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.  

On September 29, 2025, the Palace Museum marked the reopening of the historic Qianlong Garden with the launch of the exhibition “Artistry and Ingenuity: The History and Conservation of the Qianlong Garden.” More than 100 cultural heritage experts and scholars from countries including China, France, and the United States attended the opening ceremony. Distinguished guests attending the opening ceremony included Wang Xudong, a member of the Party Leadership Group of the Ministry of Culture and Tourism and director of the Palace Museum; Gregory May, chargé d’affaires at the U.S. Embassy in China; Du Haijiang, Party secretary and deputy director of the Palace Museum; Feng Nai’en, director and Party secretary of the Prince Kung’s Palace Museum; Zhang Lei, deputy director of the Department of Cultural Relics and Historic Sites of the National Cultural Heritage Administration; Bénédicte de Montlaur, president of World Monuments Fund (WMF); Lorna Goodman, chair of WMF’s Board of Trustees; Jin Hongkui, former deputy director of the Palace Museum; Cheng Xiaoxi, vice dean of the School of Architecture at Tsinghua University; and Yao Xiangjun, executive vice president of BOE Technology Group Co., Ltd.. The ceremony was presided over by Lou Wei, executive deputy director of the Palace Museum. The Qianlong Garden, also known as the Garden of the Palace of Tranquil Longevity (Ningshou gong), lies in the northwest corner of Ningshou gong — today home to the museum’s Treasure Gallery. Built by Emperor Qianlong as a private retreat for his later years, the compact, exquisitely designed garden features four courtyard complexes and 27 buildings with different styles. It combines northern and southern Chinese garden styles, showcasing literati elegance with imperial grandeur. The site holds an important place in the history of classical Chinese — and indeed, world — garden design. Since 2000, the Palace Museum and WMF have collaborated on the conservation and restoration of the Qianlong Garden, transforming it into a model of China-U.S. cultural exchange and cooperation in cultural heritage preservation, interpretation, and talent development. Amid the Palace Museum’s 100th anniversary celebrations, the first and second courtyards of the Qianlong Garden opened to the public on September 30. In addition, an exhibition titled “Artistry and Ingenuity: The History and Conservation of the Qianlong Garden” was on display in the Hall of Fullfilling Original Wishes (Suichu tang) and its east and west side halls. The show offers a comprehensive look at the garden’s cultural significance and the achievements of its conservation and restoration. Within the newly opened areas, visitors can admire distinctive architectural landmarks such as the Pavilion of the Purification Ceremony (Xishang ting), inspired by the Orchid Pavilion Gathering; the Bower of the Ancient Catalpa (Guhua xuan), named after the ancient catalpa tree; the mountain-top Terrace for Collecting Morning Dew (Chenglu tai); and the richly-symbolic Hall of Fulfilling Original Wishes. Following extensive conservation work, these structures have regained their vitality. Amid rockeries, streams, and centuries-old trees, visitors can experience firsthand the poetic beauty of classical Chinese gardens — creations that, although crafted by human hands, seem born of nature itself — and appreciate the remarkable achievements of 18th-century Chinese architecture, landscape design, and craftsmanship. The exhibition features two sections: “Tranquil Retreat: The Design and Construction of the Qianlong Garden” and “Splendor Revived: The Preservation and Conservation of the Qianlong Garden.” The first section presents the timeline of the garden from conception to completion using methods such as an animated scroll and construction archives. The second section features original artifacts and film footages that reveal the garden’s exquisite craftsmanship, the techniques and methods used in its restoration, the untold stories behind the process, and the remarkable results achieved. In addition to the two sections, the Hall of Fulfilling Original Wishes houses a special exhibit: a ironed paper model (tangyang) of the entire garden crafted with original materials and techniques to provide visitors with a tangible understanding of its spatial design and craftsmanship. The book published in tandem with the exhibition, Tranquil Longevity, Predestined Serenity: The Origins, Interpretation, and Conservation of the Qianlong Garden, offers an insight into the garden’s history and restoration through detailed research and vivid imagery, providing academic support for the public to better understand this precious cultural heritage. After 25 years of dedicated preservation and study, the Qianlong Garden stands as a cultural bridge linking the past and the present and connecting China and the rest of the world. The Palace Museum hopes visitors can experience the enduring charm of cultural heritage and the living dialogue between civilizations that continues to shape human creativity.

