Let the Cultural Relics Live - The Palace Museum Cultural and Creative Exhibition —— 文 让 物 故文 活 宫创 起 展 来

—— 文让 物 文 故 活 创 宫 起 展 来 Let the Cultural Relics Live -The Palace Museum Cultural and Creative Exhibition

前 言 Foreword 让文物活起来——故宫文创展 Let the Cultural Relics Live 故宫博物院不仅是世界文化遗产，也是中华文化 和中国博物馆的杰出代表。故宫文创将传统文化与现 - The Palace Museum Cultural and 代生活相结合，让历史说话、让文物说话，在新时代 Creative Exhibition 赋予了文物新的生命力。 本次展览展示了国家级工艺大师通过对故宫文化 的提炼，创作出的铜器、木器、瓷器、漆器等一系列 匠作精品，让故宫文化散发出新时代的光辉。同时运 用“文化 + 科技”的手段，让深藏于故宫中的珍宝触 手可及。其中，虚拟现实作品是中日两国在数字化进 程中多年合作的成果，见证了两国在文化创意领域中 的友好合作历程。 Let the Cultural Relics Live

The Palace Museum is not only a world cultural heritage, but also an outstanding representative of the Chinese culture and Chinese museums. Fusing traditional culture with modern life, it has given the cultural relics a new vitality in order to \"Let History Talk, Let Cultural Relics Talk.\" This exhibition features a range of masterpieces, such as bronze, wood, porcelain, and lacquer ware, created by national craft masters with inspiration from the Palace Museum cultural elements. It gives the culture of the Forbidden City a new splendor. Meantime, by means of “culture + technology”, it enables the treasures of the Forbidden City to come within easy reach. Among them, the VR works, the outcome of years’ cooperation between China and Japan in digitalization, witness the friendly cooperation between the two countries in cultural creativity. The Palace Museum Cultural and Creative Exhibition

Let the Cultural Relics Live

数字多宝阁—介绍 利用三维技术准确采集记录 故宫院藏文物信息，并不断通过 “多宝阁”把其中的精彩文物呈 现给观众，让观众摸得到、看得懂， 文物在手中“活起来”。 Digital Duo Bao Ge -Digital cabinet displaying antique, porcelain and jade ware The use of three-dimensional technology to accurately collect and record cultural relics information in the Imperial Palace, and through the \"Duo Bao Ge\" to present the wonderful cultural relics to the audience, so that they can get and understand the \"live\" cultural relics in their hands. The Palace Museum Cultural and Creative Exhibition

宴渔）（ 乐 战 国 猎攻 战纹 图壶 高 31.6cm，重 3.54kg。 Height: 31.6cm; Weight: 3.54kg Let the Cultural Relics Live

这件青铜器的出土地点和时间已经不可考，40 年代为德国人所有，建 国后收归国有，划拨给故宫。它和四川成都、陕西凤翔先后出土的几件战国 青铜器十分相像，原物应该有盖子。 壶上雕刻的纹样十分精美，生动地反映了当时社会生产生活的各种场面， 这样可以看到它上面纹样的全貌。从上到下分为三段：第一段是采桑、射箭， 表现的应该是古时候桑蚕之礼、乡射之礼的场景。中间这段非常生动地展现 了烹饪、饮酒、奏乐、打鱼狩猎的生活场景。最下面这段面积最大，内容也 最丰富，刻画了惊心动魄的战争场面，左面是陆地上攻城之战，右面是激烈 的水战，甚至还有“潜水员”。 A Feasting and Hunting Battle Pattern Pot (Warring States Period) The time and place that this bronze ware was unearthed could not be traced anymore. It was owned by the Germans in the 1940s. After the founding of the country (the People’s Republic of China), it was nationalized and allocated to Palace Museum. It is very similar to several Warring States bronzes unearthed in Chengdu, Sichuan and Fengxiang, Shaanxi. The original should have a lid. The pattern on the pot was exquisite, vividly reflecting various scenes of social production and life at that time, so that you can see the whole picture of the pattern on it. From top to bottom, it is divided into three sections: The first section is the mulberry harvest and archery. It should be the scene of the silkworm ceremony and the village shooting ceremony in ancient times. The middle section vividly shows the scenes of cooking, drinking, music playing and fishing. The bottom area is the largest and the most abundant in content. It portrays a thrilling war scene. On the left is a battle of siege on land, on the right is a fierce battle in water, and you even see “divers.” The Palace Museum Cultural and Creative Exhibition

画 （隆 这件提壶是内务府造办处制作的，造型仿西洋式样，但是装饰图案的风 珐 清） 格是完全中国化的，体现了我们吸收西方文化影响，进行东西方结合的设计 乾 创新。这样就可以放大观看壶身上的 8 幅花鸟山水画。 光琅 观众很关心这些文物的用途，这个壶架在精美的台座上，下面有小油缸， 开 点着了就可以给壶加热或者保温。 梁提 Painted Enamel Pot with a Beam (Qing Dynasty Qianlong Period) 壶 This loop-handled pot was produced by the Zao Ban Chu, the Royal Workshops, or Office of Arts and Crafts of the Imperial Household Department. The pattern was a mimic of western. However, the style of the decorative pattern was completely Chinese, reflecting our innovation in incorporating western culture influence in our design. And this allows us to view the 8 flower and bird landscape painting on the pot. The audience was very curious about the use of these artifacts. The pot holder was placed on an exquisite pedestal (sliding to make the pot slightly lifted) with a small fuel tank underneath it, which allowed it to heat or keep warm. 高 37.8cm height: 37.8cm Let the Cultural Relics Live

