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From September 8 to November 8， Beijing’s Palace Museum（Forbidden City） is welcoming visitors to its special exhibition The Precious Collection of the Stone Moat（Shiqu Baoji）， one major event to celebrate the 90th anniversary of its opening to the public. On display are some of 283 treasured pieces of calligraphy and painting， and the others will arrive on October 12 as another stage of the exhibition.
Known as a precious collection of rare treasures， Stone Moat is a royal inventory complied during the Qing Dynasty （1644-1911） that records over 10，000 calligraphy and painting pieces from past dynasties. The collections of calligraphy and paintings in the imperial palace culminated during the reigns of Emperors Qianlong and Jiaqing. Named by Emperor Qianlong， the catalogue was first compiled in the 9th year of Qianlong’s reign and later revised twice， in the 58th year of Qianlong’s reign and the 21st year of Jiaqing’s reign， respectively.
Compared to the many imperial inventories of calligraphy and paintings from previous dynasties， Stone Moat stands out in magnitude， diversity， and rarity， providing systematic organization and study of the ancient Chinese arts of calligraphy， which is particularly valuable to future research.
The term “Stone Moat” was first found in the History of the Han Dynasty， an important historical record of ancient China. It was so named to express Emperor Qianlong’s deep respect and interest in ancient Chinese culture.
Two centuries have passed since the completion of the last edition of The Pre- cious Collection of the Stone Moat. Over the centuries， some pieces listed in the catalogue were removed from the palace， particularly during the late Qing Dynasty and early Republic of China （1912-1949）. Many lost treasures have been brought back to the Forbidden City since the founding of New China in 1949， creating a collection miracle in terms of scale and qualification of collected calligraphy and paintings from past dynasties. The special exhibition is showcasing the tireless efforts of dozens of specialists who contributed to the study and organization of the precious royal collection of the Palace Museum.
The exhibition consists of two sections：“Collections of the Court” and “Recovered Treasures，” which are displayed in the Hall of Martial Valor （Wuying Dian） and the Palace of Prolonging Happiness （Yanxi Gong） respectively， both in the Palace Museum.
“Collections of the Court” features catalogued calligraphy and paintings from The Precious Collection of the Stone Moat， sharing the history of their collection， circulation， and differentiation. The majority of the 82 exhibits are masterpieces of calligraphy and paintings from past dynasties， such as the Song-dynasty （960-1279） replica of Maidens by Gu Kaizhi， a celebrated painter of the Eastern Jin Dynasty （317-420） and Spring Outing by Zhan Ziqian from the Sui Dynasty （581-618）， reflecting the style of figure painting and landscapes by the earliest Chinese master painters.
Another eye-catching masterpiece is Along the River During the Qingming Festival by Zhang Zeduan， a renowned painter of the Northern Song Dynasty （960-1127）. It is rarely seen displayed in its full length： 5.28 meters. Also worth noting is the exhibition marks the first display of original inscriptions by five Qing emperors： Shunzhi， Kangxi， Yongzheng， Qianlong， and Jiaqing.
Never before has one exhibition in the Palace Museum， or anywhere else in the world， featured so many masterpieces.
“Recovered Treasures” focuses on the content and features of Stone Moat in five aspects： the origin of the catalogued calligraphy and paintings， the compilers， style of compilation， places of storage， and royal seals on them. On display are 72 classics from the collection of the Palace Museum， of which 12 are rare books and 15 royal seals used in Stone Moat.
Also on display is Scroll Painting of the Goddess of the Luo River by Gu Kaizhi， which was signed by Qing Emperor Qianlong in 1749， 1765， and 1786 and by officials of the imperial storehouse， evidencing the compilation style and thorough textual research of Stone Moat as well as the artistic taste of Emperor Qianlong.
To make the exhibition easier to navigate， specialists from the Palace Museum drew a map indicating locations of the catalogued art works stored in the Forbidden City and Yuanmingyuan Imperial Garden， as well as the storage at the Hall of Studies， where relevant relics were exhibited.
The Palace Museum provides thorough QR code aids for a third of the exhibits and free wifi in all exhibition halls.
