Author/Photography: Su Tangshi (Member of China Photographers Association)
It is like an old man who has experienced 600 years of ups and downs, interpreting the historical storm and reflecting the changes of the times. Once upon a time, it was the magnificent palace of the royal family, a symbol of supreme power, accepting the bowing of thousands of people. It has a cold and majestic name: the Forbidden City. Today, it has a new meaning of life, no longer the Forbidden City of the past, but a people's museum, which is a cultural heritage belonging to all mankind. It condenses the pride of the nation and welcomes the admiration of the world. People affectionately called it: the Forbidden City.
Influenced by my family, I have had a special love for traditional Chinese culture since I was a child. Ancient architecture is an important part of traditional Chinese culture, so for many years, I have always focused my lens on ancient Chinese architecture. Among them, the Forbidden City is my best "model", because it can be called the collection of ancient Chinese architecture. I went in and out of the Forbidden City again and again, raised my camera again and again, and took countless photos. I tried to faithfully record the daily life of the Forbidden City in my own way of viewing, from an angle that was not beyond the reach of ordinary people.
I photographed a little girl dressed in red running in front of her mother in the once unfathomable courtyard of the imperial palace; I photographed the hands of the laborers covered with vicissitudes on the huge noon door nails that once symbolized the strict hierarchy; I also photographed the spring, summer, autumn and winter, wind, frost, rain and snow of the different palaces in the Forbidden City...
By chance, my photograph was commented on by Shan Jixiang, the sixth director of the Palace Museum, who also said my biggest feeling of photographing the Forbidden City for many years: "The reason why the Forbidden City is called the Forbidden City is because it belongs to history, belongs to the people, belongs to New China, and belongs to the new era. It should not be hidden in the deep palace, it should not stand on the heights of the old times, with indifferent eyes, overlooking all beings... Thanks to his use of ordinary photographic equipment, stepping on the footprints of ordinary audiences, through the perspective of ordinary people, showing such a Palace Museum belonging to the people. That's what I'm trying to achieve. ”
However, my ability is limited after all, and although I have done my best, it is still difficult to express one-ten-thousandth of the charm of the Forbidden City. However, I am still willing to be a good "brick", and strive to present the cultural memory of the Chinese nation from the perspective of ordinary people, spread the spiritual values of Chinese civilization, and contribute to the Chinese dream of the great rejuvenation of the Chinese nation.
The corner tower of the Forbidden City at sunset, in the distance is a forest of tall buildings. The Forbidden City, once known, is now one of the most beautiful sights in the bustling metropolis of Beijing.
In the Spring Festival of 2019, the Forbidden City was illuminated and hung on the palace gate with a painting of the god of the door, welcoming tourists from all over the country to come to the Forbidden City for the New Year.
Standing on the Jingshan Mountain overlooking the Forbidden City complex, under the morning sun, a golden yellow. In ancient times, this color belonged to the royal family, and now it can be admired by every ordinary person.
Tourists touched the door nails of the main entrance of the noon gate and walked into the Forbidden City to visit.
The three main halls of the Forbidden City, namely the Taihe Hall, the Zhonghe Hall, and the Bohol Hall, were built on the three-story Meru throne platform, at the core of the central axis of the Forbidden City.
Guangming Daily (December 12, 2021, 10th edition)
Source: Guangming Network - Guangming Daily