通高 16cm，口径 30.2cm。 Straight Height: 16cm; Diameter: 30.2cm 剔花） （ 碗圆形，圈足，盖隆起近于半球状，顶上设球形纽。通体黄素地上雕红 红 明 漆牡丹、茶花、菊花、栀子、石榴等花卉。盖纽上雕灵芝，口边与足边均雕 朝 回纹。足内黑漆，一侧针划“大明永乐年制”六字款。　　 纹卉 此碗体大，造型优美端庄，用漆精良，雕刻精致。其纹饰构图疏密有致， 在黄色漆地的衬托下，红色的花卉愈益明艳。明早期雕漆碗极少见，此为仅 盖碗 见的两件传世品之一。 Red Flower Pattern Bowl with a Lid (Ming Dynasty) Total The bowl was round, with a ring foot, and the lid was somewhat upheaved into a hemispherical. There was a spherical knob on top. On the yellow background of the whole body carved the red lacquer peony, camellia, chrysanthemum, gardenia, pomegranate and other flowers. On the knob of the lid carved reishi, and at both the mouth and the feet carved the pattern of the character “hui.” Inside the foot was black lacquer and one side of the Bowl was the needle drawing of the six characters - \"Da Ming Yong Le Nian Zhi (produced during the Period of Emperor Yongle of Ming Dynasty.\" This bowl is large, elegant and dignified, made with fine paint and exquisite carving. Its patterning is evenly spaced. Against the yellow lacquer were the bright red flowers. The early Ming Dynasty had very few carved bowls. This is one of the only two handed down pieces. The Palace Museum Cultural and Creative Exhibition

朱 炳 仁 Zhu Bingren Let the Cultural Relics Live

朱 Zhu Bingren 炳 仁 旗 开 朱炳仁，杭州人，原籍绍兴，1944 年生，中国工 得 艺美术大师。峨眉山金顶、雷峰塔、灵隐铜殿、台湾 胜 同源桥、G20 杭州峰会及金砖厦门峰会主会场等百余 铜建筑铜总工艺师，被誉为“中国当代铜建筑之父”。 旗开得胜，依据故宫博物院藏清代宫廷画师 艾启蒙《八骏图》而设计。乾隆皇帝有“马上皇帝” 2006 年，他独创了熔铜艺术，开创了“熔现实主 之称，八骏为其所爱，朱炳仁·铜以铜为胚，采 义”新流派，造就出的一种新的美学、视觉、艺术概念， 用国家非遗“八大技艺”匠心打造。乾隆八骏形 是对世界已有的艺术流派的一种颠覆。他独具风采的 状各异，飘逸灵动，展现强健不息的气息、催人 诗书画印综合才艺，在国内外有很高的评价，他还倾 奋进的力量。“八骏”为经典题材，寓意旗开得胜， 其所能、澄清心虑、规天矩地，以铜为精华创建了中 马到成功。 国唯一一座江南铜屋即朱炳仁铜雕艺术博物馆。 Victory for Speedy Success Zhu Bingren is a native of Hangzhou. His ancestors were originally from Shaoxing. Born in 1944, Mr. Zhu is a Victory for Speedy Success is designed based on A Chinese Arts and Crafts Master. He is the Chief Copper Portrait of Eight Steeds by Ignatius Sichelbarth, Construction Technologist of more than 100 pieces of an imperial painter in the Qing Dynasty (original copper artworks such as the Golden Top of Mount Emei, painting is collected by the Palace Museum). Emperor the Leifeng Pagoda, Lingyin Copper Palace, Taiwan Qianlong was reputed as “Emperor on the Horse”, Homogeneous Bridge, the main venue of the G20 Hangzhou and he loved these eight steeds. \"Zhu Bingren • Summit and the BRICS Xiamen Summit. He is thus known Copper\" adopts copper as raw material, and carefully as “Father of Contemporary Copper Architecture of makes this masterpiece by taking advantage of China.” “Eight Skills” as national-class intangible cultural heritage. “Eight Steeds of Qianlong Period” present In 2006, he created the art of melting copper and opened a different looks, elegant and dynamic styles, robust new school of “melting realism”, which incepted a new and persistent vitalities, which endow people the concept of aesthetics, vision and art. It is a subversion of power to forge ahead. As a classic theme, “Eight the existing art schools in the world. His unique talents Steeds” implies victory for speedy success and success in poetry, calligraphy, painting and printing are highly immediately upon arrival. commended at home and abroad. He also gave his best to have created the only copper house (with copper as the essence) in the south of China, namely the Zhu Bingren Copper Sculpture Art Museum. The Palace Museum Cultural and Creative Exhibition

Zhu Bingren 朱 炳 千 仁 浪 惊涛拍岸，卷起千堆雪。气 卷 势如虹，万马奔腾，浪鼓悬岩。 雪 奇、雄、险、壮，令人不自觉握 系 紧双拳，屏气凝神。作品以蓝、 列 白为主色调，线条富有张力，丰 富的空间表现力，把大自然的紧 张感充分表现出来。采用熔铜艺 术的表达方式从平面走向立体， 开创了既有传统艺术根基又用当 代艺术语境的全新艺术风格。 Raging Waves and Rolled Snows This work shows raging waves pounding on the banks and rolling up countless snow. It presents great momentum like horses galloping ahead and waves hanging over the rocks. In strange, bold, unconstrained and powerful style, this work makes people unconsciously clench fists and feel breathless. This work primary follows blue and white keynotes, in which lines are full of tension. This work is rich in spatial expression so that it fully expresses the stress of the Nature. By virtue of melting copper art, expressive approach is taken by \"Zhu Bingren • Copper\" to shift from the plane to the three dimension. This unfolds a brand-new artistic style that combines the foundation of traditional art with the context of contemporary art. Let the Cultural Relics Live

