The National Palace Museum in Taipei moved a large number of cultural relics and treasures from the mainland. Many famous historical treasures are displayed here. As a tourist who likes historical and cultural inheritance and content, you will definitely feel the treasures of the National Palace Museum in Taipei. interest.
The Taipei National Palace Museum is located at No. 221, Section 2, Zhishan Road, Shilin District, Taipei City. It was built in 1962 and completed in the summer of 1965. It covers a total area of ??approximately 16 hectares.
It is an imitation of traditional Chinese palace-style architecture. The main building has 4 floors, white walls and green tiles, and the main courtyard is in the shape of a plum blossom. Five six-column archways stand in the square in front of the courtyard. The whole building is solemn and elegant, full of national characteristics.
The National Palace Museum in Taipei houses collections from the National Museum of Central Preparatory Office in Nanjing, the National Palace Museum in Peking and the National Peking Library from the National Palace Museum in Beijing, the National Palace Museum in Shenyang, the Summer Resort, the Summer Palace, Jingyi Garden and the Imperial College. Royal collection elsewhere.
The Shang and Zhou bronzes, jades, ceramics, ancient books and documents, famous paintings and inscriptions from all dynasties are all rare treasures. The exhibition hall changes its exhibits every three months. As of the end of 2014, the collection of cultural relics reached more than 696,000 pieces. First. Western Zhou Dynasty·Maogong Ding
This Maogong Ding from the Western Zhou Dynasty is 53.8 centimeters high. It was unearthed in Zhouyuan, Qishan County, Shaanxi Province during the Daoguang period of the Qing Dynasty. The Maogong Ding was dated around the 28th year of Daoguang (1814 AD) at the end of the Qing Dynasty. , unearthed in Qishan County, Shaanxi Province. After the Mao Gong Tripod was unearthed, it changed hands many times and was kept secret. During the Anti-Japanese War, it was almost captured by the Japanese military. After the victory of the Anti-Japanese War, the people donated the tripod and returned it to the public. It is now collected and displayed by the National Palace Museum in Taipei. The inscriptions have Yangwen grid lines, which is a habit of making inscriptions in the middle and late Western Zhou Dynasty. Therefore, in addition to the value of historical materials, Mao Gongding also plays a decisive role in Chinese ancient philology and calligraphy art.
The Mao Gong Ding is an ancestral temple sacrificial vessel from China more than 2,800 years ago. There is a long inscription of 500 characters cast on its inner wall, which is the longest inscription among the more than 7,000 inscribed bronze vessels from the Shang and Zhou dynasties. The content of the inscription can be divided into seven paragraphs. The general idea is that when King Zhou Xuan came to the throne, he was eager to revitalize the government, so he asked his uncle Mao Gong to manage the government affairs both inside and outside the country. The guards protected the royal family, and finally gave generous gifts, so Duke Mao cast a tripod to pass down the treasure to his descendants. It is speculated from the content that the Mao Gong Ding was cast in the first year of King Xuan of Zhou (827 BC). Its inscription is a true historical material of the Western Zhou Dynasty that can surpass [Shang Shu]. It is the most precious document for studying the history of the Western Zhou Dynasty. Therefore, the Mao Gong Ding can be called It is a world-class treasure. Second. Western Zhou·Sanshi Plate
Sanshi Plate Height: 20.6 cm Belly depth: 9.8 cm Diameter: 54.6 cm Bottom diameter: 41.4 cm Weight: 21312g Inscription: 19 lines
357 words As early as the middle of the Shang Dynasty, inscriptions appeared on bronze vessels, earlier than the era of oracle bone inscriptions. However, after the Western Zhou Dynasty, the custom of engraving inscriptions on bronze vessels became very popular. All major events such as sacrifices, wars, rewards, and even contracts were recorded on bronze vessels. The Sanshi Pan was unearthed during the Kangxi period and was presented to Beijing as a tribute during the Jiaqing period as a gift to celebrate the birthday of Emperor Jiaqing. It has since become a royal collection. The inscription ***
