JOURNEY OF A CENTURY
From the Forbidden City to the Palace Museum
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The Palace Museum in Beijing is one of the world’s most celebrated historic and cultural sites.
2025 marks the 100th anniversary of transforming the Forbidden City, the former centre of imperial rule and residence of Chinese emperors, into a public institution accessible to all.
Using archival and recent photographs, this exhibition presents a chronological journey through a century of the Palace Museum. It explores the life and work of a public institution that serves as a museum, research centre, cultural tourist attraction, historic palace complex, and World Heritage Site.
The Palace Museum is not just a world-class visitor attraction, but a monument which has been a key eyewitness to the historical changes in China over the past century.
JOURNEY OF A CENTURY
From the Forbidden City to the Palace Museum
scroll down to begin
The Palace Museum in Beijing is one of the world’s most celebrated historic and cultural sites.
2025 marks the 100th anniversary of transforming the Forbidden City, the former centre of imperial rule and residence of Chinese emperors, into a public institution accessible to all.
Using archival and recent photographs, this exhibition presents a chronological journey through a century of the Palace Museum. It explores the life and work of a public institution that serves as a museum, research centre, cultural tourist attraction, historic palace complex, and World Heritage Site.
The Palace Museum is not just a world-class visitor attraction, but a monument which has been a key eyewitness to the historical changes in China over the past century.
The Forbidden City
1420-1924
For over 500 years the Forbidden City, located in the heart of Beijing, was the political centre and residence of 24 emperors and their families of the Ming and Qing dynasties.
In 1912, when the imperial Qing dynasty was replaced by a Republican government, Puyi, the abdicated emperor, continued to live within the Inner Court. Fierce debate over the ownership of the Forbidden City and its contents lasted more than a decade.
In November 1924, after Puyi was forced out of the Forbidden City, the provisional government established the ‘Committee for the Settlement of the Qing Imperial Household’ in preparation for a public museum that would open to all.
Select the images below to find out more
Portrait of Zhu Di (1360-1424 CE), Emperor Chengzu of the Ming dynasty (1368-1644 CE), who ordered the construction of a palace complex in 1406 in preparation for the move of the court from Nanjing to Beijing. This marks the beginning of the Forbidden City as the imperial court and home of successive emperors. © The Palace Museum
Portrait of Zhu Di (1360-1424 CE), Emperor Chengzu of the Ming dynasty (1368-1644 CE), who ordered the construction of a palace complex in 1406 in preparation for the move of the court from Nanjing to Beijing. This marks the beginning of the Forbidden City as the imperial court and home of successive emperors. © The Palace Museum
Reconstructed plan of the Forbidden City during the Ming dynasty, covering an area of 178 acres. Today, the palace complex includes over 70 large palaces, nearly 10,000 rooms, and landscaped gardens. The Forbidden City is the world’s largest preserved palace complex. © The Palace Museum
Reconstructed plan of the Forbidden City during the Ming dynasty, covering an area of 178 acres. Today, the palace complex includes over 70 large palaces, nearly 10,000 rooms, and landscaped gardens. The Forbidden City is the world’s largest preserved palace complex. © The Palace Museum
Auspicious festival drapery hanging at Kunning Gong (Palace of Earthly Tranquillity) during the final years of the Qing dynasty. Kunning is one of the many palaces and gardens that formed the Forbidden City. © The Palace Museum
Auspicious festival drapery hanging at Kunning Gong (Palace of Earthly Tranquillity) during the final years of the Qing dynasty. Kunning is one of the many palaces and gardens that formed the Forbidden City. © The Palace Museum
Right to left: Puyi (the Last Emperor), Runqi (the Last Empress’ brother), Pujie (Puyi’s younger brother), and Reginald Johnston at the Imperial Garden in 1922-24. Johnston was a colonial administrator from Edinburgh and served as Puyi’s English tutor between 1919 and 1924. His memoir Twilight in the Forbidden City (1934) provides an insider’s view of Puyi’s life in the turbulent 1920s and 30s. © The Palace Museum
Right to left: Puyi (the Last Emperor), Runqi (the Last Empress’ brother), Pujie (Puyi’s younger brother), and Reginald Johnston at the Imperial Garden in 1922-24. Johnston was a colonial administrator from Edinburgh and served as Puyi’s English tutor between 1919 and 1924. His memoir Twilight in the Forbidden City (1934) provides an insider’s view of Puyi’s life in the turbulent 1920s and 30s. © The Palace Museum
Remains of the Jianfu Palace Garden complex after a fire in 1923. The complex had been a store for imperial treasures since the early 1800s. This major incident was one of the events that forced Puyi to leave the Forbidden City. © The Palace Museum
Remains of the Jianfu Palace Garden complex after a fire in 1923. The complex had been a store for imperial treasures since the early 1800s. This major incident was one of the events that forced Puyi to leave the Forbidden City. © The Palace Museum
In 1924, the newly formed ‘Committee for the Settlement of the Qing Imperial Household’ conducted an audit of items within the Forbidden City and published a detailed inventory. © The Palace Museum
In 1924, the newly formed ‘Committee for the Settlement of the Qing Imperial Household’ conducted an audit of items within the Forbidden City and published a detailed inventory. © The Palace Museum
In 1914 the Republican government established the Antiques Exhibition Institute, the first Chinese national museum, within the Forbidden City. It symbolised a pivotal step in China’s modernisation. This photograph shows the Xihua Men (Gate of West Prosperity), featuring the name plaque of the Institute. The Forbidden City was divided into three main parts: the Institute, the offices for the planning of a new National History Museum, and Puyi’s palace. © The Palace Museum
In 1914 the Republican government established the Antiques Exhibition Institute, the first Chinese national museum, within the Forbidden City. It symbolised a pivotal step in China’s modernisation. This photograph shows the Xihua Men (Gate of West Prosperity), featuring the name plaque of the Institute. The Forbidden City was divided into three main parts: the Institute, the offices for the planning of a new National History Museum, and Puyi’s palace. © The Palace Museum
Creating the Museum
1925-1948
Early Development
1925-1930
On 10th October 1925, the Palace Museum was officially founded within the Forbidden City, a milestone in China’s modern nation-building. It was the first time members of the public had entered the Inner Court, the residence halls of the emperors and the most sacred space in imperial China.
Under a provisional governance structure, the Museum established departments for antiquities, library services, and general affairs, fulfilling modern museum roles of collection, preservation, exhibition, research, and publishing. Despite four reorganisations during the warlord conflicts (1926-1928), support from dedicated staff and public figures kept it operating.
In 1928, the Nationalist Government issued two constitutions, the first museum-related legislation in China’s history. They provided the Palace Museum with legal status, defined governance, and state protection during a time of political instability.