Amid the Palace Museum’s 100th anniversary celebrations, an exhibition titled “A Century of Stewardship: From the Forbidden City to the Palace Museum” opened to the public in the Meridian Gate (Wu men) gallery of the Palace Museum on September 30. Featuring 200 pieces and sets of cultural relics, the exhibition is divided into three sections: “A Lineage of Civilization,” “A Century of Endeavor,” and “Myriad Visions of Splendor.” Together, they showcase the defining characteristics of Chinese civilization—its continuity, innovation, unity, inclusiveness, and enduring spirit of peace. Through these works, visitors are invited to trace the Palace Museum’s journey over the past hundred years—from its founding and struggles in the early years, to its steady growth and ongoing pursuit of innovation in more recent decades. The exhibition’s opening ceremony was held on September 29 in the Baoyun Building, also known as the Hall of Embodied Treasures. Distinguished guests attending the opening ceremony 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; Rao Quan, vice minister of culture and tourism and head of the National Cultural Heritage Administration (NCHA); Zou Xiaodong, secretary of the Party Leadership Group and director of the Counselors’ Office of the State Council; Du Zhanyuan, president of China International Communications Group; Wang Ning, secretary of the Party Leadership Group and President of the National Centre for the Performing Arts; Zheng Xinmiao, former director of the Palace Museum; Shan Jixiang, former director of the Palace Museum; Liu Yuzhu, chairman of the China Foundation for Cultural Heritage Conservation; and Ji Zhihong, a member of the Party Committee and vice president of China Construction Bank (CCB). Also in attendance were representatives from relevant departments and institutions under the CPC Central Committee and the State Council, cultural heritage institutions under the Ministry of Culture and Tourism and the NCHA, relevant departments under the Beijing Municipal People’s Government, neighborhood and resident institutions, representatives from related associations, academic societies, and foundations, as well as retired senior experts and former leaders of the Palace Museum, and members of the museum’s leadership team. The event was presided over by Du Haijiang, Party secretary and deputy director of the Palace Museum. The exhibition received strong support from the CCB, which serves as a joint promotion partner. In collaboration with the Palace Museum, the CCB has launched specially designed precious metal cultural and creative products, the “Auspicious Beasts in the Palace Museum” collection. The collection aims to promote the excellence of traditional Chinese culture and brings a contemporary interpretation through exquisite craftsmanship and modern design. A Century of Stewardship, A Legacy Continued A century of vicissitudes; a century of stewardship. The Palace Museum was founded on October 10, 1925, transforming the former imperial palace of the Ming and Qing dynasties into a public cultural institution. Born in a time of national turmoil, the museum overcame extreme difficulties arising from institutional changes and a sluggish economy. During the Chinese People’s War of Resistance Against Japanese Aggression, the Palace Museum successfully relocated its treasured artifacts to the south for safekeeping. After the founding of the People’s Republic of China in 1949, with the support of the CPC and government, the museum ushered in a new phase of development. Solid progress was made in the conservation and restoration of its historic architecture, its collections management system was improved, and its exhibition programs continued to grow. Since the launch of reform and opening-up in 1978, the Palace Museum has further improved infrastructure and developed a comprehensive system for the collection, preservation, study, display, and promotion of cultural heritage. In the new era, the Palace Museum launched the largest renovation and conservation project in its history, along with a seven-year effort to catalogue and assess its collection. These initiatives have improved the preservation of the Palace Museum and boosted rapid development across all areas of the museum’s work. Since the 18th CPC National Congress, General Secretary Xi Jinping has attached great importance to the protection and inheritance of cultural heritage at the Palace Museum, issuing important instructions that have provided guiding principles for the museum’s development. Guided by Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era, especially Xi Jinping Thought on Culture, the Palace Museum has acted in line with the requirements for cultural heritage work in the new era and fully advanced initiatives to build a safe, academic, digital and dynamic museum. It is dedicated to preserving the best of China’s traditional culture housed in the museum in a thorough and responsible manner, advancing the protection of the Palace Museum as a World Cultural Heritage site, and boosting high-quality