Jointly organized by the Palace Museum and the Cultural Heritage Administration of the Xizang Autonomous Region, together with several other cultural institutions, the exhibition “Beyond Time: The History, Culture and Art of Sakya Monastery” officially opened to the public on Tuesday at the Main Hall and the East Wing Gallery of the Meridian Gate (Wumen) in the Palace Museum. Grounded in achievements of relevant academic research, the exhibition brings together more than 200 rare and valuable artifacts across four sections: “The History of Sakya Monastery,” “Grand Unity,” “The Culture and Art of Sakya Monastery,” and “Treasures of Sakya Monastery.” Through tracing the history of the millennium-old Sakya Monastery, the exhibition showcases its distinctive artistic traditions, and explores its significant role in the development of China as a unified multi-ethnic country. It will run through May 10, 2026. The opening ceremony of the exhibition was held on Monday at the Hall of Embodied Treasures (Baoyun lou) in the Palace Museum. The event was attended by Wang Xudong, member of the Party Leadership Group of the Ministry of Culture and Tourism (MCT) and director of the Palace Museum; Xu Zhitao, member of the Party Leadership Group and vice chairman of the People’s Government of the Xizang Autonomous Region; Zheng Xinmiao, former director of the Palace Museum; Liu Yuzhu, chairman of the China Foundation for Cultural Heritage Conservation; Yanjue, president of the Buddhist Association of China; Song Xinchao, chairman of the Chinese National Committee for the International Council on Monuments and Sites; Sun Jiwei, a first-level inspector of the Office for the Organization and Research of Ancient Books under the National Ethnic Affairs Commission; Du Haijiang, Party secretary and deputy director of the Palace Museum; Zhang Ling, a second-level inspector of the Department of Intangible Cultural Heritage of the MCT; Tenpa Yarphel, a second-level inspector of the General Office of the People’s Government of the Xizang Autonomous Region; Zhao Xingbang, member of the Party Leadership Group of the Department of Culture and Tourism of the Xizang Autonomous Region, and Party secretary and deputy director of the Cultural Heritage Administration of the Xizang Autonomous Region; Lodro Gyatso, member of the National Committee of the Chinese People’s Political Consultative Conference and executive deputy director of the Sakya Monastery Management Committee; and Winnie Yip, head of Charities (Culture; Sports; Community Engagement) at the Hong Kong Jockey Club. Also present were representatives from institutions affiliated with the MCT and the National Cultural Heritage Administration; relevant departments under the People’s Government of the Xizang Autonomous Region and the Beijing Municipal People’s Government; the Institute of Philanthropy (the exhibition’s exclusive donor); as well as representatives from related associations, academic societies and foundations, participating cultural institutions, and invited partner organizations. The opening ceremony was presided over by Wang Yuegong, deputy director of the Palace Museum. Founded in 1073, Sakya Monastery stands majestically on the Qinghai-Xizang Plateau, between the Himalayas and the Yarlung Zangbo River. It is the birthplace of the Sakya Sect of Tibetan Buddhism. Drawing on cultural traditions from multiple ethnic groups and artistic influences from neighboring countries and regions, the Sakya Sect developed a distinctive legacy, leaving a remarkable imprint on the history of Chinese art and culture as well as on the development of China as a unified multi-ethnic country. In the 13th century, Sakya Pandita and his nephew Phagpa led a delegation to meet the Mongol prince Godan at the historic Liangzhou Talks. This meeting made a significant contribution to Xizang’s formal incorporation into the centralized administration of the Yuan dynasty (1271-1368) and helped lay the foundations for a unified multi-ethnic nation. As a guardian and steward of fine traditional Chinese culture, the Palace Museum is committed to preserving the authenticity and integrity of cultural and historical heritage in its collection. Since the Palace Museum and the Xizang Autonomous Region signed a strategic cooperation framework agreement in 2015, the two sides have steadily deepened collaboration in the field of cultural heritage. Together, they have presented major exhibitions such as “The Fortune and Longevity of Sumeru: An Encounter between the Tashi Lhunpo Monastery and the Palace Museum” and “Auspicious Beginnings: Joint Exhibition of Artifacts from the Palace Museum and Xizang,” while also advancing systematic foundational work on the survey, documentation, and research of Xizang’s cultural heritage. This exhibition is jointly organized by the Palace Museum, the Cultural Heritage Administration of the Xizang Autonomous Region, the Sakya Monastery Management Committee, Mindrolling Monastery, the Xizang Museum, the Potala Palace Management Office, the Norbulingka Management Office, the Cultural Palace of Nationalities, and the Culture, Radio, Television and Tourism Bureau of Laishui County, Hebei Province, along with several other cultural institutions. By presenting the historical and cultural legacy embodied in the artifacts of Sakya Monastery, the exhibition demonstrates how the diverse ethnic groups of China have worked together to shape a rich and enduring civilization. In doing so, it aims to foster a stronger sense of community for the Chinese nation and to promote the continued preservation and development of fine traditional Chinese culture.