朱 炳 仁 Zhu Bingren 庚 彩 花器造型古朴典雅，由国家非遗 铜 “八大技艺”精制而成，并采用独创 瓶 的庚彩工艺，负载铜器上全新的彩绘， 系 颜色绚丽多彩。南宋人认识到铜瓶插 列 花的好处，赵希鹊《洞天清禄·古钟 鼎彝器辨》说“古铜器入土年久，受 土气深，以之养花，花色鲜明如枝头， 开速而谢迟，或谢则就瓶结实。”“贵 铜瓦，贱金银”，铜瓶插梅，正是文 人雅士崇尚的清雅静逸的气质。 Gengcai Copper Vase In simple and elegant style, this flower vase is delicately made under “Eight Skills” as national-class intangible cultural heritage, and adopts original gengcai craft to prop up the new paints loaded on the bronze ware. A myriad of gorgeous colors are highlighted. The people of the Southern Song Dynasty were deeply aware of the benefits of flower arrangement in copper vase. As commented by Zhao Xique in Dong Tian Qing Lu • Textual Research on Ancient Copper Wares, Tripods and Wine Vessels: “The ancient copper wares are buried underground for a long time and absorb soil nutrients. When flowers are placed in these wares, flowers are as bright and colorful as blooming ones at branches. They bloom rapidly and wither slowly. Some of them even bear fruits in the vases”. “Emphasis is placed on copper instead of gold and silver”. Plum blossom in copper vase crystallizes gentle and elegant temperament advocated by scholars. The Palace Museum Cultural and Creative Exhibition

Zhu Bingren 朱 炳 仁 采芝 依乾隆皇帝香山静宜园之驯 Auspicious Deer Picking 瑞 鹿而作。乾隆皇帝是非常喜爱鹿 Ganoderma lucidum 鹿 的。位于香山的驯鹿坡，即为乾 This work casts light on the deer in Jingyi Garden of 隆皇帝放养入贡鹿群之山地，御 Fragrant Hill under the reign of Emperor Qianlong. Emperor 用画师郎世宁绘《秋林群鹿图》 Qianlong really loved the deer. Xunlu Slope of Fragrant Hill 等国宝。朱炳仁融合故宫文化的 used to be the mountainous place where Emperor Qianlong raised a group of imperial deer offered by subordinates 美学意象，汲取皇家文化的艺术 as tributes. According to these prototypes, imperial artist 完成设计。鹿与生俱来的祥瑞之 Giuseppe Castiglione painted A Group of Deer in Autumn Forest and other national treasures. \"Zhu Bingren • Copper\" 气是权利和国家昌盛的象征，鹿 blends the aesthetic imagery of the Forbidden City culture and 谐音“禄”，在民间信仰中，鹿 draws on the art of the royal culture to complete the design work. The inherent auspiciousness of deer is a symbol of 被视为人们心中的灵兽，是正义、 power and national prosperity. Deer is a homonym of “Lu” 善良、吉祥的化身。 in the Chinese language. In folk beliefs, deer is considered as immortal animal in people’s opinion, which is embodiment of justice, kindness and auspiciousness. Let the Cultural Relics Live

朱 Zhu Bingren 炳 仁 风 华 依故宫珍藏郎世宁《秋林群鹿图》 隽 而设计，乾隆皇帝曾在香山的驯鹿坡 茂 放养贡鹿。朱炳仁突破对“鹿”既定 系 体验，写实与写意交接，迎风而立， 列 风华隽茂，在传统文化中，鹿乃长寿 之仙兽。鹿经常和仙鹤一起保卫灵芝 仙草，寓意延年益寿，健康吉祥，常 用来表示顺利腾达和繁荣昌盛。 Youth and Vigour in the Prime of Life This work is designed on the basis of A Group of Deer in Autumn Forest painted by imperial artist Giuseppe Castiglione (original painting is collected by the Palace Museum). Xunlu Slope of Fragrant Hill used to be the mountainous place where Emperor Qianlong raised a group of imperial deer offered by subordinates as tributes. “Zhu Bingren • Copper” delicately makes this work by means of melting copper art under “Eight Skills” as national-class intangible cultural heritage. This work breaks through the established experience of “deer”, integrates realistic and unconstrained style, and stands upright in bolding style. According to the Chinese traditional culture, deer is the fairy animal of longevity. Deer often defends Ganoderma lucidum together with crane. Deer means longevity, health and auspice. Deer is often used to express smoothness and prosperity. The Palace Museum Cultural and Creative Exhibition

甘 而 可 gan erke Let the Cultural Relics Live

甘 gan erke 而 可 红 金 甘而可，男，1955 年出生，安徽黄山人， 斑 国手级漆艺大师。自幼喜欢工艺美术。1979 年 犀 进入屯溪漆器工艺厂工作，学习漆器和雕刻技艺。 皮 2001 年，有感于徽州漆器产业的衰落，着手对 漆 徽州的犀皮漆、漆砂砚等濒临失传的重要工艺品 荷 种进行恢复并取得成功。 叶 盖 甘而可扎根于徽派漆艺传统，原料与工艺恪 罐 守天然大漆制作古法原则，创作出许多令人惊叹、 美轮美奂的国漆珍宝。2016 年 10 月绿金斑犀皮 本件作品造型就取自荷叶盖罐的饱满雄浑，气韵生动 漆 天 球 瓶 被 中 国 国 家 博 物 馆 永 久 性 收 藏；2016 的气质。尤其是“荷叶盖罐”之名称，蕴含“和”与“冠” 年 12 月被国家文化部评为优秀专家；2017 年 11 之吉祥彩头而备受仕人追捧。此盒通过古法技艺制做， 月与爱马仕中国子公司上下品牌合作的作品红金 披麻上灰，入原料银朱、朱砂、黄金等细粉入漆，制作 斑犀皮漆天地盖盒被大英博物馆永久性收藏。 出红金斑犀皮漆荷叶罐色泽华丽鲜明，给人流动的韵律 感。它的问世让我们感受了现代徽州漆器之美及名噪中 Gan Erke, male, born in 1955, a native of 外的艺术魅力。 Huangshan, Anhui Province, is a master class lacquer maestro. He likes arts and crafts since Lotus Leaf-shaped Covered Pot childhood. In 1979, he entered the lacquer ware with Red Golden Spot and Xipi factory in Tunxi to learn lacquer ware and carving Lacquer techniques. In 2001, seeing that Huizhou's lacquer ware industry was dying out, he began to devote This work is inspired by the plump and bold lotus leaf- his efforts to recover such important handicraft shaped covered pot, and reveals vivid and charming qualities. varieties as Xipi (Rhinoceros leather liked) Lacquer, In particular, the name of lotus leaf-shaped covered pot and Qisha Yan, or a kind of lacquer inkstone made contains good luck words of “harmony” and “crown”, of fine emery powder and succeeded. so this kind of artwork is always highly sought after by the scholars. This work applies ancient arts and crafts techniques, Mr. Gan, rooted in the traditional Hui style which is covered with fibre and ash. Fine powders of silver, lacquer arts, raw materials and craftsmanship and cinnabar, gold and other raw materials are added into lacquer adhering to the ancient principles of natural lacquer so as to produce gorgeous and bright colors of this red lotus production law, has created a number of stunning leaf-shaped covered pot with golden spot and xipi lacquer, and beautiful lacquer treasures. In October 2016, the thereby giving a sense of flowing rhythm. Its presence lets green gold spotted Xipi Lacquer Globular Vase was today’s people feel amazed at the artistic charms of modern permanently collected by the Ministry of Culture Huizhou lacquer ware with lofty reputation at home and and Tourism of the People's Republic of China; in abroad. December 2016, he was awarded as an outstanding expert by the Ministry of Culture and Tourism of The Palace Museum Cultural and Creative Exhibition the People's Republic of China; in November 2017, a red gold spotted Xipi Lacquer “Heaven and Earth Hamper” completed with cooperation from brand of Hermès China was permanently collected by the British Museum.