“The works on display represent the history of Chinese calligraphy and paintings from the Jin （265-420） and Tang（618-907） dynasties to the Qing Dynasty，”explains Shan Jixiang， director of the Palace Museum. “We hope that the exhibition showcases the extensiveness and profundity of Chinese calligraphy and paintings， as well as orderly inheritance and promotion of traditional Chinese culture.”
Known as a precious collection of rare treasures， Stone Moat is a royal inventory complied during the Qing Dynasty （1644-1911） that records over 10，000 calligraphy and painting pieces from past dynasties. The collections of calligraphy and paintings in the imperial palace culminated during the reigns of Emperors Qianlong and Jiaqing. Named by Emperor Qianlong， the catalogue was first compiled in the 9th year of Qianlong’s reign and later revised twice， in the 58th year of Qianlong’s reign and the 21st year of Jiaqing’s reign， respectively.
Compared to the many imperial inventories of calligraphy and paintings from previous dynasties， Stone Moat stands out in magnitude， diversity， and rarity， providing systematic organization and study of the ancient Chinese arts of calligraphy， which is particularly valuable to future research.
The term “Stone Moat” was first found in the History of the Han Dynasty， an important historical record of ancient China. It was so named to express Emperor Qianlong’s deep respect and interest in ancient Chinese culture.
Two centuries have passed since the completion of the last edition of The Pre- cious Collection of the Stone Moat. Over the centuries， some pieces listed in the catalogue were removed from the palace， particularly during the late Qing Dynasty and early Republic of China （1912-1949）. Many lost treasures have been brought back to the Forbidden City since the founding of New China in 1949， creating a collection miracle in terms of scale and qualification of collected calligraphy and paintings from past dynasties. The special exhibition is showcasing the tireless efforts of dozens of specialists who contributed to the study and organization of the precious royal collection of the Palace Museum.
The exhibition consists of two sections：“Collections of the Court” and “Recovered Treasures，” which are displayed in the Hall of Martial Valor （Wuying Dian） and the Palace of Prolonging Happiness （Yanxi Gong） respectively， both in the Palace Museum.
“Collections of the Court” features catalogued calligraphy and paintings from The Precious Collection of the Stone Moat， sharing the history of their collection， circulation， and differentiation. The majority of the 82 exhibits are masterpieces of calligraphy and paintings from past dynasties， such as the Song-dynasty （960-1279） replica of Maidens by Gu Kaizhi， a celebrated painter of the Eastern Jin Dynasty （317-420） and Spring Outing by Zhan Ziqian from the Sui Dynasty （581-618）， reflecting the style of figure painting and landscapes by the earliest Chinese master painters.
Another eye-catching masterpiece is Along the River During the Qingming Festival by Zhang Zeduan， a renowned painter of the Northern Song Dynasty （960-1127）. It is rarely seen displayed in its full length： 5.28 meters. Also worth noting is the exhibition marks the first display of original inscriptions by five Qing emperors： Shunzhi， Kangxi， Yongzheng， Qianlong， and Jiaqing.
Never before has one exhibition in the Palace Museum， or anywhere else in the world， featured so many masterpieces.
“Recovered Treasures” focuses on the content and features of Stone Moat in five aspects： the origin of the catalogued calligraphy and paintings， the compilers， style of compilation， places of storage， and royal seals on them. On display are 72 classics from the collection of the Palace Museum， of which 12 are rare books and 15 royal seals used in Stone Moat.
Also on display is Scroll Painting of the Goddess of the Luo River by Gu Kaizhi， which was signed by Qing Emperor Qianlong in 1749， 1765， and 1786 and by officials of the imperial storehouse， evidencing the compilation style and thorough textual research of Stone Moat as well as the artistic taste of Emperor Qianlong.
To make the exhibition easier to navigate， specialists from the Palace Museum drew a map indicating locations of the catalogued art works stored in the Forbidden City and Yuanmingyuan Imperial Garden， as well as the storage at the Hall of Studies， where relevant relics were exhibited.
The Palace Museum provides thorough QR code aids for a third of the exhibits and free wifi in all exhibition halls.
“The works on display represent the history of Chinese calligraphy and paintings from the Jin （265-420） and Tang（618-907） dynasties to the Qing Dynasty，”explains Shan Jixiang， director of the Palace Museum. “We hope that the exhibition showcases the extensiveness and profundity of Chinese calligraphy and paintings， as well as orderly inheritance and promotion of traditional Chinese culture.”