The National Palace Museum Open Data Platform

Exhibit

The Chinese term for humor is "youmo, " which appears in "The Nine Declarations: Embracing the Sands" from The Songs of Chu, an early Chinese classic of poetry: "With nothing but obscurity before my eyes, I find calm and complete silence. " In the second line, the binome for "you" and "mo" refers to "calm" and "silence, " respectively. Nowadays, however, Chinese dictionaries explain it as something that is amusing but having broader implications. So why was this ancient term used to translate the word "humor? " Earlier in the twentieth century, it was the renowned writer-translator Lin Yutang (1895-1976) who chose "youmo" as a phonetic rendering for "humor, " perhaps because no such corresponding term could be found in Chinese. He explained, "For those who are skilled at 'humor, ' their wit is invariably calmer and concealed. And for those who are skilled at judging 'humor, ' their appreciation lies particularly in a silent realization of the heart, which is often difficult to describe to others. Unlike crude jokes, the more 'calm' and 'silent' the humor is, the more marvelous it is."

A person with a sense of humor therefore has the ability to both understand and employ humor, having a degree of intelligence and an open-minded attitude. Humor involves a keen power of observation and imagination using light-hearted and amusing forms of association and metaphor to convey life experiences, ways of thinking, or just things of playful interest. The kinds of humor are indeed many and include sharp words or other forms of self-deprecation, wit, teasing, and satire, often yielding unintended results ranging from a smile to outright laughter for the audience. 

Exhibit

The Chinese term for humor is "youmo, " which appears in "The Nine Declarations: Embracing the Sands" from The Songs of Chu, an early Chinese classic of poetry: "With nothing but obscurity before my eyes, I find calm and complete silence. " In the second line, the binome for "you" and "mo" refers to "calm" and "silence, " respectively. Nowadays, however, Chinese dictionaries explain it as something that is amusing but having broader implications. So why was this ancient term used to translate the word "humor? " Earlier in the twentieth century, it was the renowned writer-translator Lin Yutang (1895-1976) who chose "youmo" as a phonetic rendering for "humor, " perhaps because no such corresponding term could be found in Chinese. He explained, "For those who are skilled at 'humor, ' their wit is invariably calmer and concealed. And for those who are skilled at judging 'humor, ' their appreciation lies particularly in a silent realization of the heart, which is often difficult to describe to others. Unlike crude jokes, the more 'calm' and 'silent' the humor is, the more marvelous it is."

A person with a sense of humor therefore has the ability to both understand and employ humor, having a degree of intelligence and an open-minded attitude. Humor involves a keen power of observation and imagination using light-hearted and amusing forms of association and metaphor to convey life experiences, ways of thinking, or just things of playful interest. The kinds of humor are indeed many and include sharp words or other forms of self-deprecation, wit, teasing, and satire, often yielding unintended results ranging from a smile to outright laughter for the audience. 

Exhibit

The year 2017 corresponds to "dingyou" in the traditional cyclical calendar and the rooster in the Chinese zodiac, making it the "Year of the Rooster." In the Chinese language, the character for "chicken" is "ji," a homonym for "fortune." The first character in the binome for "rooster" is likewise a homonym for "merit" and "achievement," while the chicken’s "crest" stands for "official" and its "call" for "fame." As a result, the ancients often considered the chicken as an auspicious animal symbolizing “meritorious renown" and "promotion in rank and office."

For millennia, people have raised chickens, making them an inseparable part of the economy with deep implications in life. Archaeologists, for example, have found the remains of chicken bones in ancient Chinese civilization. Evidence for the domestication of chickens dates no later than the Shang dynasty, as seen in excavations at the ruins of its last capital, Yin, located at modern Anyang City, Henan Province. Over thousands of years, the role of the chicken has evolved in thought and culture, at one point its egg serving as a symbol for the creation of all in Chinese genesis mythology. The chicken then became a spirit guardian capable of warding off evil and also the "Sun Bird" calling the sun to rise in the east. The form and habits of the chicken have been employed over the ages to express abstract beliefs and customs as well as other symbolic content, including ideas on how the cosmos operates. Afterwards, the rooster also became venerated as the "Bird of Virtues" for possessing the qualities of civil talent, military skill, courage, benevolence, and fidelity. Therefore, even in the worst of times, the rooster came to stand for faith and determination, being a model for good character among people. These descriptions trace a long and changing course of thought evolving from primitive religion to lofty cultural notions. 