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Opening Ceremony on the founding of the Palace Museum in front of the Taihe Dian (Hall of Supreme Harmony). Huang Fu, Acting Premier of the Republic of China and a trustee of the Museum, gave a speech. © The Palace Museum
Opening Ceremony on the founding of the Palace Museum in front of the Taihe Dian (Hall of Supreme Harmony). Huang Fu, Acting Premier of the Republic of China and a trustee of the Museum, gave a speech. © The Palace Museum
Bird’s eye view of the Palace Museum in the 1920s from the north. The name plaque of the Palace Museum in elegant calligraphy features prominently on the Shenwu Men (Gate of Divine Prowess). © The Palace Museum
Bird’s eye view of the Palace Museum in the 1920s from the north. The name plaque of the Palace Museum in elegant calligraphy features prominently on the Shenwu Men (Gate of Divine Prowess). © The Palace Museum
Large numbers of visitors walking through the Zunyi Men (Gate of Righteous Order) of the Museum on the first day of the opening, 10th October 1925. Photograph digitised by Wei Wenhan
Large numbers of visitors walking through the Zunyi Men (Gate of Righteous Order) of the Museum on the first day of the opening, 10th October 1925. Photograph digitised by Wei Wenhan
Visitors at the Palace Museum. While the restoration of the historic building and the collection audit progressed, the Museum gradually expanded its opening areas. © The Palace Museum
Visitors at the Palace Museum. While the restoration of the historic building and the collection audit progressed, the Museum gradually expanded its opening areas. © The Palace Museum
Inside view of the Taiji Dian (Hall of Supreme Polarity). This is an in-situ display of a former imperial living space. For important halls of historical significance, the Palace Museum preserved their original layout. After carrying out essential preservation work, they were opened to the public in their original courtly form, allowing visitors to experience authentic scenes of the emperors’ work and daily life. © The Palace Museum
Inside view of the Taiji Dian (Hall of Supreme Polarity). This is an in-situ display of a former imperial living space. For important halls of historical significance, the Palace Museum preserved their original layout. After carrying out essential preservation work, they were opened to the public in their original courtly form, allowing visitors to experience authentic scenes of the emperors’ work and daily life. © The Palace Museum
Cases of porcelain on display in Gallery Nine at the Palace Museum. Side halls less connected to the operation of the imperial court were renovated into dedicated artefact galleries showcasing a variety of themes. © The Palace Museum
Cases of porcelain on display in Gallery Nine at the Palace Museum. Side halls less connected to the operation of the imperial court were renovated into dedicated artefact galleries showcasing a variety of themes. © The Palace Museum
Gallery of clocks at the Tongshun Zhai (Study of Harmonious Accord) at the Antiques Exhibition Institute. The Institute displayed collections from imperial retreats, such as Yihe Yuan (Summer Palace), while the Palace Museum showcased objects from the Forbidden City. © The Palace Museum
Gallery of clocks at the Tongshun Zhai (Study of Harmonious Accord) at the Antiques Exhibition Institute. The Institute displayed collections from imperial retreats, such as Yihe Yuan (Summer Palace), while the Palace Museum showcased objects from the Forbidden City. © The Palace Museum
Turbulent Times
1931-1948
In 1931, Japan invaded northeastern China and soon established an occupation. Under the growing threat of war and political pressure, the Palace Museum began relocating most of its collection to southern China in 1933.
In 1937, Japan launched its full-scale invasion of China. The southward collection evacuation moved from place to place as Japanese forces advanced. By the end of the war in 1945, the Palace Museum staff, together with the artefacts they had escorted and protected, had overcome tremendous difficulties and travelled over 1,000 miles across China.
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Audit of Qing archives by staff from the Department of Archives in 1931. © The Palace Museum
Audit of Qing archives by staff from the Department of Archives in 1931. © The Palace Museum
The Palace Museum’s brief guide in English, 1932. Since its founding, the Museum has been actively engaged with global audiences. © The Palace Museum
The Palace Museum’s brief guide in English, 1932. Since its founding, the Museum has been actively engaged with global audiences. © The Palace Museum
Staff group photograph on the occasion of welcoming Yuan Tongli, the Head of the Library, returning from an international museum conference in 1934. © The Palace Museum
Staff group photograph on the occasion of welcoming Yuan Tongli, the Head of the Library, returning from an international museum conference in 1934. © The Palace Museum
The Palace Museum has received many international visitors since its opening. This photograph features John Calvin Ferguson (third from the left), a prominent American scholar and collector of Chinese art. The building of global academic networks promotes research on Chinese art and history, as well as the exchange of museum best practice. © The Palace Museum
The Palace Museum has received many international visitors since its opening. This photograph features John Calvin Ferguson (third from the left), a prominent American scholar and collector of Chinese art. The building of global academic networks promotes research on Chinese art and history, as well as the exchange of museum best practice. © The Palace Museum
Objects were arranged and clearly labelled as the first batch of the collection was prepared for the southward evacuation in 1933. The Palace Museum also took a leading role in coordinating the collection moves for a number of other institutions, such as the Antiques Exhibition Institute. This marked the start of an odyssey that lasted over a decade and crossed thousands of miles. © The Palace Museum
Objects were arranged and clearly labelled as the first batch of the collection was prepared for the southward evacuation in 1933. The Palace Museum also took a leading role in coordinating the collection moves for a number of other institutions, such as the Antiques Exhibition Institute. This marked the start of an odyssey that lasted over a decade and crossed thousands of miles. © The Palace Museum
Staff from the Antiques Exhibition Institute packing bronze vessels into wooden boxes, 1933. Due to the tremendous size of the collections, over 13,000 crates of objects were divided into five batches to be packed and transported by departments or organisations. © The Palace Museum
Staff from the Antiques Exhibition Institute packing bronze vessels into wooden boxes, 1933. Due to the tremendous size of the collections, over 13,000 crates of objects were divided into five batches to be packed and transported by departments or organisations. © The Palace Museum
Map of southward and westward evacuations of the Palace Museum collections
© Zhou Ziyu
© The Palace Museum
© The Palace Museum
The vast courtyard in front of the Taihe Men (Gate of Supreme Harmony). In 1933, it was filled with crates, people and carts. This photograph shows the third batch of collections being loaded onto carts for departure.
© The Palace Museum
© The Palace Museum
The first main destination of the southward evacuation was Nanjing, the capital of the Nationalist Government.
Despite funding being extremely tight, the Palace Museum commissioned a collections store for the newly established Nanjing branch. It was the second purpose-built museum store in China.
This photograph commemorates the completion of the storage facility in September 1936. However, only around a year later, the collections had to be back on the road again. Japanese troops sacked Nanjing in December 1937, an episode which included the infamous Nanjing Massacre.
© The Palace Museum
© The Palace Museum
The Palace Museum staff members devoted their lives to protecting the nation’s most valuable artefacts through the war years (1931-1945).
This photograph taken near Baoji shows Na Chih-Liang in front of a lorry with crates of objects during the westward evacuation. Mr Na (1908-1998) was a member of the Palace Museum staff who couriered large numbers of the collections to safety.
