The Beijing “Tortoise and Hare Race” dance performance won a creative award for its choreography. The dancers are from the Chinese Mengqi Art Troupe, and the choreographer is Cao Lei.
2025 China (2) Beijing, China: National Museum of China/中国国家博物馆 Ancient China Exhibition (Part 1 - Shang Dynasty to Qin Dynasty)
Finally back to the National Museum of China! Last year I had only one day for the entire museum, including the Ancient China exbition, which pretty much covers the bottom floor of the museum, so I had to leave before I had even seen half of it. For that reason I chose not to post the few pictures I took of this exhibition, but instead saved it until this year when I can actually see the entire thing. Anyway, starting off with some old pictures from last year–
This artifact is a zun/尊, a type of bronze wine vessel, and one of the many types of ritual vessels used during the Shang and Zhou dynasties. This one is specifically one of the most famous and beautiful artifacts of the National Museum of China and one of my personal favorites. Keep in mind that it’s made of bronze, so back when it was still used, it was supposed to look golden
Fu Hao Owl-Shaped Zun/妇好青铜鸮尊, Shang Dynasty. This one is also a bronze zun vessel, but there’s actually a pair of them. The other one is at the Henan Museum (the Henan provincial museum). Fu Hao/妇好 was a queen, priestess, and female general of Shang Dynasty, and since owls were seen as a sacred symbol of war and victory during Shang Dynasty, there were some owl-themed artifacts found in her grave, including this one. And among the many weapons buried alongside her, there were also great battle axes–yes, Fu Hao was a great-battle-axe-wielding badass. Picture that lol
A little more on owl motifs in Shang Dynasty. During Shang Dynasty people believed they descended from owls, known back then as “dark birds”/玄鸟, and these birds provided a connection between the living and the spirits of dead ancestors, and protected people from evil spirits. After Shang Dynasty was overthrown and Zhou Dynasty was established, the owl also fell from its sacred status and they eventually became bad omens of death and misfortune, remaining so to this day.
Houmuwu Ding/后母戊鼎, Shang Dynasty. Ding/鼎 were bronze ritual vessels that came to symbolize the legitimacy of rulers. This particular ding is famous for its sheer size and weight (133 cm * 110 cm * 78 cm or 4.36 ft * 3.61 ft * 2.56 ft; weighs 834.84 kg or 1840.5 lbs), and is the heaviest bronze ritual vessel discovered in China so far.
Bronze Jian of Marquis Yi of Zeng/曾侯乙铜冰鉴, Warring States Period (475 - 221 BC). Jian/鉴 are basins, and this particular covered basin was used to hold ice and wine vessel, so it’s basically an ancient bronze wine cooler. Parts of the basin were cast separately (some using the lost-wax casting/失蜡法 method) and assembled. The handles were made to look like dragons and the feet were made to look like beasts.
Left: Bronze Lei/青铜罍, Western Zhou Dynasty (1046 - 771 BC). Lei/罍 are ritual bronze vessels that were used to hold wine or water, and plays a significant role in rituals. The fancy decorations on the vessel depict various highly stylized creatures like elephants (the handles; back in Shang and Western Zhou the climate was different and elephants used to roam central China), birds (on the lid), and kui/夔 loong dragon (on the body; kui are a type of single-legged loong dragon).
Right: Bronze Hu Made by “Song”/“颂”青铜壶, Western Zhou Dynasty. Hu/壶 is a type of ritual bronze wine vessel, and “Song”/颂 is the artisan who made this vessel. You can clearly see the jiao/蛟 loong dragon decorations all over the vessel. What’s special about this particular vessel is the inscription inside the vessel, which recorded the details of the appointment of an official, which back then took the form of a ritual.
Bronze Square Yi Made by “Li”/“盠”青铜方彝, Western Zhou Dynasty. Yi/彝 is a type of bronze ritual vessel, and “Li”/盠 is the artisan who made this vessel. The handles on the side are shaped like raised elephant trunks, and the body is decorated with cloud and thunder patterns, swirl patterns, kui loong dragon patterns, etc.
Left: Zilong Ding/子龙鼎, late Shang Dynasty. This is the classic bronze round tripod ding, and part of the reason this one is special is because it’s huge. It also carries an inscription reading “zilong”/子龙, hence the name. Also fun fact about the tripod ding, there’s a word commonly used to describe the situation during the Three Kingdoms period: 三国鼎立, literally “the three kingdoms stand like the legs of a ding”, which is a direct reference to this type of ding.
Right: Bronze Square Hu/青铜方壶, Spring and Autumn Period (770 - 476 BC). Hu/壶 is a bronze wine vessel. This particular one was made for ceremonial purposes.
Left: Bronze Fou/青铜缶, Warring States Period (475 - 221 BC). Fou/缶 is….you guessed it…..a type of bronze wine vessel. Fou is kind of special in that it can also be used as an instrument.
Right: Bronze Lei with Tiger-Shaped Handles /虎钮青铜罍, Spring and Autumn Period. This one is rather fancy as it seems to have handles each stylized as double tigers (one facing the top of the vessel, one holding a ring in its mouth).
Inscribed Stone Tablet from Langya/琅琊刻石, 28th year of the reign of Qin Shihuang, Qin Dynasty (219 BC). This is what remains of the famous Stone Tablet from Langya, specifically the second section of it. The first section praised Qin Shihuang/秦始皇 for unifying China, standardizing the written language and systems of measurement, and improving people’s lives; while the first section of the tablet hasn’t been found yet, this part of the inscription was recorded in Records of the Grand Historian/《史记》 by Sima Qian. The second part of the inscription, as seen here on this remaining section of the tablet, was actually added on later by Qin Ershi/秦二世 in 209 BC, and records his decree. Note that Qin Shihuang is a title that means “First Emperor of Qin”, same with Qin Ershi, which means “Second Emperor of Qin”. Qin Shihuang’s given name is Ying Zheng/嬴政, and his son and successor’s given name is Ying Huhai/嬴胡亥 (in Chinese his name is usually shortened to just Huhai/胡亥).