Exhibit

Manual of Birds
Anonymous, Qing dynasty (1644-1911)
The original title of this album is "Collaborative Copy of Jiang Tingxi's 'Manual of Birds' " by Yu Sheng (1692-after 1767) and Zhang Weibang. On exhibit here are the first to thirteenth leaves.

On the right side of each folding leaf is a depiction in fine-line brushwork and Western painting methods for a different kind of bird, including some of legend and myth. On the left is a text written in Chinese and Manchu for the name of the bird, its habits, and environs, making it similar to a modern illustrated almanac of birds. This album employs the compositional forms and artistic methods of bird-and-flower painting to record the features and habitats of birds. The leaves, moreover, can be regarded as individual works of art. The unique ideas and contents in this album make it a rarity in the history of Chinese bird-and-flower painting, bestowing upon it exceptional artistic value. 

Exhibit

Manual of Birds
Anonymous, Qing dynasty (1644-1911)
The original title of this album is "Collaborative Copy of Jiang Tingxi's 'Manual of Birds' " by Yu Sheng (1692-after 1767) and Zhang Weibang. On exhibit here are the first to thirteenth leaves.

On the right side of each folding leaf is a depiction in fine-line brushwork and Western painting methods for a different kind of bird, including some of legend and myth. On the left is a text written in Chinese and Manchu for the name of the bird, its habits, and environs, making it similar to a modern illustrated almanac of birds. This album employs the compositional forms and artistic methods of bird-and-flower painting to record the features and habitats of birds. The leaves, moreover, can be regarded as individual works of art. The unique ideas and contents in this album make it a rarity in the history of Chinese bird-and-flower painting, bestowing upon it exceptional artistic value.

Exhibit

Since 2011, the National Palace Museum initiated a series of high-resolution long scroll painting animations. Using the latest technology, several high-resolution 1080 HD projectors seamlessly unfold sceneries from classical long scroll paintings on the wall. The painting animation series reproduces nine popular paintings and calligraphy , including Along the River During Qingming (Qing court artists), Spring Morning in the Han Palace (Qiu Ying), Imitating Zhao Bosu's Latter Ode on the Red Cliff (Wen Zhengming), Syzygy of the Sun, Moon, and Five Planets(Xu Yang), Departure Herald (Anonymous), Return Clearing (Anonymous), Activities of the Twelve Lunar Months (Qing court artists), One Hundred Horses (Giuseppe Castligione), The Cold Food Observance (Su Shi), Poem in Seven-character Verse (Huang Tingjian) . Inspired by historical material related to the artworks, the animations faithfully present the true spirit of the original paintings and their most attractive parts. A fascinating feature of the long scroll painting is its ability to simultaneously manifest chronological continuity and segmentation. As a result of the unique painting scale and traditional right to left reading direction, painting compositions unfurl accordingly and emphasize horizontal relationships. Oftentimes, scenes occurring at different points in time were depicted on a single scroll.

Exhibit

The border defines a country's boundary with neighboring states and is a natural flashpoint for international incidents. China's borders with Vietnam and Burma, over 3,600 kilometers in length, have since the Qing dynasty been a site for frequent clashes. Among the archives of the late Qing's Office in Charge of Affairs of All Nations (Zongli Geguo Shiwu Yamen, or Zongli Yamen) and the Beiyang Government’s Ministry of Foreign Affairs held in trust by the National Palace Museum for the Ministry of Foreign Affairs are a large number of Qing territorial treaties and records signed with France and Great Britain over borders with Vietnam and Burma, and maps that delineate the boundaries between Vietnam and the Chinese provinces of Guangdong, Guangxi, and Yunnan, and those between Yunnan and Burma. Owing to their sensitive and controversial nature, the documents were classified as highly confidential and sequestered from public view. In 2001, the Museum was entrusted by the Ministry of Foreign Affairs with the task of collecting and digitizing these historical documents. In 2007, they were finally de-classified and have since been incorporated into an electronic database accessible by all. The Ministry also agreed to include them in exhibitions. In 2010 and 2011, the Museum mounted two presentations showcasing these documents, The Lost Frontier: Treaty Maps that Changed the Qing’s Northwestern Boundaries and A Century of Resilient Tradition: an Exhibition of the Republic of China's Diplomatic Archives, which received great acclaim from both domestic and international visitors.