© The Palace Museum
© The Palace Museum
Two lorries with collections on a ferryboat across a river. Due to the short notice and the need to move fast ahead of the Japanese military advancement, small local wooden boats were hired for transporting the vehicles in batches.
© The Palace Museum
© The Palace Museum
Lorries loaded with objects driving through deep water. The westward journey was fraught with danger.
© The Palace Museum
© The Palace Museum
Lorries with collection crates driving past Qianfo Ya (Cliff of Thousand Buddha) in Leshan, Sichuan province, 1939.
This is a rare photograph capturing the steep cliffs and rugged terrain of western China and the perils of the journey.
© The Palace Museum
© The Palace Museum
Temporary storage in Emei Mountain, Sichuan Province, 1940. The high mountains, deep gorges and winding rivers create a natural fortress around Sichuan.
With few access routes through the treacherous landscapes, Sichuan remained a stronghold for China’s wartime government and a refuge for civilians and the Palace Museum treasures until victory over Japan in 1945.
© The Palace Museum
© The Palace Museum
Back at the Palace Museum, between 1937 and 1945 Beijing was under Japanese occupation.
In 1944, the vats from across the Museum were gathered in front of the Shenwu Men (Gate of Divine Prowess) to be melted down and recast into equipment for the Japanese army.
© Photo: Royal Academy of Arts, London. (RA ref. PL020069)
© Photo: Royal Academy of Arts, London. (RA ref. PL020069)
Despite this period of conflict, the Palace Museum participated in the 1935-1936 International Exhibition of Chinese Art at the Royal Academy of Arts in London with a loan of over 700 treasured objects. As the first comprehensive global show of Chinese art, it served to promote China’s national heritage and to further its cultural diplomacy in the context of Japanese military aggression.
In 1945, the Allied victory over Japan brought World War II to a close, ending the Japanese occupation of China.
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The loading of 93 collection crates onto HMS Suffolk in Shanghai, June 1935. The 1935-1936 International Exhibition of Chinese Art in London took place during Japan’s occupation of northeast China. The Chinese government coordinated the loan of 1,022 historical artefacts from a number of public institutions, the first at such a scale. The 735 imperial treasures from the Palace Museum formed the core. The security of these artefacts was of the highest priority, and the British Government agreed to provide all possible precautionary measures during transportation and exhibition. Among these, the Admiralty provided HMS Suffolk to ensure the safe transfer of the collection crates from Shanghai to Portsmouth. © The Palace Museum
The loading of 93 collection crates onto HMS Suffolk in Shanghai, June 1935. The 1935-1936 International Exhibition of Chinese Art in London took place during Japan’s occupation of northeast China. The Chinese government coordinated the loan of 1,022 historical artefacts from a number of public institutions, the first at such a scale. The 735 imperial treasures from the Palace Museum formed the core. The security of these artefacts was of the highest priority, and the British Government agreed to provide all possible precautionary measures during transportation and exhibition. Among these, the Admiralty provided HMS Suffolk to ensure the safe transfer of the collection crates from Shanghai to Portsmouth. © The Palace Museum
Group photo of Captain Errol Manners, museum staff, Chinese government representatives, and collection crates on the deck of HMS Suffolk. Fourth from the left is Ma Heng, Director of the Palace Museum. The objects and related paperwork were packed in bespoke crates, ensuring protection from dampness and stormy weather. The journey took 48 days across over 10,000 nautical miles. © The Palace Museum
Group photo of Captain Errol Manners, museum staff, Chinese government representatives, and collection crates on the deck of HMS Suffolk. Fourth from the left is Ma Heng, Director of the Palace Museum. The objects and related paperwork were packed in bespoke crates, ensuring protection from dampness and stormy weather. The journey took 48 days across over 10,000 nautical miles. © The Palace Museum
With the safe arrival of the collection crates at the Royal Academy of Arts in London, a ceremony was held on 17th September 1935 to open the crates, check against the inventory, and audit the condition of the objects. This was attended by representatives from both the Chinese and British organisation committees. © The Palace Museum
With the safe arrival of the collection crates at the Royal Academy of Arts in London, a ceremony was held on 17th September 1935 to open the crates, check against the inventory, and audit the condition of the objects. This was attended by representatives from both the Chinese and British organisation committees. © The Palace Museum
Royal Academy poster for the International Exhibition of Chinese Art. It was designed by Lin Huiyin, recognised as the first female architect in modern China. This poster is based on ink rubbings from Han dynasty stone steles of the 2nd century CE. It effectively employs the depth of China’s artistic heritage to advertise this significant international exhibition. © Photo: Royal Academy of Arts, London. (RA ref. PL020069)
Royal Academy poster for the International Exhibition of Chinese Art. It was designed by Lin Huiyin, recognised as the first female architect in modern China. This poster is based on ink rubbings from Han dynasty stone steles of the 2nd century CE. It effectively employs the depth of China’s artistic heritage to advertise this significant international exhibition. © Photo: Royal Academy of Arts, London. (RA ref. PL020069)
The Amitabha Buddha in the Central Hall. The plan of the galleries was arranged around the Central Hall and Lecture Room in chronological order of Chinese dynasties from the Shang to the 18th century of the Qing. As the first comprehensive global show of Chinese art, the exhibition displayed 3,080 objects loaned from 15 countries. It received unprecedented success, with over 420,000 people visiting the exhibition during the 14-week show. © Photo: Royal Academy of Arts, London. (RA ref. 05/3625)
The Amitabha Buddha in the Central Hall. The plan of the galleries was arranged around the Central Hall and Lecture Room in chronological order of Chinese dynasties from the Shang to the 18th century of the Qing. As the first comprehensive global show of Chinese art, the exhibition displayed 3,080 objects loaned from 15 countries. It received unprecedented success, with over 420,000 people visiting the exhibition during the 14-week show. © Photo: Royal Academy of Arts, London. (RA ref. 05/3625)
Buddhist sculptures on display in the Lecture Room. The Exhibition also included 16 official lectures, given by specialists on various subjects of Chinese art. Due to high demand, an additional eight lectures were added in early 1936. © Photo: Royal Academy of Arts, London. (RA ref. 05/3628)
Buddhist sculptures on display in the Lecture Room. The Exhibition also included 16 official lectures, given by specialists on various subjects of Chinese art. Due to high demand, an additional eight lectures were added in early 1936. © Photo: Royal Academy of Arts, London. (RA ref. 05/3628)
The surrender of Japan ceremony in northern China took place in front of the Taihe Dian (Hall of Supreme Harmony), Palace Museum on 10th October 1945. Over 200,000 people poured into the Museum to witness and celebrate this significant moment.
Following the end of the war, the Antiques Exhibition Institute merged with the Palace Museum in 1948. It brought the entire Forbidden City under unified management, greatly improving its governance and preservation.
Image courtesy of Historical Photographs of China Project, University of Bristol (www.hpcbristol.net). Stanfield Family Collection JS03-042
Image courtesy of Historical Photographs of China Project, University of Bristol (www.hpcbristol.net). Stanfield Family Collection JS03-042
The surrender of Japan ceremony in northern China took place in front of the Taihe Dian (Hall of Supreme Harmony), Palace Museum on 10th October 1945. Over 200,000 people poured into the Museum to witness and celebrate this significant moment.
