Kuo Hsi was a court painter during Emperor Shen-tsung's reign. He was known for his large, detailed landscapes. He later became the highest-ranked painter in the court Han-lin Academy of Painting.

6. Blue Magpie and Thorny Shrubs

Huang Chu-ts'ai (style name Po-luan) was the son of the famous bird-and-flower painter Huang Ch'uan. He followed in his father's style of painting, outlining forms with thin brushstrokes and then filling them with colors.

7. Magpies and Hare

Ts'ui Po was a native of Anhwei province and excelled at painting Buddhist and Taoist subjects, figures, landscapes, flowers, and animals. He was especially noted for his works in the genre of birds-and-flowers.

8. Wind in Pines Among a Myriad Valleys

Li T'ang served in the Han-lin Academy of Painting under Emperor Hui-tsung of the Northern Sung. He escaped to the south after the fall of the Northern Sung and re-entered the Painting Academy.

9. Children at Play in an Autumnal Garden

Su Han-ch'en was a painter who specialized in painting Buddhist and Taoist figures. He was born in K'ai-feng, Honan and worked at the imperial academy during the Hsuan-ho era (1119-1125) under Emperor Hui-tsung of the Northern

10. Lohan

Liu Sung-nien, a native of Ch'ien-t'ang (modern Hangchow), served during the Ch'un-hsi era (1174-1189) as Student in the Painting Academy and in the following Shao-hsi era (1190-1194)

Welcome to the National Palace Museum's collection of paintings from the Song dynasty! Here, you can explore some of the most beautiful and intricate works of art from this period. From the Strange Peaks and Myriad Trees painting that depicts mountains in the background with clouds and mist in the foreground, to the River Boats and Mountain Town painting that shows a town with a mountainside temple and countryside shops, these pieces are sure to amaze you. You will also find The Buddha Preaching the Law painting, Preparing Clothes painting, The Ladies' Book of Filial Piety (Scroll 1) painting, Literary Gathering painting, Scroll of Buddhist Images painting, Plants and Insects in Autumn painting, Reading in an Open Hall painting and Strange Peaks and Myriad Trees painting. Come take a look at these incredible artifacts today!

1. Strange Peaks and Myriad Trees

This painting shows mountains in the background with clouds and mist in the foreground. The different sizes and shapes of the mountains create an interesting echo effect. The blank areas of the clouds and mist help to highlight the mountains even more.

2. River Boats and Mountain Town

The painting depicts a town with a mountainside temple and countryside shops, surrounded by two peaks. The temple buildings are on a level outcropping and constructed up the slope. The valley below is filled with clouds and mists, and birds are flying about. This conveys the sense of a scene at dusk.

3. The Buddha Preaching the Law

The painting depicts the Buddha seated on a lotus pedestal, with two heavenly kings as protectors of the Buddhist law. On either side of the Buddha are the great disciples Ananda and Mahakashyapa, and a bodhisattva making offerings.

4. Preparing Clothes

This work, done in 1240, is based on "Poetry on Preparing Clothes" by Xie Huilian (397-433) of the Southern Dynasties period. It depicts 32 women preparing for winter by making clothes for their husbands at the battlefront.

5. The Ladies' Book of Filial Piety (Scroll 1)

The Ladies' Book of Filial Piety was written by Madame Zheng during the Tang dynasty. It deals with propriety, piety, and rules of behavior for women. Originally eighteen sections, only half the handscroll remains today.

6. Literary Gathering

This painting depicts a group of high schoolers in a garden by a pond enjoying a banquet. The figures are all spirited and elegant with clear expressions, while the objects and garden motifs are painstakingly rendered.

7. Scroll of Buddhist Images

This is the only surviving painting from the Dali kingdom, which was located in what is now Yunnan. The painting is from the Song dynasty and is divided into four sections. The first section shows Duan Zhixing, the emperor during the Lizhen reign, making offerings to the Buddha.