development across all aspects of the museum’s operations. Its work in heritage conservation, academic research, public service, museum operations and international exchange has grown steadily, and the museum’s role as a key window into Chinese history and culture has become more prominent in the new era. As a dedicated participant in the Global Civilizations Initiative, the Palace Museum aims to be a world-class museum, a model for heritage conservation, a leader in the integration of culture and tourism, and a platform for civilizational exchange and mutual learning. The Palace Museum, with its deep history, continues to thrive with vitality in the present day. To systematically reflect on its century-long journey from an imperial palace to a public museum, the Palace Museum has organized the special exhibition “A Century of Stewardship: From the Forbidden City to the Palace Museum” under the guidance of Xi Jinping Thought on Culture. With a focus on the museum’s history, the exhibition combines artifacts and archival materials to present the Palace as a bearer of China’s 5,000-year civilization, a repository of the best of China’s traditional culture, a witness to cultural exchanges, and a testament to the ingenuity of the Chinese people. It highlights the perseverance and craftsmanship of generations of Palace Museum staff, tracing how the museum’s destiny has been intertwined with that of the Chinese nation. Since the 18th CPC National Congress, the museum’s staff have remained true to their mission and pressed ahead with determination. The three sections of the exhibition, namely, “A Lineage of Civilization,” “A Century of Endeavor,” and “Myriad Visions of Splendor,” feature 200 pieces and sets of cultural relics carefully selected from the museum’s collections. The West Wing Gallery explores the theme of “A Lineage of Civilization,” comprising “Preserving the Imperial Collections,” “Opening the Forbidden City,” and “Becoming the Palace Museum.” It explores the continuity, preservation, and use of the imperial collections, underscoring the enduring nature of Chinese civilization. The section also revisits key moments in the museum’s early history, including its founding, the adoption of the comprehensive conservation plan, the wartime relocation of cultural relics to the south, and the surveying and mapping of the Beijing Central Axis, showcasing the Palace Museum’s early, often arduous heritage preservation and research efforts. The Meridian Gate Gallery hosts “A Century of Endeavor,” divided into “Reuniting National Treasures,” “Revitalizing Ancient Masterpieces,” and “Regaining Palace Splendor.” Through the lens of artifact acquisitions, allocations, and donations, this chapter tells the story of how the Palace Museum’s collection was built. The section illustrates the historical, artistic, and scientific value of the collections. Through displays on the techniques of painting and calligraphy reproduction and artifact restoration, the exhibition showcases the inheritance of conservation skills. It also presents major architectural conservation projects and innovative renovation practices, including that of the Palace of Tranquil Longevity (Ningshou gong), the Hall of Mental Cultivation (Yangxin dian), and the Hall of Supreme Harmony (Taihe dian), as well as the UNESCO World Heritage nomination for the Palace Museum and the Beijing Central Axis. The East Wing Gallery houses “Myriad Visions of Splendor.” Its three parts: “Continuing the Lineage of Civilization,” “Celebrating a Symphony of Civilizations,” and “Embracing the Supreme Harmony,” presents the enduring significance of China’s 5,000-year civilization, illustrating how the Palace Museum contributes to the fostering of a strong sense of community for Chinese nation, participates in the Global Civilizations Initiative, and promotes dialogue across cultures toward building a community with a shared future for humanity. The three chapters of the exhibition paints a vivid portrait of the Palace Museum’s 100-year journey of perseverance, innovation, and renewal. It embodies the collective efforts of generations of museum staff and the support of society at large. We hope this exhibition will provide visitors with cultural enrichment and fresh insights. It aims to deepen understanding of the Palace Museum, while fostering a stronger appreciation of Chinese cultural heritage. In doing so, it seeks to highlight the wisdom carried by artifacts as a bridge connecting the past and the future, and as a source of shared understanding today. Visitor Information The exhibition runs from September 30 to December 30, 2025. Admission is included with a regular museum ticket and requires advance online reservation via the Palace Museum’s official ticketing website. Please follow the guidance of our staff on-site to ensure an orderly and pleasant visit for everyone. For high-definition digital images of our artifacts, you can explore the “Digital Relics” and “Famous Paintings in the Palace Museum” sections in the Palace Museum’s WeChat mini-program.

