Intangible culture with Related Tags
Zhihua Temple Beijing Music
Beijing Zhihua Temple was first built in the ninth year of the Zhengtong Period of the Ming Dynasty (1444). It was originally built by Wang Zhen, the eunuch in charge of ceremonies during the reign of Emperor Yingzong of the Ming Dynasty. In 1961, it was listed as one of the first national key cultural relics protection units by the State Council. Zhihua Temple Beijing music has been passed down for more than 560 years and is known as the "living fossil" of ancient Chinese music. Zhihua Temple Beijing music has distinct artistic characteristics: the music style is solemn, simple and elegant, the structure of the music is huge and standardized, the performance techniques are rich, and the repertoire is huge. It has high requirements in terms of inheritance, does not arbitrarily add, delete or change, and pays attention to protection and inheritance. Zhihua Temple Beijing music faithfully preserves the basic style of traditional Chinese music and provides a typical and vivid example for studying the connotation and changes of traditional Chinese culture. From the existing data, most scholars believe that Beijing music is related to the ancient music of the Tang and Song dynasties. It preserves the old system of the Song and Ming dynasties in many aspects such as repertoire, musical instruments, palace tunes, and performance methods. Traditional repertoires include "Happy Autumn Wind", "Taking the Swan", "Qingjiang Yin", "Plum Blossom Yin", "Xiao Huayan", "Zui Wengzi", etc. Since the 1950s, many famous musicians in my country have conducted research on Zhihua Temple Jing music and achieved fruitful results. Since the 1980s, Zhihua Temple Jing music has been discovered and rescued by the government, music and Buddhist circles, but there are still many problems that are difficult to solve. Most of the 26 generations of old monks in Zhihua Temple have passed away. The current surviving Benxing and Fu Guang are both old, and the 27th generation of inheritors urgently need to improve their skills. The huge changes in the current society have made the development of Zhihua Temple Jing music difficult. In the past two years, with the efforts of many parties, the 45 existing pieces of music have been recorded in time. However, the number of inheritors of Zhihua Temple Jing music is still very short, the band cannot reach the original scale, the timbre and content are single, and it is far from expressing the style of the original ancient music. Zhihua Temple Jing music is still in danger of being lost and urgently needs further rescue and protection.
Carpet Weaving Techniques (Beijing Palace Carpet Weaving Techniques)
The handmade wool-tufted carpet weaving technique is a handmade technique with ethnic characteristics in my country. It coils the wool thread into knots and plants it on the carpet base made of warp and weft cotton threads to form a raised velvet surface. my country began to weave carpets with wool thread in the Neolithic Age. Judging from the double-strand wool-tufted carpets unearthed from the Han tombs in Lop Nur and Minfeng County, Xinjiang Uygur Autonomous Region, carpet weaving had reached a very high level in the Eastern Han Dynasty. Carpets were laid in the palace and the mansions of the rich in the Tang Dynasty. In the Yuan Dynasty, influenced by the Mongolian lifestyle, the palace set up workshops for shearing carpets. In the Ming and Qing Dynasties, carpet weaving in Gansu, Xinjiang, Ningxia, Inner Mongolia, Beijing and other places developed rapidly. The weaving techniques of carpets include design, weaving, flat work, cutting (cutting the flat pattern into a three-dimensional shape with scissors), carpet washing, and finishing. Some of the wool threads for carpet weaving are still printed and dyed with ancient plant dyes. my country's carpets are not only a necessity for the lives of ethnic minorities, but also exported in large quantities overseas. The patterns of carpets absorb the characteristics of ancient bronze, embroidery, brocade, porcelain and other patterns. The carpets of ethnic minorities in Xinjiang, Inner Mongolia, Qinghai, Ningxia, Tibet and other places show their own unique artistic characteristics. Beijing handmade carpets were formerly known as "official carpets" or "palace carpets". Carpet weaving technology was introduced to my country from the Western Regions during the Western Han Dynasty. By the Tang Dynasty, carpet weaving in the Central Plains had been roughly mature. The carpet weaving industry flourished in the Yuan Dynasty, and large-scale carpet weaving workshops emerged. In the Ming Dynasty, official carpet weaving institutions began to weave high-quality official carpets. After the Qing Dynasty, the patterns of Beijing official carpets gradually formed an artistic style that integrated multi-ethnic colors and patterns. Since the 20th century, Beijing palace carpets have been further developed. In 1900, Beijing palace carpets won the gold medal at the Paris World Expo in France. In 1920, there were 354 Beijing palace carpet workshops, making it one of the main production areas of Chinese carpets. In 1956, the first public-private Beijing carpet factory was established. It was later merged with the carpet company and renamed "Xicheng Carpet Factory". In 1965, it was renamed "Beijing Carpet Factory No. 5". From the late 1970s to the early 1990s, Beijing's palace carpet exports were at their peak and gained wide international reputation. Beijing's handmade carpet weaving skills mainly include three aspects: first, the use of professional equipment for carpet weaving, namely the machine beam; second, special tools and measuring tools for carpet weaving; third, carpet weaving can be divided into two types of skills according to tradition: twisted carpet weaving and twisted carpet weaving. The production process of Beijing's palace carpets mainly consists of three processes: preliminary preparation, carpet shaping, and beautification and finishing. Its characteristics are: first, the pattern design is exquisite and the conception is perfect; second, the material selection is careful and the wiring is accurate; third, the processing is meticulous and strives for perfection. Beijing's handmade carpets fully reflect the characteristics of Chinese traditional culture and Beijing's palace art. The industry calls it "Beijing-style carpets", and on this basis, it is expanded to the folk, making it both royal and folk. The art of weaving Beijing palace carpets has always been passed down through oral transmission. However, due to the impact of the modern carpet industry, carpet weaving companies are struggling and lack successors. The weaving art is in danger of being lost and needs to be actively rescued and protected.
