Hehe, congratulations on the successful conclusion of the Asian Games, the Chinese delegation ranked first with 201 gold medals, a perfect end!
Looking back at the sports venues built by Hangzhou for this sports event, we find inspiration from traditional Chinese culture and oriental aesthetic philosophy according to local conditions.
The main venue of the Asian Games - Hangzhou Olympic Sports Center is shaped by a lotus flower in the West Lake
Combined with the dynamics of the Qiantang River, the texture and textile system of Hangzhou silk
Among them, the most eye-catching is the venue that has a fantastic linkage with the famous national treasure ink painting "Fuchun Mountain Residence Map" painted by Yuan Dynasty painter Huang Gongwang.
For example, the Fuyang Water Sports Center, which gave birth to the first gold medal of this Asian Games, the main building is shaped by a mountain, and the landscape is rhyme with water, delicately embedded in the texture of Fuchun Mountain.
It not only uses the undulations of the mountains as the shape form, but also reflects the mountain elements in Huang Gongwang's paintings
Through the flowing paving curve, it reflects the soft and spiritual water culture
The façade curtain walls on the east and south sides of the shooting complex hall of Fuyang Yinhu Sports Center are composed of 34,000 aluminum alloy cell grilles.
"Hundred leaves as pen, sunlight as ink", with the change of time and sunshine angle, a vivid "Fuchun Mountain Residence Map" is sketched with different projection areas.
In addition to the venue architecture, the vast and continuous Jiangnan landscape elements of "Fuchun Mountain Residence Map" also frequently appeared in the opening ceremony and the arena.
At the opening ceremony, "A Thousand Miles of Rivers and Mountains" turned into a moving landscape with AR technology
It is enough to highlight the high status of "Fuchun Mountain Residence Map".
Many people do not know that the original work of this famous painting was circulated several times after its publication and was burned during the reign of Shunzhi of the Qing Dynasty.
The scroll, which was originally more than 7 meters long, now has two parts.
The first half of the "Leftover Mountain Scroll", collected in the Zhejiang Provincial Museum, is regarded as the treasure of the town hall.
The second half of the "Useless Master Scroll" was collected by the Qianlong Emperor in 1746 for 2,000 taels of silver in the Qianqing Palace, and is now in the National Palace Museum in Taipei.
The 660-year-old "Fuchun Mountain Residence Map" has been separated for more than 360 years, and it has been viewed from the two sides of the strait for more than 60 years, and it was only merged once in 2011.
Taipei Landscape Combination - Huang Gongwang and "Fuchun Mountain Residence Map" special exhibition
Since then, although the public has been hoping for the reunion of the two fragments of the "Fuchun Mountain Residence Map" every year, it has been difficult to achieve this due to many obstacles.
And the nearly 700,000 cultural relics stranded in the National Palace Museum in Taipei due to the war and moved south with this famous painting are also far from home.
As everyone knows, they are exquisite and rare in the world.
National Palace Museum, Taipei
"5,000 Years of China" in Taipei
And how many surprises are there that you don't know?
The Taipei National Palace Museum (later referred to as Taipei National Palace) was built in 1962 and completed in 1965. It is one of the three major museums in China and ranks eighteen museums in the world.
The nearly 700,000 cultural relics in the museum are mainly from the imperial collections of the Forbidden City, Summer Palace, Guozijian and Shenyang Forbidden City in Beijing, as well as the Chengde Summer Resort.
On the eve of the founding of New China, it was carefully selected by the nationalists and shipped to Taiwan, and many Chinese treasures were not available in the mainland.
Source: "Chinese Heritage"
Let's take a look at the three treasures of the Taipei National Palace. One is the late Western Zhou bronze Mao Gongding
Unearthed during the Qing Daoguang period, it is one of the four great treasures of the late Qing Dynasty, witnessing the decline of the Zhou royal family.
The Taipei National Palace has more than 300 bronzes from the Western Zhou Dynasty, but the ancient Mao Gongding has the most inscriptions, with 497 characters.
The golden calligraphy recorded Mao Gong's loyalty to King Xuan of Zhou for the country, which is a precious empirical evidence for the study of the history of Western Zhou.
The second is jade cabbage, which can be described as a popular star, which is exhibited 365 days a year
Carved from a piece of half-white and half-green jadeite, the image is oily and translucent, delicate and realistic.
The sisters looked closely, and there was still a moth and a locust lying on the cabbage, Vimiao Vishaw.
This jade cabbage, originally placed in the Yonghe Palace in the Forbidden City, is said to be the dowry of Guangxu Emperor's concubine Jin (her sister Concubine Zhen is more famous, there is a well in the Forbidden City in Beijing named after Concubine Zhen), which is intended to pray for many children and grandchildren.