© The Palace Museum
© The Palace Museum
Following the end of the war, the Antiques Exhibition Institute merged with the Palace Museum in 1948. It brought the entire Forbidden City under unified management, greatly improving its governance and preservation.
Preservation and Transformation
1949-1999
Historic Buildings and Collections
The founding of the People’s Republic of China on 1st October 1949 marked the end of nearly half a century of warfare in China. The Palace Museum has established the protection of cultural artefacts and historic architecture as the core of all its work.
Years of conflict and turmoil took a heavy toll on the historic buildings of the Palace Museum. Despite enduring severe financial hardships, the government has managed to provide crucial funding to support the Museum since the 1950s.
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During a project to restore the Leshou Tang (Hall of Joyful Longevity), a Construction Competition Campaign was organised, fostering collective effort and collaboration, as well as promoting cultural heritage as a symbol of national pride. The entire workforce poses for a commemorative photograph at the Campaign in 1953. © The Palace Museum
During a project to restore the Leshou Tang (Hall of Joyful Longevity), a Construction Competition Campaign was organised, fostering collective effort and collaboration, as well as promoting cultural heritage as a symbol of national pride. The entire workforce poses for a commemorative photograph at the Campaign in 1953. © The Palace Museum
Conservation in progress at the Donghua Men (Gate of East Prosperity) in 1956. © The Palace Museum
Conservation in progress at the Donghua Men (Gate of East Prosperity) in 1956. © The Palace Museum
The restoration of the Northwest Corner Tower of the palace wall was completed in 1957. It is a complex structure that contains nine beams, 18 columns, and 72 roof ridges. This photograph features all the people involved, from carpenters, tilers, and scaffolders responsible for construction, to engineers, project managers, historians, and master craftsmen, showcasing their close collaboration. © The Palace Museum
The restoration of the Northwest Corner Tower of the palace wall was completed in 1957. It is a complex structure that contains nine beams, 18 columns, and 72 roof ridges. This photograph features all the people involved, from carpenters, tilers, and scaffolders responsible for construction, to engineers, project managers, historians, and master craftsmen, showcasing their close collaboration. © The Palace Museum
Not just the historic buildings suffered, but also the pavements within the Museum. This photograph captures workers labouring hard to resurface the road. © The Palace Museum
Not just the historic buildings suffered, but also the pavements within the Museum. This photograph captures workers labouring hard to resurface the road. © The Palace Museum
The Palace Museum was designated as a Major Historic and Cultural Site Protected at the National Level in 1961. It provided legal protection, conservation resources, and national recognition to the Museum. © The Palace Museum
The Palace Museum was designated as a Major Historic and Cultural Site Protected at the National Level in 1961. It provided legal protection, conservation resources, and national recognition to the Museum. © The Palace Museum
The restored moat, a view of the Northeastern Corner Tower in 1999. The moat is the wide defensive water channel that encircles the Forbidden City. The Palace Museum carried out extensive moat restoration and management work throughout the 1990s. © The Palace Museum
The restored moat, a view of the Northeastern Corner Tower in 1999. The moat is the wide defensive water channel that encircles the Forbidden City. The Palace Museum carried out extensive moat restoration and management work throughout the 1990s. © The Palace Museum
New cataloguing systems were introduced from the 1950s. Those artefacts from the former imperial Qing palaces are inventoried in the ‘Gu’ category, meaning ‘former imperial collection’. Meanwhile, new objects entered the Museum through donations from individual collectors and artists, repatriations after the War of Resistance against Japanese Aggression (1931-1945), assignments by the government, and purchases. These are assigned inventory numbers starting with ‘Xin’, meaning ‘recent accession’. Photograph provided by Lyu Shaoyin
New cataloguing systems were introduced from the 1950s. Those artefacts from the former imperial Qing palaces are inventoried in the ‘Gu’ category, meaning ‘former imperial collection’. Meanwhile, new objects entered the Museum through donations from individual collectors and artists, repatriations after the War of Resistance against Japanese Aggression (1931-1945), assignments by the government, and purchases. These are assigned inventory numbers starting with ‘Xin’, meaning ‘recent accession’. Photograph provided by Lyu Shaoyin
Guanyin statue, the first object registered under the Gu category. This large silver-inlaid bronze statue is inscribed with ‘Shisou’, the artist’s name. He was a renowned master of Buddhist statue casting who lived in the early 17th century of the late Ming dynasty. © Zhao Shan
Guanyin statue, the first object registered under the Gu category. This large silver-inlaid bronze statue is inscribed with ‘Shisou’, the artist’s name. He was a renowned master of Buddhist statue casting who lived in the early 17th century of the late Ming dynasty. © Zhao Shan
Handscroll titled The Qianlong Emperor’s Southern Inspection Tour (12th volume) was a significant donation by Jin Jiashen in 1984. Painted by court artist Xu Yang, the series documents Emperor Qianlong’s southern tours in the year 1751. This photograph is a section of the silk handscroll showing the imperial tour entourage returning to the Forbidden City. © Liu Zhigang
Handscroll titled The Qianlong Emperor’s Southern Inspection Tour (12th volume) was a significant donation by Jin Jiashen in 1984. Painted by court artist Xu Yang, the series documents Emperor Qianlong’s southern tours in the year 1751. This photograph is a section of the silk handscroll showing the imperial tour entourage returning to the Forbidden City. © Liu Zhigang
Three-colour glazed horse from the Tang dynasty (618-907 CE). This horse figurine is part of a large donation by Zheng Zhenduo (1898-1958), a writer, translator and pioneer in cultural heritage work. © Zhao Shan
Three-colour glazed horse from the Tang dynasty (618-907 CE). This horse figurine is part of a large donation by Zheng Zhenduo (1898-1958), a writer, translator and pioneer in cultural heritage work. © Zhao Shan
This elaborate bronze zun vessel decorated with three ram heads dates to the late Shang dynasty (c.1250-1046 BCE). It was purchased in 1956 with funding support from the government. © Hu Chui
This elaborate bronze zun vessel decorated with three ram heads dates to the late Shang dynasty (c.1250-1046 BCE). It was purchased in 1956 with funding support from the government. © Hu Chui
This astronomical clock was assigned to the Palace Museum collection by the government. An almost identical clock is part of the Oriental Museum collection. © Hu Chui
This astronomical clock was assigned to the Palace Museum collection by the government. An almost identical clock is part of the Oriental Museum collection. © Hu Chui
Photograph digitised by Yu Ningchuan
Photograph digitised by Yu Ningchuan
Opening to the World
The Palace Museum gradually emerged on the world stage through cultural exchanges, international exhibitions, and scholarly collaborations.
As one of the most recognised cultural icons, the Museum has always played a significant role in China’s diplomatic relationships with the world.
