Introduction to the Palace Museum of Taipei Palace, Museum, Introduction, Taipei

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Introduction to the Palace Museum of Taipei

　

Great National Treasures of and for the People

On October 10, 1925, the Palace Museum was inaugurated, as an effort of the Committee for Administering the Care of the Qing Palace to enlist the attention of the public in support of their work, on the premises of the former Qing court in the Forbidden City. Since the collection has had a very long history traceable back through many dynasties, the new institution was rightfully referred to as the Palace Museum. At the same time, it also bore a far greater responsibility and mission as a national museum for China, which had just become a republic.

The Qing imperial collection assumed by the Palace Museum was immense in quantity and superb in quality. Some works had been commissioned by the emperors and made by the Imperial Workshop, representing the highest standards of ingenuity and technical perfection. Some had been offered as tribute by foreign dignitaries and local officials or commoners, and the exquisiteness of such rarities require no reiteration. However, what is significant, though, is that the bulk of the collection was treasures that had been passed down over the centuries through the Sung, Yuan, and Ming dynasties. For this reason, the Palace Museum not only inherited a great repository of objects d'art from the preceding Qing court but also assumed the great artistic and cultural legacy of China.

Not long after the Palace Museum's inauguration, China fell into a period of intense turmoil, resulting in an odyssey of repeated, fraught-filled movements of the Museum's collection. On September 18, 1931, the Japanese militarists instigated the Mukden Incident in northeast China, leading to the occupation of Manchuria that posed a direct threat to nearby Peking. Resolving to protect the cultural heritage represented by the Museum's collection, the National Government, under the leadership of Generalissimo Chiang Kai-shek, immediately moved the most important objects d'art southward to Nanjing and Shanghai to avoid the flames of war. In 1937 a branch office of the Museum was established in Nanjing, providing respite for the objects in the south. Unfortunately, matters took a turn for the worse with Japan's full-scale invasion of China. When the Japanese attacked from the north and from the coast, the treasures in storage in the south were rounded up again and sent through active war zones to O-mei, Lushan, An-shun, and Baxian in inland Sichuan and Guizhou provinces. The convoys and their precious cargoes were exposed to air attacks from above and artillery barrages and machine-gun fire from behind as they traveled along the arduous and circuitous journeys. When Japan was defeated in 1945, the treasures were transported back to Nanjing. Shortly after resetting the collection in the branch office, however, they were once again forced to move with the Government in the wake of China's domestic insurrection by the Communists, this time eastward across the straits to the island of Taiwan.

Accounting for approximately one-fifth of the collection evacuated to southern China, the treasured objects were stored at Pei-kou in the township of Wu-feng, Taichung County, after arrival in Taiwan. In 1965, the National Palace Museum was restored in Wai-shuang-hsi in the suburbs of Taipei. With the collection installed in a secure setting, the Museum's art treasures were finally opened to the public. As we reflect upon the history of the Museum, we realize that had the National Government not taken immediate action to move its collection to safe haven during and after the Sino-Japanese War, many of the treasures undoubtedly would have been looted by Japanese militarists or destroyed in the chaos of the Cultural Revolution. Indeed, those Mainland visitors - the ones from the cultural communities in particular - who have since the 1970's come to the Museum and witnessed in person its modern, optimal facilities and the kind of efforts exerted upon the care of the collection, as well as the splendid exhibitions which are available for public viewing on a daily basis, are gratified that the National Palace Museum is truly the home to the history and culture of the Chinese people.
From an Imperial Art Collection to a National Museum