This tablet is also special because the inscription was carved based on writings by the Chancellor Li Si/李斯 himself, aka the man who invented the small seal script/小篆, so this can be seen as an authentic work of small seal script calligraphy by Li Si.
April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 7 – Ancient Chinese Food Culture exhibition/中国古代饮食文化展):
Happy Chinese New Year and Lunar New Year to everyone in advance! Wishing everyone success in the Year of the Snake! 祝大家蛇年吉祥，万事如意！
CNY and LNY traditions vary by region, but the one thing that is definitely shared by everyone is that there’s bound to be a family feast on the Eve (which for this year will be the 28th of January), so today’s post will be quite fitting. Let us begin with alcohol-related artifacts:
The Alcohol (酒/jiǔ)*:
Liao dynasty (916 - 1125) gold wine vessel, where this type of vessel is named zhihu/执壶. Typically when you see similarly shaped vessels in Chinese period dramas, wuxia or xianxia shows, or animated shows, regardless of the material, it’s always a wine vessel. The detailed low relief motifs of bird and flowers was crafted using repoussé and chasing techniques, together called zanke/錾刻 in Chinese:
*Note: although in this post I will be alternating between using “wine” and “alcohol” as the translation for jiu/酒, jiu can refer to all types of alcoholic drinks, and usually a descriptor will be added before jiu to create a new word for a specific type of alcoholic beverage. For example, wine would be called putaojiu/葡萄酒 in Chinese (lit. “grape alcohol”), and cocktails would be called jiweijiu/鸡尾酒 in Chinese (lit. “cocktail alcohol”). The names of traditional Chinese alcohols are descriptive in other ways, for example baijiu/白酒 (lit. “white alcohol”; actually it’s colorless) and huangjiu/黄酒 (lit. “yellow alcohol”). Beer is called pijiu/啤酒 (lit. “beer alcohol”) in Chinese, where pi/啤 is a homophonic translation of the English word beer.
Liao dynasty gold wine cups decorated with gold filigree, depicting clouds and birds:
Liao dynasty gold wine jug with a short spout in the shape of a beast head. The overall shape with flat ridges arranged vertically all around the vessel is called gualeng/瓜棱 (lit. “melon ridges”), so named because it resembles the shape of a ribbed melon.
China has a long history of making and drinking alcohol, which started at around 7000 BC. In the very beginning, alcohol was only produced in small amounts, so its use was reserved for ceremonies and celebrations. From roughly Han dynasty (202 BC - 220 AD) to Northern Song dynasty (960 - 1127) was the time period during which traditional Chinese alcohol making had matured. The famous Tang-era (618 - 907 AD) drunk poet Li Bai/李白 lived during this period of time.
Warring States period (476 - 221 BC) bronze wine jug inlaid with gold and silver:
Qing dynasty (1644 - 1911) enamel wine cups:
Beishan Jiujing/《北山酒经》 or “The Classic of Wine” by Zhu Yizhong/朱翼中 of Northern Song dynasty. This book covered the history of alcohol in China, and described alcohol making methods of the time, specifically the methods used to produce alcohol on a large scale.
8 Types of bronze wine vessels from Shang (·1600 - 1046 BC) and Zhou dynasties (1046 - 256 BC):
The Tea (茶/chá):
China also has a long history of growing and drinking tea, being the country where the beverage originated from. Specifically, tea drinking first started in what is now Yunnan province, developed into a culture in Sichuan, then spread to all of China and beyond.
Qing dynasty duck-shaped tin teapot:
Qing dynasty Qianlong era (1736 - 1796) lacquered teacup, decorated with a poem by the Qianlong Emperor, the same poem as the jade gaiwan/盖碗 from the jade exhibition. The technique of decorating here is called diaoqi/雕漆, where different colored lacquer were layered onto the object, and then patterns would be carved into the thick lacquer, revealing the layers of colors.
A flowchart of the tea preparing and making process in Song dynasty (960 - 1276), called diancha/点茶, which influenced Japanese tea culture. Because of the complexity of the diancha process, it was abandoned in Ming dynasty (1368 - 1644) in favor of simply steeping tea leaves in water.
A video showing the Song-era diancha tea making process. This exact video also plays in the exhibition:
The Food (食/shí):
A Western Han dynasty (202 BC - 8 AD) small bronze hot pot, called a ranlu/染炉. Contrary to the modern Chinese hot pot where food cooked by boiling would be dipped in a bowl of room temperature condiments before eating, during Han dynasty people liked hot condiments, so this small hot pot was actually specifically for heating the condiments as people ate.
Various lacquered food containers from different dynasties.
Left: Western Han dynasty lacquered food container replica; when the original artifact was unearthed, it contained what seemed to be flatbread.
Middle: Ming dynasty 5-layered stacked lacquered food containers, held together with buttons, and decorated with diaoqi technique.
Right: Qing dynasty begonia-shaped lacquered fruit container, also decorated with diaoqi technique.
Qing dynasty tin tripod hot pot. This is a traditional Manchu hotpot, and its structure is quite similar to the classic Beijing style copper hotpot (I couldn’t find anything that confirms a connection between the two, however). Both have a central chamber in the middle for charcoal (heat source), and the cooking is done in the heated water around the central chamber. The two biggest differences are the presence/absence of the tall “chimney” structure above the central chamber, and the material used. The reason this hotpot is tin may be because copper was mostly used to mint coins during Qing dynasty.
These two books were actually on display over at the Science and Technology exhibition, but I moved them here because that post was getting a bit too long. Since both books are about agriculture, they fit into this post quite well. The book on the left is Qimin Yaoshu/《齐民要术》 by Jia Sixie/贾思勰 in Northern Wei dynasty (386 - 534 AD), translated as either “Essential Techniques for the Welfare of the People” (the more accurate translation imho) or “Essential Techniques for the Peasantry”. It is an encyclopedia on a wide range of agricultural and food processing techniques. The book on the right is Nongzheng Quanshu/《农政全书》 by Xu Guangqi/徐光启 in Ming dynasty, translated as “Complete Treatise on Agricultural Administration”. This book is also an encyclopedia that covers agricultural techniques, but also has long sections covering what to do in response to floods and famines.