In 1987, the listing of the Palace Museum as a UNESCO World Heritage Site demonstrated global recognition of its outstanding cultural and universal value.
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British diplomat Malcolm MacDonald (1901-1981) visited China in 1962 as a personal guest of Chinese senior government officials. During a tour of the Palace Museum, he was delighted to see the preservation efforts of the historic buildings since his last visit in 1948. As a gesture to support China’s cultural heritage development, he made a cheque donation of £100 for the purchase of a large Song celadon bowl from the Yaozhou kiln for the Museum collection. © Zhao Shan
British diplomat Malcolm MacDonald (1901-1981) visited China in 1962 as a personal guest of Chinese senior government officials. During a tour of the Palace Museum, he was delighted to see the preservation efforts of the historic buildings since his last visit in 1948. As a gesture to support China’s cultural heritage development, he made a cheque donation of £100 for the purchase of a large Song celadon bowl from the Yaozhou kiln for the Museum collection. © Zhao Shan
Malcolm MacDonald was a British politician, diplomat and colonial administrator. This photograph shows a young MacDonald examining European ceramics. He spent his life collecting art, but it was Chinese ceramics that ultimately became his deepest passion. As a major benefactor of the Oriental Museum’s Chinese collections, the China gallery proudly bears his name. From 1971 to 1980, MacDonald held the Chancellor post of Durham University. Archives and Special Collections, Palace Green Library, Durham University (MAC/124/3/34)
Malcolm MacDonald was a British politician, diplomat and colonial administrator. This photograph shows a young MacDonald examining European ceramics. He spent his life collecting art, but it was Chinese ceramics that ultimately became his deepest passion. As a major benefactor of the Oriental Museum’s Chinese collections, the China gallery proudly bears his name. From 1971 to 1980, MacDonald held the Chancellor post of Durham University. Archives and Special Collections, Palace Green Library, Durham University (MAC/124/3/34)
The Palace Museum hosted a state visit of Queen Elizabeth II and Prince Philip in 1986. Photograph digitised by Sun Zhiyuan
The Palace Museum hosted a state visit of Queen Elizabeth II and Prince Philip in 1986. Photograph digitised by Sun Zhiyuan
The Palace Museum/Forbidden City, as part of the Imperial Palaces of the Ming and Qing Dynasties, was inscribed on the UNESCO World Heritage List in 1987. The listing affirms the Museum’s global cultural significance while strengthening its protection, visibility, and responsibilities as a heritage site. In 2024, UNESCO inscribed the Beijing Central Axis on the World Heritage List, highlighting the Forbidden City as symbolic of China’s historic urban planning and ensuring its protection under an internationally recognised framework. Photograph digitised by Yu Ningchuan
The Palace Museum/Forbidden City, as part of the Imperial Palaces of the Ming and Qing Dynasties, was inscribed on the UNESCO World Heritage List in 1987. The listing affirms the Museum’s global cultural significance while strengthening its protection, visibility, and responsibilities as a heritage site. In 2024, UNESCO inscribed the Beijing Central Axis on the World Heritage List, highlighting the Forbidden City as symbolic of China’s historic urban planning and ensuring its protection under an internationally recognised framework. Photograph digitised by Yu Ningchuan
A New Era
The 21st Century
© Jin Yueping
© Jin Yueping
A Safe Museum
The Palace Museum safeguards and presents the Forbidden City as a whole, the world’s largest preserved palace complex.
The Museum has undergone major infrastructure upgrades, the planning and construction of a new north branch, the implementation of a World Cultural Heritage monitoring programme, and rigorous fire safety inspections. Together, these efforts ensure a safe environment for the buildings, collections and visitors.
Between 2004 and 2010, the Museum carried out the 5th collection audit, which revealed a total of 1.86 million (sets of) objects.
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The core of the Palace Museum collection is the imperial treasures, together with items from daily and ritual use. Many of the objects came from other countries, and they were acquired through international trade, diplomatic gifts, and tribute. This collage photograph showcases 25 significant objects from the 25 categories of the Palace Museum collections. © The Palace Museum
The core of the Palace Museum collection is the imperial treasures, together with items from daily and ritual use. Many of the objects came from other countries, and they were acquired through international trade, diplomatic gifts, and tribute. This collage photograph showcases 25 significant objects from the 25 categories of the Palace Museum collections. © The Palace Museum
Organisation of objects by typology with temperature and humidity control in the underground collection storage. © Zhao Zengjian
Organisation of objects by typology with temperature and humidity control in the underground collection storage. © Zhao Zengjian
Regular collection management and audit. Photograph provided by Zhao Zengjian
Regular collection management and audit. Photograph provided by Zhao Zengjian
Staff placing objects carefully within a case during an exhibition installation. © Sun Wenjing
Staff placing objects carefully within a case during an exhibition installation. © Sun Wenjing
Architect’s vision for the new north branch. The Palace Museum’s main complex emphasises the preservation of historic buildings, limiting large-scale dedicated display space. The north branch, a purpose-built space with modern facilities, provides advanced conservation and exhibition areas, greatly expanding capacity and enabling better display of objects and their condition monitoring. Provided by the North Branch Management Office of the Palace Museum
Architect’s vision for the new north branch. The Palace Museum’s main complex emphasises the preservation of historic buildings, limiting large-scale dedicated display space. The north branch, a purpose-built space with modern facilities, provides advanced conservation and exhibition areas, greatly expanding capacity and enabling better display of objects and their condition monitoring. Provided by the North Branch Management Office of the Palace Museum
Fire drills are vital for the Palace Museum, the largest wooden historical building complex in the world. These practices ensure an efficient emergency response, safeguard the architecture, artefacts, and people, and ensure the long-term protection of cultural heritage. © Jin Yueping
Fire drills are vital for the Palace Museum, the largest wooden historical building complex in the world. These practices ensure an efficient emergency response, safeguard the architecture, artefacts, and people, and ensure the long-term protection of cultural heritage. © Jin Yueping
A Scholarly Museum
The Palace Museum is committed to integrating academic research with its heritage preservation efforts.
This initiative encompasses scholarly research, talent cultivation, and international collaboration, aiming to establish the museum as a leading centre for the study and protection of Chinese traditional culture.
