中文版公告 The Getty Conservation Institute (GCI) and the Palace Museum are partnering to offer the fifth Recent Advances in Characterizing Asian Lacquers workshop, to be hosted at the Palace Museum, Beijing, China, April 18-26, 2024. The workshop will explore newly developed analytical procedures for acquiring detailed compositional information about Asian lacquers, their additives and their European substitutes. During the workshop, conservators and scientists will work together in research teams to study and discuss historic lacquer samples. The workshop itself will be 5 days long (April 22-26), with 2 additional days the week before (April 18-19) to offer training in microscopy for participants who did not receive such training before. This is a unique opportunity for collaboration and discussion of topics such as the compositional variation in lacquered objects made in different geographical areas and time periods, the relevance of analytical research to the conservation and interpretation, and the identification of research priorities and potential collaborations. Workshop Details Objectives To highlight the benefits that collaboration between scientists and conservators can provide. To enhance the understanding of a lacquered surface through the study of its stratigraphy and composition. To demonstrate new analytical protocols and the level of information that can be obtained using these methods. To provide participants with the tools necessary to use these methods, such as a marker compound database and custom data evaluation tools. To identify pressing analytical and conservation issues in the field and priorities for future research. The workshop provides instruction in the following low-tech and high-tech procedures with the aim of identifying traditional and non-traditional materials in Asian lacquers: Visible and fluorescent light microscopic examination of chemically-stained lacquer cross-sections which can provide visual, layer-specific information for a number of organic materials. Precision sample collection of discrete lacquer layers which permits layer-specific compositional information to be obtained. Pyrolysis - gas chromatography/ mass spectrometry with thermally-assisted hydrolysis and methylation (THM-Py-GC/MS), which is a versatile method with excellent limits of detection. A systematic protocol for data analysis and interpretation using AMDIS (Automated Mass spectral Deconvolution and Identification System) and Excel, with a shared marker compound database that permits detection of a broad range of marker compounds even when present at trace levels. The concepts taught in the workshop may also be applied to the study of materials other than lacquer. Eligibility Applicants should be conservators, scientists or conservation scientists. Scientists should have an established record of using Py-GC/MS or GC/MS; familiarity with AMDIS and Excel is helpful. Experience in lacquer analysis is not required, although priority will be given to those with current or future projects involving the analysis of Asian lacquer. Would scientists only have limited experience with Py-GC/MS or GC/MS, there could be a possibility for them to get training by the Palace Museum scientists prior to the workshop (level of experience to be clearly stated in application). Conservators should have experience treating Asian lacquer and be familiar with its properties and production. As part of the application process, each conservator will be asked to propose sample material from a specific lacquered object for potential use in the workshop, based on the following criteria: The object should be of significance within its collection and considered important from the historical and/or technological point of view. The participant should be confident that permission of the owner will be given to take a sample of approximately 2x2mm from the object for destructive analysis. The participant must ensure that permission is granted to present and discuss analytical results acquired during the workshop. A limited number of proposed samples will be accepted for study in the workshop and conservators will be responsible for preparing these samples in advance of the workshop; specific instructions for sampling and documentation of sample will be provided to successful candidates. In the instance where a conservator is not able to provide a sample but has identified a scientist partner who can, the scientist can bring the sample and provide the information requested above for the application. If conservators are not trained in microscopy, their sample can be prepared during the 2 days offered prior to the workshop (April 18-19). In this case, they will prepare over the weekend (April 20-21) the documentation needed to present their sample - and object it comes from - to the group the first day of the workshop (April 22). Application Please download and fill out the application form and submit it before the deadline of November 20th, 2023. [2024 APPLICATION FORM] Scientists and conservators work in research teams of two during the workshop. The application includes a place to identify a potential partner. Priority will be given to proposed partnerships that include one scientist and one conservator.  Ideally, partners will be committed to future collaboration. Proposed partnerships are encouraged but not required to apply.  The final selection of applicants will be made by organizers according to the criteria outlined above. There is no registration fee to attend the workshop but participants are responsible for all expenses associated with the workshop, including travel and lodging. For questions about the workshop or application process, or for additional information, please contact radical@dpm.org.cn or lacquers@getty.edu (English only). Instructors Michael Schilling – Senior Scientist and head of the Organic Materials Research at the GCI, specializing in GC/MS and thermal analysis techniques. Arlen Heginbotham – Conservator of Decorative Arts and Sculpture at the J. Paul Getty Museum, specializing in the technical examination of furniture. Nanke Schellmann – independent conservator and researcher at SchellmannConservation in Munich, specializing in the conservation and analysis of mixed media objects and the characterization and treatment of degraded decorative surfaces.