Pretty interesting and self-explanatory chart on when some crops, vegetables, and fruits were introduced to China (arranged in chronological order). As one can see here, Chinese cuisine had changed a lot over the past ~3000 years, and much of the changes took place during periods when trading activities increased and new produce were introduced. The best example of this is the introduction of hot chilis in late Ming dynasty, which directly resulted in the famous mala/麻辣 flavor profile of Sichuan cuisine and heavily influenced many other Chinese regional cuisines (Hunan cuisine, Guizhou cuisine, Anhui cuisine, etc).
A diagram explaining the seating arrangement in a palace’s main hall in ancient times (top half), and the seating arrangement around a table in Southern and Northern China (bottom half). In all of these cases, the seat facing south (which also faces the entrance in traditional halls) is always reserved for the person of highest status, kind of like the seat at the head of the table. For the bottom half, the numbering indicates the order of seniority and/or inferiority (1 is the highest status).
Some examples of famous dishes from different dynasties, these are arranged in chronological order if going top to bottom, left to right:
Finally, some bonus pictures to serve as the conclusion to my brief trip to Beijing. This oil painting of the Great Wall was in the lobby of the museum, I thought it was pretty neat.
A peek at the Zhengyangmen/正阳门 gatehouse. Zhengyangmen is the southern gate (front gate) to the inner city in imperial times, today it’s the only gate of the inner city that still stands.
A closeup of the Zhengyangmen gatehouse. I think the caihua/彩画 (the colorful painting on the building; also called caihui/彩绘) here had some restoration work done on it in recent years? It looks a lot more vibrant than the caihua on other historic architecture.
This is the last museum post (long post) of the 2024 China series (PHEW), and the final posts will all be fairly short, most of them about the food I’ve had. See y'all after CNY/LNY!
April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 6 – Ancient Chinese Jade exhibition/中国古代玉器展 and part of The Power of Science and Technology exhibition/科技的力量展):
Starting with the Ancient Chinese Jade exhibition today, this is a Qing dynasty (1644 - 1911) Qianlong era (1736 - 1796) jade brush holder. It’s impossible to tell from this angle (my bad lol), but the relief on this brush holder actually depicts the Sanxing/三星 (lit. “three stars”), which is the name of a group of three Daoist deities: Fuxing/福星 (lit. “Fortune Star”; Jupiter), Luxing/禄星 (lit. “Prosperity Star”; Mizar of Ursa Major), and Shouxing/寿星 (lit. “Longevity Star”; Canopus). These three gods are frequently depicted together for auspiciousness.
A Qing dynasty Qianlong era jade gaiwan/盖碗 (lit. “lidded bowl”), decorated with gold inscription of Qianlong Emperor’s poetry and plum blossoms. Gaiwan are a specific type of Chinese tea cup that can be used to both infuse tea and drink tea, and may consist of three parts–a bowl, a lid, and a saucer. Because of this three-part structure, it’s also called sancaiwan/三才碗, where the lid, bowl and saucer correspond to “heaven”, “human”, and “earth” respectively. Alternatively gaiwan can be more literal like the one here, which only has a bowl and a lid. Some say the gaiwan originated in Sichuan in Tang dynasty (618 - 907 AD), but evidence suggests that true gaiwan (with lid) only appeared in late Ming dynasty to early Qing dynasty (around 16th-17th century). Gaiwan was very popular in Qing dynasty and remains popular today.
Left: Ming dynasty (1368 - 1644) diancui/点翠 and jade ornament, with egrets and lotuses carved into the jade part. As mentioned before in the second historical fashion exhibition post, diancui (the blue parts) is a method of decoration that uses the iridescent feathers of kingfishers. Because all species of kingfishers are now protected by law, all diancui on the market currently are imitations.
Right: Ming dynasty wooden table screen with carved jade insert depicting a dragon. This is pretty cute tbh considering how small it is
Qing dynasty jade decor called a shanzi/山子, with a visual depiction of the chengyu 老马识途 (“old horses know the path”) carved into the jade. Shanzi pieces are characterized by their retainment of the original shape of the jade, and depictions of scenes and stories within the jade with methods including reliefs, full reliefs, and openwork sculpting.
Left: Jin dynasty to Yuan dynasty (1115 - 1368) jade ornament depicting chrysanthemum flowers.
Middle left: a Ming dynasty copper daikua/带銙 (basically belt decoration) inlaid with carved jade depicting deer and pines.
Middle right: a Qing dynasty jade pendant in the shape of two badgers.
Right: Qing dynasty jadeite daigou/带钩 (basically belt buckle) with fish and bat motifs. In traditional Chinese symbolism, fish symbolizes “surplus” (鱼 is a homophone of 余), and bats symbolize “fortune” (蝠 is a homophone of 福).
Notice how each of the above pieces utilize the colors inherent in the jade itself to lend color to the subject depicted. This method is still widely used today in modern jade/stone sculpting, and sometimes the finished piece can be stunning. Here’s a modern example that’s not from this exhibition: the piece 山乡晨曦 (“Mountain Village in Dawn’s Light”) by 黄日富. This entire scene is fashioned from a single stone.
And back to the exhibition, I forgot to take pictures of the placards for the next two artifacts, and the museum’s complete online catalogue doesn’t have a search function (UGH)……so I’ll put my best guess here, but don’t take my word for it lol
A jade decor depicting a dragon, probably from either Ming or Qing dynasty:
This seems to be a jade jianzhi/剑璏, no idea what time period it’s from. Jianzhi are basically flat belt loops attached to the sheath of the jian sword scabbard, so that the jian sword may be carried on its owner’s belt.
And onto The Power of Science and Technology exhibition. The pictures I’m sharing here will be primarily focused on ancient Chinese science and technology.
