Adventures in the National Palace Museum

Total Page:16

File Type:pdf, Size:1020Kb

Adventures in the National Palace Museum Digital Technology Facilitated MLA (Museums, Libraries, and Archives) Service Innovation James Quo-Ping Lin Director General, Dept. of Cultural Creativity and Marketing National Palace Museum, Taipei, Taiwan, R.O.C. National Palace Museum The National Palace Museum houses the finest Chinese artifacts collected from the Song, Yuan, Ming, and Qing Dynasties Collection: 682,000 items Exhibition Space: Northern Branch: 9,613.91 m² Southern Branch: 5,913 m² Museum Collection Painting and Rare Books and Calligraphy Antiquities Historical Documents Digital Data Retrieval System Antiquities Painting & Calligraphy Historical Documents Rare Books NPM Artifact Integrated Search System Collection Management System 3D Virtual Collection Collaborated with Academia Sinica, National Taiwan University and Industrial Technology Research Institute to build 3D models of five selected objects 3D Laser Scanning 360 Virtual Exhibition 3D Tools • Maya • 3D Max • Laser Scanner National Palace Museum Website Languages: •Chinese •Simplified Chinese •English •Japanese •Korean •German •French •Spanish •Russian •Arabic •Portuguese Virtual Museum Website • Audiences from around the world can access the museum through the virtual museum website. • Comprehensive on-line visitor guide provides an informative and enjoyable digital experience. Exhibition Theme Sites LANG SHINING The Calligraphic World of Mifu’s Art 49th Annual Worldfest Houston (2016) MUSE Gold Award (2007) Age of the Great Khan MUSE Honorable Mention Award (2004) Promotional Films 1. Behind the Palace, Beyond the Horizon 2004 2. The Passage 2004 3. In the Golden Age of Chinese Craftsmanship 2006 4. Adventures in the NPM 2007 5. Inside: The Emperor’s Treasure 2007 6. The Museum without Walls 2008 In the Golden Age of Chinese Craftsmanship In the Golden Age of Chinese Craftsmanship, directed by Taiwanese director Hou Hsiao-Hsien, shows the extraordinary precision and quality of Ming and Ch’ing dynasty crafts in the National Palace Museum collection. Director Hou Hsiao- Hsien uses his unique narrative method to present this theme in four parts: “T’ang Ying,” “Curio Boxes,” “Orchard Workshop,” and “Departure Herald and Return Clearing.” Adventures in the National Palace Museum To demonstrate the results of digitization at the National Palace Museum (NPM), NPM produced a 3D animated short film entitled Adventures in the NPM in collaboration with Digimax Corporation. The 3D Animation Orientation Film Adventure in the NPM (國寶總動員) Multimedia Displays On-site service kiosk from the exhibition “Harmony and Integrity: Yongzheng Emperor and His Times”(2009) Ancient Inscriptions Modern Characters Magic Lens Magnifies and transforms ancient Chinese characters to their modern counterparts. Interactive Guide Learning Interactive applications provided on tablet computers Digital Learning Displays Interactive Kiosks 雍正.清世宗文物大展 23 Multimedia Displays Painting and Calligraphy Interactive Table Mao Gong Ding Interactive Table Magic Crystal Ball Tang Dynasty Rhapsody It’s a Big World: Globetrotting 2013 Winner of the MUSE Silver Award Games and Augmented Reality Competition Category Painting Animations 3D Projection Area NPM Digital Four Seasons Interactive Installation Spring Summer Autumn Winter A National Palace Museum’s Film 紀錄片 再現同安船 〈集字號大同安梭船圖〈〉一號同安梭船圖 〉 2014年榮獲第47屆美國休士頓WorldFest獨立製片與國際影片影展 影片與錄像類金獎 同安潮 新媒體藝術展 (華山) Giuseppe Castiglione: Lang Shining New Media Art Exhibition August 2016 Exhibition Motivation In 2015, to celebrate the NPM’s 90th anniversary and the tercentennial since Giuseppe Castiglione’s arrival in China, the museum curated this 4G new media art exhibition as the culmination of its decades long digitization efforts. August 2016 Locations National Palace October 18 , 2015-ongoing Museum Taipei, Taiwan Basilica of Santa October 31, 2015-January 31, 2016 Croce Florence, Italy City University of April 26, 2016-August 25, 2016 Hong Kong China National Palace Museum Virtual Guides Explore the Flora and Fauna of Castiglione Download APP Castiglione's Road to China The Chime Clock Let’s Paint One Hundred Horses August 2016 A Tour of the Imperial Garden A Peacock Made of Light Basilica di Santa Croce August 2016 A. When China Meets Europe B. All the Glories of the Originals C. Paintings Come Alive D. National Treasure under Spotlight 觀眾佇足停留閱讀國立故宮博物院院史及郎世寧介紹 第二展區「栩栩風華:郎世寧複製畫選萃」展出十五幅 數位擬真複製畫,將郎世寧高超畫藝展現於觀眾眼前。 「圖成百駿:新媒體百駿圖動畫」取材自郎世寧〈百駿圖〉, 採用新穎高規格動畫技術呈現駿馬百變姿態。 觀眾欣賞新媒體藝術裝置 —「探索郎世寧世界之花鳥走獸」 以郎世寧作品中的動物為發想製作之「國寶 神獸闖天關」動畫亦深受小朋友喜愛 Conclusion Start with unit design Attract resource from outside and inside Cross-institution cooperation Consolidate cultural artifact with modern new media art to create stand-alone exhibition Meaning of doing this – Museum education and out-reaching – Cross-institution cooperation – Cultural Diplomacy August 2016 Thank You .