357 words on the plate records the land contract in the late Western Zhou Dynasty. The scattered country located in Fengxiang, Baoji, Shaanxi today, had its land invaded by the country in the northwest. The two countries negotiated a peace, settled the national boundaries, and ceded land to compensate the country. The process and contract were cast on the plate as proof. The shape and decoration of the Sanshi plate show the simple style of late Western Zhou bronzes, and the text lines are smooth and flexible. It is an important material for the study of Western Zhou bronze inscriptions. Third. Tang Dynasty·Yan Zhenqing·Nephew Memorial Manuscript
"Nephew Memorial Manuscript" is written in cursive and ink by Yan Zhenqing. The length is 28.2 cm, the width is 72.3 cm, 25 lines, and 230 words. This post was originally a draft of a memorial written by Yan Zhenqing for his nephew, Ji Ming, who was massacred by the rebel An Lushan. This work was not originally written as a calligraphy work. Due to the extreme sadness and anger, it was difficult to calm down. There were more mistakes and smears. However, because of this, the calligraphy was solemn and solemn but also full of energy. The writing style is round and majestic, and the gestures are full of energy. It is written purely with the spirit of God and captures the beauty of nature.
Zhang Jingyan of the Yuan Dynasty wrote an inscription and postscript saying: "I think that an announcement is not as good as a letter, and a letter is not as good as drafting. The announcement is an official work, although it is in regular script, but it is ultimately a rope agreement; the letter comes from the whim of the moment, so it can be indulged; and the drafting comes from Unintentionally, it is because the palm of his hand has forgotten it, the real wonder is seen here." Xian Yushu of the Yuan Dynasty commented on this post as "the second running script in the world". In the original calligraphy of this calligraphy, all the places where the writing strokes and the pulling points are clearly visible, which allows people to see the process of writing and the wonderful changes of the strokes, which is of great benefit to learning cursive calligraphy. The original remains are now in the National Palace Museum, Taipei. Fourth. Su Shi of the Song Dynasty Huangzhou Cold Food Post
In February of the third year of Yuanfeng (1080), Su Shi was forty-five years old. He was ostracized by the New Party and demoted due to the "Wutai Poetry Case", the largest literary prison in the Song Dynasty. The deputy envoy of Tuanlian in Huangzhou (now Huanggang, Hubei Province) felt lonely mentally, depressed, and poor in life. In April of the third year, which was the fifth year of Yuanfeng of Emperor Shenzong of the Song Dynasty (1082 AD), he wrote these two cold food poems. The poem was written about the following year, or after leaving Huangzhou in the seventh year of Yuanfeng. In the third year of Yuanfu (1100), the collector Zhang of Shuzhou took it and invited Huang Tingjian to view it. He also wrote an inscription and postscript, which can be said to reflect the original work.
"Han Shi Tie" is the representative work of Su Shi's running script. This is a poem of joy and excitement, which is the sigh of life written by Su Shi on the Cold Food Festival in the third year after he was demoted to Huangzhou. The poem is desolate and sentimental, expressing Su Shi's melancholy and loneliness at this time. The calligraphy of this poem was inspired by this mood and situation. The calligraphy throughout the text is full of ups and downs, radiant and unrestrained, without any rash strokes. "Huangzhou Cold Food Poems" has a great influence on the history of calligraphy. It is called "the third running script in the world" and is also the best among Su Shi's calligraphy works. Fifth. Five Dynasties·Zhao Qian·Jiang Xingchu Snow Picture
Ink and color on silk
Length 25.9 cm, width 376.5 cm. The whole volume describes the scene of the first snowfall in the fishing villages along the Yangtze River. The sky is cold, the reed trees, the small bridge on the river bank are all white at first, the cold wind is bleak, and the river is waving; the fishermen are fishing in the cold, and the donkey riders are shrinking and moving forward, showing the life of fishermen and travelers in the early winter in the south of the Yangtze River, a landscape painting The average output per capita is impressive. In the picture, the brush on the trees and stones is very hard, the water lines are smooth with the tip of the brush, and the sky is made of white powder to make light snow, showing the light and dancing snowflakes.