The founding of the Palace Museum was based on the structure typical of an imperial art collection, and it shared certain superficial similarities with the Musee du Louvre of France in its inheritance from the rich collection and grand palaces of the imperial past. While the collection at the time of the Museum's inauguration featured a few archaic jade pieces of kuei and chang, it comprised largely works from the Hsuan-ho reign (1119-1125) of the Sung Dynasty to the Ch'ien-lung and Chia-qing reigns (1736-1820) of the Qing Dynasty. After being evacuated to Taiwan, the collection gradually expanded as objects of historical or artistic value from other government institutions as well as objects d'art returned by the defeated Japan were integrated into the Museum. And since the time of it’s re-opening in Taipei the scope of the Museum's holdings has further been substantially enlarged through the generous donations of private connoisseurs and the implementation of an active, well-designed acquisition policy structured along the principle of quality over quantity. Geared towards filling the gaps inherent in a collection molded by imperial taste, such efforts have resulted in a collection that encompasses representative works from each and every stage in the history of Chinese civilization from the early Neolithic Age (ca. 10000 to 5000 B.C.) to the modern times and down to the Republican era (1912 to date). It is exactly in this way that the Museum has been transformed from the prototype of a museum that was imperial in nature into a world-class art collection that is truly national in character, illustrative of the development of Chinese culture coming down in continuity from one and the same origin.

Unique in design and solid in structure, the storage area of the Museum, located in caves carved out of the hillside to the rear, not only offers a secure setting for the protection of the collection but also blends seamlessly into the surroundings and form a natural extension of the Museum building. The Museum's storage space was further expanded with the addition in the designated area of one of the new buildings of advanced facilities connecting to the caves, and along with the integration came an unified approach to storing and managing the collection. To optimize conservation, technologically advanced equipment that are constantly in operation, such as temperature and humidity regulators, devices to counter fire, flooding, and earthquakes, computerized monitoring and security systems, as well as fumigating chambers to prevent deterioration by insects and other biological effects, have also been installed. With these preservation measures and the firm construction of the storage, the National Palace Museum has in effect become the sanctuary of Chinese culture, the home where the artistic legacy of China is well safeguarded.

One of the approaches that have been adopted by the Museum to garner public trust in its management of the cultural properties has been taking complete inventory of the collection. One such inventory was taken in the 1930's when part of the Palace Museum collection was transported to the south on the Mainland, and another was done shortly after the evacuation to Taiwan. From 1989 to 1991 the staff of the Museum, in cooperation with a committee of scholars and specialists from outside the Museum, carried out yet another comprehensive inventory of the collection against the catalogs produced in the previous two scrutinizes. Conducted in an open process and based on the Museum's division of the holdings into ceramics, jades, bronzes, miscellaneous artifacts (such as studio items, lacquer wares, enamels, carvings, costumes, and curios), painting and calligraphy (inclusive of tablet rubbings, embroideries, tapestries, and fans), rare books, and historical documents, the examination brought forth a sizable collection of 645,784 objects. That not a single piece was found missing from the original checklists bears testimony to the painstaking efforts of the Museum staff in upholding the integrity of the collection.

The preservation of the cultural legacy for posterity is the common goal of all who work in the Museum. However, certain objects have deteriorated because of the unfavorable conditions they were previously exposed to, and some are more subject to aging than others owing to the organic nature of their materials. Protecting and preserving well ahead in advance with modern technologies have thus become an integral part of the Museum's operation, and a Conservation Department was established to take all applicable measures, be they routine or specific, to ensure that all objects in the collection receive proper care, maintenance, and restoration. In fact, conservators of the Museum have over the years been engaging themselves in the race against time. Not only do they continue to integrate academic and scientific resources to improve their technical expertise, they also employ modern technologies to enhance the facilities to provide an optimal environment in accordance with the specific characteristics of the materials of the objects.
The Exhibitions of the Museum: Shows of Originality and Beauty

Cultural relics represent the synthesis of wisdom and experience of the forbears. While their preservation is of the utmost importance, it is equally imperative that their artistic and historical significance be explored through continued research and that their aesthetic beauty be introduced to the public at large. As a matter of fact, only with the realization of these functions will the raison d'etre of a museum collection be justified. Consequently, the National Palace Museum not only assumes the responsibilities of collecting and conserving, but also organizes exhibitions and publishes catalogs and research monographs. It is hoped that the seeds of culture sowed will continue to sprout and become plants that flower and bear fruits for bountiful harvests in the new millennium and beyond.