Shengxifu leather hat making technique
"Shengxifu" is a time-honored brand founded in Tianjin in 1911. It opened a branch in Beijing in the 1930s. The founder Liu Xisan constantly hired senior technicians in the industry during production and operation, and absorbed excellent hat-making technology at home and abroad, learning from others, and finally formed the unique Shengxifu leather hat making skills. The production process of Shengxifu leather hats is complicated. It usually takes dozens of processes to process and make a leather hat, and each process is refined. When matching, the raw materials must be excellent, the direction of the fur must be consistent, the length, thickness, density must be consistent, and the color, softness and hardness must be consistent. When cutting fur, there are many knife techniques such as straight knives, top knives, oblique knives, herringbone knives, arc knives, crescent knives, ladder knives, and fish scale knives. There is no limit to the style, and it needs to be flexible and flexible. When sewing, the top is required to be round, the head is even, and the seam head is even. For the leather surface, the seams must be aligned and the cross is flat. The many requirements for the processes such as hooking the fan, turning the hat, and serial ports are even more delicate. Shengxifu leather hats are elegant in appearance, exquisite in workmanship, and soft and comfortable to wear. During the Republic of China period, Shengxifu leather hats were highly praised, and "wearing Shengxifu on the head" became one of the standards of high-quality life. After the founding of New China, Shengxifu leather hats were favored by consumers at home and abroad. Shengxifu technicians have made hats for national leaders many times, and Shengxifu leather hats have also been selected as gifts for international friends. Now there are only two fourth-generation technicians who can master the Shengxifu leather hat making process, and their disciples are all over 40 years old. This excellent traditional handicraft must be given enough attention and protection to allow it to continue to be passed on.
Fujian Puppetry Successor Talent Training Program
Fujian puppet show is an outstanding representative of my country's puppet performance art, with the main performance forms of string puppets and palm puppets. Since the 10th century AD, it has been widely spread in Quanzhou, Zhangzhou and surrounding areas. Its exquisite performance techniques, rich traditional repertoires and musical singing, and exquisite idol modeling art have formed a complete performance system and become a performing art form cherished by local community residents. Since the 1980s, with the changes in production and lifestyle, coupled with the complexity of Fujian puppet show performance techniques, young people's willingness to learn and inherit has declined, and Fujian puppet show has lacked successors. Since 2006, relevant communities, groups and representative inheritors have formulated the "Fujian Puppet Show Successor Talent Training Plan" from 2008 to 2020 around the main goal of cultivating inheritors. In the four years since the implementation of the plan, through systematic professional training, a new generation of puppet show practitioners have been trained to improve the survival ability of Fujian puppet show; through holistic protection, potential puppet show practitioners and appreciators have been cultivated to improve the living environment of Fujian puppet show, effectively promoting the protection and inheritance of Fujian puppet show.