Zhao Qian, a native of Jiangning (now Nanjing), was a student of the Painting Academy during the reign of Li Yu, the late master of the Southern Tang Dynasty. He is good at painting landscapes and trees, and is good at setting scenery. He often paints scenes from the south of the Yangtze River. In the painting, "buildings, boats, water villages, fishing markets, flowers and bamboos are scattered into the scenery. Although it is in the wind and wind of the city, it is like being on the river at the first sight." ("Xuanhe Painting Book") Sixth. Northern Song Dynasty·Fan Kuan·Xi Traveling in the Mountains
This painting depicts traveling in the mountains and rivers with majestic momentum, reflecting the strong and powerful characteristics of the northern landscape painting school. The picture is divided into three sections from top to bottom, representing the distance between the front, middle and back respectively, giving it a strong sense of space. The signature of the picture is written secretly on the Yijianyuan Peak on the left side of the main peak.
"Travel in Xishan" has always been called Fan Kuan's masterpiece. There is an inscription with the word "Fan Kuan" among the leaves. Critics of all ages have highly praised this painting. Xu Beihong once spoke highly of this painting: "Of all the treasures in China, the Forbidden City is the second one. The one that I admire the most is Fan Zhongli's "Travel in the Streams and Mountains". It is majestic, majestic and ancient, and is a masterpiece of tens of thousands of people. This painting It is a huge frame, but a mountain top accounts for almost two-thirds of the total area. The composition is so abrupt that it is shocking!"
Fan Kuan (approximately 950-1027), a native of the Northern Song Dynasty, had a famous name Zhongzheng and a courtesy name Zhongzheng. . A famous painter in ancient China, he was good at painting landscapes and attached great importance to sketching. He is a man of ancient demeanor, upright and unconventional. Most of his works are majestic, vast and magnificent, with rich ink rhyme and vigorous writing power. In his later years, he lived in Zhongnan and Taihua, where he was surrounded by nature and captured the beauty of painting. His painting style had a great influence on later generations. 7. "Dwelling in the Fuchun Mountains" by Huang Gongwang of the Yuan Dynasty
"Dwelling in the Fuchun Mountains", 33 cm in length and 636.9 cm in width, on paper, ink. It was started in the seventh year of Zhizheng (1347) and completed in the tenth year of Zhizheng. The painting was burned by fire during the Shunzhi period of the Qing Dynasty and was cut into two parts. The first half of the volume was framed separately and renamed "The Remaining Mountain Picture". It is now in the Zhejiang Provincial Museum. It is known as the "treasure of the museum" in Zhejiang Museum.
Huang Gongwang is a masterpiece in his later years by Huang Gongwang, the master of painting in the Yuan Dynasty and the head of the "Four Yuan Schools". It is also the pinnacle of ancient Chinese ink landscape painting. His artistic achievements in traditional Chinese landscape painting can be described as Unprecedented and unparalleled in history.
This famous painting has been circulated for hundreds of years and has gone through many vicissitudes. Judging from the inscription on the painting. This painting was originally made for Zen Master Wuyong. More than a hundred years later, during the Chenghua period of the Ming Dynasty, it was acquired by the famous painter Shen Zhou. During the Wanli period of the Ming Dynasty, it was owned by the great calligrapher and painter Dong Qichang. But soon it changed hands and was kept by Wu Zhiju of Yixing. Wu passed it on to his son Wu Hongyu. Wu Hongyu specially built Fuchun Pavilion in his home to hide it. Wu Hongyu loved this painting like a treasure. When he was dying, he wanted to imitate the example of Emperor Taizong of the Tang Dynasty who buried the painting with "Lanting Preface" and ordered people to throw the painting into the fire and burn it as a sacrifice. Fortunately, his nephew Wu Ziwen's sharp eyesight and quick hands changed it with another scroll and snatched "Dwelling in the Fuchun Mountains" from the fire, saving him from "dying in the fire". However, the front section of the painting has been burned away and is now divided into two sections: long and short. 8. Northern Song Dynasty Ru Kiln Lotus Warming Bowl
This bowl is in the shape of a ten-petal lotus. The abdominal wall of the bowl is slightly arcuate, the straight mouth is slightly convergent, the petals around the mouth are smoothly connected, and the circle foot is slightly higher. The thickness of the entire utensil is uniform from bottom to mouth, the glaze is thin and opaque, the glaze color is green-blue, and there are fine slits. The whole vessel is covered with glaze, and the inner bottom of the ring foot is padded with five nails. The nail points are extremely fine, and the nail marks are grey-yellow in color.
