In accordance with the Guiding Opinions on Promoting Information Accessibility issued by the Ministry of Industry and Information Technology and the China Disabled Persons’ Federation, the Palace Museum’s official website recently launched a suite of accessibility browsing features, to ensure equal and convenient access to digital resources and services for all members of the public. These features can be activated through the “Accessibility” button, found on the homepage. The features comply with the “General Design Specifications for Elderly-Friendly Internet Websites,” the national standard GB/T 37668-2019 “Information Technology—Internet Content Accessibility Technical Requirements and Conformance Testing,” and the relevant technical requirements of the Web Content Accessibility Guidelines (WCAG) 2.1. Through age-friendly and accessibility adaptations, the following assistance is now available to users of the official website. Visual aids that support page zoom, high-contrast display modes, color inversion, and other viewing options to improve text readability. A text-to-speech function that can read page content aloud with adjustable speech rates. Full keyboard operability: complete access to all features without requiring a mouse. Accessibility adaptations for multilingual versions (English, French, Japanese, Russian, Spanish, and Traditional Chinese), with voice broadcast available as an additional feature in the English and Traditional Chinese versions. Full compatibility with mobile devices to enhance touchscreen operation experience. The new accessibility features underscore the Palace Museum’s commitment to digital inclusion and an accessible information society. We are dedicated to ensuring barrier-free access to the best of traditional Chinese culture embodied by the Palace Museum for all, including key groups such as older adults and persons with disabilities, thereby making our cultural resources truly inclusive. This feature is currently in a trial phase. We welcome all feedback, which can be shared by clicking the “Feedback” icon on the homepage.

The Palace Museum and Prince Kung’s Palace Museum jointly unveiled an exhibition titled “Flourishing Times, New Beginnings: A Visual Chronicle from Cultural Heritage to Enriched Life” on Tuesday. The exhibition, held at the Palace of Prolonging Happiness (Yanxi gong) of the Palace Museum and the Jiale Hall at Prince Kung’s Palace Museum, is the first to connect two historic sites through a coordinated photographic narrative. More than 200 selected works by the two museums’ photographers form a dialogue between the two sites. Instead of simply documenting architecture, the exhibition explores the medium of photography — including techniques, materials, and expressive potential — to create a multidimensional, cross-disciplinary space for interpreting cultural heritage. It traces a century of architectural change and reveals how historic sites continue to resonate with contemporary life. Together, the Palace Museum and Prince Kung’s Palace Museum show how ancient architecture of the Ming (1368-1644) and Qing (1644-1911) dynasties embodied both strict ritual order and the aesthetics of daily life. While using photography to reveal the beauty of classical architecture, the exhibition also leverages uses “image archaeology” to uncover how these buildings transformed in appearance while maintaining their underlying cultural spirit. It traces the deeper cultural connotation that connects them — from imperial ceremonies to humanistic charm, from the legacy of history to the revival of tradition. Drawing on the unique layouts of the two-story gallery at the Palace of Prolonging Happiness and the courtyard of the Jiale Hall (including its main and side halls in the east and west), the exhibition is divided into three sections. The first section “Fleeting Time, Image Archaeology” uses photography as a tool that traces the history of ancient buildings. Through comparing historical and contemporary images, it reveals what has changed and what has remained over hundreds of years. The interplay between film and digital formats creates a layered sense of time, encouraging visitors to reflect not only on cultural heritage conservation practices but also on the evolving role of photographic images as historical evidence. The second section “Visual Dialogue, Grandeur of Nature” shows how nature reshapes the textures and emotional atmosphere of architecture through shifting seasons and changing