Heritage with Related Tags
Ming City Wall Ruins Park
The Ming City Wall was 40 kilometers long in history and was built in the 17th year of Yongle in the Ming Dynasty (1419 AD), with a history of more than 580 years. The existing wall ruins from Chongwen Gate to the southeast corner tower of the city are 1.5 kilometers long. They are part of the original inner city wall of Beijing, the only remaining section, and the symbol of Beijing. The southeast corner tower of the city is the largest corner tower of the city wall in the country. It was built in the first year of Zhengtong in the Ming Dynasty (1436 AD) and is a national key cultural relic protection unit. The Beijing Ming City Wall Ruins Park is located in the city center. The Beijing Ming City Wall Ruins Park starts from the southeast corner tower in the east and ends at Chongwen Gate in the west. The total area of the Beijing Ming City Wall Ruins Park is about 15.5 hectares. The city wall ruins and the southeast corner tower of the city occupy 3.3 hectares, and the green area of the Beijing Ming City Wall Ruins Park is 12.2 hectares. Due to years of disrepair and man-made damage, the city wall is seriously damaged. In order to protect the cultural heritage and reproduce the style of the ancient capital, the Beijing Municipal Party Committee and the Municipal Government conscientiously practiced the important thought of "Three Represents" and decided to thoroughly rectify the surrounding environment of the city wall ruins, repair the city wall, and build the Ming City Wall Ruins Park. The newly built Beijing Ming City Wall Ruins, with the protection of the city wall as the starting point and the purpose of showing the true appearance of the ancient city wall, provides citizens with a quiet, natural, simple and desolate environment. A closed lush green belt will be formed on the north side of the city wall, while the linear shape of the garden path and the configuration of plants on the south side of the city wall are simple and generous. The protection work of the city wall ruins is mainly based on the protection of the current situation and the reinforcement of risk elimination, supplemented by a small amount of gap filling, to preserve the original state of the city wall to the greatest extent. Standing under the city wall, a sense of historical solemnity and vicissitudes arises spontaneously.
Old Summer Palace Ruins Park
Yuanmingyuan is located in Haidian District, the western suburbs of Beijing, and is close to the Summer Palace. It was built in the 46th year of Emperor Kangxi's reign (1709), and is also known as the "Three Yuanming Gardens". It is a collective name for Yuanmingyuan and its attached gardens, Changchun Garden and Wanchun Garden. It is a Qing Dynasty imperial garden, covering an area of 350 hectares (more than 5,200 mu), of which the water surface area is about 140 hectares (2,100 mu). There are more than 100 gardens and landscapes. It is a large royal palace created and operated by the emperors of the Qing Dynasty for more than 150 years. "Yuanmingyuan" was named by Emperor Kangxi. "Yuanming" is the Buddhist name that Emperor Yongzheng has been using since he was a prince. When Emperor Kangxi gave the garden to Yinzhen (later Emperor Yongzheng), he personally named the garden "Yuanmingyuan" for this reason. Emperor Yongzheng explained that the meaning of the two characters "Yuanming" is: "Round and divine, it is the time of a gentleman; bright and illuminating, it is the wisdom of a man of great talent." This means that "round" refers to the perfection of personal morality, surpassing ordinary people; "bright" refers to the political achievements that are bright and illuminating, perfect and wise. Yuanmingyuan inherited China's excellent gardening tradition of more than 3,000 years. It has both the elegance and magnificence of palace architecture and the euphemism and variety of Jiangnan water town gardens. At the same time, it has absorbed the European garden architecture form, integrating garden architecture of different styles into one, making people feel harmonious and perfect in the overall layout, reflecting the essence of ancient Chinese gardening art, and it was the most outstanding large-scale garden at that time. Emperor Qianlong said it was "a place of heavenly treasures and earthly spirits, a place where emperors can enjoy themselves, and there is no place better than this." Yuanmingyuan is not only famous for its gardens, but also a royal museum with a very rich collection. The halls in the garden are decorated with countless red sandalwood furniture and display many rare cultural relics from home and abroad. Wenyuan Pavilion in the garden is one of the four major royal libraries in the country. Precious books and cultural relics such as "Sikuquanshu", "Gujin Tushujicheng" and "Sikuquanshuhuiyao" are stored in various places in the garden. Yuanmingyuan was once famous for its grand regional scale, outstanding construction skills, exquisite architectural landscapes, rich cultural collections and profound national cultural connotations. It was praised as "the model of all garden art" and "the garden of all gardens". In October 1860, the tenth year of Emperor Xianfeng's reign, Yuanmingyuan was looted and burned by the British and French allied forces. In 1979, the Yuanmingyuan site was listed as a key cultural relic protection unit in Beijing. In 1988, the Yuanmingyuan Ruins Park was built. Only the mountain-shaped water system, garden pattern and building foundations remain. The rockery and stone stacking and carving remains can still be seen. A garden history exhibition hall was built on the site of the "Western Building" for people to pay tribute to, which makes people reflect on the pain.