The four phases of expansion the Museum has undergone since the time of its reopening in Taiwan has brought more exhibition space, and presently 35 galleries are maintained for regular, permanent expositions of each main category of Chinese art as well as short-term, special shows of specific subjects or themes. When objects are removed from storage and transferred to the galleries, necessary measures must be taken to ensure that they stay in the same optimal, stable environmental conditions. Therefore, not only are sulfate compounds and other harmful air pollutants charcoal-filtered at the ducts before the air is pumped into the galleries, airtight display cases, the design of which is based exclusively on the requirements for different objects made of different materials, have also been installed to provide in the limited space regulated control of temperature and humidity, thus offering dual layers of protection for the objects on view. To create a setting ideal for art appreciation, the galleries are all equipped with artificial lighting which is adjusted to well-defined levels so that the tones and tints of the artifacts' colors as well as their original appearance may be accurately presented. In addition, harmful ultra-violet rays in lighting are screened out by using both low ultra-violet tubes and filters. Also worthy of mention is that the Museum has recently introduced in many of the galleries a purpose-built lighting system that makes use of the advanced optical fiber technology. Producing no heat or shadows, the system has indeed made viewing works of art an even more enjoyable experience. In a nutshell, the Museum is constantly on the lookout for ways to improve the environment in the galleries to ensure that the exhibits enjoy the same optimal preservation conditions as they do in storage.

It has been tabulated that each year the National Palace Museum, which is open daily, receives approximately three million visitors. To the Museum, each and every object d'art is equally precious and important. Yet, from an objective point of view, some objects do stand out for their unique historical significance or for their great artistic value, and have thus been admired by many as crown jewels of the collection. Notable examples in this class include Neolithic jades, Shang and Zhou bronzes, Sung ceramics, painting and calligraphy of the Tang, Sung, and Yuan Dynasties, as well as rare books of the Sung Dynasty. Breathtaking is the range of these treasures, and ranking them in any order of importance is indeed next to impossible.

The Museum's collection of Neolithic jades boasts a full spectrum of fine pieces from such pre-historical cultures as Hung-Shan, Chi-chia, Lung-Shan, Liang-chu, and Pei-nan, which are reflective of the regional differences in customs and ritual services of early China. The bronze collection, on the other hand, attests to the high level of technical achievement of the Xia, Shang, and Zhou Dynasties, and works of the late Shang are considered as the most refined, while Zhou bronzes are noted for their inscriptions of historical import. The Museum is recognized as the treasure trove of Sung ceramics, and wares of the most renowned kilns of the time, including Ju, Ting, Kuan, Ko, Chun, Lung-ch'uan, and Chi-zhou, are all featured in the collection. Among them the Ju celadon and the white Ting porcelains, with their warm and lustrous glazes, represent peaks in the development of the Sung ceramic industry. It has been the Museum's policy to place these crown jewels on view along with other works when the organization of exhibitions requires such an arrangement. As a matter of fact, many works in the class are so crucial for a comprehensive understanding of Chinese art history that they have become part of the permanent exhibitions. However, when it comes to painting and calligraphy of the Tang, Sung, and Yuan Dynasties as well as imprints of the Sung Dynasty, the fragility of the materials must be taken into account in the exhibition planning process. To meet the requirements of preservation and to satisfy public demand, the Museum has designated seventy of the most treasured pieces of painting and calligraphy as restricted works, which are exhibited in alternating groups over a period of three or four years, and has initiated a publishing program to reproduce rare books in the original format and in microform.

The professionals of the Museum have been approaching the organization and staging of all exhibitions in the most comprehensive and prudent manner. In fact, they have been so careful that not a single detail, from evaluating the condition of the collection to mounting and installing the works and from phrasing the explanatory texts on exhibition labels to providing smooth and logical access to the galleries, has not been fully calculated. Aimed to project the continuity in the development of Chinese art and to confirm the artistic process of creating from tradition, a modern art gallery has been set up to exhibit contemporary works on loan to the Museum. At the same time, the Museum has introduced from abroad a series of Western art expositions as an extension of its cooperation with the international museum community, providing local audiences with opportunities to experience the kind of spiritual resonance between artists of the two hemispheres and to broaden their perspectives of other cultures of the world.