Ink rubbing of the famous Southern Song dynasty (1127 - 1279) star chart stele (called 天文图碑 in Chinese), showing the positions of the Chinese constellations. This star chart was drawn by Southern Song dynasty astronomer Huang Shang/黄裳 based on observations made between 1078 and 1085 (during Northern Song dynasty), and the stele was erected in 1247. The stele itself still stands in the Confucian Temple in Suzhou, China. Here’s a link if anyone wants to see a clearer image of the rubbing (to avoid confusion: the rubbing in this webpage was made in Qing dynasty, but the stele was erected in 1247).
Chart of the Twenty-Eight Mansions/二十八宿 from the Ming dynasty illustrated encyclopedia Sancai Tuhui/三才图会, Volume 1. The Twenty-Eight Mansions are regions around the ecliptic used to identify the location of the Sun, Moon, Venus, Jupiter, Mercury, Mars and Saturn. This is an important concept for both traditional Chinese astrology and astronomy.
Top left: ancient observation of a solar eclipse documented in the Book of Documents/《尚书》.
Bottom left: ancient observation of a nova documented in Book of Han/《汉书》 (completed in 111 AD).
Bottom right: ancient observation of a sunspot documented in Book of Han.
If one flips through any of the 24 official histories of China (二十四史), one will find these records of historical events peppered with observations of astronomical phenomena. This is because of the traditional Chinese astrology concept known as “interactions between heaven and mankind” (天人感应), where it’s believed that whatever happens in the heavens will be reflected in the mortal realm in some way, and vice versa. Because of this indistinction between astronomy and astrology, the vast majority of Chinese dynasties would have an imperial bureau set up just to observe, record, calculate, and interpret the movement of celestial bodies and astronomical phenomena, since these were viewed as reflections of the state and fate of the entire country. In reality however, this bureau often functioned as a special panel of political advisors to the emperor. This bureau is referred to by different names throughout Chinese history, but the two most well known names are 司天监 and 钦天监.
A representation of a piece of ox scapula oracle bone from Shang dynasty (~1600 - 1046 BC; original artifact is in this museum) inscribed with terms from the Sexagenary Cycle, called Heavenly Stems and Earthly Branches (tiangandizhi/天干地支) in Chinese, or Stems and Branches (ganzhi/干支) for short. This cyclical system of 60 terms is used to record the year, month, day, and hour in traditional Chinese calendar (for example right now is still the year 甲辰, but after Chinese New Year, it will be the year 乙巳); however, in Shang dynasty, this system was only used to record days. The Sexagenary Cycle is still used by traditional Chinese painters and calligraphers when dating their works.
Four of the calendars used in different time periods in Chinese history, the Taichu Calendar/太初历 of Han dynasty (top left), created in 104 BC; the Daming Calendar/大明历 of Southern dynasty (top right), created in 462 AD; the Dayan Calendar/大衍历 of Tang dynasty (bottom left), created in 729 AD; and the Shoushi Calendar/授时历 of Yuan dynasty (bottom right), created in 1281. All of these are lunisolar calendars.
The Northern Song dynasty (960 - 1127) official military compendium Complete Essentials for the Military Classics/《武经总要》, by Zeng Gongliang/曾公亮 and Ding Du/丁度. The version seen here is the version included in the Qing dynasty book collection Complete Library of the Four Treasures/《四库全书》, completed in 1782.
And the book that has appeared a couple times throughout this series of posts already, the Ming dynasty illustrated encyclopedia Sancai Tuhui/《三才图会》:
This is the Ming-era Chinese translation of the mathematical work The Elements by Euclid, titled 《几何原本》. The translators were the Jesuit missionary Matteo Ricci and Xu Guangqi/徐光启 (there’s more information on the placard).
Here is one of the ways in which ancient Chinese science and technology still contributes to the world today, a lesser known example than the famous Four Inventions: the discovery of the antimalarial drug artemisinin (named qinghaosu/青蒿素 in Chinese) by Chinese chemist Tu Youyou/屠呦呦 in the 1970s. Artemisinin is derived from the plant Artemisia annua L., which was recorded in The Handbook of Prescriptions for Emergency Treatments/《肘后备急方》, a book on traditional Chinese medicine written by Ge Hong/葛洪 in 340 AD, as effective against malaria. Since its discovery, artemisinin and its derivatives have saved millions of people, and are now recommended by the WHO as part of the frontline therapy for malaria. For her discovery of artemisinin, Tu Youyou was awarded the Nobel Prize in Medicine in 2015. On display here are Tu Youyou’s letter to the Chinese plant biologist Qian Yingqian/钱迎倩, and her revisions to the draft of Discovery and Development of New Antimalarial Drug Qinghaosu (Artemisinin).
For thousands of years, Chinese people gazed at the stars in awe and wonder what messages the heavens wished to convey. Today, with modern science and technology, the heavens are not so mysterious and out-of-reach anymore, and people can appreciate the universe simply for its vast beauty. In 2013 China sent its first lunar rover, Yutu/玉兔, to the moon. In 2020, Chang'e 5/嫦娥五号 brought back a sample of lunar soil. The names of Yutu and Chang'e come from the names of the moon rabbit and the moon goddess of traditional Chinese mythology respectively (here’s an old post I wrote on Chang'e and the moon rabbit, if anyone’s interested in the legend).
Left: 1:1 model of the 2013 Yutu/玉兔 rover. (both pictures from National Museum of China official site; I saw the actual model and the actual sample but didn’t take a picture of it)
Right: part of the lunar soil sample that Chang'e 5 brought back in 2020.
Looking at the lunar soil sample really made me appreciate how far humanity has come, and how much China has developed. I remember witnessing China’s first manned spaceflight in 2003, that was just a little over 21 years ago. These are truly exciting times.
Phew. Another post that ended up being way more involved than I initially thought……the next post will be the last one of the museum posts in the 2024 China series, and it will be on the history of tea, wine, and food in China (mmm). It will be posted by the Friday before Chinese New Year. Stay tuned!