Chengde Mountain Resort
Chengde Imperial Mountain Resort, also known as Chengde Imperial Palace or Rehe Palace, was a place for the emperors of the Qing Dynasty to escape the heat and handle government affairs in the summer. It was a summer palace built by the emperors of the Qing Dynasty to achieve the political purpose of appeasing and uniting the ethnic minorities in China's border areas and consolidating national unity. The Imperial Mountain Resort was built in the 42nd year of Emperor Kangxi's reign (1703) and completed in the 55th year of Emperor Qianlong's reign, which took 89 years. It covers an area of 5.64 million square meters. The winding and undulating palace walls surrounding the resort are as long as 10,000 meters. It is the largest existing classical royal garden in China. Chengde Imperial Mountain Resort was once the summer palace of the emperors of the Qing Dynasty in China. The scenic area is 180 kilometers away from Beijing. It consists of the emperor's palace, royal gardens and magnificent temples. The architectural layout of the resort can be roughly divided into two major parts: the palace area and the garden area. The garden area can be divided into three parts: the lake area, the plain area and the mountain area. There are 72 scenes designated by Emperor Kangxi and Emperor Qianlong. There are more than 100 buildings such as palaces, halls, towers, pavilions, terraces, pavilions, pavilions, halls, temples, etc. It is one of the three largest ancient architectural complexes in China. Its most distinctive feature is that there is a garden in the mountain and a mountain in the garden. Due to the presence of many historical and cultural heritage groups, the Mountain Resort and the surrounding temples have become national key cultural relics protection units, one of the top ten scenic spots in China, and one of the 44 scenic spots and historical protection areas. Chengde has also become one of the first 24 historical and cultural cities in China. The Mountain Resort is known as one of the four famous gardens in China, along with the Summer Palace in Beijing, the Humble Administrator's Garden in Suzhou, and the Lingering Garden in Suzhou.
Yongding Gate
Yongdingmen was once the south gate of the outer city of Beijing's old city in the Ming and Qing Dynasties. It is the highest-regulated of the seven gates in Beijing's outer city. It shows the important position of the building on the central axis of Beijing and witnesses the traditional urban management methods of the Ming and Qing Dynasties. The original Yongdingmen was demolished in the 1950s. The existing Yongdingmen is a landmark building that was rebuilt in 2005 in strict accordance with the principles of Chinese cultural relics protection. The image of the Yongdingmen tower marks the location of the southern end of the Beijing central axis, showing the traditional form and craftsmanship of ancient Chinese tower buildings, and has become an important landscape viewpoint for overlooking the southern section of the Beijing central axis. Yongdingmen is a historical symbol of the southern end of the Beijing central axis. It faces Zhengyangmen from north to south and is an important landscape node in the southern section of the central axis. The historical site of Yongdingmen consists of the rebuilt tower building and the ground sign of the south side of the city wall. The Yongdingmen tower was rebuilt on the Yongdingmen for the purpose of display according to the original form. Because the city wall will no longer be restored, the original location of the city wall is marked on the ground on the south side of the tower. At the same time, the positions of the original horse path and the city wall are marked with white punctuation on the south facade, north facade, and east and west ends of the city platform. The marked positions and sizes truly reflect historical information. As the south gate of Beijing's outer city, Yongdingmen is an important part of the city's defense system and urban management facilities in the Ming and Qing dynasties, and is part of the national etiquette tradition. With the rise of commerce in Beijing's outer city, the population living in Yongdingmen has continued to increase, handicrafts and commerce have developed, and Yongdingmen has also become an important channel for merchants to travel. Today, the rebuilt Yongdingmen tower and the ground pavement of the city wall clearly mark the position of the southern end point of Beijing's central axis, accurately showing the historical form and traditional craftsmanship of Yongdingmen. Yongdingmen was first built in the 32nd year of Jiajing in the Ming Dynasty (1553). In order to strengthen the defense of Beijing, the Ming Dynasty built an outer city with 7 city gates, of which Yongdingmen had the highest regulation level and the largest volume. In the 43rd year of the reign of Emperor Jiajing (1564), the Facheng was built on the south side of the Yongdingmen Tower, and in the 15th year of the reign of Emperor Qianlong (1750), the Facheng Arrow Tower was built. In the 1950s, in order to ease the traffic pressure in the Yongdingmen area, the Yongdingmen Tower and the Jie Tower were demolished, and the moat was straightened and dredged to widen the roads in the Yongdingmen area. In 2003, the Beijing Institute of Cultural Relics conducted archaeological exploration of the Yongdingmen site, and a total of 7 trenches of varying lengths were excavated to determine the boundaries of the site. In 2004, the reconstruction of Yongdingmen began and was completed in 2005. The project was strictly based on the research results of archaeological and historical data. The reconstructed Yongdingmen marks the location of the southern end point of the Beijing Central Axis.
