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The Organization of the Gallery of Ancient Relics (Guwu Chenliesuo) Before 1925 — in Commemoration of the 100Th Anniversary of the Gallery of Ancient Relics

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The Organization of the Gallery of Ancient Relics (Guwu Chenliesuo) Before 1925 — in Commemoration of the 100Th Anniversary of the Gallery of Ancient Relics The Organization of The Gallery of Ancient Relics (Guwu Chenliesuo) before 1925 — in Commemoration of The 100th Anniversary of The Gallery of Ancient Relics Wu Shizhou The article Chinese appears Abstract: In accordance to The Conditions of Preferential Treatment of The Qing Royal Family the from page 006 to 015. ancient relics preserved in the imperial residences in Rehe and Fengtian got moved back to the Forbidden City with the Boxer Indemnity refunded by the foreign invaders after The Republic of China was founded. The Gallery of Ancient Relics (Guwu Chenliesuo) which was based on the Hall of Martial Valor (Wuying Dian) and Hall of Literary Glory (Wenhua Dian) was officially set up in February, 1924. However, as stipulated in the The Conditions of Preferential Treatment of The Qing Royal Family, all the private property of the Qing Court including the objects in the imperial residences of Rehe and Fengtian and the contents of the Forbidden City should be protected by the Government of The Republic of China. It has been tacitly admitted that the Qing Court was the original owner of the antiques. All the items that were back to the Forbidden City were checked before acceptance and endorsed by the imperial commissioners of The Interior Ministry that was closely linked with The Qing Court, which made it possible for the Qing Court Collected antiques to be purchased by the government in a peaceful way. But the government of the Republic of China could not afford the total objects at once because of financial shortage then, so it was agreed by both that the treasures were temporarily maintained in The Gallery of Ancient Relics (Guwu Chenliesuo) until they were fully paid for by the government of that time. The imperial Interior Ministry supervised The Gallery of Ancient Relics (Guwu Chenliesuo) and carried out the The Conditions of Preferential Treatment of The Qing Royal Family, which to some extant weaken the educational and cultural circulation of The Gallery of Ancient Relics (Guwu Chenliesuo) mainly consisting of the old fogies and young diehards of the Qing Court and Beiyang Government whose involvement in almost all the links in the catalogue of the objects remained until the Palace Museum was established in 1925. Key Words: Gallery of Ancient Relics (Guwu Chenliesuo); The Conditions of Preferential Treatment of The Qing Royal Family; Interior Ministry; full-time staff; imperial household department of the Qing Court The Full Story of Setting up The Traditional Chinese Painting Studio (Guohua Yanjiuguan) of The Gallery of Ancient Relics (Guwu Chenliesuo) Xu Wanling The article Chinese appears Abstract: The Traditional Chinese Painting Studio (simply as “the Studio”,Chinese Pinyin: Guohua from page 016 to 032. Yanjiushi, later renamed Guohua Yanjiuyuan, and Guohua Yanjiuguan successively) of The Gallery of Ancient Relics (Guwu Chenliesuo) was first set up in April 1937. Many outstanding masters of art were employed here such as Huang Binhong, Zhang Daqian and Yu Feichang and others as the tutors, and a large group of young artists were enrolled to copy the traditional Chinese paintings of ages here. When Beiping was occupied the Studio was managing to open for the artists who dwelled in Beiping to concentrate on drawing, which was followed by the formation of the styles of the artists and the foundation on which they progressed academically. In the essay is there an analysis of the significant events happening in the development of the Studio and the effect of the collected painting exhibition of The Gallery of Ancient Relics (Guwu Chenliesuo) upon art education, art study and talent cultivation as well. Key Words: fall of Beiping; The Gallery of Ancient Relics (Guwu Chenliesuo); art education; The Traditional Chinese Painting Studio 158 Palace Museum Journal No.5,2014 vol.175 书籍2.indb 158 14-11-10 下午4:28 Zhang Tingji and His Dedication to Beiping Palace Museum before & after The Fall of Beiping Huang Jin Abstract: The Palace Museum in Beiping decided to give priority to moving objects to the south The article Chinese appears and the west after 1933. The operation of the Palace Museum was in face of fund and talent shortage, from page 033 to 048. Japanese was invading Beijing when Zhang Tingji was under the order to take office of The General Affairs Department of The Palace Museum. Despite the action of ‘Moving Objects to The South’, many priceless treasures remained inside The Palace Museum were actually in much danger and threat. However, with greater efforts of the staff led by Zhang Tingji, the remaining objects brought through several crises ---- the Japanese troops and police destroyed books and grabbed magazines, copper and