Situated on the eastern part of the Indochina Peninsula, Vietnam is bordered by the Chinese provinces of Guangdong, Guangxi, and Yunnan to the north. Burma, lying on the western part of the peninsula, shares a border of more than 2,100 kilometers with Yunnan. During the Qing dynasty, both Vietnam and Burma were tributary states to imperial China, and as such they did not sign any territorial treaties with the Qing court; hence, China’s southwestern borders remained fuzzy. However, following the Sino-French War during the Guangxu reign, the two sides signed the Treaty of Peace, Friendship, and Commerce, ending the Qing's suzerainty claim over Vietnam, and it led to proposals to clearly demarcate the border. Negotiations between the two sides ensued in the 11th year of the Guangxu reign (1885) and lasted till the 22nd year (1896). Over ten boundary treaties were signed, and borders were demarcated and signposts erected. Great Britain, on the other hand, invaded northern Burma in the 11th year and after three Anglo-Burmese Wars came to control the entire country. In the 12th year (1886), the Qing court signed the Convention Relative to Burma and Thibet with Great Britain, and agreed to send representatives to survey and demarcate the border between Yunnan and Burma. In the 20th year (1894), the two sides signed a supplementary agreement over the border and trade issues between Yunnan and Burma that confirmed the basic orientation of the central and southern borderlines. However, a large number of border disputes remained unsettled and continued into the Republic era.

The present exhibition is composed of five sections: "China's Southwest Borders before the Mid-Qing Dynasty," "Surveying the Sino-Vietnamese Border in Guangxi and Guangdong, " "Erecting Signposts along the Sino-Vietnamese Border in Eastern and Western Guangxi, " "Surveying the Sino-Vietnamese Border in Yunnan, " and "Surveying the Yunnan-Burma Border." Along with the treaties and maps held by the Ministry of Foreign Affairs, documents and cartographic materials on Qing China's southwest borders from the Museum's collection are also on display. The objects selected are for the first time being unveiled to the public.

Exhibit

The border defines a country's boundary with neighboring states and is a natural flashpoint for international incidents. China's borders with Vietnam and Burma, over 3,600 kilometers in length, have since the Qing dynasty been a site for frequent clashes. Among the archives of the late Qing's Office in Charge of Affairs of All Nations (Zongli Geguo Shiwu Yamen, or Zongli Yamen) and the Beiyang Government’s Ministry of Foreign Affairs held in trust by the National Palace Museum for the Ministry of Foreign Affairs are a large number of Qing territorial treaties and records signed with France and Great Britain over borders with Vietnam and Burma, and maps that delineate the boundaries between Vietnam and the Chinese provinces of Guangdong, Guangxi, and Yunnan, and those between Yunnan and Burma. Owing to their sensitive and controversial nature, the documents were classified as highly confidential and sequestered from public view. In 2001, the Museum was entrusted by the Ministry of Foreign Affairs with the task of collecting and digitizing these historical documents. In 2007, they were finally de-classified and have since been incorporated into an electronic database accessible by all. The Ministry also agreed to include them in exhibitions. In 2010 and 2011, the Museum mounted two presentations showcasing these documents, The Lost Frontier: Treaty Maps that Changed the Qing’s Northwestern Boundaries and A Century of Resilient Tradition: an Exhibition of the Republic of China's Diplomatic Archives, which received great acclaim from both domestic and international visitors.

Situated on the eastern part of the Indochina Peninsula, Vietnam is bordered by the Chinese provinces of Guangdong, Guangxi, and Yunnan to the north. Burma, lying on the western part of the peninsula, shares a border of more than 2,100 kilometers with Yunnan. During the Qing dynasty, both Vietnam and Burma were tributary states to imperial China, and as such they did not sign any territorial treaties with the Qing court; hence, China’s southwestern borders remained fuzzy. However, following the Sino-French War during the Guangxu reign, the two sides signed the Treaty of Peace, Friendship, and Commerce, ending the Qing's suzerainty claim over Vietnam, and it led to proposals to clearly demarcate the border. Negotiations between the two sides ensued in the 11th year of the Guangxu reign (1885) and lasted till the 22nd year (1896). Over ten boundary treaties were signed, and borders were demarcated and signposts erected. Great Britain, on the other hand, invaded northern Burma in the 11th year and after three Anglo-Burmese Wars came to control the entire country. In the 12th year (1886), the Qing court signed the Convention Relative to Burma and Thibet with Great Britain, and agreed to send representatives to survey and demarcate the border between Yunnan and Burma. In the 20th year (1894), the two sides signed a supplementary agreement over the border and trade issues between Yunnan and Burma that confirmed the basic orientation of the central and southern borderlines. However, a large number of border disputes remained unsettled and continued into the Republic era.