Beijing Yuetan Park
The Moon Altar was a place for worshipping the moon in ancient China, also known as the "Evening Moon Altar". As early as the Zhou Dynasty, the emperor had already worshipped the sun in spring and the moon in autumn. The only remaining Moon Altar is located in the west of Beijing. It was first built in the ninth year of Jiajing in the Ming Dynasty (1530) and rebuilt in the Qing Dynasty. It was one of the nine altars and eight temples in Beijing and was abandoned in the early years of the Republic of China. The "Moon Altar" generally refers to this place. The Moon Altar in Beijing during the Ming and Qing Dynasties was located to the west of Nanlishi Road and to the south of Yuetan North Street in Xicheng District, Beijing. It formed the Yuetan Park with the antique gardens to its south. The main buildings in the altar mentioned in the Ming and Qing documents, except for the altar platform and the inner altar wall, which were demolished, the rest of the ancient buildings such as the bell tower, Tianmen, Jufu Hall, and Shenku still exist. After liberation, the government strengthened the protection and construction of the Moon Altar and opened it as a park in 1955 for people to rest and entertain. After years of construction, the area of Yuetan Park has been greatly expanded. The entire park is divided into two parts, north and south. The north garden is characterized by ancient buildings with red bricks and green tiles and regular roads. This is the Moon Altar in the Ming and Qing Dynasties. The South Garden is a newly opened tourist area, with rocks, pools, and winding garden roads, forming a natural landscape garden pattern. Its design and construction are based on the theme of "moon", and the name of the garden is also taken as "Yaoyue Garden". There is a group of small courtyards in the middle of Yaoyue Garden, named "Tianxiang Courtyard" with the meaning of "osmanthus falls in the moon, and the fragrance of heaven floats outside the clouds". On the wide lawn on the south side of Tianxiang Courtyard, there are several jade rabbits and Tianxiang Courtyard. On May 25, 2006, Yuetan, as an ancient building from Ming to Qing Dynasty, was approved by the State Council to be included in the sixth batch of national key cultural relics protection units.
Jingshan Park
Jingshan was first built during the Liao and Jin Dynasties, and has a history of nearly a thousand years. Jingshan is one of the oldest and best-preserved imperial gardens in my country, and was once an important part of the imperial palace. In 1928, Jingshan was opened as a park, and in 1957 it was designated as a key cultural relic protection unit in Beijing. In 2001, it was approved as a national key cultural relic protection unit and a national AAAA-level scenic spot. Jingshan is located in the center of Beijing. The park covers an area of 230,000 square meters. The relative height of Jingshan is 45.7 meters and the altitude is 94.2 meters. Jingshan has always preserved the mountains of the Liao Dynasty; the walls and palace gates of the Jin Dynasty; and the ancient architectural complexes of the Yuan, Ming and Qing Dynasties remain intact. In the 17th year of Chongzhen in the Ming Dynasty (1644), Li Zicheng led 400,000 peasant uprising troops to attack Beijing. In the early morning of March 19th of the lunar calendar, Emperor Chongzhen climbed Jingshan. Seeing that the situation was hopeless, he hanged himself in Jingshan. In 1930, the Palace Museum erected the "Ming Sizong Martyrdom Monument" at the eastern foot of Jingshan Mountain, and in 1944, the "Ming Sizong Martyrdom Monument for 300 Years", making it a famous cultural landscape in Beijing. There are five pavilions on Jingshan Mountain, with Wanchun Pavilion built in the middle peak; Guanmiao Pavilion and Zhoushang Pavilion built on the east side; Jifang Pavilion and Fulan Pavilion built on the west side. Climbing Jingshan Mountain, you can overlook Beijing and take in the ancient capital. The landscape of Jingshan Mountain is characterized by tens of thousands of peonies, peonies and other flowers. There are peony exhibitions in spring, lotus exhibitions in summer, and autumn chrysanthemum exhibitions in autumn. There are clusters of flowers in three seasons, and evergreen pines and cypresses in four seasons.
