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“A-ge” is the Manchu term referring to direct lineal sons in the Qing dynasty imperial clan. After the Manchus became established in China Proper and influenced by Confucian culture, they began to emphasize the importance of educating A-ge to cultivate them into those who would inherit the throne and as talents to govern the country, thereby allowing the Manchus to consolidate and extend political control and authority for the long term.This display is divided into three sections: “A-ge Go to School,” “The Curriculum of A-ge,” and “The Teachers of A-ge.” Through documents and archives in the National Palace Museum collection, we can catch a glimpse into the actual student life of A-ge in the Qing dynasty.

The characteristics of painted books from the NPM collection on display in this exhibition can be divided into four sections: 1) The Art of Divining: Books on I Ching Divination, Prognostication, and Interpreting Portents, 2) Painting the Land: Rare Books on Geographical Matters, 3) The Greatness of the Dharma: Classic Scriptures of Buddhism, and 4) Literary Works of the Qing Emperors: The Qianlong and Jiaqing Anthologies of Prose and Poetry. These beautifully painted books and the research on them represent a “feast of knowledge and beauty” to be beholden and shared by all

The primary objective of this exhibition is to connect the museum’s archival materials and collections, all viewed through the lens of “movement and transition”. The imprints that folded in brush and ink of thousand-year geographic displacements and seasonal transitions. These imprints are projected onto digital interactive devices and immersive theaters, culminating in a magnificent theatrical experience that transcends the boundaries of time and space. The overarching goal of this exhibition is to create an interactive environment that fully immerses the audience and cultivates a profound sense of empathy.

To meet the need for recording information and ideas, unique forms of calligraphy (the art of writing) have been part of the Chinese cultural tradition through the ages. Naturally finding applications in daily life, calligraphy still serves as a continuous link between the past and the present. The development of calligraphy, long a subject of interest in Chinese culture, is the theme of this exhibit, which presents to the public selections from the National Palace Museum collection arranged in chronological order for a general overview.

The Three Taoist Officials Making an Inspection Tour

Classified as National Treasure since 2011
This large-scale painting depicts the Taoist deities of heaven, earth, and water, who figure prominently in religious Taoism and in Taiwanese local culture. Full of diverse and intriguing details, the painting shows the deities inspecting their respective realms with over eighty followers. It is attributed to Ma Lin from the Southern Song Dynasty (1127-1279), but the creation date is uncertain. It is unique for showing the deities on tour together in one picture. Venerated both as a work of art and a sacred image, its designation as a National Treasure is a testament to its unique artistic and religious significance.

Landscape Painting: Autumn Scenery

Landscape painting refers to the depiction of views in nature that focuses on how the composition is arranged and the idea or mood expressed, it being one of the best ways for artists to convey their skill and tradition. The range of landscape topics is wide and varied, including scenery associated with the four seasons of spring, summer, autumn, and winter, the elements of which have been enjoyed by artists for centuries. And of the seasons, autumn, with its falling leaves and the solitude of wild geese heading south, has long conjured a sense of sorrow and nostalgia among both artists and audiences alike. However, autumn is also a season rich with potential, the leaves turning brilliant shades of color, the mountains ablaze in a range of bright hues. Viewed either up close or from afar, the scenery can be ever-changing. Let’s now explore how Chinese artists depicted images of autumn over the years!

Exhibit List

• Copy of Gu Kaizhi's “Goddess of the Luo River” Ding Guanpeng (fl. 1708-1771), Qing dynasty
• Lifting the Alms Bowl, Zhu Fu (fl. 1368-1398), Ming dynasty
• Raising the Alms Bowl Attributed to Qiu Ying (ca. 1482-1559), Ming dynasty
• “Text on Dispelling the Ghost of Weariness” and a Landscape, Huang Yingchen (fl. 1644-1722), Qing dynasty
• After a Tang Painting on “Yü the Great Controlling Floods” Xie Sui (fl. 1736-1795), Qing dynasty
• Zhou Wenju’s “Yü the Great Controlling Floods” with an Imperial Inscription Anonymous, Qing dynasty (1644-1911)
• Tapestry of the Buddhist Pure Land with an Imperial Eulogy of Praise Anonymous, Qing dynasty (1644-1911)

Splendors of the Biblioteca Apostolica Vaticana and Rare Books from the Ming and Qing Imperial Libra
The organization of the dual exhibitions marks the first presentation at the National Palaced Museum of invaluable Western and Chinese antiquarian texts in their respective historical and cultural context. It is intended to help the audiences garner an in-depth understanding of the differences and similarities in the kind of book culture nourished by the Roman Curia and the Chinese imperial courts. 

54th WorldFest-Houston International Film Festival, New Media-Websites, Silver Remi　Award Winner

Buddhism started to spread to other parts of Asia in the 3^rd century BC and reached the Han Chinese sphere in the early 1^st century. The religion was introduced into Tibet a few hundred years later in the 7^th century. While Tibetan Buddhism mostly inherited the characteristics of late Mahāyāna Buddhism, which has its origins in India, it also incorporated some elements of Chinese Buddhism and native customs to form a unique belief system.

The average ratio of males to females in the human population of the world today is roughly even, and it goes without saying that the role of women and their contribution to civilization should neither be overlooked nor underestimated. Comparatively speaking, the National Palace Museum collection features not only a wealth of art on the subject of ladies but also a number of exceptional artworks by women themselves. Unfortunately, however, traditional Chinese society was basically developed and dominated by men over thousands of years. Hence, expressions in Chinese emerged such as "men above and women below," "a man’s place is outside and a woman's at home," "a girl's beauty lies in her weakness," and "a girl's virtue is having no talent." They had a profound affect on women and led to many deep-rooted stereotypes, resulting in far too many ladies of talent being stifled and unable to fulfill their potential. Sympathy for and attention to the plight and situation of these women become all the more apparent in the works of art on and by them.