April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 5 – Ancient Chinese Porcelain exhibition/中国古代瓷器展):
First post of the year, gotta start with something good: this is a rather famous vase from Qianlong era of Qing dynasty (1644 - 1911). It’s made in the suantouping/蒜头瓶 (lit. “garlic-head vase”) shape, and decorated with falangcai/珐琅彩 (basically cloisonné but done on porcelain instead of metal). The design features a nice combination of traditional Chinese chanzhihua/缠枝花 motifs (traditionally this continuous plant motif symbolizes longevity) and European art influence, specifically from rococo. This is interesting as rococo was also influenced by Chinese porcelain, making this vase another example of cultural influence going both ways.
As mentioned in my previous announcement post, my visit to the National Museum of China was very brief, everything took place in the span of one day (plus traveling to and from Beijing), please pardon the picture quality.
And from here on I will be going in chronological order. Below is an urn from the Northern Dynasties (439 - 581 AD). This urn was decorated with lotus petals all around, and was specifically a type of grave good, not made to be used by the living. Lotuses are a commonly used symbol in funerary rites due to its association with Sukhavati (Sanskrit: सुखावती; referred to as “极乐世界” or “Land of Bliss” in Chinese) in Mahayana Buddhism.
Another urn, this time from the Sui dynasty (581 - 618 AD) Shouzhou kiln/寿州窑. This urn may also have been grave good, as evidenced by the numerous Buddhist symbols all around.
Left: a small Sui-era vessel, found in a tomb. It’s probably also a grave good, because of its pointy design (imagine holding that).
Right: a group of small Sui-era grave goods, these were tiny and adorable
In the middle is a Tang dynasty (618 - 907 AD) pitcher, made by the Lushan kiln/鲁山窑. This pitcher displays Lushan wares’ characteristic blueish glaze, where the blue comes from different concentrations of iron oxides.
Left: a Northern Song dynasty (960 - 1127) white-glazed wine vessel called a meiping/梅瓶 (lit. “plum vase”), but in Song dynasty it was called a jingping/经瓶.
Middle: a Northern Song era white-glazed Ding ware/定窑 plate decorated with the double fish motif.
Right: this one is pretty cute, it’s a container for weiqi/围棋 pieces that’s shaped like a drum, made by Yaozhou kiln/耀州窑.
Left: forgot to take a picture of the placard, but my guess is that it’s a bamboo-necked celadon-glazed Longquan ware/龙泉窑 vase (I might be wrong).
Right: a small Southern Song dynasty (1127 - 1279) Ge ware/哥窑 bixi/笔洗. Bixi are containers used to rinse traditional brushes. This bixi has the crackled glaze that’s characteristic of Ge wares.
Left: a small haitang/海棠 flower-shaped celadon-glazed lidded container box called a taohe/套盒, made by Southern Song dynasty guan kiln/官窑 (guan/官 means “official”, so “guan kiln” is best understood as the kiln that’s run by the imperial court; this is important as later dynasties may have their own guan kilns). These containers can hold various small objects including food, and are stackable.
Right: a Song-era haitang-shaped rose purple flower pot, made by Jun kiln/钧窑. Jun wares are known for their glaze colors, which shift and change according to the firing temperature, this is known as yaobian/窑变 (aka kiln transmutation or “flambé”). This particular flower pot became part of Qing imperial court’s collection later on.
A Yuan dynasty (1206 - 1368) qinghua/青花 (“blue and white”) porcelain pot, decorated with dragons. The blue color in the famous qinghua porcelain comes from cobalt blue pigment in the underglaze.
A Yuan-era qinghua porcelain vase decorated with a flying fenghuang:
Two Ming dynasty (1368 - 1644) tall-footed bowls, the left one has a glaze known as “sweet white glaze” (甜白釉), since this shade of white was likened to the white of crystal sugar; the reign mark indicated that it was made during the Yongle era of Ming dynasty. The bowl on the right has the peacock blue glaze (孔雀蓝釉), and the reign mark indicated that it was made during the Xuande era of Ming dynasty. Reign marks are markings that indicate the dynasty and era during which a piece was made.
A side note on era names or nianhao/年号: nianhao was a way of identifying years in imperial China and was usually decided by the reigning emperor at the time. One emperor may have multiple era names during their reign if they so choose, however since Ming and Qing dynasty mostly have just one era name per emperor, Ming and Qing emperors are often referred to simply by the era name they used, for example Yongle Emperor (temple name Emperor Chengzu of Ming) or Qianlong Emperor (temple name Emperor Gaozong of Qing). Depending on the context, usage of a Ming or Qing era name may refer to the time period during which an emperor reigned, the emperor who used the era name, or even both.
Three Ming-era monochrome (called danseyou/单色釉 in Chinese) porcelain plates. Monochrome porcelain became popular in Song dynasty, and has been popular ever since, but overall three dynasties were the most famous for their production of monochrome porcelain: Song dynasty, Ming dynasty, and Qing dynasty (1644 - 1911). Recently monochrome porcelain has been gaining popularity again, since their vibrant colors fit into modern aesthetics surprisingly well.
A wall of monochrome porcelain plates, illustrating the effect of different elements and firing temperatures on glaze color.
A set of wares that may be found in a study, made in the Kangxi era of Qing dynasty (1662 - 1722). The glaze used here is quite famous, called jiangdouhong/豇豆红 (aka cowpea red), created by applying copper red glaze in high temperatures. The end result is notoriously hard to control, so some pieces may turn out to have multiple colors, mostly the shade of red as seen below and apple green. The left and back pieces are both small decorative vases (for the longest time I thought the one on the left was an upside-down bowl……lol), the small box in the front is a seal paste box, and the flat bowl on the right is a bixi.
Left: red and blue yaobian vase, made during the Yongzheng era of Qing dynasty (1723 - 1735); unfortunately due to the angle here, you can only see a little bit of the blue streak running down the front. The colors are so vibrant here that this kind of yaobian has earned the nickname of “flaming red”/火焰红.
Right: a langyaohong/郎窑红 (also called “sang de boeuf” or “oxblood”) vase, made during the Kangxi era of Qing dynasty. Langyaohong glaze is known for its deeply red color, hence the names that relate it to blood.