Dajue Temple, Xishan, Beijing
Xishan Dajue Temple, also known as Dajue Zen Temple, is a thousand-year-old temple located on the southern foot of Yangtai Mountain (Yangtai Mountain) in the western suburbs of Beijing. It is famous for its clear springs, ancient trees, magnolias, and elegant environment. There are 160 ancient trees in the temple, including 1,000-year-old ginkgo, 300-year-old magnolia, ancient sal trees, pine and cypress, etc. In addition, there are a large number of ancient trees that are included in the protection scope. The magnolia flowers of Dajue Temple are known as the three major flower temples in Beijing together with the lilac flowers of Fayuan Temple and the peony flowers of Chongxiao Temple. The eight wonders of Dajue Temple are: the fragrance of orchids in the ancient temple, the thousand-year-old ginkgo, the old vines and cypresses, the buckthorns and cypresses, the Lingquan spring water, the Liao Dynasty ancient stele, the pine and cypress tower, and the green and clear pool. Dajue Temple was first built in the Liao Dynasty and was called Qingshuiyuan. During the Jin Dynasty, Dajue Temple was one of the eight water courtyards in Xishan of Jin Zhangzong. Later, it was renamed Lingquan Temple. After the reconstruction in the Ming Dynasty, it was renamed Dajue Temple. In 1997, the Minghui Tea House was established in Dajue Temple. Tea rooms were set up in Qiyunxuan, Siyi Hall, and the north and south wing rooms and ear rooms in the courtyard. The precept hall was converted into a Shaoxing restaurant, and the monks' rooms were converted into guest rooms, and there were also luxury suites. In addition, the temple was also converted into a conference room and other entertainment facilities. Many Minghui Tea House recliners and tea tables were placed on the open space in the courtyard. Since then, the fragrance of tea has become a feature of Dajue Temple along with the fragrance of flowers and ancient trees. Every April, Dajue Temple holds the Dajue Temple Magnolia Cultural Festival. In addition to viewing the blooming magnolias, it also holds some exhibitions and cultural activities. On May 25, 2006, Dajue Temple, as an ancient building from the Ming to Qing dynasties, was approved by the State Council to be included in the sixth batch of national key cultural relics protection units.
Zhangjiakou Baozili
Baozili (locally pronounced bǔ) is the common name of Zhangjiakou Bao. Zhangjiakou Bao is the earliest castle in Zhangjiakou city, the "origin" and "root" of Zhangjiakou city. According to historical records, Baozili was built during the Xuande period of the Ming Dynasty, and has a history of nearly 600 years. According to the survey of Qiaoxi District, Zhangjiakou City, there are more than 700 cultural relics and historical sites in Baozili, including 93 valuable key courtyards. It is one of the most complete Ming and Qing architectural castles in large and medium-sized cities in the country. It can be called the Northern Folk House Museum and is known as the "Ming and Qing Architecture Museum". However, despite this, Baozili, which has important historical and cultural value, has been difficult for outsiders to know. It was not until 2008 that Baozili was rated as a provincial protected unit. In recent years, the process of protection and development has accelerated, and in 2013 it was successfully approved as the seventh batch of national cultural relics protection units.
Summer Palace
The Summer Palace is the largest and best-preserved imperial garden in China, and one of the four famous gardens in China (the other three are Chengde Mountain Resort, Suzhou Humble Administrator's Garden, and Suzhou Lingering Garden). It is located in Haidian District, Beijing, 15 kilometers away from the urban area of Beijing, and covers an area of about 290 hectares. It is a large natural landscape garden built on the site of Kunming Lake and Wanshou Mountain, based on the scenery of West Lake in Hangzhou, and absorbing some design techniques and artistic conception of Jiangnan gardens. It is also the best-preserved imperial palace and imperial garden, and is known as the Royal Garden Museum. The Summer Palace was originally the imperial palace and garden of the Qing Dynasty. Its predecessor was the Qingyi Garden. It was the last garden built among the Three Hills and Five Gardens (the Three Hills refer to the Longevity Hill, the Fragrant Hill and the Jade Spring Hill. The three hills have the Qingyi Garden, the Jingyi Garden and the Jingming Garden respectively. In addition, there are the nearby Changchun Garden and the Yuanming Garden, collectively known as the Five Gardens). Construction began in 1750 and was completed in 1764. It covers an area of 290 hectares, of which about three quarters are covered by water. Before Emperor Qianlong ascended the throne, four large royal gardens had been built in the western suburbs of Beijing. The four gardens from Haidian to Xiangshan formed their own system and lacked organic connections with each other. The "Wengshan Lake" in the middle became an empty area. In the 15th year of Emperor Qianlong's reign (1750), Emperor Qianlong used 4.48 million taels of silver to rebuild the Qingyi Garden here to honor his mother, Empress Xiaosheng. With this as the center, the four gardens on both sides were connected into one, forming a 20-kilometer-long royal garden area from the current Tsinghua Garden to Xiangshan. In the 10th year of Emperor Xianfeng's reign (1860), the Qingyi Garden was burned down by the British and French allied forces. In the 14th year of Emperor Guangxu's reign (1888), Empress Dowager Cixi used silver (according to experts, it should be 5 to 6 million taels of silver) in the name of raising naval funds. Lei Tingchang, the seventh-generation descendant of Yangshi Lei, presided over the reconstruction and renamed it the Summer Palace as a summer resort. In the 26th year of Emperor Guangxu's reign (1900), the Summer Palace was destroyed by the "Eight-Nation Alliance" and many treasures were looted. It was restored in the 29th year of Emperor Guangxu's reign (1903). Later, during the warlords' melee and the Kuomintang's rule, it was destroyed again. After 1949, the government continued to allocate funds for repairs. On March 4, 1961, the Summer Palace was announced as the first batch of national key cultural relics protection units. In November 1998, it was included in the World Heritage List. On May 8, 2007, the Summer Palace was officially approved by the National Tourism Administration as a national 5A tourist attraction. In 2009, the Summer Palace was selected by the China World Records Association as the largest existing royal garden in China. The Summer Palace has many world records and China records.