Dear visitors, During the 2026 Spring Festival, the opening hours of the Palace Museum are as follows: Closed on February 16 (Chinese New Year’s Eve). Open on February 15 and from February 17 to 23, with operating hours from 8:30 am to 5:00 pm. Last entry on those days is at 3:30 pm. Please plan your visit accordingly. The Palace Museum February 10, 2026

The opening ceremony of the educational exhibition “What If Colors Could Speak?” was held at the Palace Museum on December 30, 2025. It is a special immersive learning experience offered by the Museum to young audiences. The event was attended by Wang Xudong, member of the Party Leadership Group of the Ministry of Culture and Tourism and director of the Palace Museum; Liu Huabin, director of the China National Museum of Women and Children; Zhu Hongwen, deputy director of the Palace Museum; Zhang Yan, deputy director of the Dongcheng District Education Commission of Beijing; Wu Wei, deputy director of the Secretariat of the Beijing Students’ Jinfan Painting and Calligraphy Association; Wang Yue, director of the Dongcheng District Children’s Palace; Wang Lei, Party secretary and president of the Beijing No. 5 High School Education Group‌; Song Haihong, principal of Beijing No. 65 Middle School; He Haiying, Party secretary and principal of Donghuamen Kindergarten and Beijing No. 3 Kindergarten; Bi Shan, vice principal of Guangqumen Middle School; Gao Wa, director of the Beijing No.1 Kindergarten Party and Administrative Office; as well as school leaders, teachers, and student representatives from partner institutions. The program opened with a song-and-dance performance by children from Beijing No. 3 Kindergarten. Their original piece, “The Palace Museum: A Home of Colors,” presented the exhibition’s core idea from a child’s perspective, highlighting color as the most direct and vivid language through which children understand the Palace Museum. Students from Beijing No. 3 Kindergarten perform at the opening ceremony of an exhibition “What if Colors Could Speak?” in Beijing, Dec. 30, 2025. In her remarks, Zhu Hongwen said that the exhibition, introduced at the turn of the year during the Palace Museum’s centennial celebrations, reflects the museum’s efforts to advance educational innovation and build a more dynamic institution. She noted that the exhibition uses color to explore themes such as heritage protection, craftsmanship, cultural exchange, and sustainable development through interactive and experiential formats. She expressed hope that the exhibition would encourage young visitors to develop a closer understanding of cultural heritage and take part in its future preservation. Zhu Hongwen, deputy director of the Palace Museum, speaks at the opening ceremony of the exhibition “What if Colors Could Speak?” in Beijing, Dec. 30, 2025. Representatives of the curatorial team then introduced the exhibition’s concept and themes. The exhibition was developed in response to the practical question of how to present the stories behind the Palace Museum’s artifacts and architecture in ways that are clear, engaging, and suitable for young audiences. Color was chosen as the main interpretive framework because it is easy to understand for all age groups. Using the “three primary colors” system well-known by young people as a scientific and visual reference, the exhibition is organized into six thematic sections: Color Palette, Red, Yellow, Blue, Green, and White. Each section focuses on a specific theme. The Color Palette section presents vibrant color combinations of the Palace Museum through the eyes of young visitors. Red highlights long-term efforts in heritage protection; Yellow focuses on cultural vitality and continuity; Blue addresses cross-border exchange and mutual learning; Green introduces ideas related to sustainability and future development; and the White section emphasizes the shared responsibility of continuing the legacy, inviting visitors to take part in protecting the Palace Museum. Through these six color-based sections, the exhibition builds a coherent narrative framework that guides visitors from an initial focus on artifacts and historic architecture to a broader understanding of the people, stories, values, and future they represent. A member of the curatorial team introduces the concept and themes of the exhibition “What if Colors Could Speak?” in Beijing, Dec. 30, 2025. Students from Beijing No. 65 Middle School recited “The Palace Museum in Color,” an original poem describing the key visual elements of the Palace Museum, including its solemn red walls, brilliant yellow glazed tiles, the clear blue sky, and the lush greenery. Their performance offered a youth perspective on the architectural features of the site. Student representatives from the Dongcheng District Children’s Palace also shared their impressions after visiting the exhibition, saying it helped them better understand the role of color in the Palace Museum and made historical content easier to grasp through interactive design. Students from Beijing No. 65 Middle School perform a poetry recitation during the opening ceremony of the exhibition “What If Colors Could Speak?” in Beijing, Dec. 30, 2025. Students from the Dongcheng District Children’s Palace speak at the opening ceremony of the exhibition “What If Colors Could Speak?” in Beijing, Dec. 30, 2025. At the close of the ceremony, guests placed colored balls into an interactive installation named “Continuing the Legacy Together,” symbolizing their commitment to preserve the heritage of the Palace Museum. As the balls rolled together, the exhibition officially opened. After the ceremony, guests, teachers, and students toured the exhibition with members of the curatorial team. Across the six themed sections, visitors engaged with interactive installations and narrative displays focused on heritage protection, cultural continuity, exchange, and sustainability, immersing themselves in activities and discovery with childlike wonder. Guests, teachers, and students visit the exhibition “What if Colors Could Speak?” in Beijing, Dec. 30, 2025. The exhibition “What If Colors Could Speak?”, presented during the Palace Museum’s centennial year, reflects the museum’s continued efforts to “bring cultural relics to life” and demonstrates how the best of traditional Chinese culture can be reinterpreted through innovation. By using color as a shared visual language, the exhibition connects young audiences with history and the future and underscores the Palace Museum’s educational role. The exhibition runs from December 31, 2025, to March 31, 2026, at the Palace Museum Education Center, spanning the 2026 winter vacation.

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.