• Gu Yu 000306

This mirror is made by Aztec craftsmen in Mesoamerica using locally sourced obsidian. The inner smoke-like texture is visible from the exterior. This "smoking mirror" is the embodiment of Aztec deity Tezcatlipoca's power. The noble class used it to understand the past and present, and foretell the destiny. A chance encounter brought this mirror from the American continent to the Qing palace. Once named the black jade mirror, dark jade mirror and morion mirror, it was not until 2015 that obsidian was identified as the actual material through comparative studies and scientific testing, deciphering the origin of this mirror.

• Gu Shu 000050

This exquisite Tang copy of three passages by Wang Xizhi (303-361) was created using the method of "double outlines filled with ink." Meticulous attention was placed on precisely capturing the intensity of the ink, speed of the brushstrokes and quality of the lines, thus the copy is reputed as "being inferior only to the original." The passages, characterized by slanted dots and densely structured characters, are written in "jinti," a style Wang Xizhi developed in his late years, which led a new trend still influential among calligraphers to this day. Several characters and the dot strokes appear similar to the regular script, which sheds light on how the script was written by the Sage of Calligraphy, making this a valuable copy.

• Gu Zang 000001-000024
• Gu Zang 000026-000090
• Gu Zang 000092-000110

Written in the Tibetan script in gold and taking two years to complete, the Kangyur (bka' 'gyur) manuscript, a Buddhist canon that consists of scriptures of sutra and monastic codes, was commissioned by the Grand Empress Dowager Xiaozhuang in 1667, the sixth year of her grandson, Emperor Kangxi's reign.

Each volume contains 300 to 500 leaves and protected by a set of sutra covers. Beginning from the inner most layer are the upper and lower inner protective panels, which are decorated with words of homage to the three jewels in gold relief and seven polychrome painted Buddhist miniatures covered by protective curtains embroidered in five colors. The volume and inner panels are then wrapped in three layers of sutra cloths, covered by a second set of upper and lower protective panels, and wrapped in a yellow wadded quilt.

• Gu Ci 004923

Shaped like a recumbent child with his head resting on the arms and his curved back functioning as the pillow, the piece is made with exceptional workmanship. Covered with smooth white glaze that carries a mild hint of yellow, the design incorporates multiple decorative techniques, making this porcelain pillow an exquisite example of Song porcelain. Currently, only three extant pieces are identified. This adorable figure wears a lively and curious expression, thus chosen multiple times as the lead character in animations from the National Palace Museum to guide viewers through the collection.

With the evolvement of technology, the concept of "digital archiving" gradually took shape in the late 20th century. In 1997, the National Palace Museum began its digitization project, and took part in the National Digital Archives Program in 2002. These efforts transformed the artifacts into digital forms, becoming a cultural database with multiple functions and adaptabilities. As digitization grows sophisticated, it becomes a documentary of the dialogue with time. Using analog photography, scanning, high-resolution imaging, 3D modeling and 8K videos, the Museum has established a richly layered 2D and 3D visual archive that captures the still and the dynamic elements of the artifacts, perpetuating their state at a moment in time as a baseline for tracing and comparison. While showcasing the progression of the digitization efforts, this section also features the benchmarks along the development of the Museum's digital archive, demonstrating how digital technology facilitates the way in which the artifacts are appreciated, preserved and perceived.

Following the digitization of the first group of artifacts, which produced 2D graphics and 3D imaging with 360-degree views, the National Palace Museum partnered with the National Taiwan University in 2003 to integrate 3D imaging with interactive technology. The result is the 3D virtual collection exhibition system, the Museum's first interactive 3D display platform. The development marks a significant milestone in digital applications at the Museum. This early version of 3D Gallery, which was built in the 2000s, has been brought back for this exhibition. Both the original structure and functionality are restored, allowing visitors to operate the system and appreciate multiple artifacts by making the selections from the screen.

With advancements in digital experience and display, the National Palace Museum is also advancing by integrating the digital archive with emerging technologies, transforming the artifacts through digital exhibitions that enrich visitors' museum experience. As digital technologies diversify, museums are evolving beyond the roles of preservation and exhibition. No longer confined as a vessel of artifacts, museums are now cultural venues that foster exchange and generate meanings. From research and collection to interpretation and sharing, museums are aiming towards openness, inclusion and sustainability. At the National Palace Museum, digital technologies are paired with diversified display options to represent the historical context and artistic styles embedded within its collection. Meanwhile, the Museum is exploring possibilities of connecting viewers with the artifacts by encouraging dialogues through varied sensory experiences. The projections installed for this section present a kaleidoscopic range of applications developed by the Museum over the years, including animation, interactive installment, VR, 8K video and immersive theater.

Looking to the future, digital technology will continue to revolutionize viewers' perception of the artifacts and redefine museums' limitations and possibilities. Therefore, the National Palace Museum envisions a future where AI image recognition and data interpretation are essential elements for its digital application and for exploring the frontiers of interpreting and presenting artifacts. When a museum collection is integrated with AI algorithm, tagging and training, a new viewing experience is generated for visitors, and a digital future that is open, interactive, and dynamic is formed for museums. Featured in this section are AI Gallery-City Scroll and Impressions of Fu-Chun, two recent AI projects from the Museum. The images are informing the viewers that emerging technologies, such as AI, are tools for understanding, representing and applying the artifacts. They are also a force that will propel the National Palace Museum into the future.