Capital Museum
The Capital Museum began preparations in 1953 and was officially opened to the public in 1981. The original site of the museum was the "Beijing Confucius Temple". The foundation stone was laid in December 2001. The new building of the Capital Museum began trial operation in December 2005 and officially opened on May 18, 2006. The positioning of the Capital Museum determines the composition of the Capital Museum's exhibitions: basic exhibitions, boutique exhibitions and temporary exhibitions. The core of the museum's exhibitions shows the magnificent Beijing culture and the history of the capital's development that has been rising and moving towards glory, becoming a brand exhibition for the creation of China's first-class museums. The Capital Museum is a large comprehensive museum in Beijing and a comprehensive museum at the provincial and municipal levels in China. The Capital Museum began preparations in 1953 and was officially opened to the public in October 1981. At that time, the museum was located in the Confucius Temple on Guozijian Street, Dongcheng District, Beijing. The Confucius Temple covers an area of 22,000 square meters and was founded in the sixth year of Dade in the Yuan Dynasty (1302 AD). After generations of repairs, the three courtyards are well preserved. The main buildings include the Xianshi Gate, Dacheng Gate, Dacheng Hall, Chongsheng Temple, etc. The stele forest with inscriptions by Jinshi scholars from the Ming and Qing dynasties is the only one in China. The halls on both sides are used as exhibition halls, covering an area of more than 2,000 square meters, with an elegant and quiet environment. In order to accommodate more collections and serve more visitors. In 1999, as a key cultural construction project during the "15th Five-Year Plan" period in Beijing, the project application for the construction of the new building of the Capital Museum was approved by the Beijing Municipal Government in 1999, and the foundation was officially laid in December 2001. The new building of the Capital Museum was officially opened on May 18, 2006, and appeared on the west extension of Chang'an Avenue, the first street in China, on the west side of Baiyun Road, Xicheng District (No. 16 Fuxingmenwai Avenue). The new building of the Capital Museum is a modern comprehensive museum with the most advanced facilities. The exhibitions of the new building are based on the collections of the Capital Museum over the years and the unearthed cultural relics in Beijing. It absorbs the latest research results of Beijing history, cultural relics, archaeology and related disciplines, and draws on the successful experience of museums at home and abroad to form a modern exhibition with unique Beijing characteristics. With its grand architecture, rich exhibitions, advanced technology and perfect functions, the Capital Museum has become a large modern museum commensurate with Beijing's status as a "historical and cultural city", "cultural center" and "international metropolis", and has ranked among the ranks of "domestic first-class and internationally advanced" museums. The Capital Museum is a modern comprehensive museum with the most advanced facilities. It is a large modern cultural facility for the 21st century invested and built by the Beijing Municipal Government and is one of the landmark buildings in Beijing in the new century. Due to its outstanding contributions to the reform and development of cultural heritage protection, on May 24, 2007, the Capital Museum was awarded the title of National Advanced Collective of Cultural Relics System by the Ministry of Personnel and the State Administration of Cultural Heritage.
