The National Palace Museum Open Data Platform

Exhibit

This exhibition illustrates a transitory time range in the 17th century, a period that was both intriguing and full of various possibilities. From the perspective of the modern material culture studies, not only we can glance into the story of adventurers that explored new water channels through hardships, under the scope of the East and West exchanges, but also from the viewpoint of the district Jiangnan, to understand the seemingly ordinary, but in fact detail-oriented quality of the literati families' daily rituals. The curatorial focus concentrates on the "calligraphy and painting" and "objects", the two chapters extracted from "Treatise on Superfluous Things" that was written by the modest literati Wen Zhenheng (1586-1645) in the 17th century. In addition to rediscover the cultural contexts embedded by the museum's collection, it is also the purpose to explore the fine elements of the ancients' appreciation towards the objects. Along the process, the picture of related social network is built up and the gradual trend to admire the antiquarian style, which had placed influence on general home accessories is also clarified. The purpose is unfolded by examining the ancient mindsets about one's belongings and then look into the relationship between human and objects in the modern days.

The exhibition is divided into four sections. The first section, "Wen Zhenheng and Treatise on Superfluous Things" traces the outline of the author's life and social encounters, and then through the exhibits of rare books, ancient documents, calligraphies, and also paintings, to explore the publication and circulation of "Treatise on Superfluous Things", which was guarded as the guideline of connoisseurship. The second section, "Taste of Literati" presents the daily accessible objects and the individual opinions in connoisseurship among the ancient literati's circle, which was represented by Wen Zhenheng. The third section, "Applicable Things" showcases objects with collectors' marks to echo the principles of Wen Zhenheng, and to state the varied categories and mindset of collected objects. The final section "In Pursuit of Curios in the Market" exhibits creations in antiquarian style and innovative merchandises that had flooded the market due to the distribution turning common, and had further encouraged objects bearing the marks of celebrated craftsmen or renowned workshops to be a part of the trend.

Each period under the course of time had developed new elements, which are worthy of referring to and learning from. In nowadays, we march forward at a rapid pace daily, and have encounters with everything old and new. Besides the necessities in life, have you ever wondered what things are really the essentials of life? Although the exhibition reconstructs a few certain ways to manifest the social status and to differentiate groups by people in a small number, but through the interpretation of the curator regarding the exhibits, a proposal to recreate a pleasant and aesthetic living is also provided. 

Exhibit

This exhibition illustrates a transitory time range in the 17th century, a period that was both intriguing and full of various possibilities. From the perspective of the modern material culture studies, not only we can glance into the story of adventurers that explored new water channels through hardships, under the scope of the East and West exchanges, but also from the viewpoint of the district Jiangnan, to understand the seemingly ordinary, but in fact detail-oriented quality of the literati families' daily rituals. The curatorial focus concentrates on the "calligraphy and painting" and "objects", the two chapters extracted from "Treatise on Superfluous Things" that was written by the modest literati Wen Zhenheng (1586-1645) in the 17th century. In addition to rediscover the cultural contexts embedded by the museum's collection, it is also the purpose to explore the fine elements of the ancients' appreciation towards the objects. Along the process, the picture of related social network is built up and the gradual trend to admire the antiquarian style, which had placed influence on general home accessories is also clarified. The purpose is unfolded by examining the ancient mindsets about one's belongings and then look into the relationship between human and objects in the modern days.

The exhibition is divided into four sections. The first section, "Wen Zhenheng and Treatise on Superfluous Things" traces the outline of the author's life and social encounters, and then through the exhibits of rare books, ancient documents, calligraphies, and also paintings, to explore the publication and circulation of "Treatise on Superfluous Things", which was guarded as the guideline of connoisseurship. The second section, "Taste of Literati" presents the daily accessible objects and the individual opinions in connoisseurship among the ancient literati's circle, which was represented by Wen Zhenheng. The third section, "Applicable Things" showcases objects with collectors' marks to echo the principles of Wen Zhenheng, and to state the varied categories and mindset of collected objects. The final section "In Pursuit of Curios in the Market" exhibits creations in antiquarian style and innovative merchandises that had flooded the market due to the distribution turning common, and had further encouraged objects bearing the marks of celebrated craftsmen or renowned workshops to be a part of the trend.

Each period under the course of time had developed new elements, which are worthy of referring to and learning from. In nowadays, we march forward at a rapid pace daily, and have encounters with everything old and new. Besides the necessities in life, have you ever wondered what things are really the essentials of life? Although the exhibition reconstructs a few certain ways to manifest the social status and to differentiate groups by people in a small number, but through the interpretation of the curator regarding the exhibits, a proposal to recreate a pleasant and aesthetic living is also provided. 

Exhibit

Members of the literati during the Song dynasty favored refinement. They often wrote poems, sang, or presented flowers as demonstrations of affection to one another.

The film employs live film and multimedia to depict the work’s contextual meaning, leading audiences to understand the flower exchange custom practiced by the literati and guiding them into the calligraphist’s spirit. 

Exhibit

Although the National Palace Museum is renowned throughout the world for its unparalleled collection of Chinese art and objects in both quantity and quality, the Museum still makes every effort to acquire highly prized works. Collection expansion, in addition to a budget for the purchase of works, also includes the acceptance of donations and entrustments that meet the needs of the Museum to encourage the participation of everybody in sharing the glory of cultural heritage.

Since the National Palace Museum was built in Taipei in 1965, many generous individuals and groups have donated and entrusted their artworks to the Museum. In recent years, a special exhibition gallery has been reserved at the Museum specifically to present these treasures to the public. However, limitations to the display of painting and calligraphy as well as exhibit space make it impossible to display them all. Consequently, they are rotated on a regular basis so that all may study and appreciate these cultural resources. A great museum collection is not built in a day, so it is the hope of the National Palace Museum that everybody will take part in creating an even better collection for the future. 