8. Plants and Insects in Autumn

Li Di was a court artist during the Northern and Southern Song periods. He was especially skilled in painting birds, flowers, insects, and grasses. This work depicts a praying mantis raising its forelimbs in an attempt to catch a beetle that has just flown away.

9. Reading in an Open Hall

This painting shows a courtyard by a lake, surrounded by hills and tall pines. Inside the pavilion, a scholar is seated on a daybed, holding a feather fan and leaning on an armrest.

10. Strange Peaks and Myriad Trees

This painting shows a scenery of high mountains with peaks appearing above the clouds and a foreground rising in the mist. The three groups of mountain forms echo each other and the blank areas of clouds and mist make them stand out.

Welcome to the National Palace Museum's collection of paintings from the Ming dynasty! Here, you can explore some of the most amazing works of art from this period. We have a variety of different paintings on display here, including T'ao Ku Presenting a Lyric to Ch'in Jo-lan, Spring Dawn in the Han Palace, Flowers and Bamboo, Shady Trees in a Summer Landscape, Ducks Sleeping on a Lotus Bank, After the Line "Idly Watching Children Catch Willow Flowers", Returning Late from a Spring Outing, Plum Blossoms and Wild Bird, and Enjoying Antiquities. These are all important pieces in Chinese history that tell us about how people interacted with each other during this time period. Come take a look at these incredible artifacts today!

1. T'ao Ku Presenting a Lyric to Ch'in Jo-lan

T'ang Yin was a painter from Wu-hsien in China's Jiangsu province. He is considered one of the Four Great Masters of the Ming dynasty.

2. Spring Dawn in the Han Palace

Ch'iu Ying was born into a poor family. He learned the art of painting from Chou Ch'en and became a very skilled painter. This long handscroll work is an imaginary representation of various activities in a Han dynasty palace on a spring dawn.

3. Flowers and Bamboo

Hsu Wei was from Shan-ying, Chekiang and was really good at painting landscapes, figures, flowers and insects, and bamboo and stones. He was really smart and served under the Supervisor of Chekiang. later, he had a mental breakdown and tried to kill himself multiple times.

4. Shady Trees in a Summer Landscape

Tung Ch'i-ch'ang was a native of Hua-t'ing, near Shanghai. He became President of the Board of Rites and was famous as a connoisseur and calligrapher.

5. Ducks Sleeping on a Lotus Bank

Lu Chi was a Chinese painter who was known for his bird-and-flower style paintings. He later developed his own style by combining the "fine-line" and "sketching ideas" techniques. In the Hung-chih era (1488-1505), he was a famous court painter at

6. After the Line "Idly Watching Children Catch Willow Flowers"

Chou Ch'en, also known as Shun-ch'ing, was a landscape painter from Wu-chun in modern Soochow, Kiangsu.

7. Returning Late from a Spring Outing

Tai Chin was a painter from Ch'ien-t'ang who specialized in landscapes and figures. He was recommended for service at court during the Hsuan-te reign, but later dismissed by his fellow painters. Tai Chin returned home and continued to paint, becoming a influential teacher with many students.

8. Plum Blossoms and Wild Bird

Ch'en Hung-shou was a painter who lived during the Ming and Ch'ing dynasties. He was known for his solid forms and drapery lines in figure painting, which revealed the features of Li Kung-lin's (1049-1106) and Chao Meng-fu's (12

9. Enjoying Antiquities

Tu Chin was originally from Tan-t'u (present-day Chen-chiang, Kiangsu), but later moved to Nanking. His style name was Chu-nan, and he was also known as Ch'eng-chu and Ku-k'uang.

Welcome to the National Palace Museum's collection of paintings from the Ming dynasty! Here you can explore some of the most beautiful and iconic works of art from this period. We have Picking Lotuses by Tang Yin, Waiting for the Ferry on an Autumn River by Qiu Ying, Four Immortals Paying Homage to Longevity, Crossing a Bridge over a Stream by Dai Jin, The Three Friends and a Hundred Birds by Bian Wenjin, Fishing in Reclusion Among Mountains and Streams, Departure Herald, Return Clearing, Lofty Mount Lu by Shen Chou and Old Trees by a Cold Waterfall by Wen Cheng-ming. These works are all masterpieces that will provide you with a glimpse into the culture and history of the Ming dynasty. Come take a look at these incredible artifacts today!