“The World of Tea: Special Exhibition on Tea Culture” opened at the Wu men (the Meridian Gate) Exhibition Hall of the Palace Museum on Friday in Beijing. From September 2 to November 30, 2023, the exhibition welcomes the public to explore a curated collection of tea-related artifacts. Presented by the Palace Museum, an array of tea-related treasures sourced from 30 esteemed cultural institutions and museums, both domestically and internationally, are on display at the exhibition. With an impressive assemblage of 555 cultural relics, encompassing individual pieces and intricate sets, this exhibition illuminates the fascinating journey of Chinese tea civilization. Furthermore, it provides insights into this cultural phenomenon's origins, evolution, and remarkable achievements while emphasizing how tea has acted as a unifying thread connecting diverse regions and fostering the integration of various ethnic groups. The exhibition's opening ceremony was held on Friday at the Baoyun Lou (Hall for Accumulated Treasures) of the Palace Museum. Distinguished guests included Wang Xudong, a member of the Party Leadership Group of the Ministry of Culture and Tourism and director of the Palace Museum; Rao Quan, a member of the Party Leadership Group of the Ministry of Culture and Tourism and vice minister of culture and tourism; Guan Qiang, a member of the Party Leadership Group and deputy administrator of the National Cultural Heritage Administration; Shan Jixiang, president of the Chinese Society of Cultural Relics and former director of the Palace Museum; Liu Yuzhu, chairman of the China Foundation for Cultural Heritage Conservation; Liu Zhonghua, an academician with the Chinese Academy of Engineering and a professor at Hunan Agricultural University; Fung Ming Chu, former director of the Taipei Palace Museum; Lin Zhongle, chairman of the Cross-Straits Tea Exchanges Association; and Cheng Pei-kai, former chairman of the Hong Kong Intangible Cultural Heritage Advisory Committee. Representatives from participating exhibitors, officials from cultural and museum departments in Beijing, representatives from societies, associations and foundations, experts and scholars, and leaders of the Palace Museum also attend the opening ceremony. Wang Xudong, director of the Palace Museum; Sergei Nilov, head of the Department of Russian Culture and History of the Russian State Hermitage Museum; Li Yun, executive vice president of China Construction Bank; and Song Yao, vice president of the Longfor Group and vice chairman of Longfor Foundation, all delivered speeches. Kang Hui, a well-known Chinese TV host, presided over the opening ceremony. In November 2022, the United Nations Educational, Scientific, and Cultural Organization (UNESCO) acknowledged Chinese traditional tea processing techniques and their associated social practices in its intangible cultural heritage list. This noteworthy recognition marks a significant stride in promoting Chinese tea culture and facilitating deeper cross-cultural exchanges and mutual learning. To further these objectives, the Palace Museum has organized "The World of Tea: Special Exhibition on Tea Culture." This exhibition seeks to advance the systematic protection of intangible cultural heritage, stimulate innovative developments in China's rich traditional culture, and fortify the bonds within the Chinese nation while showcasing the allure of Chinese culture on a global scale. Through the medium of this exhibition, the Palace Museum delves into the depths of tea history, explores the intricacies of the tea ceremony, and celebrates the diversity of tea-related activities. Using tea as a conduit, it elucidates the essence of Chinese tea culture, which greatly emphasizes the values of harmony and unity. Tea originated in China and is popular worldwide. Legend has it that the Chinese were already aware of and making use of tea during the era of Shennong (who is considered the first Yan Emperor and an ancestor of the Chinese people). In Zhejiang Province, roots of artificially cultivated tea trees dating back about 6,000 years have been discovered. In Shandong Province, remains of boiled tea leaves dating back about 2,400 years were discovered in ancient tombs from the Warring States Period (476-221 BC), making it the oldest known evidence of tea drinking. Since the Han Dynasty (202 BC-220 AD), the tea preparation and drinking methods were diversified, including eating, frying, whisking, boiling, and steeping. Drinking tea has evolved into a cultural activity that sates an aesthetic thirst. The Chinese have combined their thoughts on life, the nation, nature, and the universe with daily practices, forming the essence of tea culture. The widespread embrace of tea within China has acted as a catalyst, promoting interactions among people from diverse regions and ethnic backgrounds who all share a deep affection for this cherished beverage. Furthermore, the global dissemination of tea has acted as a conduit for cultural fusion across the vast expanse of the Eurasian continent. The exhibition delves into tea culture and fully presents the development of Chinese civilization and its interactions with other civilizations, all through the lens of tea as a medium. The exhibition comprises four sections, each illuminating a distinct facet of tea's rich history and cultural significance.The first section explores the origins of tea in China, tracing its development over thousands of years and its pivotal role in politics, economics, and cultural exchanges. On display are cultural relics from the Qing Dynasty (1644-1911), including preserved tea leaves, export paintings, and combinations of various objects. The second section delves into the essence of the tea ceremony, featuring a collection of notable paintings and calligraphy from the Palace Museum, as well as ancient texts and excavated tea sets. In the third section, the exhibition traces the global spread of tea from China to various parts of the world, highlighting how different cultures adopted and adapted tea culture. Exhibits include exquisite tea sets from the UK, Japan, and Russia, unique tea sets used in the Qing Dynasty court, and foreign-style tea sets produced by the Imperial Workshop of the Qing Dynasty. The fourth and final section discusses the enduring appeal of tea culture, emphasizing its diverse and integral role in people's daily lives across the globe. Rooted in tradition, it showcases tea culture's ongoing development and prospects. The exhibition spans from the Neolithic Age to the present day. It highlights the development and adoption of tea culture over thousands of years, as well as its embodiment of Chinese philosophical ideals such as unity of nature and man and universal harmony. The exhibits include ancient green-tea tree roots unearthed from the Tianluoshan site of the Hemudu culture (about 5000 BC to 4000 BC) in Yuyao, Zhejiang Province, pushing back the timeline of tea planting in China to about 6,000 years ago. Tea bowls and remains of boiled tea leaves were unearthed from a tomb of the Warring States Period in Zoucheng of Shandong Province, making it the oldest known evidence of tea drinking. The exhibition also features unearthed tea leaves from the Han and Song (960-1279) dynasties, along with over 40 pieces or sets of tribute tea (Gong Cha in Chinese) from the Qing Dynasty collected by the Palace Museum. Together, these cultural relics document China’s over 6,000-year history of tea cultivation and utilization. On display for the first time, a complete set of tea wares unearthed from a Tang Dynasty (618-907) tomb in Qujiangzhuang of Changzhi City, Shanxi Province, in 2022 is one of the most recent archaeological discoveries reflecting Tang Dynasty tea culture. The painting Spring Banquet illustrates a gathering of literati