Recommended publications
  • Inscriptional Records of the Western Zhou
    INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one.
    [Show full text]
  • Download File
    On the Periphery of a Great “Empire”: Secondary Formation of States and Their Material Basis in the Shandong Peninsula during the Late Bronze Age, ca. 1000-500 B.C.E Minna Wu Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMIBIA UNIVERSITY 2013 @2013 Minna Wu All rights reserved ABSTRACT On the Periphery of a Great “Empire”: Secondary Formation of States and Their Material Basis in the Shandong Peninsula during the Late Bronze-Age, ca. 1000-500 B.C.E. Minna Wu The Shandong region has been of considerable interest to the study of ancient China due to its location in the eastern periphery of the central culture. For the Western Zhou state, Shandong was the “Far East” and it was a vast region of diverse landscape and complex cultural traditions during the Late Bronze-Age (1000-500 BCE). In this research, the developmental trajectories of three different types of secondary states are examined. The first type is the regional states established by the Zhou court; the second type is the indigenous Non-Zhou states with Dong Yi origins; the third type is the states that may have been formerly Shang polities and accepted Zhou rule after the Zhou conquest of Shang. On the one hand, this dissertation examines the dynamic social and cultural process in the eastern periphery in relation to the expansion and colonization of the Western Zhou state; on the other hand, it emphasizes the agency of the periphery during the formation of secondary states by examining how the polities in the periphery responded to the advances of the Western Zhou state and how local traditions impacted the composition of the local material assemblage which lay the foundation for the future prosperity of the regional culture.
    [Show full text]
  • National Palace Museum As an Example
    Mobile Edutainment System – National Palace Museum as An Example Yao-Nan Lien Dept. of Computer Science National Chengchi University lien @cs.nccu.edu.tw Abstract internationally as an archive for the treasures of Chinese civilization. Since 2001, the NPM has been In order to achieve highest level of knowledge digitizing and archiving its precious collections. dissemination, many museums have been digitalizing their Through the Internet, most of its digital archive is collections and disseminated them to the world through the available for public retrieval to fulfill the museum’s Internet. On the other hand, cloud computing and mobile mission of dissemination and exchange of museum communication technologies will further enhance the collections for educational, research, and commercial penetration capability of digital information, enabling purposes [6]. mobile users surfing the wave of information world at anytime and anywhere through mobile devices such as smart phones or tablet PC. Nevertheless, both technologies After digitization, the next important issue is how best have their own limitations that may hinder their to present its material to the world to achieve the applicability to the digital museums. highest level of dissemination of knowledge. We use the National Palace Museum (NPM) as a reference Currently, the most popular presentation format for museum for the application of cloud computing and mobile most digital museums is statically structured, HTML- communication technologies to mobilize digital museums. based Web presentation that mimics the presentation A set of design guidelines specific to the NPM’s services is of the physical museums. One of the biggest formulated and a few edutainment systems are implemented advantages of a digital archive over a physical archive based on these guidelines: (1) Qingming Painting and (2) is the flexibility of document retrieval.