One of the five famous kilns in the Song Dynasty, it is the most famous Chinese porcelain kiln in ancient and modern times. The kiln is located in Qingliang Temple, Baofeng County, Henan Province today. It belonged to Ruzhou in the Song Dynasty, hence its name. Ru kiln is famous for firing celadon-glazed porcelain. Song Dynasty poet Ye Zhen recorded in "Tanzhai Biheng": "In this dynasty, Dingzhou white porcelain had awns and was unusable, so Ruzhou was ordered to make celadon-glazed porcelain. Therefore, Hebei Tang and Deng and Yaozhou both had it, and Ruzhou was the leader."
The Ru kiln only produced palace porcelain for about 20 years, from about the first year of Yuanyou (1086), the reign of Emperor Zhezong of the Northern Song Dynasty, to the fifth year of Chongning, Emperor Huizong. (1106), so there are very few handed down from generation to generation and are regarded as rare treasures. 9. Northern Song Dynasty·Ru Kiln·Azure Grainless Narcissus Basin
The bottom of the basin is engraved with a poem inscribed by Emperor Qianlong. The Ru Kiln celadon grainless narcissus basin is a porcelain used by the court of the Northern Song Dynasty and is now in the collection of the National Palace Museum in Taipei.
Height 6.9cm, width 23cm, length 16.4cm, diameter 23cm, foot diameter
19.3×12.9cm, weight 670g, oval basin, wide mouth, four-cloud head-shaped feet; The peripheral wall is thin and the sole is slightly thick. The whole body is covered with azure glaze, which is extremely smooth; the glaze accumulation on the bottom edge is slightly light blue; the thin glaze on the mouth edge and corners is light pink. The feet are wrapped and burned. There are six thin nail marks on the bottom and a slight beige color. The glaze of the whole vessel is quiet and bright, pure and without grain. According to research, it is the only one that has been handed down from generation to generation. 10. Qing Jade Cabbage
"Jade Cabbage" has always been a very popular star of the National Palace Museum in Taipei, ranking first in the list of national treasures. Like the "Meat-shaped Stone", "Jade Cabbage" is available year-round. , the Forbidden City does not dare to change exhibits at will. Even if there are large foreign museums that want to borrow exhibits, the Forbidden City refuses. When many tourists from inside and outside the island enter the Forbidden City, they first ask where the "jade cabbage" is kept. They must see the "jade cabbage" to feel that the trip is worthwhile.
The "Jade Cabbage" is formed in one piece and is very popular. There are two insects on the emerald green leaves. The larger one is a katydid with its hind legs extended. The smaller one is located above. It's locusts. Look carefully at the two whiskers extending from the katydid's head. Although it is not very obvious, if you look carefully from the left side, you can indeed find that the left whisker is missing about one centimeter from the head, but the back half of the long whisker is missing. The segments are still attached to the vegetable leaves.
"Jade Cabbage" was originally a display device in the Yonghe Palace of the Qing Dynasty. It is said that it was one of the dowries of Guangxu's concubine Jin Fei. Cabbage symbolizes innocence and purity, and two katydids symbolizing fertility are carved on the green leaves, praying for more children. The jade carver uses the natural color distribution of jade to carve out a fresh cabbage.