light — from dawn and dusk to rain and snow, emphasizing harmony between humanity and nature. One side of the hall features the Palace Museum, with its architecture arranged along the central axis and expressing the formal grandeur of imperial ritual system; the other presents the garden of Prince Kung’s Palace Museum, where winding paths and shifting views exhibit a quiet elegance. Moving between the monumental and the intimate, visitors will enjoy the craftsmanship, structural logic, and aesthetic sensibilities that define traditional Chinese architecture — experiencing a visual transition from the realm of state to the sphere of home. The final section “People and Place, Tradition Renewed” focuses on how the public engages with historic architecture today. As people step into these ancient buildings, they give them new meaning. Former imperial spaces are now public cultural venues. Photographs of visitors within these sites show how historical heritage becomes part of everyday life today. It is people who give these once-formal spaces real meaning, helping cultural heritage shift from something remote to something familiar, and showing how historical sites can become contemporary cultural resources that enrich modern living. Two additional zones are dedicated to “Classical Techniques” and “Material Practices,” respectively. The first showcases cyanotypes, wet-plate processes, and other historical methods whose textured surfaces echo the ways architecture itself changes over time. The second transfers images onto bricks, wood, and other materials used in traditional architecture, giving photographs a physical presence — cool, solid, or rough — each carrying distinct stories and memories. Together, they form a tangible “visual archive” of ancient architecture. Cultural heritage today functions as a living organism — continually interpreted, revitalized, and rediscovered. The exhibition is not only a record of historical architecture; it also reflects the complex relationships among humanity, technology, culture, and nature. These images not only honor the grandeur of cultural relics but also reflect a deep awareness of heritage preservation. Through this joint exhibition, the Palace Museum and Prince Kung’s Palace Museum aim to build a bridge connecting viewers with photography and history. Beyond presenting the artistic appeal of the two iconic imperial sites, the exhibition invites visitors to consider how historical heritage can coexist with modern life — and how these “buildings that speak” may continue to speak today, linking past and future and opening up new possibilities for cultural expression.

To mark the 50th anniversary of diplomatic ties between China and Thailand, the Palace Museum and the Fine Arts Department of Thailand’s Ministry of Culture are proud to present “Golden Friendship, Shared Brilliance: A Special Exhibition Celebrating the 50th Anniversary of Thai-Chinese Diplomatic Relations.” The exhibition opened at the Hall of Literary Brilliance (Wenhua dian) of the Palace Museum on Tuesday and will run until February 24, 2026. Bringing together more than 240 cultural relics from both countries, the exhibition offers a panoramic view of the centuries-long exchange between China and Thailand. China and Thailand enjoy long-standing friendly ties. As early as the Western Han Dynasty (202 BC-25 AD), Chinese fleets had already reached areas near present-day Thailand. From the Tang and Song dynasties (618-1279) onward, the Maritime Silk Road flourished, fostering vibrant trade between the two sides. Beginning in the Yuan Dynasty (1271-1368), diplomatic missions became frequent, with envoys exchanging gifts across mountains and seas. These treasured objects and well-established routes of exchange stand as enduring evidence of mutual goodwill. On July 1, 1975, China and Thailand established diplomatic relations, and over the following decades, bilateral ties have continually deepened, with the peoples of both countries standing side by side and supporting each other. This exhibition looks back on a millennium of interaction between the two countries while offering a sincere tribute to 50 years of their modern diplomatic relations. The term “Jin Lin” (golden friendship), part of the exhibition’s Chinese title, is taken from ancient Chinese records describing regions in present-day Thailand known for their abundance of gold and silver. Titled “Golden Friendship, Shared Brilliance,” the exhibition symbolizes the way the two