    [Show full text]
  • Mobilizing Digital Museums with 3D Photography
    International Journal of Computing and Digital Systems ISSN (2210-142X) Int. J. Com. Dig. Sys. 5, No.1 (Jan-2016) http://dx.doi.org/10.12785/ijcds/050109 Mobilizing Digital Museums with 3D Photography Yao-Nan Lien Dept. of Computer Science, National Chengchi University, Taipei, Taiwan, R.O.C. Received 13 Jun. 2015, Revised 20 Oct. 2015, Accepted 7 Nov. 2015, Published 1 Jan. 2016 Abstract: In order to achieve a higher level of knowledge dissemination, many museums have been digitizing their collections and disseminated them to the world through the Internet. On the other hand, cloud computing and mobile communication technologies will further enhance the penetration capability of digital information, enabling mobile users surfing the wave of information world at anytime and anywhere through mobile devices such as smart phones or tablet PC. Nevertheless, both technologies have their own limitations that may hinder their applicability to the digital museums. We use the National Palace Museum (NPM) as a reference museum for the application of cloud computing and mobile communication technologies to mobilize digital museums. A set of design guidelines specific to the NPM’s services is formulated and a few edutainment systems were implemented based on these guidelines: (1) Qingming Painting and (2) Mao Gong Ding Inscription graphical exhibition systems. A low cost rapid 3D photograph production technology including the Drunk-eye 3D viewing skill that enables a user to view 3D stereograms using naked-eyes as well as a set of script based software tools is also developed to overcome the difficulty of 3D content production to support 3D archiving.
    [Show full text]
  • Zhou Bronze Workshops and the Creative Work of Design and Decoration 27 4/17/14 1:50 PM
    饒宗頤國學院院刊 創刊號 27 2014 年 4 月 頁 27‒54 Zhou Bronze Workshops and the Creative Work of Design and Decoration Alain THOTE Ecole pratique des hautes études The questions addressed in this article concern foundries, designers, and artistic creation in the Zhou period. First foundry debris and the location of bronze workshops are briefly reviewed. Their growing size in association with of Design and Decoration and the Creative Work Zhou Bronze Workshops the early development of a “market” suggests that patrons may have been less influential in the Warring States period than before, when workshops were located close to the palace and worked mainly for the court. The chronology of the Zhou ritual vessels reveals a very slow artistic evolution.The main factors that may help to explain why significant changes in the development of bronze ritual art did not occur very often are reviewed. It appears that during this development, the ritual vessels that were mostly representative of the owner’s status like the ding and gui vessels rarely departed from conventional models. However these two types of vessels were inscribed more often than any other types. By contrast, ever since the late Shang period, the vessels which were most innovative on an artistic level, such as gong 觥 and he 盉 ewers, belonged to the water container category. A hierarchy existed among the bronzes, therefore, which was expressed either by their number (when they belonged to series like the ding tripods) and by the presence or absence of an inscription, or by their décor through the contrast between simplicity and originality, not to say eccentricity, as in the case of the water ewers.
    [Show full text]
  • Asian Studies
    ASIAN STUDIES THINKING ACROSS THE BORDERS: PHILOSOPHY AND CHINA Volume V (XXI), Issue 1 Ljubljana 2017 Azijske_studije_2017_1_FINAL.indd 1 30.1.2017 14:01:04 ASIAN STUDIES, Volume V (XXI), Issue 1, Ljubljana 2017 Chief Editor: Jana S. Rošker Editor-in-Charge: Nataša Visočnik Proof Reader: Tina Š. Petrovič in Paul Steed Editorial Board: Ivana Buljan, Bart Dessein, Tamara Ditrich, Shaun Richard O’Dwyer, Raoul David Findeisen, Mark James Hudson, Ana Jelnikar, Mislav Ježić, Jeff Kingston, Mingchang Lin, Beatrix Mecsi, Tamae K. Prindle, Jana S. Rošker, Nataša Vampelj Suhadolnik, Nataša Visočnik, Mitja Saje, Geir Sigurðsson, Yuriko Sunakawa, Andrej Ule, Zouli Wang All articles are double blind peer-reviewed. The journal is accessable online in the Open Journal System data base: http://revije.ff.uni-lj.si/as. Published by: Znanstvena založba Filozofske fakultete Univerze v Ljubljani/Ljubljana University Press, Faculty of Arts, University of Ljubljana For: Oddelek za azijske študije/Department of Asian Studies For the publisher: Branka Kalenić Ramšak, Dean of Faculty of Arts Ljubljana, 2017, First edition Number printed: 60 copies Graphic Design: Janez Mlakar Printed by: Birografika Bori, d. o. o. Price: 10,00 EUR ISSN 2232-5131 This publication is indexed in the Cobiss database. This journal is published two times per year. Yearly subscription: 17 EUR (Account No.: 50100-603-40227), Ref. No.: 001-033 ref. »Za revijo« Address: Filozofska fakulteta, Oddelek za azijske študije, Aškerčeva 2, 1000 Ljubljana, Slovenija tel.: +386 (0)1 24 11 450, +386 (0)24 11 444, faks: +386 (0)1 42 59 337 This journal is published with the support of the Slovenian Research Agency (ARRS).