gan erke 甘 而 绿 可 金 天球瓶是明清宫廷陈设的经 斑 典造型，腹圆硕大，壮如天球， Globular Vase with Green 犀 故而得名。本品选取故宫博物院 Golden Spot and Xipi Lacquer 皮 藏乾隆朝剔红云龙纹天球瓶为造 漆 型，通体装饰以绿金斑犀皮漆， Globular vase is the classic shape of furnishings in the Ming 天 肌理层次丰富，金光游动，翠绿 and Qing courts, which has a large abdomen and looks like 球 欲滴，莹洁如玉，具有浓重的宫 a celestial sphere. Such vase is named after this feature. This 瓶 廷色彩和皇家气息。 work models after Carved Lacquer Red Globular Vase with Pattern of Cloud and Dragon in Qianlong Period, which is collected by the Palace Museum dragon, and the whole body is decorated with green gold spot and xipi lacquer. With rich texture, golden luster, green color and lustrous and transparent quality like jade, this work presents strong palace color and royal flavor. Let the Cultural Relics Live

甘 而 可 gan erke 红金 梅瓶自明以来作为古典陈设 Big Plum Vase with Red Golden 斑 器而为世所珍。本件作品精摹故 Spot and Xipi Lacquer 宫藏清康熙郎窑红梅瓶造型，原 Plum vase is always treasured as classical furnishing since the Ming Dynasty. “Broad shoulder, narrow mouth and 皮犀 料选取珊瑚、黄金等细粉入漆 , 以传统犀皮漆工艺制作。历经数 elegant foot” are recognized standards to measures appearance beauty. This work carefully imitates the Southern Song style 大漆 月手工打磨，漆面光滑平整，色 of the famous porcelains collected by the Palace Museum, 泽鲜艳莹亮。全器雍容敦厚，呈 emphasizing the beauty of the curve. This work is made with traditional xipi-lacquer technique. The raw materials are 瓶梅 现出高贵典雅之气韵。 ground with coral, gold and other fine powders, which are added into lacquer and present gorgeous, bright and dazzling colors. After handmade polishing for several months, the lacquer surface is smooth and shiny like jade. Therefore, this plum vase looks classical and straight with elegant charms. The Palace Museum Cultural and Creative Exhibition

gan erke 甘 而 可 绿金 本件作品为一组八件漆器茶 A Set of Tea Ceremony 斑 道用具，包含有肌理温润的茶叶 Utensils with Green Golden 犀 罐，以及取形于故宫博物院藏南 Spot and Xipi Lacquer 皮 宋哥窑贯耳瓶的茶匙瓶。另包括 This work is a set of eight lacquer wares for tea ceremony 漆 两只花口小杯、茶匙一枚、紫檀 utensils, which consists of teapot with smooth texture and 茶 六角茶筷一双、茶侧一枚。每件 teaspoon vase referring to Ge Kiln Ear-penetrating Bottle of the Southern Song Dynasty (collected by the Palace Museum). 具 器物均工艺规整精致，两只花口 It also includes two mouth-shaped cups, one teaspoon, a 小杯轻盈小巧 , 作五出梅花瓣 , pair of red sandalwood hexagonal tea chopsticks and a tea supporter. All utensils are crafted finely. Two small cups are 以古法研制黄金粉末为泥金作 graceful and light with shape of five plum petals. Ancient 心 , 呈现出粉润的珍珠光 , 尤益 techniques are adopted to grind gold powder for golden 茶色。茶侧以名贵细腻珍珠黄杨 coating in the center, while pink pearl-like luster is shown to especially set off tea color. The tea supported is cleverly 巧妙镶嵌小叶紫檀瘿为饰 , 模仿 inlaid with precious and delicate pearl, Chinese little leaf 湘妃竹之朴拙古逸 , 别出匠心。 box and lobular rosewood ornaments for the purpose of decorations, which imitates the rustic simplicity of mottled bamboo and demonstrates the unique ingenuity. Let the Cultural Relics Live

甘 而 可 gan erke Nanmu Lacquer-polished Handle Box The work is made of Phoebe zhennan S . Lee. After lacquer is wiped and ground, it shows exquisite luster of the gold wire and looks more original and exquisite. The angles are carved with delicate tenons and inlaid rosewood in shape of ruyi cloud, which imitate the Ming-style copper sheet wrapped angles, thereby adding gentle charms. Hoop handle and frame are also made of lobular red sandalwood, which are solid, robust, straight, neat and elegant. The inner wall is polished to reveal transparent texture. The whole work is beautifully contoured. Multiple layers of drawers are delicately connected. This work has become an artistic masterpiece for visual appreciation. 楠 木 该作品以金丝楠木为面，擦 擦 漆磨润之后，衬托出金丝的细腻 漆 光泽。更独具匠心，以精致小榫 提 嵌紫檀如意云头为角，模仿出明 梁 式样的铜片包角，增添温润情趣。 盒 提梁及框架亦以小叶紫檀为之， 坚实挺拔，规整典雅。盒之内壁 以抛光处理而尽显质地之透亮。 整件作品造型轮廓优美，层屉迭 接精巧，现已成为视觉欣赏之艺 术佳品。 The Palace Museum Cultural and Creative Exhibition