Exhibit

Although the National Palace Museum is renowned throughout the world for its unparalleled collection of Chinese art and objects in both quantity and quality, the Museum still makes every effort to acquire highly prized works. Collection expansion, in addition to a budget for the purchase of works, also includes the acceptance of donations and entrustments that meet the needs of the Museum to encourage the participation of everybody in sharing the glory of cultural heritage.

Since the National Palace Museum was built in Taipei in 1965, many generous individuals and groups have donated and entrusted their artworks to the Museum. In recent years, a special exhibition gallery has been reserved at the Museum specifically to present these treasures to the public. However, limitations to the display of painting and calligraphy as well as exhibit space make it impossible to display them all. Consequently, they are rotated on a regular basis so that all may study and appreciate these cultural resources. A great museum collection is not built in a day, so it is the hope of the National Palace Museum that everybody will take part in creating an even better collection for the future. 

Exhibit

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. 

Exhibit

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. 

Exhibit

Exhibit List：

Fishing in Reclusion on an Autumn River
Wu Zhen (1280-1354), Yuan dynasty
Collaborative Painting of Panshan
Yao Wenhan (fl. ca. 1743-1778) and Yuan Ying (fl. ca. 1765-1785), Qing dynasty
Mountains High, Waters Long
Kuncan (1612-ca. 1683), Qing dynasty
Mount Hua in Lofty Autumn
Chang Dai-chien (1899-1983), Republican period 

Exhibit

A congregation of scholarly and cultivated friends, known as an "elegant gathering," was an important form of social interaction in traditional China. Such “parties” among literary circles were held for various reasons and could be either large or small. During elegant gatherings, the host and guests not only enjoyed fine food and drink, they also took part in other refined activities of the traditional scholar, such as reciting poetry, performing the zither, playing Go, viewing works of painting and calligraphy, and enjoying tea. Naturally, such events often involved participants taking out brush and ink to produce related works (such as painting, calligraphy, and poetry). These "mixers" involving cultivated acquaintances offered many opportunities for inspiration and friendly competition, which is why they have been called a cradle of culture and creativity. For example, the "Orchid Pavilion Preface," revered as the premier work of running script in Chinese calligraphy, was born from a gathering on the Spring Purification Festival in 353 AD. During this meeting of great minds, scholars composed poems on the spot or consumed wine from floating cups, with Wang Xizhi (303-361) calligraphing a preface to the literary collection that not only became renowned but also a model for elegant gatherings among future generations.

The painting of elegant gatherings was a method to pictorially document these cultivated meetings and an important source of emulation to depict such events from the past. The places, people, and activities at the gatherings, even the arrangement and display of related things, were objectified in the minds of later artists, who even added or injected new elements from their imagination and period to the works. Elegant gatherings from various times and places in Chinese history were thereby infused with new life as a result of such creativity and transformation. And though the cultural competition at gatherings may have been a source of pressure for participating scholars, it was wrapped in the unique conventions and elegant packaging of tradition, becoming an interesting byproduct of these activities.

This special exhibition is divided into six sections that introduce to audiences some of the famous and important elegant gatherings in Chinese history: "Unconventional Talents of the Jin and Tang," "The Model for Elegant Gatherings," "An Elegant Gathering of the Imagination," "Harmonizing in a Time of Chaos," "In the Name of Birthday Celebrations," and "Banquets of Imperial Authority." In addition to the works in these sections are some interesting ones that offer a side note to how scholars dealt with the pressure of (and found inspiration for) spontaneous performances. 

Exhibit

A congregation of scholarly and cultivated friends, known as an "elegant gathering," was an important form of social interaction in traditional China. Such “parties” among literary circles were held for various reasons and could be either large or small. During elegant gatherings, the host and guests not only enjoyed fine food and drink, they also took part in other refined activities of the traditional scholar, such as reciting poetry, performing the zither, playing Go, viewing works of painting and calligraphy, and enjoying tea. Naturally, such events often involved participants taking out brush and ink to produce related works (such as painting, calligraphy, and poetry). These "mixers" involving cultivated acquaintances offered many opportunities for inspiration and friendly competition, which is why they have been called a cradle of culture and creativity. For example, the "Orchid Pavilion Preface," revered as the premier work of running script in Chinese calligraphy, was born from a gathering on the Spring Purification Festival in 353 AD. During this meeting of great minds, scholars composed poems on the spot or consumed wine from floating cups, with Wang Xizhi (303-361) calligraphing a preface to the literary collection that not only became renowned but also a model for elegant gatherings among future generations.

The painting of elegant gatherings was a method to pictorially document these cultivated meetings and an important source of emulation to depict such events from the past. The places, people, and activities at the gatherings, even the arrangement and display of related things, were objectified in the minds of later artists, who even added or injected new elements from their imagination and period to the works. Elegant gatherings from various times and places in Chinese history were thereby infused with new life as a result of such creativity and transformation. And though the cultural competition at gatherings may have been a source of pressure for participating scholars, it was wrapped in the unique conventions and elegant packaging of tradition, becoming an interesting byproduct of these activities.

This special exhibition is divided into six sections that introduce to audiences some of the famous and important elegant gatherings in Chinese history: "Unconventional Talents of the Jin and Tang," "The Model for Elegant Gatherings," "An Elegant Gathering of the Imagination," "Harmonizing in a Time of Chaos," "In the Name of Birthday Celebrations," and "Banquets of Imperial Authority." In addition to the works in these sections are some interesting ones that offer a side note to how scholars dealt with the pressure of (and found inspiration for) spontaneous performances.