On October 1, “An Exhibition Commemorating the Southward Evacuation of the Palace Museum’s Artifacts” opened to the public at the Gate of Divine Prowess (Shenwu men) Exhibition Hall. The exhibition features over 100 items (or sets) of archival documents and valuable cultural artifacts, offering a comprehensive and in-depth exploration of the Palace Museum’s arduous excavation journey to the south. The exhibition on this heroic cultural legacy is co-hosted by the Palace Museum, the National Humanity History Magazine under People’s Daily Press, and the Sheen Chuen-Chi Cultural & Educational Foundation, and co-organized by the Palace Museum’s Archive (Museum History Exhibition Hall) and China Mobile’s Migu Cultural Technology Co., Ltd. The exhibition will run until December 31, 2025.   The exhibition’s opening ceremony was held on September 30 at the Palace Museum. Guests who delivered speeches 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; Xu Lijing, deputy editor-in-chief of People’s Daily Press; Shi Jingwen, secretary general of the Sheen Chuen-Chi Cultural & Educational Foundation; and Xiang Yang, Party secretary and general manager of Migu Cultural Technology Co., Ltd. Other guests included Shen Beili, Party secretary and vice chairperson of the China Soong Ching Ling Foundation; Du Haijiang, Party secretary and deputy director of the Palace Museum; Zheng Xinmiao, former director of the Palace Museum; Li Hui, deputy director of the Cross-Strait Economic and Technological Cooperation Center under the Taiwan Affairs Office of the State Council; Feng Mingzhu, former director of the Taipei Palace Museum; Li Xiaoliang, deputy director of the General Office of the Ministry of Culture and Tourism; Qing Zhu, second-level inspector of the Cultural Relics and Historic Sites Department under the National Cultural Heritage Administration (NCHA); Zhu Ye, deputy director of the International Exchange and Cooperation Department of the NCHA; Tang Fei, Party secretary and director of the Sichuan Provincial Cultural Heritage Administration; Song Xinchao, chairman of ICOMOS China; and Li Xiaocheng, chairman of the Forbidden City Cultural Heritage Conservation Foundation. Wang Yuegong, vice president of the Palace Museum, presided over the opening ceremony. The southward evacuation was an extraordinary chapter in the Chinese People’s War of Resistance against Japanese Aggression. Artifacts were relocated from North China to different provinces in the country’s southwest region. Over two decades, these precious artifacts travelled thousands of miles—from grand ancient palaces to Western-styled villas in foreign concessions, from modern storehouses made of iron and steel to mountain caves and rural ancestral halls. During those challenging years, individuals, driven by a profound sense of duty, worked tirelessly to preserve the roots and lifeblood of Chinese culture, leaving behind moving stories and enduring legacies.     The exhibition is divided into three sections. The first section, titled “Southward Evacuation and Northern Return: Timeless Guardianship of National Treasures,” offers a comprehensive overview of the drifting and migrating life of the Palace Museum’s artifacts from the 1930s to the 1950s. Featuring archival documents, historical images, and artifacts that were part of the evacuation, it shows in detail the full journey of the evacuation, beginning with relocation from Peiping (now Beijing) to Shanghai and Nanjing. When the war situation shifted, the artifacts were moved in three batches to Sichuan and Guizhou. After the founding of the People’s Republic of China, most of the artifacts returned to Beijing, with some preserved in Taiwan due to social changes.               The second section, titled “Revival of Ancient Artifacts and the Continuation of Cultural Heritage,” is a combination of archival documents (e.g. exhibition posters, newspaper albums, item catalogues) and artifacts (e.g. bronze wares, porcelain, jade ware, calligraphy and paintings) carefully selected by the Palace Museum for exhibition at the “Royal Academy Exhibition of Chinese Art” in London, Moscow and Leningrad (now St. Petersburg) during the War of Resistance. The section also included records of calligraphy and painting exhibitions hosted by the Palace Museum in Southwest China to thank the local people for their tremendous efforts in preserving these artifacts.         The third section, titled “Keeping the Torch of Cultural Heritage Alive,” chooses to display artifacts that were moved southward and those that were kept in Beijing side by side. By comparing the similarities and related elements of these artifacts, the section illustrates the integrity, continuity, innovation, inclusiveness, and peacefulness of Chinese culture and the unbreakable bond between the artifacts of the Palace Museum and its counterpart in Taipei. It also includes a sculpture of the people who participated in the evacuation.  This exhibition utilizes archival documents, historical images, and cultural artifacts from the Palace Museum’s collections, and integrates digital media technology to vividly showcase the museum’s southward evacuation—the relocation, storage and exhibition of the artifacts—during the War of Resistance. “An Exhibition Commemorating the Southward Evacuation of the Palace Museum’s Artifacts” portrays the grand, turbulent history and the collective memory of a great civilization.

Dear visitors, Due to public activities in the Tian’anmen area, the Palace Museum will be temporarily closed from August 31 to September 4. The Museum will resume normal business hours on September 5. Please plan your visits accordingly.   We apologize for any inconvenience this may cause. If you need any assistance, please call our service hotline at 400-950-1925. The Palace Museum August 24, 2025