Wuqiang New Year Painting Museum
Wuqiang New Year Painting Museum is the first special museum of New Year paintings in China. It is located in Wuqiang County. It is not only a symbol of the hometown of New Year painting art, but also an art hall for displaying and studying farming culture. The museum covers a total area of 25,100 square meters, with a building area of more than 5,400 square meters. The museum has more than 10,000 cultural relics. There are currently 5 exhibition halls and an antique New Year painting workshop, which has well protected and inherited the ancient craft of woodblock printing, one of the "four great inventions" handed down from generation to generation. The exhibition is divided into six parts: (1) The origin and development of New Year paintings; (2) The glorious achievements in history; (3) Modern and contemporary Wuqiang New Year paintings with revolutionary traditions; (4) The new pattern of the current development of New Year paintings; (5) The colorful New Year paintings in various places; (6) Traditional craft workshops. The entire exhibition is novel and unique, full of the new era atmosphere and strong national and folk characteristics. It has strong knowledge, artistry, fun and participation. It is not only a special place for patriotism education using excellent traditional culture, but also a frontier for protecting, inheriting and promoting folk art. Since its opening in 1992, Wuqiang New Year Picture Museum has received attention and support from all walks of life at home and abroad. In 1993, it was named "Hometown of Woodblock New Year Picture Art" by the Ministry of Culture; since 1999, Wuqiang New Year Picture Museum has been designated as a patriotism education base in Hebei Province, a national key museum, a national defense education base in Hebei Province, a national AA-level tourist attraction, and an education practice base for 17 higher art colleges such as the Central Academy of Fine Arts. It has successfully held three New Year Picture Art Festivals and hosted the 17th Annual Meeting of the Folk Crafts Committee of the China Arts and Crafts Association. Nearly 100 news media have given special introductions. Wuqiang New Year Picture Museum has become a window for foreign cultural exchanges in Hengshui and even Hebei Province, receiving more than 100,000 tourists each year, with a huge impact at home and abroad. Wuqiang New Year Picture Museum has always paid attention to strengthening the research and protection of traditional culture, and has successively compiled books such as "Hebei Wuqiang New Year Pictures", "Wuqiang Ancient Edition Folk Door Paintings", "Wuqiang Ancient Edition Lantern Square New Year Pictures", "China Wuqiang Folk Shenma", "China Wuqiang New Year Picture Art", and "China Woodblock New Year Picture Collection·Wuqiang Volume". At the same time, more than 100 papers have been published at home and abroad, and the research results are remarkable. The R&D center has successively developed dozens of marketable products such as New Year picture calendars, screens, porcelain plates, hangings, gift hardcover paintings, etc. In 2006, a set of 4 special stamps of Wuqiang woodblock New Year pictures were first issued, opening up a new market for New Year pictures. In 2007, it jointly developed and printed "Wuqiang New Year Pictures Ancient Books Rare Edition" with Beijing Library. It is currently co-producing a 100-episode Wuqiang New Year picture animation "Legends of Painting Village" with Hebei University of Science and Technology, and co-filming a 50-episode TV series "New Year Pictures from Wuqiang" with CCTV, which will soon be launched on the market. With the museum as the leader, it has driven the production and sales of more than 40 New Year picture workshops in the county. The annual output value reaches 10 million yuan. The Wuqiang New Year Painting Museum has been increasing its foreign cultural exchange activities year by year. In recent years, it has successfully held Wuqiang New Year Painting exhibitions in the National Art Museum of China, the National Museum, the Central Academy of Fine Arts, the Tianjin Academy of Fine Arts, Hebei Normal University, Taiwan, Hong Kong, Macau, and other places. It has also held New Year Painting exhibitions in Singapore, France, Spain, Belgium, South Korea, Japan and other countries, which have impressed hundreds of millions of domestic and foreign audiences. Qi Gong, He Jingzhi, and Zhang Ding wrote the name of the museum, and famous artists such as Ding Cong, Fang Cheng, and Feng Jicai wrote inscriptions to praise Wuqiang New Year Painting. Wuqiang New Year Painting has a long history and is profound. In 2003, it was selected as one of the first ten pilot projects of the Chinese National Folk Culture Protection Project, and in 2006 it was selected into the National Intangible Cultural Heritage List. More than ten Wuqiang New Year Painting artists were rated as folk arts and crafts artists, Ma Xiqin was rated as an outstanding inheritor of Chinese folk culture, and Guo Shurong was rated as a national arts and crafts master. In the past seven years, more than 100 news media outlets, including CCTV, Tianjin TV, Hebei TV, Hong Kong Phoenix TV, and Japan Broadcasting Association, have filmed special programs on Wuqiang New Year paintings and broadcast them during prime time. The reputation of Wuqiang New Year paintings has grown and their influence has been far-reaching.