What are the precious collections in the Forbidden City?

The Forbidden City in Beijing is a well-deserved treasure house of culture and art, with a collection of more than 6.5438+0.8 million pieces, including calligraphy and painting, ceramic bronzes, stationery and enamel sculptures. As for the amazing collection, it mainly depends on who is amazing. Because everyone's experience, hobbies and knowledge are different, what they like to see is definitely different. But the recognition of beauty belongs to human instinct. I believe everyone can appreciate the beauty of culture and art. From my own point of view, I prefer writing, calligraphy, bronze ware and painting. The Treasure Hall of Ningshou Palace in the Forbidden City can be said to be an amazing place. Jewelry and furnishings from the Ming and Qing Dynasties are displayed in the Treasure Hall, which are very beautiful, not to mention. The focus is on the stone drum hall in the back hall of Ningshou Palace. What is placed here is Chencang stone drum, engraved with Qin Dazhuan. The age of stone drum carving has not yet been determined. Han Yu's Song of the Stone Drum is considered to be a stone carving in Zhou Xuanwang period, and Ouyang Xiu's Postscript on the Stone Drum is also considered to be written by Ishikawa in Zhou Xuanwang period. Luo Zhenyu's textual research on Shi Guwen considered it an antique of Qin Wengong, while Guo Moruo considered it a relic of Qin Xianggong, and Tang Lankao was carved in the 11th year of Qin Xiangong (374 BC). Ma Heng, the former director of the Palace Museum, identified the stone drum as carved in the pre-Qin period in the Textual Research on Stone Carvings of Qin Dynasty in Shi Guwen, but there are different opinions on its exact age. Some people think it belongs to Qin Jinggong period, while others think it belongs to Qin Huiwen period. Ten-sided stone drum describes the grand occasion of Qin Gong's travel by car from three aspects: people flow, in-situ hunting and sacrifice, and depicts the great rivers and mountains of Qin State. "Qin Gong" felt it and wrote a poem. Judging from the figures, the figure on the stone drum is Qin Dazhuan. Compared with Li Si Xiaozhuan, it is not as neat and rigorous as it is, but it particularly reveals the beauty of the early characters' personality. The feeling of description and painting is better than reason. You can understand the transformation process of words from the period of ignorance to the period of rationality. From the perspective of calligraphy, the goal of calligraphy should never be skill. Qin Da Zhuan is a kind of writing between bronze inscriptions and Xiao Zhuan. It does not pay attention to the style and significance of writing, but it is precisely because of this that it shows the beauty of writing. The simple style of calligraphy is the essence of calligraphy, and its momentum surpasses the exquisite works of later generations. Chencang Stone Drum has been displaced, disappeared and reborn several times since it was unearthed in the Tang Dynasty. Now it lives in the Forbidden City and is well protected.