Select the images below to find out more
‘Taihe Scholar’ Professor Christopher Cullen from University of Cambridge giving a lecture at the Palace Museum in 2024. © The Palace Museum
‘Taihe Scholar’ Professor Christopher Cullen from University of Cambridge giving a lecture at the Palace Museum in 2024. © The Palace Museum
In 2021, the Palace Museum initiated the Talent Programme for the training of junior staff members by senior specialists. This photograph commemorates the appointment of the specialists for the Talent Programme. © The Palace Museum
In 2021, the Palace Museum initiated the Talent Programme for the training of junior staff members by senior specialists. This photograph commemorates the appointment of the specialists for the Talent Programme. © The Palace Museum
The Palace Museum former Executive Deputy Director LI Ji with Dr Derek Kennet from the Department of Archaeology, Durham University. This meeting in 2013 marked the start of a long-term collaborative partnership between the Palace Museum and Durham University. © Jin Yueping
The Palace Museum former Executive Deputy Director LI Ji with Dr Derek Kennet from the Department of Archaeology, Durham University. This meeting in 2013 marked the start of a long-term collaborative partnership between the Palace Museum and Durham University. © Jin Yueping
Material analysis of the hanging screens in the Fuwang Ge (Belvedere of Viewing Achievements) of the Qianlong Garden to identify the composition and condition of the artefacts. The Garden, built between 1771 and 1776 in the northeast corner of the Forbidden City, reflects Emperor Qianlong’s (1711-1799 CE) tastes and features innovative interior decorations. A major restoration project began in 2001, in collaboration with the World Monuments Fund, using traditional craftsmanship and scientific conservation techniques to renovate and preserve the Garden’s authenticity. © Si Bing
Material analysis of the hanging screens in the Fuwang Ge (Belvedere of Viewing Achievements) of the Qianlong Garden to identify the composition and condition of the artefacts. The Garden, built between 1771 and 1776 in the northeast corner of the Forbidden City, reflects Emperor Qianlong’s (1711-1799 CE) tastes and features innovative interior decorations. A major restoration project began in 2001, in collaboration with the World Monuments Fund, using traditional craftsmanship and scientific conservation techniques to renovate and preserve the Garden’s authenticity. © Si Bing
Ageing simulation experiment on the decorative paintings of the Fuwang Ge (Belvedere of Viewing Achievements) of the Qianlong Garden as part of the renovation project. © Si Bing
Ageing simulation experiment on the decorative paintings of the Fuwang Ge (Belvedere of Viewing Achievements) of the Qianlong Garden as part of the renovation project. © Si Bing
Using an X-ray fluorescence spectrometer to scan a large porcelain vessel in the laboratory. This machine has an especially large chamber to accommodate sizeable objects in the museum collection. Known as the ‘Object Hospital’, the Palace Museum has the largest conservation and scientific research labs in China with over 100 professionals and the most advanced research facilities. © Liu Mingjie
Using an X-ray fluorescence spectrometer to scan a large porcelain vessel in the laboratory. This machine has an especially large chamber to accommodate sizeable objects in the museum collection. Known as the ‘Object Hospital’, the Palace Museum has the largest conservation and scientific research labs in China with over 100 professionals and the most advanced research facilities. © Liu Mingjie
In Chinese art history, calligraphy and paintings are considered the highest forms of artistic expression. The preservation of calligraphy and paintings over the centuries relies heavily on the arts of mounting and restoration. They require highly skilled techniques using specialised materials and tools. The Palace Museum has taken the lead in preserving this intangible heritage through a traditional ‘master-apprentice system’, which has now been passed down through four generations. Follow the link to watch the process of conserving a historic painting in the Chinese language. Photograph provided by Zhao Zengjian
In Chinese art history, calligraphy and paintings are considered the highest forms of artistic expression. The preservation of calligraphy and paintings over the centuries relies heavily on the arts of mounting and restoration. They require highly skilled techniques using specialised materials and tools. The Palace Museum has taken the lead in preserving this intangible heritage through a traditional ‘master-apprentice system’, which has now been passed down through four generations. Follow the link to watch the process of conserving a historic painting in the Chinese language. Photograph provided by Zhao Zengjian
This photograph shows the carving of a wooden ornament by a skilled carpenter. Carpentry is part of the Official-Style Historic Architectural Craftsmanship, also known as the ‘Eight Trades’, consisting of Earthworks, Masonry, Scaffolding, Carpentry, Tilework, Painting, Color Painting, and Papering. It represents a comprehensive and strictly regulated system of traditional official-style construction techniques. Follow the link to watch a short 8-part documentary. © Liu Zhigang
This photograph shows the carving of a wooden ornament by a skilled carpenter. Carpentry is part of the Official-Style Historic Architectural Craftsmanship, also known as the ‘Eight Trades’, consisting of Earthworks, Masonry, Scaffolding, Carpentry, Tilework, Painting, Color Painting, and Papering. It represents a comprehensive and strictly regulated system of traditional official-style construction techniques. Follow the link to watch a short 8-part documentary. © Liu Zhigang
For the renovation project of the Yangxin Dian (Hall of Mental Cultivation), many experiments were carried out to revive lost craftsmanship, while scientifically analysing their durability and protective qualities. This photograph shows a staff member testing ground-layer oil decoration on a wooden frame. © Xiao Yi
For the renovation project of the Yangxin Dian (Hall of Mental Cultivation), many experiments were carried out to revive lost craftsmanship, while scientifically analysing their durability and protective qualities. This photograph shows a staff member testing ground-layer oil decoration on a wooden frame. © Xiao Yi
© The Palace Museum
© The Palace Museum
A Digital Museum
The Palace Museum has incorporated digital technology to preserve, study, and share its collections and heritage. Using 3D scanning, virtual reality, high-resolution imaging and online databases, it creates digital replicas of artefacts and historic spaces.
This approach facilitates research, aids conservation, and allows global audiences to explore the Forbidden City remotely, extending its cultural impact beyond the physical site.
Select the images below to find out more. You can also follow the links in the images to explore digital resources produced by the Palace Museum.
Digitising the Palace Museum’s collections, given their vast size, represents a monumental effort. It allows for wider public access, preserves fragile artefacts through digital records, and facilitates research and education. Click the image to follow the link to view the online collection database of the Palace Museum. © The Palace Museum
Digitising the Palace Museum’s collections, given their vast size, represents a monumental effort. It allows for wider public access, preserves fragile artefacts through digital records, and facilitates research and education. Click the image to follow the link to view the online collection database of the Palace Museum. © The Palace Museum
Click the link in the image to learn about a 3D model of an intricately carved red lacquer dish in the shape of a silver ingot dating to the Jiajing reign (1522-1566 CE) of the Ming dynasty. © The Palace Museum
Click the link in the image to learn about a 3D model of an intricately carved red lacquer dish in the shape of a silver ingot dating to the Jiajing reign (1522-1566 CE) of the Ming dynasty. © The Palace Museum
2024 is the year of loong (Chinese dragons). This photograph is a jade loong pendant of the Neolithic Hongshan culture (c. 4000-3000 BCE) in the Palace Museum collection. It is one of the earliest representations of loong, one of the most powerful and sacred symbols in Chinese culture. Click the link in the image to discover loong in a Palace Museum online exhibition. © Hu Chui
2024 is the year of loong (Chinese dragons). This photograph is a jade loong pendant of the Neolithic Hongshan culture (c. 4000-3000 BCE) in the Palace Museum collection. It is one of the earliest representations of loong, one of the most powerful and sacred symbols in Chinese culture. Click the link in the image to discover loong in a Palace Museum online exhibition. © Hu Chui
The Digital Pavilion at the Duan Men (Gate of Correct Deportment), opened in 2015, is China’s first fully digital exhibition hall that innovatively integrates historic architecture with modern digital technology. © The Palace Museum
The Digital Pavilion at the Duan Men (Gate of Correct Deportment), opened in 2015, is China’s first fully digital exhibition hall that innovatively integrates historic architecture with modern digital technology. © The Palace Museum
A Vibrant Museum
The Palace Museum actively brings its heritage to life for contemporary audiences through educational programmes, TV and film productions, cultural souvenirs, and creative public engagement.