civilizations enrich each other through exchange and mutual learning, advancing together toward a bright future. The exhibition consists of four sections: “Intertwined Resplendence,” “Unwavering Devotions,” “Boundless Ingenuity,” and “Past to Present.” It employs a “dual-narrative” structure. The main narrative traces the development of Thai art, from painted pottery and bronzes unearthed from the Ban Chiang archaeological site to solemn Buddhist sculptures, refined royal artifacts, and the inheritance of modern and contemporary craftsmanship. The history embedded in these objects illustrates the development and achievements of Thai culture and art. The secondary narrative features artifacts that reflect trade between China and Thailand, diplomatic gift exchange, and technical communication, presenting a story of long-lasting cultural dialogue. Highlights from Thailand include masterpieces from 11 national museums and institutions, such as a painted pottery from the Ban Chiang National Museum; a gable end from the Ramkhamhaeng National Museum; a crowned and bejeweled Buddha Subduing Mara and a crown from the Chao Sam Phraya National Museum; a throne from the National Museum Bangkok; as well as the model of the Royal Thai Barge “Suphannahong” and Khon masks from the Office of Traditional Arts of the Fine Arts Department of Thailand’s Ministry of Culture. The Palace Museum has also selected several notable pieces from its own collection, including the gold-foil document, a porcelain bowl with polychrome overglaze and decorative motif, a white satin embroidered featuring cloud, bat, and dragon motifs, and a screen with a red sandalwood frame. The exhibition concludes with two auspicious elephant sculptures, one from the Palace Museum and one from Thailand’s Haripunchai National Museum, highlighting the shared symbolic significance of elephants in both cultures. Furthermore, the elephant serves as a metaphor linking the past and the present, reflecting the contemporary implications of the enduring friendship between China and Thailand. A companion catalog will be available and, during the show, the Palace Museum will also share the catalog through its official digital platforms and host a series of public lectures. The exhibition is jointly promoted by the Embassy of Thailand in China and supported by the Forbidden City Cultural Heritage Conservation Foundation and Thailand Foundation.

On October 27, Chinese President Xi Jinping, also general secretary of the Communist Party of China (CPC) Central Committee, visited the exhibition “A Century of Stewardship: From the Forbidden City to the Palace Museum.” In his remarks, he stated that the cultural genes of the Chinese nation are embedded in the Palace Museum, making it an important hallmark of Chinese civilization. He emphasized that protecting the Palace Museum is “a matter of great significance to the nation and a glorious mission for its staff.” Standing at a new juncture after a centennial journey, Xi called on the museum to carry forward its fine traditions, adhere to the principle that cultural relics belong to and should serve the people, strengthen relic protection and restoration, and enhance the revitalization and utilization of cultural heritage. Moreover, he also urged efforts to make the Palace Museum a major base for patriotic education and a key window through which people around the world can better understand Chinese civilization and the Chinese nation. His words deeply inspired and encouraged the museum’s staff. Upholding the principle that cultural heritage belongs to and should serve the people, the Palace Museum continues to make archaeological achievements accessible to the public. On November 3, the opening ceremony of the exhibition “Beneath the Ninefold Walls: Archaeological Discoveries from the Imperial Workshops Site in the Forbidden City” was held at the Palace Museum. The event was hosted by the Palace Museum, with the Beijing Institute of Archaeology and the Jingdezhen Imperial Kiln Institute as co-organizers. Distinguished guests in attendance included Wang Xudong, member of the Party Leadership Group of the Ministry of Culture and Tourism and director of the Palace Museum; Yan Yalin, director general of the Department of Archaeology of the National Cultural Heritage Administration; Shen Ruiwen, dean of the School of Archaeology and Museology at Peking University; and Dong Xinlin, deputy director of the Institute of Archaeology of the Chinese Academy of Social