around a rectangular banquet table, with tea-related tools such as tea spoons and tea cups on it, offering a snapshot of how Song Dynasty literati enjoyed tea. A painted clay sculpture of the “Tea Sage” Lu Yu, originally displayed in the Emperor Qianlong’s tea room in Chengde Mountain Resort, is also featured. Accompanying this sculpture are tea sets and a statue from the Tang Dynasty unearthed in Gongyi, Henan Province. The statue is believed to be a representation of Lu Yu. From the Tang to the Qing Dynasty, the once-in-a-millennium meeting of two statues of Lu Yu is unprecedented in the history of tea culture. This exhibition features a total of 555 pieces or sets of exhibits, including 227 from representative collections of 30 cultural institutions and museums both domestically and internationally. These collections are sourced from esteemed institutions such as the National Library of China, the National Museum of China, the China National Tea Museum, the Institute of Archaeology of the Chinese Academy of Social Sciences, the Museum of Ethnic Cultures of Minzu University of China, the Management Center of Ming Tombs in Beijing’s Changping District, the Shanghai Museum, the Tianjin Library, the Museum of Heilongjiang Province, the Hebei Provincial Institute of Cultural Relics and Archeology, the Xinjiang Uygur Autonomous Region Museum, the Shaanxi Academy of Archeology, the Famen Temple Museum, the Hanyangling Museum, the Gongyi Museum, the Shandong University Museum, the Changzhi City Cultural Relics Protection Research Center (Changzhi City Archaeological Research Institute), the Xiyang County Cultural Relics Institute (Xiyang County Museum), the Hunan Provincial Institute of Cultural Relics and Archeology, the Hunan Museum, the Nanjing Museum, the Guizhou Provincial Museum, the Zhejiang Provincial Institute of Cultural Relics and Archeology, the Guangdong Provincial Museum, the Shaowu Museum, the Opium War Museum, the Russian State Hermitage Museum, the British Victoria and Albert Museum, and the Tokyo National Museum and the Idemitsu Museum of Arts in Japan. “The World of Tea: Special Exhibition on Tea Culture” comes with an exhibition catalog. Simultaneously, the Palace Museum's official website will initiate online exhibition tours. Moreover, multiple channels and formats will be adopted to promote the exhibition, including the museum’s official accounts on Weibo, WeChat, and online video platforms. The Palace Museum will sequentially present a series of public academic lectures to facilitate visitors to understand the exhibition. Please stay tuned for lecture announcements on the “The Palace Museum Publicity and Education” official WeChat account. During the exhibition, a tea-related cultural and creative products experience space is open to visitors at the Chonglou (the Lofty Pavilion) in the northeast of Wu men (the Meridian Gate). This unique space is a dedicated area for cultural and creative exploration, highlighting the essence of tea culture within the Forbidden City, with a theme centered around "thousands of feet of snow." By seamlessly integrating elements such as white jade carving, meticulous mortise and tenon craftsmanship, and the iconic red wall color, visitors are invited to fully immerse themselves in the captivating allure of traditional Chinese culture while indulging in a profound tea culture experience. China Construction Bank, as the joint promoter of the exhibition, and Longfor Group, as the public welfare supporter, have collaborated to support the exhibition activities. During the exhibition, the Palace Museum and China Construction Bank will launch the fifth round of new precious metal cultural and creative products – the “Divine Animals of the Forbidden City.” Admission to this exhibition is free with a Palace Museum ticket, and visitors can make real-name reservations through the "Palace Museum" WeChat mini-program.