Third, the Dongpo meat stone in the Kangxi period of the Qing Dynasty
Agate flesh-shaped stone is one of the four strange stones in China, with a texture stacked fat and thin, which looks natural, like Dongpo meat that melts in the mouth with Q elasticity and tenderness. (Sheep are a little hungry to see what's going on)
Despite the ingenuity of these treasures, Shan Jixiang, former director of the Palace Museum in Beijing, who has guarded more than 1.8 million cultural relics, once said:
Placing them in the Forbidden City in Beijing can only be regarded as "third-grade products" at best.
What is really powerful in the Taipei National Palace is actually Tang Yuan calligraphy and painting, inscriptions, enamel porcelain and carved lacquer embroidery.
See Grading Standards for Cultural Relics
Indeed, the current collection of Wang Xi's heirloom ink treasure "Fast Snow Time Qingti" is one of the Qianlong Emperor's most cherished works of Eastern Jin calligraphy, representing the highest level of Chinese calligraphy art.
Wang Xizhi's "Orchid Pavilion Preface" is called "the three major books under heaven" together with Yan Zhenqing's "Manuscript of Sacrifice and Nephew" in the Tang Dynasty, and Su Dongpo's "Cold Food Post" of the Northern Song Dynasty.
The original work of the Orchid Pavilion Preface has long been lost, while the other two are in the collection of the National Palace in Taipei.
Yan Zhenqing's "Manuscript of Sacrifice to Nephews"
Books and manuscripts account for more than 85% of the total cultural relics in the collection of the National Palace in Taipei. In addition to the precious ancient books of the Song Edition, Wen Yuange's "Siku Quanshu", official biographies, records of previous dynasties and a large number of local chronicles.
Image source network
When Yang was checking the information, he was amazed by the Qianlong Emperor in order to celebrate the eighty birthday of the Empress Dowager Chongqing, and specially issued the imperial golden book "Kangyur".
It is framed from dark blue magnetic blue paper, and the mud and gold outside the bar line depicts eight treasures entwined lotus patterns, and then inlaid with pearls, turquoise, and corals.
This sutra is also in the Forbidden City in Beijing and the Forbidden City in Taipei due to the war.
The outer sutra version of Qianlong's Kangyur
Speaking of ceramics, prominent Ming and Qing dynasty official kiln porcelain such as Song Dynasty famous kiln porcelain, Chenghua doucai porcelain and porcelain tire painting enamel.
The shapes of each vessel are regular, the glaze color is pure and the decoration is exquisite.
In particular, the Ru kiln of the Song Dynasty can be described as a Chinese porcelain ceiling.
According to statistics, among the more than 60 pieces of heirloom Ru porcelain in the world, only 17 pieces are in the Forbidden City in Beijing, while 21 pieces are in the National Palace in Taipei.
In particular, this Azure Glazed Lotus-style warm bowl of the Northern Song Ru kiln, originally hidden in the Yangxin Hall of the Forbidden City, belongs to the only one of its finest Ru porcelain.
It is completely preserved, the glaze color is pure, there are fine irregular glazes on the surface, and a faint pink color can be seen along the thin glaze of the mouth, which is an outstanding work of Northern Song ceramic art.
Another textureless daffodil basin is the only Ru kiln that does not open a piece in the world.
The Ru kiln is best with no open piece, and earlier in the Qing Palace, it was a cat bowl that the Qianlong Emperor used to feed cats. And now it is the only piece of Northern Song Ru porcelain in the world that is as bright as new.
There is also this white porcelain children's pillow from the Song Dynasty Ding Kiln, lying on the brocade mat, with his feet crossed back naughty and cute, and he is cute.
There is also a similar shape in the Forbidden City in Beijing, the difference is that there is no pattern on the child's brocade vest.
Look at this carved ivory cloud dragon pattern set ball, carved by a dental craftsman in Guangdong in the 19th century.
The shape is cleverly conceived, the craftsmanship requirements are extremely high, and it is almost a unique product.
According to the Ming Dynasty Cao Zhao recorded in the "Gegu Essentials", as early as the Song Dynasty, there were 3-layer sets of balls, which were called "ghost work balls".
When making, craftsmen borrowed the form of carving with beads in the mouth of the stone lion, and first turned the ivory into a sphere on a lathe.
Then, at the center of the sphere, fourteen evenly distributed tapered holes are opened.
Through superb hollowing skills, a right-angle hook knife is used in the conical hole, layer by layer from the inside to the outside to open the freely moving set of balls, and each layer can rotate freely.