Sciences. Also present were Lou Wei, executive deputy director of the Palace Museum; representatives from the National Centre for Archaeology, the Archaeological Institute of the National Museum of China, Beijing Institute of Archaeology, the Jingdezhen Imperial Kiln Institute, and Forbidden City Cultural Heritage Conservation Foundation; as well as Zhang Hua, deputy secretary of the Party Committee and secretary-general of the China Youth Development Foundation, and Zhang Yan, chairperson of the Mercedes-Benz Star Fund Management Committee. The ceremony was presided over by Wang Yuegong, deputy director of the Palace Museum. Since October 2020, as part of the “Imperial Workshops Site Environmental Enhancement Project” and with approval from the National Cultural Heritage Administration, archaeologists of the Palace Museum have conducted a five-year excavation at the site of the Imperial Workshops (Zaoban chu). Their work has revealed relics from five historical periods, the Yuan, the early Ming, mid-to-late Ming, early Qing, and mid-to-late Qing dynasties, yielding the most significant results in the history of Forbidden City archaeology to date. These discoveries provide valuable new archaeological evidence for understanding the Forbidden City’s early history, interpreting its underground archaeological records explaining the historical and cultural value of its architecture, and enriching the study of Beijing’s architectural evolution. The exhibition presents 166 pieces (sets) of artifacts from the former site of the Imperial Workshops, displayed across two sections. The first section, “The Earth’s Archives Beneath the Forbidden City: Stratified Layers from the Yuan, Ming, and Qing Dynasties,” retraces the site’s origins through a central display platform and three thematic parts: “Echoes of the Jin and Yuan Dynasties: Layers Beneath the Ming-Qing Forbidden City,” “Emperor Yongle’s Founding Vision in Early Ming,” and “The Demolition of a Buddhist Sanctuary and the Rise of a New Ming Palace.” It reveals the hidden world beneath the Forbidden City, from remnants of the Yuan Dynasty (1271-1368) capital to solid foundations laid during the construction of the imperial palace in the Ming Dynasty (1368-1644), and the later renovations during the reign of the Ming emperor Jiajing. These archaeological layers tell the story of the imperial capital, reflecting the height of ancient Chinese craftsmanship and architectural ingenuity. The second section, “The Imperial Workshops of the Qing Court: The Artisanal Center in the Forbidden City,” features thematic areas including “gold and jade craftsmanship,” “glassware unearthed from the site,” “Qing Dynasty (1644-1911) porcelain,” “clockmaking workshop,” and “craftsmen’s daily life.” This section highlights the Imperial Workshops’ role as a hub for producing imperial objects and as a key platform for cultural exchange between China and the West. Historical records are cross-referenced with archaeological findings, and excavated artifacts are compared against existing imperial collections. The exhibition offers a clearer picture of the Imperial Workshops, revealing traces of their production activities, providing tangible evidence of their exquisite craftsmanship, and showcasing the pinnacle of traditional Chinese artisanal skills. This year marks the 100th anniversary of the Palace Museum. Over the past century, archaeological work has evolved in tandem with the museum’s growth. The exhibition represents a major milestone in the Palace Museum’s ongoing archaeological endeavors and embodies its enduring commitment to making archaeological achievements accessible to all. The archaeological project at the site of the Imperial Works has benefited strong social support. The exhibition was made possible through the philanthropic contributions of the China Youth Development Foundation and the Mercedes-Benz Star Fund, reflecting a shared dedication to protecting China’s cultural heritage. Looking ahead, the Palace Museum’s archaeologists will continue to uphold the principles of cultural heritage preservation in the new era—remaining committed to fieldwork, exploring the unknown, and uncovering the origins of history—in order to return archaeological achievements to society and further promote the fine traditional Chinese culture carried by the Palace Museum. The exhibition opened to the public on November 4 at the Palace of Eternal Longevity (Yongshou gong) in the Palace Museum and will run for three months.