1. Picking Lotuses

Tang Yin was a painter who lived in Wu County, Jiangsu province during the Ming dynasty. He was known for his talent in calligraphy, painting, poetry, and prose. This painting, which he completed in his 51st year, depicts a summer morning on a lotus-covered lake.

2. Waiting for the Ferry on an Autumn River

Qiu Ying (style name Shifu, sobriquet Shizhou) was a painter who lived in Suzhou. He studied under Zhou Chen (1460-1535) and became skilled at painting landscapes and figures.

3. Four Immortals Paying Homage to Longevity

This painting is from the Ming dynasty and depicts four immortals of Buddhist and Daoist origin. The four figures are standing on waves and looking up at the "Old Immortal of the South Pole," the God of Longevity, who is approaching on the back of a crane.

4. Crossing a Bridge over a Stream

Dai Jin was a painter from the Ming dynasty who developed the style of landscape painting known as the Zhe School. His work influenced many later painters and he is considered the patriarch of this school. This particular painting shows a raging river with rocks in it, and a cliff in the background.

5. The Three Friends and a Hundred Birds

Bian Wenjin was an important bird-and-flower painter who was active during the early Ming dynasty at the Yongle and Xuande courts.

6. Fishing in Reclusion Among Mountains and Streams

This painting depicts pine trees, red maples, and yellow leaves against a waterfall and flowing stream with thatched cottage and water kiosk buildings scattered among rocky banks.

7. Departure Herald

In this handscroll painting, we see an imperial procession making its way to the imperial tombs to pay respects. The procession starts from the Te-sheng ("Victory") Gate of the Peking city wall, and along the way, the shops and the appearance of ceremonial guards are depicted.

8. Return Clearing

Departure Herald is a handscroll depicting a great imperial procession making its way to pay respects at the imperial tombs. The procession is departing from the Te-sheng ("Victory") Gate of the Peking city wall.

9. Lofty Mount Lu

Shen Chou was from Ch'ang-chou, Kiangsu province and was good at writing poems, essays, and doing calligraphy and painting. He finished this piece when he was 40 years old in 1467.

10. Old Trees by a Cold Waterfall

Wen Cheng-ming was a talented artist who excelled at painting and calligraphy. He became one of the Four Great Masters of the Ming dynasty and had a wide-reaching influence. Many of his family members and students followed his style of painting, known as the Wu School.

During the 14th and 15th centuries, artists in Europe began to break away from the traditional Gothic style. They began to experiment with new techniques and styles, resulting in a period of great creativity and innovation in the arts. Some of the most famous artworks from this period include the paintings of Leonardo da Vinci and Michelangelo, and the sculptures of Donatello.

Box with Romance Scenes

    This coffret illustrated with scenes from Arthurian and other courtly literature of the Middle Ages is one of the most imposing examples to survive.
    The lid represents the assault on the metaphorical fortress, Castle of Love, with a tournament and knights catapulting roses.
    The left end depicts Tristan and Isolde spied upon by King Mark, and a hunter killing a unicorn trapped by a virgin.
    The right end shows a knight rescuing a lady from the Wildman (Wodehouse), and Galahad receiving the key to the castle of maidens.
    At the back are Lancelot and the lion, Lancelot crossing the sword bridge, Gawain asleep on the magic bed, and the maidens welcoming their deliverer.
    The newly discovered front panel (1988.16), lost since before 1800, is a poignant depiction of the love tragedy of Pyramus and Thisbe (two scenes at right) and Aristotle teaching Alexander the Great and Phyllis riding on the back of Aristotle (two scenes at left).