朱 乐 耕 Zhu legeng Let the Cultural Relics Live

朱 乐 耕 zhu legeng 朱乐耕，中国艺术研究院艺术创作研究院院 Zhu Legeng, Dean of the Institute of Art Creation, 长，教授，博士生导师，原中国工艺美术学会副 China National Academy of Arts, Professor, Ph. 理事长，中国陶瓷艺术大师，享受国务院有特殊 D, Vice President of the China Arts and Crafts 贡献津贴的专家待遇。 Society, Master of Chinese Ceramic Arts, a recipient of Special Government Allowance as Outstanding 多次参加国内外当代陶艺展，先后有四十余 Contribution Expert by the State Council. 件作品获奖，并于 2012 年获文化部“物质文化 遗产薪传奖”，2013 年获中国艺术研究院“中 He has participated in contemporary pottery 华艺文奖”。曾在中国、新加坡、韩国、美国、 exhibitions at home and abroad many times and 法国、德国等国家举办个人陶艺展。多年来其努 has won awards for over forty works. In 2012, he 力推动具有中国哲学内涵的当代陶艺创作，尤其 received the “Material Cultural Heritage Award” 是在当代环境陶艺的创作上卓有建树，不少大型 from the Ministry of Culture and Tourism of the 的陶艺作品置放在韩国首尔、济州岛，中国的上 People's Republic of China. In 2013, he was 海、天津、九江等城市的重要建筑和公共空间中， awarded the “Chinese Arts Award” by the Chinese 成为该城市重要的人文景观之一。其系列作品被 National Academy of Arts. He has held personal 国内外许多美术馆、博物馆收藏。 ceramic art exhibitions in countries such as China, Singapore, South Korea, the United States, France, and Germany. Over the years, he has contributed a lot to the creation of contemporary ceramic art with the connotation of Chinese philosophy, especially in the creation of contemporary environmental ceramic art. Many of his large-scale ceramic works have been placed in important buildings and public spaces in Seoul, Jeju Island in South Korea, and Shanghai, Tianjin, Jiujiang cities in China, constituting one of the important cultural landscapes of these cities. His series of works have been collected by art galleries and museums at home and abroad. The Palace Museum Cultural and Creative Exhibition

zhu legeng 朱 乐 耕 Let the Cultural Relics Live

-朱 乐 耕 zhu legeng 山 水 在这一作品中，作者将山水通过心灵的再 造，浪漫化的将山水融入到人脑海中的镜像， 形成一种浪漫化的表达，让人与自然融为一 镜 体，表达出东方哲学中的物我两忘的意境。 像 “莲”为心灵的象征，宁静地卧躺在起伏的山 峦中。纯白的色泽里透出丰富窑变的结晶，是 火的天工构成了一片纯然的心灵中的山水镜 像。该作品体现了作者的意图，同时也表达了 泥和火的本然，是作者与泥和火商讨互动的呈 现。艺术家多年致力于探寻中国文化出发的原 点，挖掘陶瓷的本体语言，试图探求东方意境 中的当代艺术精神，实现传统陶瓷艺术观念与 形式面向未来的转型。 Landscape － Mirror Image In this work, the artist reconstructs the landscape in the soul through romantic integration of landscape into the mirror image of human mind, forms a type of romantic expression, allows man to blend with the Nature, and expresses“forgetting everything” under the Eastern philosophy. “Lotus” is a symbol of the soul, lying peacefully in the undulating hills. The pure white color reveals the crystallization of the furnace transmutation. It is the heavenly effort of fire that constitutes the mirror image of landscape in the pure mind. This artwork not only gains insights into the artist’s intentions, but also expresses the reality of clay and fire, which is the interaction among the artist, clay and fire. The artist devotes to exploring the origin of Chinese culture for many years, probes into the ontology language of ceramics, and tries to seek after the contemporary artistic spirit in the oriental artistic conception and transform traditional ceramic art concept and form towards the future. The Palace Museum Cultural and Creative Exhibition