A new exhibition, “Benevolence in Motion: Artifacts Donated to the Palace Museum,” opened at the Palace of Great Benevolence (Jingren gong) on Friday. Since 2005, the Palace Museum’s Palace of Great Benevolence (Jingren gong) has served as a dedicated gallery for donated artifacts, featuring the permanent “Jingren List,” an inscription honoring its benefactors. Since 1945, more than 800 donors have contributed over 35,000 artifacts to the museum’s collection. The current display marks the tenth themed exhibition on donations held at the Palace of Great Benevolence and the 49th exhibition of its kind since the museum was founded. Featuring over 100 artifacts donated by 100 contributors, the exhibition includes gifts from notable figures such as Zheng Zhenduo and Sun Yingzhou. The showcased works span a wide range of categories, including calligraphy and paintings, ceramics, inscriptions, jade, stoneware, gold and silverware, and sculptures. An ceremony was held Thursday, with Zheng Jianbang, vice chairman of the Standing Committee of the 14th National People’s Congress and chairman of the Central Committee of the Revolutionary Committee of the Chinese Kuomintang, officially opening the exhibition. Distinguished guests in attendance included Wang Xudong, a member of the Central Committee of the Communist Party of China (CPC) Leadership Group of the Ministry of Culture and Tourism and director of the Palace Museum; Xie Bing, a member of the Party Leadership Group and deputy administrator of the National Cultural Heritage Administration (NCHA); Yan Xiaodong, deputy director of the Department of Public Services of the Ministry of Culture and Tourism; Zheng Yuan, representative of donor families; and Lu Yi, chief representative of the Institute for Philanthropy in the Chinese mainland. Officials from cultural institutions under the Ministry of Culture and Tourism and the NCHA, representatives from Beijing municipal agencies, related associations and foundations, and the Palace Museum leadership also attended the opening ceremony. The event was presided over by Du Haijiang, Party secretary and deputy director of the Palace Museum. The exhibition is exclusively sponsored by the Institute for Philanthropy. In his speech, Wang Xudong reflected on how the museum had long benefited from the strong support of the Party and the state, as well as from the generosity of people from all walks of life. Donors have included Party and state leaders, renowned scholars and collectors, workers, farmers, overseas Chinese, international friends, and even employees of the museum. Wang said that behind every donated artifact lies a heartfelt story of devotion to preserving Chinese civilization, adding that such contributions reflect both social responsibility and selfless dedication. Xie Bing emphasized the vital role that donations play in enriching the museum’s collection. He noted that the act of giving reflects donor’s selfless dedication, their profound love for China’s rich cultural heritage and their strong sense of responsibility. Through their generosity, donors have made invaluable contributions to the preservation and continuation of cultural heritage, helping to safeguard the nation’s history for generations to come. Xie also shared that the NCHA is currently compiling an illustrated catalog of cultural relics donated to the nation since the founding of the People’s Republic of China, and is collaborating with relevant departments to improve regulations to better facilitate such donations. Zheng Yuan, grandson of Zheng Zhenduo, the first administrator of the NCHA and a pioneer in China’s cultural heritage preservation, spoke on behalf of the donors. He said that the transformation of the Forbidden City from an imperial palace into a museum for the people is the result of generations of wisdom and passion. He added that these predecessors donated their treasured collections to the state out of pure love for Chinese culture and their selfless devotion to making private treasures serve the public good will long be remembered. These relics are not only family memories and national treasures, but also bridges linking the past and the future, Zheng said. Lu Yi said the exhibition is part of a five-year partnership with the Palace Museum aimed at promoting traditional Chinese culture and cultivating professionals with both artistic and technological expertise. The selected 100 artifacts (both pieces and sets), celebrate the richness of Chinese civilization and the spirit of selfless contribution shared by its donors, he said. Focusing on the people, the artifacts, and the spirit of generosity they represent, the exhibition is divided into three sections: “Honoring The Names,” “Recognizing Their Contributions,” and “Celebrating The Virtue.” It presents the stories of donors, the value of their donated artifacts, and the enduring legacy of generosity they represent. The exhibition aims to present the profound significance and diverse value of donated cultural relics from multiple perspectives, guiding visitors to explore the stories behind these treasures and calling on the public to join in the effort to protect cultural heritage. The first section, “Honoring The Names,” occupies the front hall of the Palace of Great Benevolence and features four subsections: “Leading by Example,” “Devotion to the Nation,” “Boundless