The National Palace Museum Open Data Platform

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. 

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. 

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. 

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 Up the River During Qingming (Qing court artists), Spring Dawn 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) and 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 National Palace Museum houses a collection of over 214,500 rare and antiquarian books, and its core is made up of print editions, volumes executed in movable type, imprints annotated by renowned scholars, old manuscripts, and delicately copied volumes, spanning the Song, Yuan, Ming, and Qing dynasties. There are also some imprints and manuscripts originating from historical Korea and Japan. While the collection may not be large in quantity, it is of quite impressive quality. Apart from giving an opportunity to better understand how academic studies and scholarship, as well as printing and binding, evolved in China over the centuries, it also serves as point of reference for authenticating later editions. The collection is therefore highly significant for the preservation of ancient literature and bibliographic research. 

Exhibit

The National Palace Museum houses a collection of over 214,500 rare and antiquarian books, and its core is made up of print editions, volumes executed in movable type, imprints annotated by renowned scholars, old manuscripts, and delicately copied volumes, spanning the Song, Yuan, Ming, and Qing dynasties. There are also some imprints and manuscripts originating from historical Korea and Japan. While the collection may not be large in quantity, it is of quite impressive quality. Apart from giving an opportunity to better understand how academic studies and scholarship, as well as printing and binding, evolved in China over the centuries, it also serves as point of reference for authenticating later editions. The collection is therefore highly significant for the preservation of ancient literature and bibliographic research. 

Exhibit

Archival documents are not merely records produced by government agencies in the course of their administrative activities but also an important source of materials for the study of policy implementation and the forming of legal institutions. Since ancient times an administrative system has existed to safeguard national archives for auditing purposes and on account of their value as reference materials. In the Records of the Grand Historian (Shiji), it is noted that King Cheng of the Western Zhou dynasty commanded his officials to store important archives in golden cabinets, indicating that the archive system in China dates back more than 3,000 years. Successive dynasties continued the practice of preserving archives, leaving treasure troves of historical documents for posterity.