韩 美 林 han meilin Let the Cultural Relics Live

韩 美 林 han meilin 韩美林，1936 年生于中国山东济南。1955 年 玉 璧 璧是我国古代最隆重的礼器，《周礼》中 考入中央美术学院（后更名为中央工艺美院）。 高 就有“以苍璧礼天”的记载，被称为“六瑞” 悬 之首。在中国传统的文化理念中，玉璧象征着 现为清华大学文科资深教授、清华大学学术委员 美好的意愿和高贵的品质，历来成为祭祀礼仪 会副主任、中国艺术研究院研究生院博士生导师。 和身份尊贵的象征，其历史可上溯到 5000 年前 的新石器时期。此件《玉璧高悬》是韩美林先 兼任中央文史研究馆馆员、中国美术家协会陶瓷 生在广泛研究中外文化之后，融合东方玉璧之 尊贵和西方高背椅的传统，辅以传统纹饰和浮 艺术委员会主任、世界华人协会副会长、中国工 雕手法，精心创作完成，其核心元素与故宫珍 藏的上古青铜器、玉器等形制、纹样有异曲同 艺美术学会书画委员会会长、中国和平统一促进 工之妙，造型厚重古雅，彰显尊贵。 会常务委员、中国作家协会创作研究部专业作家。 Hanging Jade Bi 韩美林是一位孜孜不倦的艺术实践者和开拓 Bi used to be the most important ritual object in ancient China. According to 者。创作涉及广泛，包括绘画、书法、雕塑、陶瓷、 Rites of Zhou, “Dark green bi is used as a tribute for heaven”. Bi was deemed as 设计以及写作等等。艺术风格独到，致力于从中 the uppermost jade among “six auspicious jade”. In the traditional Chinese cultural 国文化传统和大众艺术中汲取精髓，并转化为体 philosophy, Jade Bi symbolizes good wish and noble quality, which is always 现当代审美理念的艺术作品。 a symbol of worshipping ceremony and status esteem, and its history can Mr. Han Meilin was born in 1936 in Jinan, be traced back to the Neolithic Age Shandong, China. In 1955, he was admitted to the 5,000 years ago. After Mr. Han Meilin Central Academy of Fine Arts (later renamed Central extensively carries out research on Chinese Academy of Craft Art). He is currently a senior and foreign cultures, blends the lofty jade professor of liberal arts at Tsinghua University, bi in the East and traditional wing chair Deputy Director of the Academic Committee of in the West, takes advantage of traditional Tsinghua University, and a doctoral tutor of the ornamentation and embossing techniques, Graduate School of the Chinese National Academy of and meticulously creates this masterpiece. Arts. He also serves as the librarian of the Central In terms of shape and pattern, its core Research Institute of Culture and History, Director elements are similar to those of ancient of the Ceramic Arts Committee of the China Artists bronze wares and jade wares collected by Association, Vice President of the United World the Palace Museum. This work is archaic Chinese Association, President of the Calligraphy and elegant, which looks distinguished. and Painting Committee of the China Arts and Crafts Society, Standing Committee Member of The Palace Museum Cultural and Creative Exhibition the China Council for the Promotion of Peaceful National Reunification, and a professional writer of the Creation Research Department, China Writers Association. Mr. Han Meilin is a tireless art practitioner and pioneer. His works cover a wide range of topics including painting, calligraphy, sculpture, ceramics, design, and writing. Unique as his artistic style is, he is dedicated to extracting essence from the Chinese cultural traditions and popular arts and transforming them into works of art that embody contemporary aesthetic concepts.

han meilin 韩 美 贯 林 斗 龙在中国传统文化中有着特殊的含义， 双 从早期的象征吉祥的神兽逐渐演变成帝王专 龙 用的“真龙天子”，龙自身的形象也完成了 从民间到宫廷的文化转换。此件《贯斗双龙》 借鉴中国传统装饰纹样中龙的形象，在椅背 的两个肩部，分别嵌入两条龙的形象，既凸 显了双龙吞吐大荒、遥相呼应的气势，又与 整体装饰浑然一体，丝毫不显突兀。这种装 饰的方法在故宫的建筑中多有体现，龙生九 子，遍布廊檐水口、栏杆柱头，是中国古代 建筑独有的装饰手法，同时由于龙的尊崇， 又成为皇家文化的代表。 Interlinked Two Dragons Dragon has a special meaning in the Chinese traditional culture. Dragon gradually evolved from the initial symbol of mythical beast into “True Dragon” exclusive to ancient emperors. Dragon image also underwent the cultural transformation from the folk society to the royal court. This work draws on the image of dragons in Chinese traditional decorative patterns. Two dragons are respectively embedded into both shoulders on the back of the chair. This not only highlights the great momentum of two dragons echo with each other in the universe, but also perfectly integrates with the overall decoration on the whole. This method of decoration can be mostly found in the buildings of the Palace Museum. Nine sons of dragon spread throughout veranda eaves, water outlets, balustrades and chapiters. This is a unique decoration technique of ancient Chinese architecture. At the same time, due to the respected status of the dragon, it represents royal culture. Let the Cultural Relics Live

韩 han meilin 美 林 移 花 在中国传统装饰纹样中，花卉是经常使用 接 到的图案，在故宫建筑的各种雕梁画栋、水榭 木 亭楼中都能够看到无数具有民族韵味的花卉 图案，这些花卉图案自身极具美学规律，可以 随主体形制的变化而不断衍生重复，随处可 见，成为浑然天成的图案系统。这件《移花接 木》巧妙的将花卉图案融入木雕工艺之中，期 腿部采用明清家具传统的处理方法，线条简洁 明朗，不事繁华，其扶手和椅背则装饰以吉祥 花卉，采用浮雕与透雕相结合的方式，顺其自 然而不留痕迹，让人过目不忘。 Blend of Flower and Wood Among Chinese traditional decorative patterns, flower pattern is frequently used. Countless flower patterns with national charms can be seen in various grand buildings, waterside pavilions and richly-ornamented buildings. These patterns follow aesthetic rules so that they can constantly derive and repeat in echo with changes in the subject forms. They are seen everywhere and become a totally natural pattern system. This work cleverly incorporates flower patterns into the wood carving craft. The traditional Ming and Qing furniture processing method is applied on the legs. The lines are simple and clear-cut without extravagant style. The armrest and chair back are decorated with auspicious flowers under the combination of relief and openwork. This work leverages all natural elements without leaving traces, which looks quite impressive. The Palace Museum Cultural and Creative Exhibition

han meilin 韩 美 再 林 造 在故宫博物院浩瀚的收藏中，有着无尽的 乾 奇珍异宝，这些奇珍异宝的背后，则是中国人 坤 对于世界、对于自然的独特理解，是中华文化 的血脉精髓。《再造乾坤》的灵感源自韩美林 对中国传统宇宙观、阴阳观的思考。在椅背的 构成中，使用了太极、青牛、龙、凤、波纹、 云纹等多重传统元素，并通过创作赋予这些符 号新的表现和意义。椅背的视觉中心是阴阳抱 一的立体太极，由龙凤守候，云纹穿插其中， 其底座由牛头承载，辅以海浪波纹，整体造型 气势恢宏、内蕴丰富，是不可多得的艺术精品。 Reconstruction of the Universe Among vast collectibles of the Palace Museum, there are endless treasures. These wonderful treasures imply the Chinese people’s unique understandings of the world and the Nature. All of them are essences and quintessence of the Chinese culture. This work is inspired by Mr. Han Meilin’s thoughts on Chinese traditional cosmology and concept of Yin and Yang. The artist employs multiple traditional elements (such as Tai Chi, Black Ox, Dragon, Phoenix, Wave Pattern and Cloud Pattern) in the composition of the chair back, and endows these symbols new expressions and meanings through creation. The visual center of this chair is three- dimensional Tai Chi of Yin and Yang, which is safeguarded by Dragon and Phoenix and inserted by Cloud Pattern. Chair base is carried by the ox head, complemented by sea wave pattern. With magnificent overall shape and intrinsically rich connotations, this work is really a rare masterpiece. Let the Cultural Relics Live