Generosity,” and “Dedication to the Forbidden City.” It shines a light on some of the donors, among them national leaders, distinguished scholars, compatriots from Hong Kong and Macao, and Taiwan, as well as overseas Chinese, international friends, and Palace Museum staff, all of whom have safeguarded cultural treasures with their selfless spirit. The second section “Recognizing Their Contributions,” located on the east side of the rear hall of the Palace of Great Benevolence. It features three subsections: “Returning Lost Treasures,” “Enriching the Collection,” and “Continuing the Legacy.” The section explores how donations have helped recover lost imperial artifacts, fill gaps in the museum’s collection, and extend its historical narratives. Through the generosity of its donors, the Palace Museum has gradually developed a collection system that fully traces the historical evolution of major categories of cultural relics. The west wing of the rear hall of the Palace of Great Benevolence houses the third section, “Celebrating the Virtue,” which includes two subsections: “Benevolent Hearts and Noble Deeds” and “Engraved in Memory.” This area features five handwritten letters and three heartfelt messages from donors alongside their donated artifacts, highlighting their noble character and selfless acts. It also displays exhibitions and catalogs published by the Palace Museum in honor of these donors, expressing gratitude and the commitment to carry forward the spirit of donation. Due to space limitations, not all donors and donated artifacts can be individually presented in the exhibition. Instead, a representative selection offers a glimpse into the whole, reflecting the breadth of contributions made over the years. The Palace Museum, however, extends the same deep gratitude and respect to every donor. Given the preservation requirements of the historic venue, certain replicas will be displayed to ensure the safety of the artifacts. In addition, some original pieces will be replaced with replicas on Nov. 3 and Dec. 10. The detailed replacement schedule is as follows: No. Title Period Replacement Date 1 Album of Plum Blossoms with Calligraphy and Poems by Chen Jiru Ming dynasty Nov. 3, 2025 2 Letter to Master Zhongfeng in Semi-Cursive Script by Zhao Mengfu and Zhao Yong Yuan dynasty Nov. 3, 2025 3 Album of Landscapes in the Style of Song and Yuan Masters by Wang Jian Qing dynasty Nov. 3, 2025 4 Elegant Gathering in the Western Garden by Xu Gang Qing dynasty Nov. 3, 2025 5 Auspicious Dance of Two Cranes by Wang Fuzhi Qing dynasty Nov. 3, 2025 6 Rhinoceros Horn Carving of Budai Monk Qing dynasty Nov. 3, 2025 7 Bamboo Wrist Rest Carved with Portrait of Yang Hu Qing dynasty Nov. 3, 2025 8 Qin Zither with “Feiquan” (Spouting Spring) Inscription Tang dynasty Dec. 10, 2025 9 Qin Zither with “Canlei” (Remnant after Thunder) Inscription Qing dynasty Dec. 10, 2025

The symposium marking the 100th anniversary of the founding of the Palace Museum was held on October 10 in Beijing. Li Shulei, member of the Political Bureau and head of the Publicity Department of the Communist Party of China (CPC) Central Committee attended the symposium and delivered a speech. The representatives recognized the Forbidden City as a unique symbol of ancient China and one of the greatest achievements of Chinese civilization. The enduring culture of the Chinese nation has endowed the Forbidden City with a wealth of cultural treasures and a deeply respected heritage. As the product of modern China’s great social transformation, the Palace Museum has evolved in step with the nation’s rejuvenation. Over the past 100 years, it has served as a devoted custodian of cultural legacy and craftsmanship. The construction and ongoing development of the Palace Museum represent an extraordinary accomplishment in the history of Chinese and world culture, one that will continue to inspire generations to come.     Strengthening cultural heritage protection and inheritance is the historical mission of this generation. Standing at a new starting point, the representatives stated, we must use the study and practice of Xi Jinping Thought on Culture‌ to strengthen cultural confidence, foster the cultural identity of the Chinese nation, and truly make the Palace Museum a leading example for world heritage conservation. We need to prioritize preservation and carefully protect each and every item of our national treasure, unlock their value to improve exhibition and communication, optimize operation and management to boost reform and development vitality, deepen international cooperation to facilitate dialogue and mutual learning between civilizations, and cultivate academic talent to lay a solid foundation for sustainable development. We will, they continued, to contribute to high-quality development in cultural heritage preservation and building the country into a powerhouse in culture.       Over 100 representatives attended the symposium, including leading officials from the Publicity Department of the CPC Central Committee, the Ministry of Culture and Tourism, the National Cultural Heritage Administration, relevant central and state government bodies, and the Beijing municipal government, as well as experts, scholars, cultural relics and museum professionals, former leaders and experts from the Palace Museum, and current staff representatives.