The Palace Museum is housed in the Forbidden City, the world’s largest and best-preserved wooden palace complex, which possesses a collection of more than 1.86 million priceless treasures. The imperial architecture of the Ming and Qing dynasties and the rich collections that reside here together represent the crystallization of human civilization and wisdom; their contemporary significance—including historical,  cultural, aesthetic, scientific and technological values—deserve our continuous exploration. It has been our constant academic focus to explore how to better protect, research, interpret, display and transmit the history and culture contained in the Forbidden City and its collections.     故宫博物院拥有世界上规模最大、保存最完整的木结构宫殿建筑群，收藏着各类珍贵文物186多万件。明清皇家建筑及其丰富的院藏是人类文明与智慧的结晶，其中蕴含的历史价值、文化价值、审美价值、科技价值和时代价值需要我们持续不断地发掘。如何更好地保护、研究、阐释、展示和弘扬故宫及其藏品蕴含的历史文化，始终是我们不懈探索的学术问题。 In keeping with our innovative, open, and collaborative approach to academic research, the Palace Museum is inaugurating the Taihe Visiting Scholar Fellowship Programme (‘Taihe Fellowship’) to support outstanding academics from outside the Chinese mainland to conduct academic research and exchanges at the Palace Museum. Starting from 2022, the Taihe Fellowship, named after the grandest architectural structure in the Forbidden City, will be awarded to visiting museum professionals and scholars from higher learning and academic institutions outside the Chinese mainland. Detailed information is as follows:     故宫博物院秉持创新、开放、共享的学术理念。为鼓励更多国（境）外优秀专家学者到故宫博物院访学，开展学术研究和学术交流，故宫博物院从2022年起持续实施“太和学者计划”，面向国（境）外博物馆、高等院校以及学术机构招收访问学者。相关事宜公告如下。 1. What We Support The key research interests that the Programme supports mainly include: imperial architecture of the Ming and Qing dynasties; the history and culture behind the Palace Museum collections; historical books, documents, and archives in the collection of the Palace Museum; the conservation and scientific research of heritage objects; and archaeological research. 一、“太和学者计划”学术来访支持的重点方向包括明清皇家建筑、院藏文物的历史文化、院藏古籍文献档案、文物科技保护、考古等研究。 2. Whom We Support The Programme supports both senior and young academics from outside the Chinese mainland engaged in research on Chinese history and culture, as well as related fields. Applicants must present two letters of recommendation. One recommender shall be the head of the institution with which the applicant is affiliated, and the other an expert at another institution. 二、从事中国历史文化及相关研究的国（境）外资深研究人员和青年研究人员均可申报。申报者须由两名同行业专家推荐。推荐者为所在单位负责人和外单位专家。 3. Scale and Duration The Programme plans to award fellowships to 1-5 visiting academics for the year 2024. The duration of the fellowship will range from 3-6 months. 三、2024年度计划招收1-5名太和学者来访。访问期限为3-6个月。 4. What We Cover The Programme and Ng Teng Fong Charitable Foundation special funds will cover the costs of round-trip air tickets, apartment in Beijing, living expenses, round-trip transportation and accommodation for one academic tour in Chinese mainland, and necessary insurance costs, etc. 四、故宫博物院“太和学者计划”和黄廷方慈善基金有限公司专项经费可为太和学者提供一次往返国际交通费、在京公寓住宿费、生活补助费，在华一次学术活动往返交通费、住宿费，以及必要的保险费等。 5. Self-financing We encourage applicants who are able to finance themselves. Where applications are otherwise equal, self-financing applicants will be preferred. 五、鼓励申请人自筹经费。同等条件下，自筹经费者，优先考虑。 6. How to Apply Applicants must complete the ‘The Palace Museum Taihe Visiting Scholar Fellowship Programme Application Form (2024)’ in Chinese or English and send both the hard and electronic copies to the Taihe Scholar Fellowship Programme Office at the Palace Museum before October 10, 2023. Address: Research Administration Department, The Palace Museum, No. 4 Jingshanqianjie, Dongcheng District, Beijing, People’s Republic ofChina Postcode: 100009 Email: taihefellowship@dpm.org.cn Letters of recommendation should also be sent to the same address and by the same deadline. 六、申请人以中文或英文填写《故宫博物院“太和学者计划”（来访）申报表（2024）》并于2023年10月10日前将纸质版和电子版寄送“故宫博物院太和学者计划办公室”（地址：北京市东城区景山前街4号故宫博物院科研处。邮编：100009。Email：taihefellowship@dpm.org.cn）。专家推荐函的寄送地址和截止日期同上。 7. Applicants will be notified of the result by email. We sincerely welcome your participation!     竭诚欢迎国（境）外资深研究人员和青年研究人员到故宫博物院访学！ The Palace Museum 故宫博物院 August 22, 2023 2023年8月22日 Attachment 1 The Palace Museum Taihe Visiting Scholar Fellowship Programme Application Form (2024) 附件一、《故宫博物院“太和学者计划”（来访）申报表（2024）》 Attachment 2: Letter of Recommendation for theTaihe Visiting Scholar Fellowship Programme (2024) 附件二、《故宫博物院“太和学者计划”（来访）专家推荐函（2024）》