Aside from its international cooperation, the Museum has also ushered in exhibitions from selected museums on Chinese Mainland and private collections in Taiwan. Such loan projects, to be sure, would not have been realized without the continued and steadfast support of many of the local enterprises and connoisseurs. Their enthusiastic participation and accumulated experiences have in turn prompted the professionals of the Museum to review the organization of art exhibitions from different angles so that the integration of difference resources in the planning of future presentations may be more clearly defined.

Towards the Realization of a Classroom of Art and Culture for All

One of the ideals shared by museums with respect to the fulfillment of their educational function is to allow the exhibitions to speak for themselves. While the goal is in reality somewhat difficult to attain, the Museum has over the years been augmenting all its exhibitions by providing a full array of accompanying materials in different languages to which both local and foreign visitors may from time to time refer. Should they desire to know more about the artifacts, they are much welcome to participate in a multitude of educational programs and lectures organized by the Museum. Aside from the seemingly endless exhibitions worthy of continued exploration, the Museum library also offers a sizable collection of books and periodicals for consultation by the general public. Coupling the scholarly research undertaken by its professional staff and the efforts devoted to expanding general education, the Museum is in effect a most appropriate place for knowledge enrichment and life-long learning.

Not only does the Museum offer opportunities for adult education, but also cultivate education for children, as exposure to art is crucial in the healthy development of the young. When designing programs to transmit fundamental knowledge of art to the young visitors, the Museum has taken a step further to incorporate the teaching of proper museum etiquette as part of the educational process. Available to primary school students at the same time is the Activity and Creativity class that provides a lively but informative atmosphere for the participants to experience and be inspired by the art and culture of China. It is in this way that the Museum has attended to the requirements of individuals from all walks of life and from all age groups. As such, the Museum may very well be seen as a huge classroom with something for everyone.

That the geographical location of Taipei might be difficult for potential visitors in other parts of the island to reach and that such inconvenience might lead to a sense of cultural exclusion prompted the Museum to launch the circulation in different areas of an exhibition of finely made replicas of selected masterpieces in the collection. In recent years the exposition has also traveled to penitentiaries on the island, so that those who serve their time therein may find spiritual enlightenment in art. As the operation and facilities of an increasing number of cultural centers became streamlined, the Museum has responded by organizing yet another circulating exhibition of a total of one hundred original works, artifacts that are not subject to abrupt environmental changes. The practice, similar to bringing the collection directly to the viewer, has helped turn the rather passive nature of the Museum's educational programs into one that is more active. Free of the fatigue of traveling, more and more people have thus had the opportunity to see the Museum's collection.

In promoting art appreciation the Museum makes no distinction between near and far or between domestic and foreign. While replicas of selected works make their way all over the world, the cream of the collection is also sent overseas on journeys of cultural exchange and cooperation. Organizing exhibitions in other countries, to be sure, is not something to be taken lightly. Though the Museum is keen on elevating the world's understanding of China's cultural heritage, the security and preservation of the loaned objects must be assured and all legal guarantees must be in order before any concrete plan can be drawn. At the same time, the borrowing party is required to organize in exchange at the premises of the Museum an exhibition of fine works of art from its collection, as cooperation is a two-way process that is in the best interests of both parties. Looking into the future, with the Internet bringing the world ever closer, the Museum has found a new realm to present the collection to the global community by means of imaging and communications technologies. Towards this end, the Museum has initiated a series of programs to convert the holdings into high-resolution digital format, and it is hoped that images of the collection will soon be made accessible on the World Wide Web. Progressing from pictures on paper to computerized digital images, the National Palace Museum is truly on the cutting edge of technology, and it is forging ahead with the times to realize the lofty goal of global resource sharing.