Its work extends internationally through collaborations on overseas exhibitions and archaeological excavations, fostering global appreciation of the Museum and showcasing the ongoing cultural and scholarly significance of China’s heritage.
Select the images below to find out more
Cultural souvenir examples from the Palace Museum gift shops. Photograph provided by the Digital and Information Department of the Palace Museum
Cultural souvenir examples from the Palace Museum gift shops. Photograph provided by the Digital and Information Department of the Palace Museum
‘Palace Museum Knowledge Class’ for school visitors. This photograph shows students carrying out the gongdao bei (cup of fairness) experiment. The cups suck liquid up from beneath to always ensure equal servings. Photograph provided by the Department of Publicity and Education of the Palace Museum
‘Palace Museum Knowledge Class’ for school visitors. This photograph shows students carrying out the gongdao bei (cup of fairness) experiment. The cups suck liquid up from beneath to always ensure equal servings. Photograph provided by the Department of Publicity and Education of the Palace Museum
The Palace Museum has established strategic relationships with major institutions around the world and developed international collaborative exhibitions for global audiences. The China: The Three Emperors 1662-1795 exhibition opened at the Royal Academy of Arts, London, in 2005.
This photograph shows Queen Elizabeth II with lead-curator of the exhibition Professor Dame Jessica Rawson, a renowned sinologist and art historian. © Wang Zining
This photograph shows Queen Elizabeth II with lead-curator of the exhibition Professor Dame Jessica Rawson, a renowned sinologist and art historian. © Wang Zining
The Palace Museum provided 225 objects to the Three Emperors exhibition. One highlight is a large painting titled The Qianlong Emperor in Ceremonial Armour on Horseback. This silk hanging scroll was painted by Giuseppe Castiglione (Chinese name Lang Shining, 1688-1766 CE), an Italian Jesuit painter who served in the Chinese imperial court. This painting monumentally depicts the emperor and his horse in a manner akin to European equestrian portraiture. This glorified the Qianlong Emperor (1711-1799 CE) as both a mighty military commander and a wise ruler. © Feng Hui
The Palace Museum provided 225 objects to the Three Emperors exhibition. One highlight is a large painting titled The Qianlong Emperor in Ceremonial Armour on Horseback. This silk hanging scroll was painted by Giuseppe Castiglione (Chinese name Lang Shining, 1688-1766 CE), an Italian Jesuit painter who served in the Chinese imperial court. This painting monumentally depicts the emperor and his horse in a manner akin to European equestrian portraiture. This glorified the Qianlong Emperor (1711-1799 CE) as both a mighty military commander and a wise ruler. © Feng Hui
Jade boulder titled The Nine Elders of Huichang. It is over one metre high and weighs over 820 kilos. It represents an elegant gathering of nine scholarly friends in the spring of 845 CE of the Tang dynasty. This jade mountain is a grand monument that celebrates the ideal of scholarly virtue. © Hu Chui
Jade boulder titled The Nine Elders of Huichang. It is over one metre high and weighs over 820 kilos. It represents an elegant gathering of nine scholarly friends in the spring of 845 CE of the Tang dynasty. This jade mountain is a grand monument that celebrates the ideal of scholarly virtue. © Hu Chui
Gilt bronze instrument for celestial observation. Made in the Palace Workshop in 1746, this instrument tells the time through observations of the sun, moon and other stars. It is an important device for both court ritual and practical use. © Liu Zhigang
Gilt bronze instrument for celestial observation. Made in the Palace Workshop in 1746, this instrument tells the time through observations of the sun, moon and other stars. It is an important device for both court ritual and practical use. © Liu Zhigang
Porcelain moon flask with dragons among clouds and bats above rocks and waves. This flask is decorated with underglaze blue and overglaze enamels and gilding. It is a fine example of a decorative piece as part of a pair for use in palace rooms. © Liu Zhigang
Porcelain moon flask with dragons among clouds and bats above rocks and waves. This flask is decorated with underglaze blue and overglaze enamels and gilding. It is a fine example of a decorative piece as part of a pair for use in palace rooms. © Liu Zhigang
In May 2017, a Durham University archaeological team had the privilege of becoming the first international group to participate in excavations at the Palace Museum.
This laid the foundation for subsequent collaborative archaeological projects undertaken by the two institutions in China, India, and the United Arab Emirates.
Objects from the Oriental Museum collection have also been displayed as part of Palace Museum exhibitions.
This photo shows students the site of the Cining Gong (Palace of Compassion and Tranquillity). The Durham and Palace Museum archaeologists exchanged excavation techniques, skills and methods. Building on the Palace Museum’s archaeological traditions, they established mutual understanding and trust in each other’s approaches. © Zhai Yi
This photo shows students the site of the Cining Gong (Palace of Compassion and Tranquillity). The Durham and Palace Museum archaeologists exchanged excavation techniques, skills and methods. Building on the Palace Museum’s archaeological traditions, they established mutual understanding and trust in each other’s approaches. © Zhai Yi
Excavation training of student archaeologists from Durham University inside the Palace Museum. Photograph provided by the Archaeological Research Institute of the Palace Museum
Excavation training of student archaeologists from Durham University inside the Palace Museum. Photograph provided by the Archaeological Research Institute of the Palace Museum
Group photograph of an international archaeological team from the 2024 season in the United Arab Emirates. Since 2017, the Palace Museum and Durham University have collaborated on excavations at Al-Mataf, a port serving the pearl fishing town of Julfar in Ras al-Khaimah near the Strait of Hormuz, the vital waterway linking the Arabian Gulf with the Indian Ocean. Photograph provided by the Archaeological Research Institute of the Palace Museum
Group photograph of an international archaeological team from the 2024 season in the United Arab Emirates. Since 2017, the Palace Museum and Durham University have collaborated on excavations at Al-Mataf, a port serving the pearl fishing town of Julfar in Ras al-Khaimah near the Strait of Hormuz, the vital waterway linking the Arabian Gulf with the Indian Ocean. Photograph provided by the Archaeological Research Institute of the Palace Museum
The joint archaeological team from the Palace Museum, Durham University, and Jilin University studying fragments of 15th-16th century Thai and Vietnamese celadon at the Ras al-Khaimah National Museum. They were excavated from the Al-Mataf site in 2019. This discovery reveals the rich diversity of finds from the site, demonstrating the cosmopolitan nature of the Indian Ocean trade, together with the economic and cultural exchanges between different civilisations of the period. © Zhang Ran