The present exhibition is composed of five sections: "China's Southwest Borders before the Mid-Qing Dynasty," "Surveying the Sino-Vietnamese Border in Guangxi and Guangdong, " "Erecting Signposts along the Sino-Vietnamese Border in Eastern and Western Guangxi, " "Surveying the Sino-Vietnamese Border in Yunnan, " and "Surveying the Yunnan-Burma Border." Along with the treaties and maps held by the Ministry of Foreign Affairs, documents and cartographic materials on Qing China's southwest borders from the Museum's collection are also on display. The objects selected are for the first time being unveiled to the public.

Exhibit

Savoring a Taste of Life: Cabbages of Jade

Chinese cabbage and bok choy are vegetables that originated in Asia and became a common source of food. In Chinese art, cabbage appeared as a subject in painting as early as the Song dynasty. As for their observation, artists went so far as to include insects resting or nibbling on the leaves, or flying and jumping in a garden, giving the scenes life and vitality while conveying the idea of harmony and co-existence in nature. Later, however, the cabbage would take on different meanings for different people! Rulers would see the cabbage as a symbol reminding them of self-reflection, for to receive the bounty of nature means to ensure that people are also fed and clothed, not lacking the basic necessities of life. Scholars came to view the cabbage as representing lofty ambitions instead of the vain pursuit of fame and fortune, finding satisfaction with what they already have. The ultimate expression of all was the ingenious skill of artisans who did not see the imperfections of jade as an impediment, instead using them and the gradations of white and green with but one goal in mind: to present the purity of cabbage to symbolize the chastity of a bride, wishing her numerous descendants and prosperity.

This stage in the exhibition of "A Gathering of Treasures in the National Palace Museum North and South" features works on the subject of cabbage, the star of the show being "Jadeite Cabbage." All are hereby invited to savor a taste of life and to share in these memories of beauty!

Exhibit

On the 23rd day of the third lunar month in the third year of the Zhizhi reign in the Yuan dynasty (corresponding to April 28, 1323), a prominent Mongolian princess by the name of Sengge Ragi held an elegant gathering at Tianqing Temple south of the capital Dadu (modern Beijing). Li Shilu, Director of the Imperial Library, was responsible for the gathering and members of the princess's imperial household assisted in organizing it. During the event, she took out works of Chinese painting and calligraphy from her collection for the appreciation of those in attendance and invited them to write inscriptions. This elegant gathering has come to be seen as a means for the ruling Mongols to proclaim their acceptance and appreciation of the high arts of Chinese painting and calligraphy. Modern scholars have also studied surviving and recorded works with the princess's collection seal, "Library of the Imperial Elder Sister," to compile a list of painting and calligraphy that was once in her collection. From the perspective of cultural history, their research offers a way to analyze the acquired tastes of appreciating and collecting art on the part of the Mongol rulers.

Princess Sengge Ragi was the great-granddaughter of the renowned Kublai Khan. Her grandfather was Prince Zhenjin and her father Darmabala, both also important figures in the Mongol Yuan ruling clan. She was also not the only member to take part in activities related to collecting art. Her son-in-law, Tugh Temür, who became Emperor Wenzong, established the Kuizhang Pavilion. There, he viewed rare books and participated in the appreciation of art with academicians, using seals with the "Tianli" (for his reign name) and "Kuizhang" characters to mark his collection. Later, Togon Temür (the last Yuan emperor known as Shundi) used the seal "Treasure of the Xuanwen Pavilion" on Chinese painting and calligraphy at his court. These three figures all had important works of the Song and Yuan dynasties in their collections.

This special exhibition features 43 works, many of which are masterpieces from the Song and Yuan dynasties. Since some are of "restricted" status, they must be rotated to accommodate shorter display periods. The exhibit is not merely an opportunity to present famous artworks from the collections of these three members of the Mongol Yuan imperial clan. By providing a glimpse of the imperial holdings, the display demonstrates, from a Yuan cultural perspective, the significance of Mongol rulers' involvement in Chinese painting and calligraphy. In contrast with previous studies emphasizing the sinicizing role of Chinese art on Mongol rulers, this exhibit focuses on showing the unique interaction among ethnic groups at the time, allowing audiences to witness in concrete terms a new cultural vision of "toleration and acceptance."