韩 han meilin 美 林 尚 方 在东西方文明中，剑都是一种地位比较 持 高的武器。在中国古代，剑被称作“百兵之 正 君”，常常被当作一种高贵的装饰品，从皇 家到文人都喜欢佩剑以显示身份。明代以后， 尚方宝剑更是频频出现在各种历史故事中， 成为皇权的象征。在创作《尚方持正》的过 程中，韩美林先生巧妙地将剑的元素和源自 上古的装饰纹样融入椅背的设计，形成了威 严庄重的气势，同时，根据中国传统文化中“止 戈为武”的观念，这件作品亦表达了作者对 和平美好的祈愿。 Sword in Token of Justice In the Eastern and Western civilizations, sword is a weapon with relatively high status. In ancient China, sword was respected as “No.1 weapon”. It was often used as a noble decoration. Sword was favored by royal families to the literati so as to indicate the social status. After the Ming Dynasty, “Shangfang Sword (Imperial Sword)” frequently appeared in various historical stories, and became a symbol of imperial power. In the creation process of this work, Mr. Han Meilin skillfully blends the elements of the sword and decorative pattern derived from the ancient times into the design of the chair back, thereby demonstrating majestic and imposing momentum. At the same time, according to the concept of “military forces are to be used only for the maintenance of peace and order” in the Chinese traditional culture, this work also implies the artist’s good wishes for peace and happiness. The Palace Museum Cultural and Creative Exhibition

The Palace Museum and Toppan Printing Co. Ltd. in Japan has been on fourth phase cooperation so far since the two signed the first phase “Research on Application of Cultural Assets Digitization” cooperation agreement in June 2000. This initiative is expected to run for nearly 20 years. China and Japan co-established the “Research Institute of the Palace Museum Cultural Assets Digitization Application.” Toppan continues to introduce the latest technologies such as VR, 3D scanning and color management to Palace Museum, and together with the staff of the Palace Museum to apply these technologies in the preservation and spectator services of the Palace Museum. Applied research in services has achieved rich results. Among them, the Forbidden City • Emperor's Palace series of VR works were well- received by the audience and was broadcast in the National Treasures at Close Watch, a program that introduces Palace Museum’s works to be exhibited at Tokyo National Museum, Japan. This was valuable efforts contributed to the cultural exchanges between China and Japan. Virtual Reality Program in the Palace Museum 故宫博物院与日本凸版印刷株式会社自 2000 年 6 月签订第一期“文化资产数字化应用研究”合作 协议，至今已是第 4 期合作，前后延续将近 20 年。中日双方合作建立了“故宫文化资产数字化应用研 究所”，凸版不断把 VR 技术、3D 扫描技术、色彩管理技术等最新技术介绍给故宫，并与故宫员工一 起开展这些技术在故宫文物保护和观众服务中的应用研究，取得了丰富的成果。其中《紫禁城——天 子的宫殿》系列 VR 作品深受观众喜爱，在故宫赴东京国立博物馆《国宝观澜》等重要对日展览中播出， 为中日文化交流做出了显著贡献。 Let the Cultural Relics Live

故宫博物院虚拟现实节目 The Palace Museum Cultural and Creative Exhibition

故宫博物院简介 About Palace Museum 故宫博物院成立于 1925 年 10 月 10 日，是建立在明清两代皇 The Palace Museum, founded on October 10, 1925 on the basis of 宫（紫禁城）的基础上，兼容建筑、藏品与蕴含其中的丰富的宫 the Ming and Qing Imperial Palace (the Forbidden City), is the 廷历史文化为一体的中国最大的综合性博物馆。1961 年被国务院 largest comprehensive museum in China that integrates architecture, 公布为第一批全国重点文物保护单位，1987 年被联合国教科文组 collections and a rich history and culture contained in them. In 织列入《世界遗产名录》。 1961, it was announced by the State Council as the First Batch of Key Cultural Relics Sites under State Protection and in 1987, it was 故宫博物院不仅是明清故宫（紫禁城）建筑群与宫廷史迹的 listed as a \"World Heritage Site\" by United Nations Educational, 保护管理机构，同时也是以明清皇室旧藏文物为基础的中国古代 Scientific and Cultural Organization (UNESCO). 文化艺术品的收藏、研究和展示机构。故宫博物院拥有三大文化 资源：一是 23 万平方米的古代宫殿建筑群，这也是世界最大规模 The Palace Museum is not only the protection and management 的木结构建筑群；二是院藏文物体系完备、涵盖古今、品质精良、 agency of the architectural complex and court historical sites of 品类丰富。现有藏品总量已达 186 余万件（套），以明清宫廷文 the Ming and Qing Imperial Palace (Forbidden City), but also 物类藏品、古建类藏品、图书类藏品为主。藏品总分 25 种大类别， the collection, research, and display institution of ancient Chinese 其中一级藏品 8000 余件（套），堪称艺术的宝库；三是每年接待 art works based on the ancient cultural relics of the Ming and 1600 万以上人次的观众 , 是第一批国家 5A 级旅游景区 Qing imperial courts. The Palace Museum boasts three major cultural resources. One cultural resource is its 230,000 square meter 故宫博物院在举办各类展览和教育活动的同时，承担了多项 ancient palace complex, which is also the world's largest wooden 国家级重要课题，并逐步提高对观众的服务能力和服务水平。为 architectural complex. Second is its complete collection of cultural 满足观众多样化的文化需求特别是文化消费需求，故宫博物院于 relics that cover both ancient and modern, excellent in quality and 神武门内东侧打造了“故宫文化创意馆”。“故宫文化创意馆” rich in variety, totaling at 1.86 million pieces/sets (featuring Ming 是故宫博物院的最后一个展厅，展示和销售故宫博物院的文创精 and Qing imperial cultural relics, ancient buildings and books), and 品，自开馆以来得到了博物馆界同仁和广大观众的普遍好评。近 fall under 25 categories (including more than 8,000 first-class pieces/ 年来，故宫博物院致力于打造“故宫博物院”品牌，重视品牌的 sets), an arguably treasure house of arts. Third is its reception of 国内外推广，获得了较强的品牌知名度和国际影响力。 over 16 million visitors each year at this first batch of national 5A-level tourist attraction. While hosting various exhibitions and educational activities, the Palace Museum has undertaken a number of national-level subject studies and witnessed gradual improvement in its service capabilities and service levels to the audience. In order to meet the diversified cultural needs of the audience, especially the cultural consumption needs, the Palace Museum initiated the “Forbidden City Cultural and Creative Pavilion” on the eastern side within Shen Wu Men, or the Gate of Devine Might. “The Palace Museum Cultural Creative Pavilion” is the last exhibition hall of the Palace Museum. It displays and sells the Palace Museum’s cultural and creative boutiques. Since its inception, it has received acclaims from the museum community and its audience. In recent years, the Palace Museum has devoted itself to creating the “Palace Museum” brand, valuing promotion of the brand at home and abroad as efforts to gain brand awareness and international influence. Let the Cultural Relics Live