A Kangxi era blue glazed gilt porcelain vase. I love the intricate interconnected lotus patterns (chanzhilianwen/缠枝莲纹) here. I didn’t have time to take a picture of the placard so it literally took hours of pulling my hair out reverse image searching to find out when (which era) this vase was made…………….. (btw the text in the back refers to the painting in the background, not this vase)
Left: a youlihong/釉里红 vessel that’s shaped like an apple, so it’s quite literally named a pingguozun/苹果尊. This shape is rather unique to the Kangxi era. Youlihong (lit: “red inside glaze”) is basically a red copper oxide underglaze.
Middle: a youlihong vase made in the Yongzheng era.
Right: a larger vase made in the Yongzheng era that combines qinghua underglaze and youlihong underglaze in one piece.
This giant qinghua vase from the Qianlong era of Qing dynasty (1736 - 1795) was made in the shape of Shang and Zhou dynasty ancient bronze ritual vessel named gu/觚. This is also one of the few pieces produced in history that had the name of the potter attached to it. The potter who made this vase was Tang Ying/唐英, and he was the superintendent who oversaw imperial porcelain production in Jingdezhen/景德镇 (basically the Ming and Qing dynasty guan kiln) during the Yongzheng era and the Qianlong era. Together with the Kangxi era, these three Qing dynasty eras are collectively called “清三代”, or “the three Qing generations (of emperors)”, this was the second height of porcelain making in Chinese history after the “five great kilns”/“五大窑” of Song dynasty.
A column shaped openwork fencai/粉彩 incense holder from Qianlong era, where fencai is basically overglaze enamel decoration that falls under famille rose.
Left: a Qianlong era green fencai vase that feature kaiguang/开光, which were window or panel-like designs on the piece where scenes may be painted. This particular vase also displays poetry by Qianlong Emperor himself.
Middle: a fencai shuanglianping/双联瓶 made during the Jiaqing era of Qing dynasty (1796 - 1820). Shuanglianping are conjoined vases that symbolize the coming together of matching talents or generally good things.
Right: a Qianlong era gourd-shaped doucai/斗彩 vase with kaiguang. Doucai combines both underglaze decorations and overglaze decorations.
I want to draw special attention to this leaf-shaped fencai cup in the middle that was made in the Guangxu era of Qing dynasty (1875 - 1908). The “leaf” part is actually a lotus flower, but the cool thing about it is that the green stem part is a built-in straw, so this is a highly decorative porcelain straw cup. I really do hope there are cheaper modern replicas of this cup sold somewhere, I want one
Finally, to wrap up this exhibition, here’s an arrangement to show how these different porcelain pieces would be utilized in a traditional study room.
Btw about the seal paste box, this is what a seal paste box would look like when opened:
The square in the middle is a small piece of gold foil, which, upon mixing, would give the seal paste a little bit of sparkle
This seal paste was a gift from a relative (still unopened). The seal is my personal seal.
I was going to finish posting the pictures I took from the National Museum of China, however I didn’t finish the Ancient China exhibition, because it was HUGE. I think basically the entire bottom floor of that museum was dedicated to this one exhibition, and we only saw less than half of it (going chronologically, we stopped and left right before the Tang dynasty section), since we had only one day planned for this museum. That was a huge mistake, and one of my two biggest regrets from the entire trip. Should have planned at least two days for this one museum.
BUT thankfully, the Ancient China exhibition is permanent! So I’m definitely going back there in spring-summer 2025 and I’m going to finally finish seeing that exhibition. I do have some pictures from the hasty visit this year, but since I am going to finish it next year, I think I will save the posts for that exhibition for next year. This means there will only be some pictures left for the porcelain exhibition (different from the Dehua porcelain exhibition, this one exhibits historical artifacts) and the ancient texts exhibition, those posts are in the works right now.
For my trip to Beijing next year, I’m also planning on visiting the Palace Museum/故宫博物院 again (aka Forbidden City/紫禁城). It’s been 20 years since I last visited the Palace Museum, that was back when Palace Museum didn’t have as much restoration work done or as many visitors. As a child, my biggest memory from that visit was the grass growing on the roof of the buildings…..that was strangely funny and sobering at the same time. It will be really exciting to see what has changed in this 600+ years old palace over the past 20 years.
A video of the seasonal scenery in the Palace Museum, by the Palace Museum’s official channel (ugh I will be missing out on all the flowers!):
Besides National Museum of China and the Palace Museum, I am also planning on visiting other cultural and historical sites in Beijing like Prince Kung’s Palace Museum/恭王府博物馆, Yonghe Temple/雍和宫, and Hongluo Temple/红螺寺. Maybe the Beijing Zoo/北京动物园 too (mostly to see the pandas lol). It’s rather early so none of this is set in stone yet, but I’m definitely going to at least a handful of places.
April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 4 – Chinese Historical Fashion Exhibition continued):
Alrighty, Ming and Qing dynasty fashion, here we go! Sit tight because this is an extra long post that took me a long time to research
First is this marvel, a replica of the phoenix crown/fengguan/凤冠 of Empress Xiaoduanxian of Ming (明孝端显皇后). The real artifact is in this museum, but it’s probably not exhibited much for conservation reasons.
Phoenix crowns are the formal headwear for empresses, which according to etiquette rules set at the beginning of Ming dynasty (1368 - 1644), must have 9 dragons and 4 phoenixes (btw the original Chinese term is fenghuang/凤凰, which is a different mythological creature from the phoenix, but “phoenix” is the commonly used translation now), but this crown has 9 dragons and 9 phoenixes, indicating that etiquette rules have loosened and shifted by late Ming.
The phoenixes on this crown are blue because they were actually made with the iridescent feathers of kingfishers in a process called diancui/点翠. All species of kingfishers are now legally protected animals in China, so when buying hanfu accessories, you may come across “imitation diancui”/仿点翠, these are usually either made with enamel or dyed chicken or goose feathers. Another thing to note is the appearance of the jewels on this crown. Ming-era people liked keeping the jewels in a “natural look”, so these jewels had no facets.