Dear visitors: The red alert for rainstorm in Beijing has not yet been lifted. To ensure the safety of visitors, and in accordance with Beijing's flood prevention requirements, the Palace Museum will remain closed on 1 August 2023. The reopening date is contingent upon the weather. We apologize for any inconvenience caused. Kind reminder: Please refund your tickets promptly through the original ticket purchase channel. Thank you for your understanding and cooperation. If you need assistance, please call our customer service hotline at (+86) 400-950-1925. The Palace Museum 31 July 2023

Dear Visitors: The Beijing Meteorological Bureau has issued a red alert for heavy rains. From the evening of 29 July to the evening of 1 August, Beijing will experience heavy downpours, with some areas seeing extremely heavy rainfall. To ensure the safety of our visitors, the Palace Museum will be closed on 30 and 31 July. Opening hours will be determined based on weather conditions.  We sincerely apologize for the inconvenience caused.  Kind reminder: Please promptly process ticket refunds through your original ticket purchase channel. Thank you for your understanding and cooperation. If you need any assistance, please call our customer service hotline at (+86) 400-950-1925.

The Digital Cultural and Tourism Development Forum of the 2023 China Internet Civilization Conference opened in the city of Xiamen, in the southeastern province of Fujian, on July 19, 2023. At the forum, the Palace Museum launched a multilingual website and a digital platform for ancient scripts. The event was attended by Wang Xudong, a member of the Party Leadership Group of the Ministry of Culture and Tourism of China and director of the Palace Museum; Gao Anming, vice president and editor-in-chief of China International Communications Group (CICG); Tian Lixin, director-general of the Department of Language Information Management under the Ministry of Education of China; Wang Yongjian, a first-level inspector from the International Exchange and Cooperation Bureau (Hong Kong, Macao and Taiwan Affairs Office) of the Ministry of Culture and Tourism of China; Zhou Junsheng, deputy director-general of the Science and Technology Education Department of the National Cultural Heritage Administration of China; and Zhu Hongwen, deputy director of the Palace Museum. Palace Museum launches multilingual website in five languages In 2021, General Secretary of the CPC Central Committee Xi Jinping highlighted the importance of promoting Chinese culture globally at the 30th group study session of the Political Bureau of the CPC Central Committee. He stressed the importance of harnessing the influence of culture to effectively convey and promote cultural elements that embody the distinctive characteristics, spirit, and wisdom of China to a global audience. The 20th CPC National Congress also stressed the significance of accelerating the development of China’s discourse and narrative systems, strengthening international communication capabilities and better presenting Chinese culture to the world.                                                                                                                   Aligned with these principles, the Palace Museum started to develop a multilingual website in 2022, with the aim of establishing a platform that proficiently disseminates Chinese narratives and perspectives, presents a China that is credible, appealing and respectable, and introduces Chinese culture to the rest of the world. As a UNESCO World Heritage site, a globally renowned museum and a top tourist destination, the Palace Museum is a paramount symbol of traditional Chinese culture, and a gateway into China for the world. Since its launch in 2015, the English website of the museum has attracted visitors from over 200 countries and regions. The new multilingual website will provide convenient services to a wide range of language communities across the globe, thus significantly expanding the global reach of China’s rich traditional culture. Leveraging the expertise of the CICG Academy of Translation and Interpretation, the Palace Museum has upgraded its English website to a multilingual one, catering to people speaking English, French, Russian, Japanese, and Spanish. The website features tailored content for each language group. As part of this process, the Palace Museum extensively studied other renowned museums and their websites in various languages. The goal was to understand how people in different language communities use websites and what kind of content