Then the spherical surface is carved with fine patterns, holes and other patterns to decorate, transparent and exquisite.
The ghostly work of ivory ball carving, which cannot be created by 3D modeling, has been selected as the first batch of intangible cultural heritage in China.
The openwork ivory cloud dragon pattern set of the Taipei National Palace is carved with a flying dragon in high relief on the surface shuttling through the auspicious clouds, and the interior is carved with various hollow and delicate brocade patterns, a total of 24 layers, each layer can be flexibly rotated.
Another ivory transfiguration set has 17 layers.
It is decorated with figures, pavilions, landscapes, trees, etc., and the tiny pendant is also carved with the two immortals of harmony, which are clearly carved and extremely exquisite.
Due to the large number of Chinese treasures, there is a saying that "the exhibits in the Taipei National Palace are changed once every three months, and they can only be seen in 30 years".
Can't finish watching, can't finish watching at all...
The Taipei National Palace also often sends cultural relics to Japan and the United States for exhibitions, but it has never been to the mainland, causing a lot of doubts and dissatisfaction.
The Chinese cultural relics of the Taipei National Palace trace their origins
From the height of the temple to the distance of the world
This piece represents 5,000 years of Chinese culture and logistics across the strait, and can be displayed intact in front of us.
I have to mention the history of the relocation of cultural relics to Taiwan during the war years and the efforts made by the Chinese people for it.
Source: CCTV documentary
At the end of 1924, the last emperor, Puyi, was expelled from the Forbidden City, and the Palace Museum was established the following year.
Bronze, calligraphy and painting, porcelain and other exhibition rooms were specially opened, and civilians were able to visit the national treasures of these hidden deep palaces.
At this time, the cultural relics of the Forbidden City in Beijing completed the transformation from the private collection of the emperor to the public property of the Chinese nation.
On the eve of the Anti-Japanese War, in order to protect the Chinese treasures left by the ancestors from being destroyed by the Japanese invaders, the cultural relics of the Forbidden City began a large-scale southward migration activity.
To this end, the guardians of the cultural relics of the Forbidden City made 13,491 boxes.
After loading the Forbidden City's calligraphy and paintings, bronzes, porcelain, jade, rare books and other cultural relics, they were transported to Shanghai and Nanjing in five times.
From 1933 to 1944, more than 13,000 boxes of cultural relics of the Forbidden City were transported for more than 10,000 miles, and miraculously turned into dangers without the slightest damage.
In 1945, after the surrender of the Japanese invaders, J ordered the construction of a warehouse in Nanjing to temporarily store these artifacts.
In 1948, in addition to the hasty flight of the nationalist D, the cultural relics of the southward migration were selected and packed into 2972 boxes.
The 597556 cultural relics selected, accounting for about a quarter of the cultural relics of the Forbidden City that resided in Nanjing at that time, were shipped to Taiwan in three batches.
Source: "Chinese Heritage"
After these cultural relics arrived in Taiwan, they were first temporarily stored in an old warehouse in Taichung City, and the environment was quite harsh.
It was not until 1950 that the new warehouse was inaugurated that the storage environment was replaced.
After that, the National Palace Museum in Taipei began to be built.
Although it is a modernist building, it imitates the architectural style of the Forbidden City in Beijing, and the main building has four floors, white walls and green tiles.
On the square in front of the main courtyard, there are also five six-pillar cupola-style torii erected.
The architectural design of the National Palace in Taipei is based on the imagination of traditional Chinese palace-like buildings and even the Meridian Gate, hoping to reproduce the Forbidden City in Beijing.
The roof is made of a non-top-grade roof, implying that the museum is only for temporary retention.
In 1965, after the completion of the Taipei National Palace, the museum was officially opened, and the cultural relics from the mainland really had a proper preservation and exhibition environment.
In addition to inheriting the essence of the old collections such as the Forbidden City in Beijing, the Forbidden City in Shenyang and the former Rehe Palace, the Taipei Forbidden City is also constantly purchasing and accepting donations from Chinese at home and abroad.
There are also artifacts returned by Japan, such as white jade pots, jade screens, stone statues of two Buddhas sitting side by side...
Aside from historical disputes, these unique and rare treasures all reveal the historical symbols and cultural totems of Chinese civilization.
Like the fate of "Fuchun Mountain Residence Map", they carry too many sorrows and joys to some extent, and they are also a symbol of the motherland's desire to be united.
Taiwan and the mainland have the same roots and bloodlines. One day, we will see the complete scene of the integration of the body of "Fuchun Mountain Residence Map".
Looking forward to the Chinese treasures of the Taipei National Palace, I can also return home as soon as possible.