The Palace Museum is proud to unveil the “Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World” exhibition, which will run from April 1 to June 29, 2025. Co-organized with the Art Institute of Chicago (AIC), the exhibition unfolds within the Meridian Gate (Wu men) complex, which comprises the central main hall and two symmetrically positioned Swallow-Wing Pavilions (Yanchi Towers) that extend east and west like embracing wings.
The opening ceremony of the exhibition was held at the Hall of Embodied Treasures (Baoyun lou) on March 31, with Lou Wei, executive vice president of the Palace Museum, presiding over the ceremony. Opening remarks were delivered by Wang Xudong, director of the Palace Museum, followed by speeches from James Rondeau, director of the AIC; Élisabeth Maisonnier, chief curator of the Palace of Versailles; and Lester G. Huang, chairman of the Institute of Philanthropy.
The opening ceremony gathered nearly one hundred distinguished guests, including Gu Yucai, president of the Chinese Society of Cultural Relics; Liu Shuguang, chairman of the Chinese Museums Association; Li Rusheng, chairman of the Chinese Society of Landscape Architecture; Du Haijiang, vice president and secretary of the CPC Leadership Group of the Palace Museum; and Wen Dayan, director general of the Department of Exchanges and Cooperation (Office for the Return of Lost Cultural Relics) of the National Cultural Heritage Administration. Also present were representatives from the International Exchange and Cooperation Bureau (Hong Kong, Macao and Taiwan Affairs Office) of the Ministry of Culture and Tourism, China International Communications Group, the Beijing Municipal Government, the Forbidden City Cultural Heritage Conservation Foundation and other related associations, societies, and foundations. Members of the current and former leadership of the Palace Museum also attended. The exhibition enjoys full support from the Hong Kong Jockey Club and exclusive sponsorship from the Institute of Philanthropy.
Wang Xudong stated in his opening remarks that since the Global Civilization Initiative was first proposed, the Palace Museum has pioneered new paradigms for global cultural dialogue, creating sustainable platforms that connect China’s fine traditional culture with worldwide audiences through innovative approaches. He hoped that this exhibition will not only promote the sustainable development of cultural heritage but provide references and inspiration for the development of modern society.
James Rondeau remarked that since its establishment in 1879, the AIC has always adhered to its mission of inspiring exploration and intellectual exchange by creating artistic experiences that transcend time, civilizations, and cultures. He expressed his wish that the seeds of civilizational exchange and mutual learning sown today will continue to blossom in the future, bringing inspiration and enlightenment to countless visitors.
Élisabeth Maisonnier stated that the Palace of Versailles attached great importance to this event and lent valuable paintings depicting the palace and its gardens to this exhibition. This event builds on last year’s successful collaborative exhibition “The Forbidden City and the Palace of Versailles: Exchanges Between China and France in the 17th and 18th Centuries,” further strengthening the partnership between the two institutions.
Lester G. Huang stated that this exhibition is a key component of the “Initiative for Global Promotion of Chinese Civilization and Cultivation of Cultural-Tech Talents”—a collaborative effort between the Hong Kong Jockey Club, the Institute of Philanthropy, and the Palace Museum. By integrating art and technology, the program aims to nurture cultural-tech professionals, promote Chinese culture, and foster international exchange.
Six Themes Revealing the Joy of Woods and Springs
The exhibition takes its title, “Rejoicing in Woods and Springs,” from Emperor Qianlong’s poem inscribed on the displayed Scroll Painting of the Gaotu Vihara Pavilion. “Woods and Springs” are symbolic of the idealized natural landscapes evoked by ancient Chinese literati. “Rejoicing in Woods and Springs” conveys the idea of living in harmony with nature through gardens.
The exhibition is divided into six sections, which are Gardens and Enlightenment,” “Gardens and Antiquarianism,” “Gardens and Natures,” “Gardens and Retreats,” “Gardens and Inspiration,” and “Gardens and Recreation.” Through a collection bringing together more than 200 representative domestic and international exhibits, this event ingeniously integrates garden landscapes with literature, theatre and historical stories. Rooted in classical Chinese gardens yet embracing horticultural traditions worldwide, this exhibition orchestrates a dialogue across time and space to unveil the artistic grandeur and philosophical depth embedded in global garden artistry.
Visitors can explore classical Chinese gardens through this exhibition, such as the Northern Song (960-1127) scholar Wang Shen’s private garden, which served as the legendary site of the West Garden Gathering; Suzhou’s Dinghui Temple Garden; and the Qianlong Garden’s blending of the elegance of southern literati gardens with the grandeur of northern imperial gardens, which was commissioned by Emperor Qianlong following his inspection tours of Jiangnan (south of the lower reaches of the Yangtze River). Visitors can also discover diverse foreign gardens: Pompeian villa gardens in Italy, medieval monastic gardens, the Versailles’ garden in France, Edo-period Japanese Gardens, and Monet’s garden at Giverny. Through architectural models, detailed reconstructions and digitally immersive historical recreations, the exhibition vividly demonstrates the design philosophy behind the Forbidden City’s imperial gardens.
The exhibition features over 200 artifacts, including ancient Chinese calligraphies and paintings, cultural relics and antique furniture from the imperial palace of the Qing Dynasty (1644-1911), as well as exotic masterpieces such as Western oil paintings, sculptures, Japanese ukiyo-e prints, and Persian miniatures. Notably, 70 of them are from the AIC, the Metropolitan Museum of Art, the Yale Center for British Art, the Palace of Versailles, the National Museum of China, and the Tianjin Museum. Professor Zhu Yufan and his team from the Department of Landscape Architecture, School of Architecture, Tsinghua University participated in the coordination and design of this exhibition. The exhibition also received support from the Forbidden City Cultural Heritage Conservation Foundation.
Garden-inspired Cultural Creations at the Meridian Gate Companion Catalog Coming in April
The Northeast Chonglou Tower, one of the Meridian Gate’s side pavilions, has been repurposed into a cultural innovation gallery for this special exhibition. This immersive exhibition space artfully blends abstract spatial design with Giuseppe Castiglione’s Album of Flowers and Birds, creating a uniquely engaging visitor experience.
Dozens of garden-themed cultural and creative products will make their debut, with designs drawing inspiration from both domestic and international exhibits. These exhibits include Monthly Flower Cups, made during the reign of Emperor Kangxi, an embroidered green satin adorned with moon-hare and chrysanthemum motifs of the Qing Dynasty, Monet’s Water Lilies, Katsushika Hokusai’s Bellflower and Dragonfly and Henry Fletcher’s The Twelve Months of Flowers. This exhibition achieves a sophisticated fusion of traditional culture and modern design.
The exhibition’s accompanying catalog, Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World, is scheduled for publication in April 2025. The catalog consists of two sections: Exhibition Section and Research Section. The Exhibition Section features high-definition photos of all artifacts displayed in the exhibition. The Research Section contains eight academic articles by seven experts from the Palace Museum and Tsinghua University, conducting research and discussions on Chinese and foreign gardens from multiple perspectives such as architecture, gardening, cultural relics, and art.
No separate ticket is required—the exhibition is free with Palace Museum admission. Visitors may make real-name reservations through the Palace Museum’s multilingual website (https://bookingticket.dpm.org.cn).