中国对外艺术展览有限公司简介 About China International Exhibition Agency 中国对外艺术展览有限公司创建于 1950 年，是新中国成立的 第一个国家艺术展览机构，2004 年经国务院批准转制为中国对外 China International Exhibition Agency (abbreviated to CIEA in 文化集团旗下两大核心组织之一 , 目前是全球最大的艺术展览供 English) was founded in 1950, and is directly under the Ministry of 应商和运营商，也是迄今中国唯一拥有全球艺术展览业务的集团 Culture of the People's Republic of China. Facing the new century, 企业。 CIEA has already been one of two core business of China Arts \& Entertainment Group which was established in April of 2004. 中展在发展过程中积累了大量国际艺术机构资源、艺术家资 源、批评家资源等，具备得天独厚的资源优势。在国内的展览行 With a magnificent fifty years, several generations of CIEA staff 业和艺术界，中展创造了众多的第一：第一个来华展览、第一个 have made great sacrifices and devoted themselves completely to the 出国展览、第一个海外中国文化月、第一个国际博览会等等。无 development of cultural exchanges between China and the rest of the 数艺术品在这个平台展示，无数艺术家通过这个平台走向更广阔 world. Many world-famous artists such as Michelangelo, Delacroix, 的舞台。 Manet, Monet, Anggels, Kurbei, Bishalow, Miller, Rodin, Picasso, Matisse, Lebin, Dali and Henry Moore were introduced into China 在长达半个多世纪的历史进程中，中展以“向世界传播中华 by CIEA. Similarly, Chinese artists such as Ren Bonian, Wu 文化、向中国引进世界文明”为宗旨，承办各类重大国际交流展 Changshuo, Huang Binhong, Qi Baishi, Xu Beihong have been 览数千起，先后将米开朗基罗、珂勒惠支、门采尔、丢勒、伦勃 promoted abroad. 朗、毕加索、罗丹、列宾、达利、亨利·摩尔等世界艺术大师的 作品引进中国；同时将任伯年、吴昌硕、黄宾虹、齐白石、徐悲 In recent years, CIEA , as the main exhibition organizer , has 鸿、潘天寿、林风眠、傅抱石、吴作人、李可染、蒋兆和、黄胄、 subsequently held \"five thousand years of Chinese Civilization 陈逸飞、靳尚谊、徐冰等中国艺术大师推向海外。 Exhibition\" ,“Chinese Culture Exhibition \",\" East Asian painting on the birth and development”, \" Chinese Cultural Festival in 近年来，中展作为主承办单位相继举办“中华五千年文明展”、 France \" , “Berlin Pacific Week in Germany” , \"Chinese Culture “东亚油画的诞生与发展”、“赴法中国文化季”、“赴德国柏 Week in India “, \" China international art year\", \" Sino-Japan 林亚太周”、“中国国际美术年”、“中日文化年”、“中法文 cultural year \", China and South Korea cultural year \", \" Sino- 化年”等国家重要文化活动，并成为历届意大利威尼斯双年展中 French cultural year \"and other important national cultural activities. 国馆、巴西圣保罗双年展中国馆的唯一承办单位，还与德国卡塞 Moreover, it has become the sole recognized organizer of Italy 尔文献展组委会、比利时欧罗巴利亚组委会等国际知名文化组织 Venice Biennale, Brazil St Paul Biennale and the German Cassel 以及古格海姆艺术馆、波士顿艺术馆等建立了良好地合作关系， literature exhibition committee, the organizing committee of Belgium 以国际化服务理念、专业化运营能力受到中外政府、合作机构和 and other international well-known cultural organization such as 公众的广泛赞誉。 The Guggenheim Museums and Boston's Museum. The glorious history of CIEA bears a new mission of working closely with other government ministries, foreign embassies and Chinese embassies and the world's major museums, galleries, foundations, cultural institutions, artists' community, media and enterprises which are interested in culture and arts. In order to promote international cultural exchanges, expand the international influence of Chinese art, and enhance national cultural soft power, in recent years, the CAEG and CIEA have built up a strategic cooperation with the National Palace Museum, Guangdong Museum of Art, the Central Academy of Fine Arts and Minsheng Art Museum for will joint collecting resources and building the new platform. The Palace Museum Cultural and Creative Exhibition

主办单位： Hosted by: Ministry of Culture and Tourism of 中华人民共和国文化和旅游部 the People's Republic of China 承办单位： Organized by: 故宫博物院 Palace Museum 策展单位： Curated by: 中国对外艺术展览有限公司 China International Exhibition Agency (CIEA) 支持单位： Supported by: 中国驻日本大使馆 Chinese Embassy in Japan