The joint archaeological team from the Palace Museum, Durham University, and Jilin University studying fragments of 15th-16th century Thai and Vietnamese celadon at the Ras al-Khaimah National Museum. They were excavated from the Al-Mataf site in 2019. This discovery reveals the rich diversity of finds from the site, demonstrating the cosmopolitan nature of the Indian Ocean trade, together with the economic and cultural exchanges between different civilisations of the period. © Zhang Ran
The joint archaeological team from the Department of Antiquities and Museums of Ras al-Khaimah, the Palace Museum, Durham University, and Jilin University uncovered a Julfar pottery jar at the Al-Mataf site in the 2019 season. Julfar pottery was closely linked to the Indian Ocean trade, and the site also yielded large quantities of Islamic glassware and Chinese trade ceramics. © Wang Guangyao
The joint archaeological team from the Department of Antiquities and Museums of Ras al-Khaimah, the Palace Museum, Durham University, and Jilin University uncovered a Julfar pottery jar at the Al-Mataf site in the 2019 season. Julfar pottery was closely linked to the Indian Ocean trade, and the site also yielded large quantities of Islamic glassware and Chinese trade ceramics. © Wang Guangyao
Exhibition poster for Longquan of the World: Longquan Celadon and Globalization at the Palace Museum, 2019. It highlighted the global influence of Longquan celadon, showcasing its artistic achievements, cultural exchange along the Silk Roads, and significance in China’s ceramic heritage. Photograph provided by Bo Haikun
Exhibition poster for Longquan of the World: Longquan Celadon and Globalization at the Palace Museum, 2019. It highlighted the global influence of Longquan celadon, showcasing its artistic achievements, cultural exchange along the Silk Roads, and significance in China’s ceramic heritage. Photograph provided by Bo Haikun
This incense burner from the Oriental Museum was a highlight in the Longquan of the World exhibition. The lantern-shaped incense burner is the only known Longquan-type celadon example of its kind in the world. © Wang Guangyao
This incense burner from the Oriental Museum was a highlight in the Longquan of the World exhibition. The lantern-shaped incense burner is the only known Longquan-type celadon example of its kind in the world. © Wang Guangyao
Display within the Longquan of the World exhibition. It was the largest quantity of Longquan celadon ever shown together, with 833 objects from 42 Chinese and international museums. Photograph provided by Zhao Zengjian
Display within the Longquan of the World exhibition. It was the largest quantity of Longquan celadon ever shown together, with 833 objects from 42 Chinese and international museums. Photograph provided by Zhao Zengjian
This photo shows the incense burner from the Oriental Museum being studied in preparation for the exhibition. The inspection was carried out by Geng Baochang, a professor at the Palace Museum aged 103. Mr Geng is a leading authority in ceramics. © Wang Guangyao
This photo shows the incense burner from the Oriental Museum being studied in preparation for the exhibition. The inspection was carried out by Geng Baochang, a professor at the Palace Museum aged 103. Mr Geng is a leading authority in ceramics. © Wang Guangyao
Nature in the Palace
© Shi Ningchang
© Shi Ningchang
The Palace Museum is not only a masterpiece of architecture and a treasure house but also a vibrant natural space.
Its gardens, waterways, and trees have been carefully preserved for centuries, providing habitats for a variety of plants and animals, and showing the harmonious coexistence of nature and culture.
Among its most charming residents are the Palace Museum’s cats, known as ‘special security guards’. They help control rats while delighting visitors, reminding us that living creatures remain an integral part of the site’s heritage.
© Shi Ningchang
© Shi Ningchang
© Sun Wenjing
© Sun Wenjing
© Shi Ningchang
© Shi Ningchang
© Shi Ningchang
© Shi Ningchang
Spring
Summer
Autumn
Winter
Images © Guo Cong, Sun Zhiyuan, Zhu Kai, Yu Ningchuan, Sun Wenjing and Jin Yueping
Male mandarin duck in spring. © Guo Cong
Male mandarin duck in spring. © Guo Cong
Pair of mandarin ducks in spring. © Guo Cong
Pair of mandarin ducks in spring. © Guo Cong
Iberian magpie under the blossom of crab apples in spring. © Sun Zhiyuan
Iberian magpie under the blossom of crab apples in spring. © Sun Zhiyuan
Young ducks swimming in the Golden Water River of the Inner Court in summer. © Zhu Kai
Young ducks swimming in the Golden Water River of the Inner Court in summer. © Zhu Kai
Crow drinking beneath the sunset’s shimmering reflection. © Guo Cong
Crow drinking beneath the sunset’s shimmering reflection. © Guo Cong
Willow trees in spring. © Zhu Kai
Willow trees in spring. © Zhu Kai
Apricot tree bearing fruits in summer. © Yu Ningchuan
Apricot tree bearing fruits in summer. © Yu Ningchuan
Golden ginkgo in autumn. © Zhu Kai
Golden ginkgo in autumn. © Zhu Kai
Persimmon tree with clusters of fruit in the winter snow. © Yu Ningchuan
Persimmon tree with clusters of fruit in the winter snow. © Yu Ningchuan
Magnolia blossoms in spring. © Sun Wenjing
Magnolia blossoms in spring. © Sun Wenjing
Wisteria flowers in spring. © Sun Wenjing
Wisteria flowers in spring. © Sun Wenjing
Spring blossom surrounding roof tiles. © Zhu Kai
Spring blossom surrounding roof tiles. © Zhu Kai
Lotus flowers in summer. © Zhu Kai
Lotus flowers in summer. © Zhu Kai
Chinese plum blossom in winter. © Jin Yueping
Chinese plum blossom in winter. © Jin Yueping
Established in 1925, the Palace Museum emerged during a period of profound transition as China evolved from imperial dynasty to Republic. It occupies a unique position in China’s modernisation and nation-building.
During its founding years, it withstood the uncertainties of political change, and the perils of the Japanese invasion, while continuing to safeguard the artistic and cultural treasures of the Chinese nation. Beginning in the 1950s, major building preservation and collection review projects laid a strong foundation for the protection of the Forbidden City’s unparalleled heritage.
In the 21st century, the Palace Museum has increasingly embraced openness, scholarship, and international dialogue, developing into a world-leading institution championing cultural preservation, research and public engagement.
Its centennial journey reflects both resilience and renewal, profoundly shaping the Museum as it is today. Looking ahead, the Museum aspires to illuminate the past while inspiring the future, weaving the stories of the Forbidden City into the lives of generations yet to come.
Acknowledgements
This exhibition was jointly organised by the Palace Museum and the Oriental Museum, Durham University.
We would like to thank the following individuals and organisations for their contributions to the exhibition: Katie Chin-Quee, Gladys Frame, Chien-hua Hu, Jian Li and the International Office (Durham University), Matthew McMurray, Isabelle Morse, Jiazhi Yao, Ran Zhang and the Department of Archaeology (Durham University), Nathan Ruopu Zhang, Ziyu Zhou, Historical Photographs of China Project (University of Bristol).
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