    [Show full text]
  • Wheeled Vehicles in the Chinese Bronze Age (C
    SINO-PLATONIC PAPERS Number 99 February, 2000 Wheeled Vehicles in the Chinese Bronze Age (c. 2000–741 B.C.) by Anthony J. Barbieri-Low Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form.
    [Show full text]
  • Royal Hospitality and Geopolitical Constitution of the Western Zhou Polity*
    T’OUNG PAO T’oung Pao 96 (2010) 1-73 www.brill.nl/tpao Royal Hospitality and Geopolitical Constitution of the Western Zhou Polity* Maria Khayutina (Ludwig-Maximilians-Universität München) Abstract e present article examines how political communication and administration were effected in the Western Zhou polity (1046/5-771 BC) and investigates the significance of the royal residences as political and administrative centers. Bronze inscriptions referring to royal receptions that were offered to Zhou regional rulers, rulers of non- Zhou polities, royal officers and other subjects provide the basis for this study. It is argued that the form of “royal hospitality” described in these inscriptions was a politi- cal and, partially, administrative institution of the Zhou kings, and that its territorial localization both reflected and defined the geopolitical constitution of the polity. e article concludes by arguing that in the “larger Zhou polity” embracing the regional states of the zhuhou, political communication was decentralized, and that none of the royal residences held the status as political “capital” throughout the entire period. It is further found that a process of territorial centralization was underway in the territories under the direct control of the king, and that the oldest royal residence Zhou-under- Qi was gradually established as political and administrative capital. Résumé Cet article s’intéresse à la façon dont opéraient la communication politique et l’admi- nistration dans le régime des Zhou Occidentaux (1046/5-771 av. J.-C.) et cherche à * e present study was supported by the Gerda Henkel Foundation and the Ludwig- Maximilians-Universität of Munich.
    [Show full text]
  • Edinburgh Research Explorer
    Edinburgh Research Explorer One heaven, one history, one people Citation for published version: Gentz, J 2017, One heaven, one history, one people: Repositioning the Zhou in Royal Addresses to subdued enemies in the “Duo shi” and “Duo fang” chapters of the Shangshu and in the “Shangshi” chapter of the Yi Zhoushu. in M Kern & D Meyer (eds), Origins of Chinese Political Philosophy: Studies in the Composition and Thought of the Shangshu (Classic of Documents). vol. 8, Studies in the History of Chinese Texts, vol. 8, Brill, Leiden; Boston, pp. 146-192. https://doi.org/10.1163/9789004343504_006 Digital Object Identifier (DOI): 10.1163/9789004343504_006 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Origins of Chinese Political Philosophy Publisher Rights Statement: ©Gentz, J. (2017). One Heaven, One History, One People: Repositioning the Zhou in Royal Addresses to Subdued Enemies in the “Duo shi” and “Duo fang” Chapters of the Shangshu and the “Shangshi” Chapter of the Yi Zhoushu. In M. Kern, & D. Meyer (Eds.), Origins of Chinese Political Philosophy: Studies in the Composition and Thought of the Shangshu (Classic of Documents). Leiden: Brill, 2017, 146-192. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation.