iron were collected and offered, there were struggles for presidential post of Palace Museum and so on. The Palace Museum were managed to operate properly with financial and human supports from the society and called upon the celebrities and scholars to join in the protection of the cultural heritages from being ruined by the invaders. What’s more, it kept on surveying and mapping, displays and exhibits, restoring buildings, editing and publishing, maintaining objects and so on. Key Words: fall of Beiping; Zhang Tingji; maintain; Beiping; The Palace Museum; undertakings The Iconography of Crossing Road Pagoda (Guojie Ta) Images of JuYongGuan Pass — Reconstruction of Chinese Buddhist Art Images and Composition from 11th to 14th Centuries Xie Jisheng Abstract: Fewer references and reviews about JuYongGuan Pass have been read except the The article Chinese appears Japanese publication of JuYongGuan Pass and The Crossing Road Pagoda (Guojie Ta) of JuYongGuan Pass from page 049 to 080. Reconsidered by Chinese Archaeologist Su Bai, which were issued in 1954 and 1964 respectively. The early interpretation on the layout and illustration as the Tibetan Buddhist Sutras failed to make sense of the intrinsic logical relation of the images. This essay intends to probe into the history of the three damaged towers of Crossing Road Pagoda (Guojie Ta) and the philosophical expositions of the multiple sutras they embody and the text about the five Buddhas carved on the entrance, to explain the four handprints on the slope ceiling (Xie Pi) and the form of the ten-direction-three-body Buddha (Shifang Fo), to analyze the evolution of the images of Saddharma-pundarika Buddha and Prabhutaratna Buddha by the 14th century on the basis of the illustration and composition of the images, to retrieve the idea of the designer who built up Crossing Road Pagoda (Guojie Ta) with multiple cultures and faiths of Western Xia and Yuan periods by observing the images of Four Devas and the armors they wear over the chests. It is studied here that JuYongGuan Pass used to be the most vital pass connecting the area north the Great Wall prairie and the hinterland of North China. Crossing Road Pagoda (Guojie Ta) built up in the Yuan Emperor Shun’s regime marked the centralized nation of different ethnics who were living together peacefully and friendly more than a Tibetan Buddha pagoda. Key Words: 11th through 14th centuries; JuYongGuan Pass; Crossing Road Pagoda (Guojie Ta); layout and arrangement; Image composition; implication; reconstruction English abstract of the articles 159 书籍2.indb 159 14-11-10 下午4:28 The Early Iconography of “Durgatipariśodhana Mandala” in Dunhuang and Western Tibet Wang Ruilei The article Chinese appears Abstract: The representation of Durgatipariśodhana-tantra (È Qù Qīng Jìng Dá Tè Luó) which from page 081 to 098. mainly refers to funeral rites was early in Tubo dynasty translated into Tibetan language and included in the classical Buddhism sutra titled lDan dkar ma dkar chag (Dān Gá Mù Lù) that was much appreciated by the royal family of that time. In many temples and caves in Dunhuang of Tubo dynasty, Yulin Cave 3, Par gar bu Cave have been discovered Nine-Usnīsa Mandala introduced in the two extant new and old versions of Durgatipariśodhana-tantra (È Qù Qīng Jìng Dá Tè Luó). Based on what is mentioned above and related historical documents recorded in the Han and Tibetan Buddhist classics, this paper talks about Durgatipariśodhana-tantra as a configuration of Nine-Usnīsa Mandala, and also analyzes the philosophical and functional changes of Nine-Usnīsa Mandala in Dunhuang and western Tibet over the ages. Key Words: Durgatipariśodhana-tantra; Nine-Usnīsa Mandala; Yulin Cave 3; Par gar bu cave Lei Jinyu Reconsidered Shi Zhen He Beijie The article Chinese appears Abstract: In spite of some 300-word introduction about Lei Jinyu as the pioneer of Family Lei to from page 099 to 117. move to capital of Beijing and the founder of Lei’s Style in On Family Lei (Yang Shi Lei Kao) by Zhu Qiqian in July, 1933, the study of Family Lei (Yang Shi Lei) got further promoted right after the release of his posthumous A Preface of Lei’s Family Tree and An Epigraph Of Lei Jinyu, both of which made Lei Jinyu better known for his architectural achievements and events in his life. Following More Research of Lei Fada (Shi Zhen & He Beijie. (2011). More Research of Lei Fada. Beijing: Palace Museum Journal, vol. 4), this thesis reviews Lei’s Family Tree, manuscripts of Lei Family and other related archives and research results for more knowledge of the data sources about Lei Jinyu from On Family Lei (Yang Shi Lei Kao) and his life career. Key Words: Lei Jinyu; Family Lei (Yang Shi Lei); Lei’s Family Tree (Lei Shi Zu Pu); Nanmu Zuo Workshop; Department of Imperial household The Manufacturer of The Porcelains Unearthed from Song & Jin Tombs of Donglongguan Graveyard of Fenyang, Shanxi Meng Yaohu The article Chinese appears Abstract: Donglongguan Graveyard of Fenyang was one of the largest during the Tang through Qing from page 118 to 129.
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