Take a look and wait for N years!Reveal the rare exhibits in the Forbidden City of Hong Kong

After 4 years of planning to plan the Hong Kong Forbidden City Cultural Museum, officially opened to the public on July 3

Hong Kong Forbidden City Cultural Museum.

On the morning of the morning, the wind and rainfall could not stop the enthusiastic scene of Hong Kong citizens who came to visit. Outside the exhibition hall on the first floor, a visit to the long line came to visit the exhibition hall interactive image installation to experience some elderly people and watched the exhibition carefully.

The corner of the exhibition hall of the Hong Kong Palace Museum.

According to previous reports, as of the evening of June 26, the Hong Kong Palace Museum Cultural Museum sold or reservations sold or reservations with different ticket purchase platforms on the evening of June 26 have sold about 90 % of the special exhibition tickets of all 9 exhibition halls in all 9 exhibition halls. Looking forward to enthusiasm

On the day of opening the museum, the scientific and technological interactive exhibition attracted many audiences to experience.

Wu Zhihua, the curator of the Hong Kong Palace Museum, introduced the more than 900 cultural relics of the Palace Museum to the Cultural Relics of the Palace Museum in Hong Kong.

A number of "national treasures" appeared for the first time

"Luo Shen Fu Tu"

Maybe you still remember the underwater dance "Luo Shen Water Fu" that had been popular on the entire network before, and its prototype "Luo Shen Fu Tu" also appeared in this special exhibition.

Underwater dance "Luo Shen Water Fu". Source network

It is said that Gu Kaizhi in the Eastern Jin Dynasty was greatly moved after reading Cao Zhi's "Luo Shen Fu", which created "Luo Shen Fu Tu", which uses a detailed pen and ink to depict the sincere and pure love story of Cao Zhi and Luo Shen. In the existing ancient Chinese painting, "Luo Shen Fu Tu" was considered the first painting adapted from literary works.

Jin Gu Kaizhi (Song Qi) "Luo Shen Fu Tu" volume of the color of the volume of the color. Tuyuan Yachang Art Network

The "Luo Shen Fu Tu" (Northern Song Dynasty copy) exhibited by the Hong Kong Palace Museum of the Hong Kong Palace Museum uses silk color. To a certain extent, the copy of Gu Kaizhi's art has been retained. The picture depicts the content of "Luo Shen Fu". For example, Cao Zhi met the goddess of Luo Shui by the Loshui River in the previous paragraph. Before Cao Zhi stepped, the goddess of Luo Shui came, and when he was hidden; the latter stage was painted by the Luo god driving Liulong Cloud car, and the jade and the Wenyu were , Whale Symnomi and other accompanied by, Luo Shen looked back and looked around, reluctant.

"Jiangshan Autumn Color Map"

In addition to the "Luo Shen Fu Tu", the masterpieces exhibited by the "Treasure of the Guo Guo" also include the Southern Song (Biography) Zhao Boju's "Jiangshan Autumn" volume.

In the Southern Song Dynasty (Biography) Zhao Boju's "Jiangshan Autumn Color Picture" volume, silk color. Tuyuan Yachang Art Network

The volume of "Jiangshan Autumn Color Picture" depicts the northern landscape. The peaks are dense in the picture, the ladies are stacked, the layout is rigorous, and the outlines are fine. Its color is mainly stone green stone and green. Like "Thousands of Miles and Mountains", this is also a "green landscape map". Just as the scenery described in "Lanting Collection Preface": "There are mountains and mountains here, Mao Lin repair bamboo, and there is a clear flow and turbulence, reflecting the belt ..."

"Book of Books and Lanting Preface to the Orchid"

The displayed "Book of Lanting Pavilion", the ink color is light, the breath is ancient, and the inscriptions in the volume, 17 observations, and 104 square meters. This work was written in white hemp paper and was inferred as Tang people.

Tang (Chuan) Yu Shinan's "Book of Lan Lan Pavilion". Tuyuan Yachang Art Network

In addition, Tang (Biography) Yu Shinan's "The Book of Lan Lan Pavilion" Mi Yan "The Book of the Book Research Mountains" Zhao Yan "Xuejiang Return to the Map" in the Northern Song Dynasty, "Kaishu Summer Poetry Post" Song Zhao Mengfu "Riding Picture" Volume Southern Song Li Song "Flower Basket Picture" Qing Lang Shining's "Lion Jade" and other exhibitions are all national first -class cultural relics

Southern Song Dynasty Zhao Yan's "Jiangshan Wanli" roll paper ink. Tuyuan Yachang Art Network

It is reported that a batch of paintings and calligraphy works will be replaced every more than a month after the painting and calligraphy exhibition exhibition.

Why do ancient calligraphy and painting and cultural relics need to be "dormant" after exhibition? Li Tao, a research librarian of the Cultural Relics Protection Science and Technology Center of the Guangdong Provincial Museum, decomposed to reporters. Paper and silk are two basic materials for ancient people painting. Among the "national treasure" cultural relics exhibited this time, silk paintings account for a large proportion Essence

Li Tao explained that any light will cause certain damage to calligraphy and painting cultural relics, let alone the strong light of the flash. This is also an important reason why calligraphy and painting cultural relics need to enter the "dormant period" after the exhibition. Painting and calligraphy exhibits must also perform the steps of insect murmur before "entering the warehouse".

Cultural relic restoration room of the Guangdong Museum.

Stable temperature and humidity are essential for preservation of calligraphy and painting. "At present, it should be the smallest at this time in the summer, so it has also created the conditions of‘ the time and place of the time and the place ’.” Li Tao analyzed.

Are you interested in the Forbidden City exhibits, you may wish to travel through the time of the national treasure specialty travel group, set off!

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