    [Show full text]
  • Chinese Arts - Handicrafts 手工藝術 - Ritual Bronze
    Chinese Arts - Handicrafts 手工藝術 - Ritual Bronze... http://www.chinaknowledge.de/Art/Bronze/bronze... CHINAKNOWLEDGE - a universal guide for China studies | HOME | About | Guestbook | Encoding: Unicode (UTF-8) [Location: HOME > Arts > Handicrafts > Ritual Bronze Vessels] Chinese Arts - Handicrafts Ritual Bronze Vessels 青銅禮器 Technical features Architecture In every culture, bronze was the first alloyed metal to be used for every kind of article necessary for Handicraft daily life like ploughshares, yokes, kettles, knifes, bracelets, earrings, chariot axles and so on. The melting point of unalloyed copper is a bit lower than that of bronze but it is not able to sustain hard ° Ritual Bronze requirements. Only alloying it with at least 5 percent of tin, the metal has the needed durability. In Vessels China the oldest bronze findings are 3200 years old. ° Gold and Silver Culture ° Other Metal Items In the west of the Eurasian continent, bronze items were in most cases used for agriculture and ° Jade and Other warfare. In China, the greatest part of discovered and preserved bronze items was not forged to Stones ° Bamboo ploughs or swords but cast to sacrificial vessels. Even a great part of weapons had a sacrificial ° Wood (except meaning like daggers and axes that symbolized the heavenly power of the ruler. The strong religious furniture) sense of bronze objects brought up a great number of vessel types and shapes which became so ° Paper typically that they should be copied as archaic style receptacles with other materials like wood, jade, ° Ivory and Bone ivory or even gold until the 20th century. The first researches about Shang 商 and Zhou 周 vessels ° Leather and Horn were made in Song times 宋 when every type got a scientific name.
    [Show full text]
  • Chinese Ancient Bronze Emulation Crafts Company Profile Our Company Engaged in Chinese Ancient Bronze Wares Simulation Handicraft Export Business
    上上上 海海海 络络络 嘉嘉嘉 实实实 业业业 有有有 限限限 公公公 司司司 Shanghai Luojia Industrial Co., Ltd Chinese ancient bronze emulation crafts Company profile Our company engaged in Chinese ancient bronze wares simulation handicraft export business. We are always committed to the use of superb technology to produce quality bronze emulation crafts, to ensure accurate reappearance of ancient bronze wares original visage, so that you can easily buy “invaluable asset” at lower prices. At the same time, you can not only enjoy the wonderful ancient Chinese bronze wares, but also can understand the old brilliant Chinese civilization. These ancient Chinese bronzes, which we had carefully picked, are all world-famous rare treasure, so their emulation products have also the same with collection value. In addition, we also focus on the customer's product style, artistic taste of the different needs, providing customers with tailored services, but also a production based on customer requirements. We will do our best to provide satisfactory products and services. Ancient Bronze wares are simply divided into four categories: the weapon, sacrificial vessel, musical instruments and miscellaneous. Sacrificial vessel is also classified into feed implement, wine vessel and water container in accordance with their functions and shapes. Bronze feed implement, belonging to ritual ware, were mainly used in sacrifices, banquets and other ceremonies or events. It mainly includes cooking device, containing food utensils and feeding device. Different utensils represented different ranks and the hierarchy of the users. These bronze utensils include: Ding( 鼎), Gui(簋), Xu(盨), Fu(簠), Dui( 敦), Li(鬲), Yan( 甗), Dou( 豆) and Bi( 匕).
    [Show full text]
  • Introduction
    1 Introduction The English word “museum” comes from the Latin word, and is pluralized as “museums” (or rarely, “musea”). It is originally from the Ancient Greek (Mouseion), which denotes a place or temple dedicated to the Muses (the patron divinities in Greek mythology of the arts), and hence a building set apart for study and the arts, especially the Musaeum (institute) for philosophy and research atAlexandria by Ptolemy I Soter about 280 BCE. The first museum/library is considered to be the one of Plato in Athens. However, Pausanias gives another place called “Museum,” namely a small hill in Classical Athens opposite the Akropolis. The hill was called Mouseion after Mousaious, a man who used to sing on the hill and died there of old age and was subsequently buried there as well. The Louvre in Paris France. 2 Museum The Uffizi Gallery, the most visited museum in Italy and an important museum in the world. Viw toward thePalazzo Vecchio, in Florence. An example of a very small museum: A maritime museum located in the village of Bolungarvík, Vestfirðir, Iceland showing a 19th-century fishing base: typical boat of the period and associated industrial buildings. A museum is an institution that cares for (conserves) a collection of artifacts and other objects of artistic,cultural, historical, or scientific importance and some public museums makes them available for public viewing through exhibits that may be permanent or temporary. The State Historical Museum inMoscow. Introduction 3 Most large museums are located in major cities throughout the world and more local ones exist in smaller cities, towns and even the countryside.
    [Show full text]