Recreations of Ming-era hanfu. Left is the semi-formal outfit of aristocrat women in mid to late Ming dynasty. Right is the casual outfit of late Ming scholars and literati. The woman’s cone-shaped hairstyle is called a diji/䯼髻, and the set of hairpins that goes on a diji is called toumian/头面. She’s wearing a type of top called an ao/袄 and a skirt aka qun/裙, specifically a mamianqun/马面裙, or “horse face skirt”. Note that the bottom hem of an ao is not tucked into the skirt. The man is wearing a square-ish hat called a fangjin/方巾 and should also be wearing a wangjin/网巾 underneath (can be understood as a hairnet). He’s wearing a daopao/道袍 and a hechang/鹤氅 on the outside.
Also I did make a mistake while dividing up the pictures for these two posts, some of the following artifacts are from earlier dynasties. Ugh if only I had time to take pictures of all the placards.
A pair of mojie/摩竭 shaped gold earrings from Liao dynasty (916 - 1125). Note that the placard says it’s “摩羯形” or “Capricorn-shaped”, but this apparently is sort of a misnomer? Sort of, because this representation should be of the makara (मकर; translated as 摩竭 in Chinese), a sea creature from Hindu mythology, but at the same time it is the equivalent of Capricorn in Hindu astrology. However since the name “Capricorn” stuck, it’s now commonly referred to as “摩羯”. 摩竭 and 摩羯 have the exact same pronunciation though.
A pair of phoenix (fenghuang) shaped gold hairpins from Liao dynasty:
After a lot of pulling my hair out researching, I finally found what time period this gold belt buckle came from. It’s from Eastern Han dynasty (25 - 220 AD). The gold filigree and beads form the pattern known as panchiwen/蟠螭纹, where pan/蟠 and chi/螭 are both types of loong dragon in Chinese mythology.
The gold decoration on a xiapei/霞帔 (the V-shaped wide band in the diagram on the right) from Liao dynasty. Xiapei originated in Song dynasty (960 - 1279) as part of the formal attire of consorts, but later developed into a part of the formal attire for women in general. Xiapei also looked different at different time periods in history, but from Song-era to Ming-era, its structure didn’t change by much.
Finally back to Ming dynasty. This is a gold cap inlaid with gems and pearls. From the size of this cap and the included hairpins, we can deduce that this cap is meant to encase the bun on the top of the head (the hairpins that go through the cap would hold it in place).
Like the gold cap above, the next few are all from the same tomb of a Ming dynasty noble, and they are all themed similarly–they all depict scenes in a heavenly palace. Of these, the first three that has miniature architecture in gold are parts of the toumian worn on a diji hairstyle. This first one is a pair of yanbin/掩鬓 (lit. “covering temples”), so called because they are worn on the sides, close to the temples.
This next one has some confusion regarding the naming. According to an article by the Chinese Academy of Social Sciences Institute of Archaeology, the top artifact is a fenxin/分心 and the bottom artifact is a tiaoxin/挑心, but according to 撷芳主人 (if you are a hanfu enthusiast you have probably heard of this person or seen their works, they are the one who drew the cute illustrations of Ming-era fashion), the top one may be a manguan/满冠, and the bottom one should be called fenxin/分心. Note that 撷芳主人’s conclusion is mostly based on Ming-era records and novels. Regardless of the naming, the top one here should be worn on the base of the diji, and the bottom one should be worn at the front center of the diji.
This one also has some confusion in the naming, the Institute of Archaeology calls it a dingzan/顶簪, while 撷芳主人 calls it a tiaoxin/挑心. Again, regardless of the naming, this one is worn on the very top of the diji, so the hairstick portion goes straight down through the diji. If you look closely, you can even see people and animals in the details.
Left: a pair of gold phoenix (fenghuang) hairpins made in the 22nd year of the Yongle Emperor of Ming. Right: gold filigree bracelets inlaid with gemstones.
Ming-era portrait of a scholar official. Before cameras were introduced in late-Qing dynasty, portrait paintings were the most realistic depictions of what people looked like back then. Such portrait paintings mostly began in Song dynasty and continued through to Qing dynasty.
Also from Sancai Tuhui Chapter 62 (all pictures here come from Ch. 62-64), illustrations of the twelve ornaments (called shierzhang/十二章) on a mianfu/冕服, which is the highest level of formal attire for an emperor in Ming dynasty. These twelve ornaments depict things including celestial bodies (note that sun contains the three-footed sun crow, and moon contains the moon rabbit), elements of nature, mythical creatures, and representations of life, and are supposed to represent the values and traits that an emperor should possess:
And wrapping up the section on Ming-era hanfu, here are the headwear of different classes of people in Ming dynasty, from commoners to the literati to important government officials.
Note the net-like hair accessory on the left. This is a wangjin/网巾 during Ming dynasty (illustration from Sancai Tuhui), and is worn by all men regardless of social class. However, wangjin is worn almost like an “undergarment”, so it’s almost always covered by something else. Which means all those historical cdramas set in Ming dynasty that have their characters wear only a wangjin in public are, in fact, inaccurate.
Some hats of commoners and scholars in Ming dynasty. Note the left one on the second row, that is the same hat worn by the Fox Scholar in the episode Goose Mountain of the animated series Yao Chinese Folktales (《中国奇谭》).
Some of the formal headwear of government officials in Ming dynasty. These are called liangguan/梁冠, lit. “beam crown”, where the liang/“beam” refers to the metal arches that go over the top. The more liang there are on the hat, the higher the rank of the official.
And last but not least, Qing dynasty (1616 - 1911) fashion. Left is Qing-era men’s outfit for horseback archery and hunting, called xingfu/行服. His hat is composed of two parts, the actual hat called dingdai/顶戴 (here it’s specifically the winter version) and the back decoration made of horsehair and feathers that signifies status is called hualing/花翎. Back is the casual outfit of late-Qing Manchu noblewomen, with the characteristic hairstyle called dalachi/大拉翅, a vest called kanjian/坎肩, and a robe beneath called chenyi/衬衣. These are all considered part of qizhuang/旗装, or traditional Manchu clothing. On the right is the late-Qing casual outfit of upper class Han women, with an ao/袄 top and a langanqun/阑干裙 skirt (a type of mamianqun/马面裙), and a headband decorated with pearls called mo'e/抹额. Note that although the exact origin of the modern qipao/旗袍 is disputed, it definitely has elements from at least one of the following: the Manchu chenyi, the Han ao, and the late Qing and early Republic era men’s changshan/长衫.