they prefer. Based on the findings, the museum designed its multilingual website to ensure a more user-friendly experience. Furthermore, it integrated the multilingual website with its “Digital Cultural Relics Library.” This interconnectivity of digital resources lays a solid foundation for the future development of additional digital functionalities of the website. The Palace Museum’s multilingual website strives to offer a user-friendly international platform that highlights the modern civilization of the Chinese nation for overseas audiences. It aims to present information in a clear and concise manner, ensuring a comprehensive showcase of Chinese cultural heritage. The homepage features four main sections: visit, explore, collection, and what’s on. These sections include visitor services, information inquiries, panoramic tours, online exhibitions, collection appreciation, culture column, and news of the Palace Museum. The website is accessible on computers and mobile devices, catering to diverse needs and preferences of overseas audiences. Digital platform unveils over 300 HD images of oracle bone inscriptions In 2019, General Secretary Xi Jinping conveyed his congratulations on the 120th anniversary of the unearthing of oracle bone inscriptions, recognizing their groundbreaking, profound impact on Chinese civilization and even global civilization. He emphasized that oracle bone inscriptions, being the earliest fully-developed writing system found in China, serve as the foundation of Chinese characters and the essence of traditional Chinese culture. He further stressed the importance of preserving these valuable inscriptions. In 2022, during his inspection of the Yin Ruins in Anyang City, Henan Province in central China, General Secretary Xi Jinping once again emphasized the inseparable link between the formation and development of the Chinese nation and the Chinese written language. The Palace Museum houses an extensive collection of ancient scripts, including oracle bone inscriptions, bronze inscriptions, pottery inscriptions, stone drum inscriptions, and seal inscriptions. Among these is an impressive trove of 21,395 oracle bones from the Yin Ruins, ranking the third largest in the world. Throughout history, many distinguished experts and scholars have worked at the Palace Museum, including Ma Heng, Tang Lan, and Luo Fuyi. These individuals made great contributions to the study of ancient scripts. In 2020, the Palace Museum became one of the first institutes to be selected for the “Project of Ancient Scripts and Inheritance and Development of Chinese Civilization” (hereafter referred to as the Ancient Scripts Project). The Palace Museum’s digital platform for ancient scripts is part of the Ancient Scripts Project. Launched in 2021, the primary objective of this initiative is to establish a data platform specifically dedicated to the museum’s collection of ancient scripts. This platform plays a crucial role in the preservation and scholarly exploration of various forms of ancient writings, including oracle bone inscriptions. It is an open big data platform that supports research on ancient writings and facilitates cultural exchange. The digital platform will release more than 300 images of oracle bones and their rubbings to the public. These materials are part of a major achievement of the Ancient Scripts Project — the volumes on the collections of Ma Heng and Xie Boshu in the Oracle Bone Inscriptions from the Ruins of Yin in the Palace Museum. Looking ahead, as digitization efforts continue, the platform will publish more extensive and diverse digital resources of ancient scripts in the future. This endeavor aims to provide publicly-accessible resources, enhance the efficiency of scientific research on ancient characters, and facilitate the application of information technology in paleography. In doing so, the Palace Museum is moving closer toward its goal of safety, vitality, digital development, and academic prestige. Digital technology bridges the past and present, and the internet helps build a global community. The Palace Museum will continue its mission to promote the rich traditional Chinese culture. Harnessing state-of-the-art digital technologies, this initiative aims to showcase to the world an array of exceptional cultural heritage that exudes unmistakable Chinese characteristics. By capturing the essence of the Chinese ethos and wisdom, it revitalizes ancient cultural heritage, imbuing it with renewed vitality in the modern era.