A little historical background on why this particular display is arranged in this way. In early Qing dynasty, the Manchu ruling class enforced the policy of 剃发易服 (lit. “shaving hair and changing clothing”) specifically on Han men in order to force conformity to Manchu traditions in terms of hairstyle and clothing, but Han women were not included in this policy. So in early Qing, Han women still wore the same clothing as they did prior in late Ming, but over the time the fashion of Han women absorbed many elements of Manchu fashion. However, this wasn’t a one-way influence. By late Qing, many elements of Han fashion were adopted by Manchu fashion as well, so this influence really went both ways. Today, Manchu people is one of the 56 officially recognized ethnicities in China (4th largest ethnicity by population), and the traditional fashion of Manchu people is a part of the diverse culture of modern China.
Below is a real example of a chenyi, chenyi were popular among Qing dynasty imperial consorts as informal dress:
The hairstyle of Manchu women (called qitou/旗头) at different times during Qing dynasty. The one at the far right was what early qitou looked like, while the one on the far left appeared in late-Qing. The two hairstyles on the left frequently appear in period dramas set in Qing dynasty.
A belt called jifudai/吉服带 with pouches and decorations. Jifudai is so named because it’s supposed to be worn with the semi-formal jifu/吉服 outfit. This particular jifudai is yellow, a color reserved for the emperor.
Real examples of Qing-era Han women’s outfit, with an ao on the left, and a langanqun on the right. Langanqun is a type of mamianqun, but the construction is different from Ming-era mamianqun, in that langanqun is made from numerous rectangular and trapezoidal pieces of fabric sewn together into two larger pieces, whereas Ming-era mamianqun are simply two large pleated pieces of fabric. The way these skirts are decorated are also somewhat different. Visually speaking, Qing-era langanqun have woven and/or embroidered patterns that are arranged vertically, creating a “paneled” look, whereas Ming-era mamianqun have woven and/or embroidered patterns that repeat and extend horizontally as to wrap around the entire skirt.
Aaaaand that’s it for this exhibition! Phew. I highly recommend everyone go visit the free virtual exhibition (link here), partly because when I visited the National Museum of China, I was in a huge hurry (I only had one day to see everything), and so the task of taking pictures of the exhibition was split between me and a family member, but I’m not sure they understood how many pictures I wanted….so what’s in my posts here are only a very small portion of the actual exhibition. The actual exhibition doesn’t just have artifacts and replicas of artifacts, but also have paintings and real articles of clothing from Qing dynasty, which were all amazing to look at.
April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 3 – Chinese Historical Fashion Exhibition):
Another cool exhibition that I visited while at the museum, showcasing popular fashion from different dynasties, historical artifacts, and some other relevant artifacts that gave a glimpse into the fashion of different dynasties. What’s even cooler is that you can visit this exhibition virtually! (the site is in Chinese but I highly recommend it to everyone, there’s so much more to the exhibition than the pictures I post here) Note that this exhibition does not only include historical hanfu, but also historical fashion of the 少数民族 that ruled some of the dynasties. This post will be pre-Ming fashion, and next post will be Ming and Qing era fashion. The reason is because Ming and Qing dynasties are the two most recent dynasties, so there are a lot of surviving artifacts from these two dynasties, which means there are 30+ pictures total and I couldn’t fit them all into a single post.
First is a recreation of Han-era (202 BC - 220 AD) hanfu. The woman on the left is wearing a one-piece robe called a qujushenyi/曲裾深衣. The man on the right is wearing the outfit characteristic of Eastern Han dynasty (25 - 220 AD) civil officials, a combo of jinxianguan/进贤冠 hat and zaochaofu/皂朝服 clothing (皂 here means the color black, as in the word “青红皂白”, or “blue and red, black and white”):
Left: model of a Han-era magpie tail cap/queweiguan/鹊尾冠 (you can see the influence of these Han-era men’s hats on the outfits of male characters in modern xianxia art). Right: recreation of a Han-era bian/弁 hat (the headscarf-like piece tied beneath the chin):
Line drawings of different hats worn by different types of officials based on artifacts and murals. The center and left sections are different hats of military officials (wuguan/武官 in Chinese), and the right section is different hat styles of civil officials (wenguan/文官 in Chinese).
Jumping back, this is a Warring States period (476 - 221 BC) iron daigou/带钩 inlaid with gold and jade and decorated with dragons. Daigou are basically belt buckles where the flat end is attached to one end of the belt, and the hook will hook into slits in the other end of the belt, so this is an extra fancy belt buckle:
On to Tang-era (618 - 907 AD) hanfu. From the left to right these are: the regular outfit of early Tang dynasty officials (color varies by rank, red is worn by fourth and fifth rank officials), the outfit of a female servant in early to mid Tang era, the ceremonial outfit of a Tang dynasty emperor, and the outfit of noblewomen in late Tang to Five Dynasties era (907 - 960 AD):
Song-era hanfu (front two) and Yuan-era Mongolian fashion (back two). Front left is the formal attire of Southern Song dynasty (1127 - 1279) civil officials (color varies by rank, red is worn by fourth and fifth rank officials), and front right is the regular outfit of women in Southern Song dynasty. Back left is the formal attire of Mongolian noblewomen in Yuan dynasty (1271 - 1368), and back right is the regular outfit of Mongolian men in Yuan dynasty.
Replicas of painted clay sculptures of women from Northern Song dynasty (960 - 1127), the original sculptures are in Hall of the Holy Mother/圣母殿 of Jinci Temple/晋祠 in Shanxi province:
By the way, in the case of Song dynasty, the descriptor “northern” and “southern” basically indicate time periods within Song dynasty (you can refer to the beginning of this post where I explain this in more detail).
And line drawing diagrams of different styles of futou/幞头 hats in Song dynasty based on paintings, murals, and other artifacts:
