ShouBo/web/src/views/dataAll.js

export const dataAll = {
  Exhibitions: {
    Current: [
      {
        id: 1,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Current/1.jpg',
        h3: 'The Great Journey: the 100th Anniversary of the Founding of the Communist Party of China',
        p: 'In 2021, at the historical intersection of the"Two Centenary Goals," the new journey of building a modern socialist country in all respects has begun.',
        info: {
          topImg: '1',
          imgLast: '.jpg',
          title: 'The Great Journey: the 100th Anniversary of the Founding of the Communist Party of China',
          date: '',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room D, F3',
          page: [
            { tit: 'Preface', article: '<p>It was not a coincidence that the Communist Party of China (CPC) was established in 1921. The emergence of the CPC was an event of epoch-making significance.</p><p>When celebrating the 28th anniversary of the founding of the CPC in 1949, Mao Zedong said: "We have merely accomplished one thing in the past 28 years, and that is to have achieved victory in the revolutionary war. It is worth celebrating since it is the victory of the Chinese people and it is a victory in a big country like China. However, we have many things to deal with. The work we did in previous years is only the first step of the long march."</p><p>In 2021, at the historical intersection of the "Two Centenary Goals," the new journey of building a modern socialist country in all respects has begun. The road ahead is long, and striving is the only way forward.</p>' },
            { tit: 'Part I Dawn of the East', article: "<p>The contradictions between imperialism and the Chinese nation, and between feudalism and the masses, were the main contradictions of modern Chinese society. The Xinhai Revolution in 1911 overthrew the monarchical system that had lasted for more than 2,000 years in China. However, the country was still under the oppression of imperialism and feudalism, and the revolutionary task of anti-imperialism and anti-feudalism was not yet completed. After the May 4th Movement, Marxism spread widely throughout China and gradually integrated with the workers' movement, which led to the birth of the CPC. From then on, the Chinese revolution could move forward in the right direction, the Chinese people had a strong cohesive force, and China's destiny developed into a bright future.</p>" },
            { tit: 'Part II From a single spark to a prairie fire', article: "<p>After the failure of the 1927 Revolution, the CPC independently raised the banner of the revolution and led the Chinese people's anti-imperialist and anti-feudalism struggle into the Agrarian Revolutionary War (1927-1937). The Party created and developed the Red Army and rural revolutionary bases, and gradually opened up roads to encircle cities from the countryside and seize power by armed force. During this period of time, the revolutionary cause suffered many setbacks. The Zunyi Meeting held in 1935 proved to be a critical turning point in the history of the CPC.</p>" },
            {
              tit: 'Part III The central pillar of the War of Resistance against Japanese Aggression',
              article: "<p>After the September 18th Incident, in which Japanese military personnel committed a false flag attack as a pretext for invasion, Chinese people began to rise in resistance. That was the starting point of the Chinese People's War of Resistance against Japanese Aggression which was the prelude to World War II. After the Lugou Bridge Incident of July 7th, resisting the invasion and saving the country became the common will and action of Chinese people of all parties, nationalities, classes and groups, and overseas Chinese. China thus completely entered the War of Resistance against Japanese Aggression and held its ground in the main Eastern theatre of World War II. The CPC became a central pillar of the war. The victory of the Chinese People's War of Resistance against Japan became a turning point in the history of the Chinese nation and put the country on the path towards rejuvenation.</p>"
            },
            {
              tit: 'Part IV Securing victory',
              article: "<p>After the victory in the Chinese People's War of Resistance against Japan, the CPC made tremendous efforts to fight for peace and democracy on behalf of the fundamental interests of the Chinese people. After the outbreak of the Chinese People's War of Liberation, the CPC led the army and people in liberated areas to resolutely crush the attacks of the Kuomintang forces with active defense and actively promoted the people's movement in the Kuomintang-ruled areas. As the situation developed, the Party commanded the People's Liberation Army to shift to a strategic offensive, and after a showdown and final pursuit, led the people to overthrow the reactionary rule of the Kuomintang and seize a nationwide victory in the New Democratic Revolution, basically completing the historical task of winning national independence and people's liberation.</p>"
            },
            {
              tit: 'Conclusion',
              article: "<p>The year 2021 marks the centenary of the Communist Party of China. Its 100-year journey is magnificent, and its original aspiration remains even firmer as time goes. From Shanghai's Shikumen to Jiaxing's South Lake, the little red boat carried the people's trust and the nation's hope, over the rapids and through the turbulent waves, and become a majestic ship that steers China steadily forward. The CPC is always committed to the great cause of the Chinese nation. It exhibits great vigor at its 100th anniversary.</p><p>Let us rally more closely around the CPC Central Committee with Comrade Xi Jinping at its core to strive to realize the Chinese Dream and the great rejuvenation of the Chinese nation! We should step up 'the four consciousnesses,' strengthen 'the four confidences,' and ensure 'the two upholds'. We will forge ahead with courage and create brighter glory! </p>"
            }
          ],
          objects: 29,
          galleries: 23,
        }
      }
    ],
    Permanent: [
      {
        id: 2,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Permanent/1.jpg',
        h3: 'Selected Works of Bronze Art in Beijing Area',
        p: 'In the Bronze Age, Beijing was in the northern borderland of the Central Plains Dynasties. The bronze culture in the area shows a strong identity with Central Plains culture, as well as a distinctive aspects of multi-cultural fusion.',
        info: {
          topImg: '1',
          imgLast: '.png',
          title: 'Selected Works of Bronze Art in Beijing Area',
          date: 'Permanent Exhibition',
          time: '',
          loc: 'Room J, F4, Oval Hall',
          page: [
            { tit: 'Preface', article: '<p>The extensive use of bronze marks the time when early humans broke away from the initial barbaric period and entered the Bronze Age as the first stage of civilized society. This period in China began about the 21st century BCE.</p><p>In the Bronze Age, Beijing was in the northern borderland of the Central Plains Dynasties. The bronze culture in the area shows a strong identity with Central Plains culture, as well as a distinctive aspects of multi-cultural fusion.</p><p class="one">Part I. Western Zhou period (mid-11th century - 771 BCE)</p><p>During the period of the Western Zhou Dynasty, the political center of the Yan State was in the Beijing area. The bronzes of the Yan state had an identical style with those of the Zhou Dynasty in the Central Plains. However, its weapons, tools and some other items of bronzeware were strongly influenced by the Northern Prairie Culture.</p><p class="one">&emsp;Ritual Vessels and Musical Instruments</p><p>&emsp;During the Shang-Zhou period (16th century-221 BCE), ritual vessels and musical instruments in bronze were made exclusively for aristocrats and used extensively in sacrificial, mourning and other ceremonial activities. They were believed to possess the power for humans to communicate with the deities and symbolized power.</p><p class="one">&emsp;Horse-and-chariot Trappings</p><p>&emsp;Horse-and-chariot trappings in bronze were prevalent not only for their practical use, but also for their decorative and status-marking functions.</p>' },
            { tit: 'Part II. Eastern Zhou period (770-221 BC)', article: "<p>During the Spring and Autumn Period (770-476 BCE), the Yan Culture Area with the Yan State as its center sprang up. The regional feature of Yan State bronzeware became increasingly distinctive.</p><p>During the Eastern Zhou period, the ritual character of bronzeware gradually faded out, while their practical and ornamental functions became more and more distinct. It reflected the spirit of a new era. The Bronze Age eventually came to the end in the Warring States Period (475-221 BCE).</p>" },
          ],
          objects: 0,
          galleries: 10
        }
      },
      {
        id: 3,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Permanent/2.jpg',
        h3: 'Selected Works of Ancient Jade Art',
        p: 'In ancient China, jade was regarded as a magical object, later combined closely with the national character, cultural traditions and moral concepts of the Chinese nation.',
        info: {
          topImg: '2',
          imgLast: '.png',
          title: 'Selected Works of Ancient Jade Art',
          date: 'Permanent Exhibition',
          time: '',
          loc: 'Room K, F5, Oval Hall',
          page: [
            { tit: 'Preface', article: '<p>In ancient China, jade was regarded as a magical object, later combined closely with the national character, cultural traditions and moral concepts of the Chinese nation.</p><p>Unearthed jadeware dating from the Neolithic Age to the dynasties of the Tang (618-907) and Song (960-1279) in the Beijing area outline the development of jade culture in China. That of the Liao (916-1125) and Jin (1115-1234) eras displays the rugged and heroic character of the nomadic people who founded these two dynasties. During following dynasties of the Yuan (1271-1368), Ming (1368-1644) and Qing (1644-1911), Beijing jadeware mainly was used for furnishing and ornamental purposes. In the Qing Dynasty, however, development of the Beijing jade culture reached new heights.</p><p class="one">Part I. Neolithic Age to the Northern and Southern Period (C.10,000 years-589)</p><p>The Neolithic Age saw the incubation stage of the Chinese Jade. The Xia Dynasty (21st to 16th century BCE), the Shang (16th to mid 11th century BCE) and Western Zhou (Mid 11th century to 771 BCE) formed the growth stage when jadeware acquired deep religious and ritual connotations. The Eastern Zhou Dynasty (770-221 BCE) was a transitional era. The period of the Qin (221-207 BCE), Han (206 BCE-220 CE), Wei (220-265), Jin (265-420) and Northern and Southern Dynasties (420-589) together formed a development stage when jadeware gradually became secularized.</p>' },
            { tit: 'Part II. Sui-Tang to Liao-Jin Period (581-1234)', article: "<p>This period marked in flourishing stage in jade usage. During the Sui (581-618) and Tang (618-907) dynasties, under the influence of foreign culture, jade art added new colors to the traditional ones. In the Song Dynasty (960-1279), much influenced by the mature landscape painting art, there emerged figure-and-landscape jade carvings with panoramic composition. In the Liao (916-1125) and Jin (1115-1234) dynasties, jade art absorbed the form and technique developed in Song jade works while also adding features of the Northern Prairie Culture.</p>" },
            { tit: 'Part III. Yuan, Ming and Qing Period (1271-1911)', article: "<p>Jade carving now entered its most prosperous stage. In the Yuan Dynasty (1271-1368), emerging works combined jade culture traditions of the Song and Jin dynasties with elements of Mongolian culture. During the early period of the Ming Dynasty (1368-1644), jade art still maintained the rigorous and exquisite style of the preceding Yuan Dynasty. In the middle period, however, jade working tended towards a more concise style, and works with a rich literati flavor began to emerge. In the late period of the Ming Dynasty, jadeware with a straightforward and uninhibited style were considered the most beautiful. During the reign of Qing Emperor Qianlong (1736-1795), jade art integrating all the great achievements of ancient jade-working techniques are considered as representing the highest level of jade technology in that particular dynasty.</p>" },
          ],
          objects: 0,
          galleries: 9
        }
      },
      {
        id: 4,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Permanent/3.jpg',
        h3: 'Calligraphy Works of Celebrities in Early Modern and Modern Times',
        p: 'Stele calligraphy began to thrive in the mid-Qing Dynasty (1644-1911). In the latter half of the dynasty and the following Republic of China (1912-1949), calligraphic art drew artistic nourishment from the tablets of the Wei (220-265), Jin (265-420), Northern and Southern Dynasties (420-589), with great influence on style.',
        info: {
          topImg: '3',
          imgLast: '.png',
          title: 'Calligraphy Works of Celebrities in Early Modern and Modern Times',
          date: 'Permanent Exhibition',
          time: '',
          loc: 'Room I, F3',
          page: [
            { tit: 'Preface', article: '<p>Stele calligraphy began to thrive in the mid-Qing Dynasty (1644-1911). In the latter half of the dynasty and the following Republic of China (1912-1949), calligraphic art drew artistic nourishment from the tablets of the Wei (220-265), Jin (265-420), Northern and Southern Dynasties (420-589), with great influence on style. It was a vogue for calligraphers to learn from the art of epigraphy in creating a new type of artwork. </p><p>Traditional model calligraphy still existed, however. It became a common practice to learn from both stele and model calligraphy in creating many works. Different calligraphy genres contended and brought new features to the art.</p>' },
          ],
          objects: 0,
          galleries: 10
        }
      },
      {
        id: 5,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Permanent/4.jpg',
        h3: 'Works of Famous Painters in Early Modern and Modern Times',
        p: 'Chinese painting art dates from prehistoric times. It was well developed in the period of the Wei (220-265), Jin (265-420), Sui (581-618) and Tang (618-907) dynasties and thrive even more in the period of the Song (960-1279), Yuan (1271-1368), Ming (1368-1644) and Qing (1644-1911) dynasties.',
        info: {
          topImg: '4',
          imgLast: '.png',
          title: 'Works of Famous Painters in Early Modern and Modern Times',
          date: 'Permanent Exhibition',
          time: '',
          loc: 'Room H, F2',
          page: [
            { tit: 'Preface', article: '<p>Chinese painting art has a history of thousands of years, its spirit and charm possessing unique powers.</p><p>Chinese painting art dates from prehistoric times. It was well developed in the period of the Wei (220-265), Jin (265-420), Sui (581-618) and Tang (618-907) dynasties and thrive even more in the period of the Song (960-1279), Yuan (1271-1368), Ming (1368-1644) and Qing (1644-1911) dynasties. During the period of the late Qing Dynasty and the following Republic of China (1912-1949), painting entered a new historical stage. The cultural environment, creative objects, varieties and forms, styles and features, all underwent profound change. An inclusive and diversified era was thus created.</p><p class="one">Landscape Painting</p><p>Chinese people have revered mountains and rivers since ancient times. Chinese landscape painting strives to express this artistic conception. It developed gradually in the period of the Wei (220-265), Jin (265-420), Northern and Southern Dynasties (420-589) and greatly prospered in the Song Dynasty (960-1279). A New trend in Chinese landscape painting appeared during the period (1271-1368), Ming (1368-1644) and Qing (1644-1911) dynasties. It took on yet another new look in modern times.</p><p class="one">Bird-and-flower Painting</p><p>Bird-and-flower painting takes the wide range of flowers, birds, fruits, fish and insects as creative objects. This genre has certain distinguishing features, with a free and easy creation technique, simple and natural style, and amazing artistic conceptions. It experienced great development from the period of the Six Dynasties (222-589).</p><p class="one">Figure Painting</p><p>Compared with other genres, Chinese figure painting has the longest history. It was already well developed during the Wei (220-265), Jin (265-420), Northern and Southern Dynasties (420-589). The artist strives to portray the figures vividly. The art emphasizes a display of details, such as eye, hands and body gestures, etc., in order to achieve an effect involving the unity of form and spirit.</p>' },
          ],
          objects: 0,
          galleries: 9
        }
      },
      {
        id: 6,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Permanent/5.jpg',
        h3: 'Selected Works of Ancient Buddhist Statues',
        p: 'This exhibition reveals the art history of Chinese Buddhist statues and Tibetan Buddhist statues, and the rich Buddhist culture in Beijing.',
        info: {
          topImg: '5',
          imgLast: '.png',
          title: 'Selected Works of Ancient Buddhist Statues',
          date: 'Permanent Exhibition',
          time: '',
          loc: 'Room E1, F4',
          page: [
            { tit: '', article: '<p>This exhibition reveals the art history of Chinese Buddhist statues and Tibetan Buddhist statues, and the rich Buddhist culture in Beijing.</p>' },
          ],
          objects: 0,
          galleries: 10
        }
      },
      {
        id: 7,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Permanent/6.jpg',
        h3: 'Selected Works of Ancient Ceramics Art',
        p: 'This exhibition fully displays pottery and porcelain wares inherited or unearthed in Beijing. It reveals the process of Chinese ceramic art development and the history of Beijing.',
        info: {
          topImg: '6',
          imgLast: '.png',
          title: 'Selected Works of Ancient Ceramics Art',
          date: 'Permanent Exhibition',
          time: '',
          loc: 'Room E2, F4',
          page: [
            { tit: '', article: '<p>This exhibition fully displays pottery and porcelain wares inherited or unearthed in Beijing. It reveals the process of Chinese ceramic art development and the history of Beijing.</p>' },
          ],
          objects: 0,
          galleries: 11
        }
      },
      {
        id: 8,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Permanent/7.jpg',
        h3: 'Cultural Relics from Buddhist Pagodas in Beijing Area',
        p: 'Buddhism born in ancient India in the 6th century BC was officially introduced into China in 2 BC. In the period of more than two thousand years, Buddhism in China formed the Chan School, Pure Land School and many other sects with Chinese cultural characteristics and created a variety of art forms and exquisite works, in the areas of architecture, sculpture, painting and so on. It has become an important part of Chinese traditional culture.',
        info: {
          topImg: '7',
          imgLast: '.png',
          title: 'Cultural Relics from Buddhist Pagodas in Beijing Area',
          date: 'Permanent Exhibition',
          time: '',
          loc: 'Room L, F6, Oval Hall',
          page: [
            { tit: '', article: '<p>Buddhism born in ancient India in the 6th century BC was officially introduced into China in 2 BC. In the period of more than two thousand years, Buddhism in China formed the Chan School, Pure Land School and many other sects with Chinese cultural characteristics and created a variety of art forms and exquisite works, in the areas of architecture, sculpture, painting and so on. It has become an important part of Chinese traditional culture.</p><p>Buddhism was introduced into Beijing around the Period of the Sixteen Kingdoms. After the continued spread and development during the Western Jin and Eastern Jin, Southern and Northern Dynasties, and the Sui and Tang Dynasties, it reached its apex during the Liao Dynasty and flourished from the Liao Dynasty to the Qing Dynasty. The rapid development of Buddhism in Beijing left a wide range of cultural heritages, such as temples, pagodas, Buddhist statues and images, ritual implements, etc. These treasures added much color to the cultural depth of the ancient capital Beijing.</p><p>Since the founding of the P.R.C.(1949), archeologists in Beijing carried out excavations on a small number of remains of ancient pagodas in order to protect and rescue them and discovered large number of Buddhist relics. For this exhibition we have selected some of pagoda relics hoping to show the highly Buddhist atmosphere in the ancient capital of Beijing, the unique Buddhist cultural style, as well as the high level of development of architectures, sculpture and other crafts.</p>' },
          ],
          objects: 0,
          galleries: 10
        }
      },
      {
        id: 9,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Permanent/8.jpg',
        h3: 'Ancient Capital • History and Culture of Beijing',
        p: "Focusing on its rich culture, this exhibition chronologically displays the historical development of Beijing, from a primitive residence place to the formation of a polis, from a political center of North China to a united multi-ethnic feudal state, and to the capital of the People's Republic of China.",
        info: {
          topImg: '8',
          imgLast: '.png',
          title: 'Ancient Capital • History and Culture of Beijing',
          date: 'Permanent Exhibition',
          time: '',
          loc: 'Room C, F2',
          page: [
            { tit: '', article: "<p>Focusing on its rich culture, this exhibition chronologically displays the historical development of Beijing, from a primitive residence place to the formation of a polis, from a political center of North China to a united multi-ethnic feudal state, and to the capital of the People's Republic of China.</p>" },
          ],
          objects: 0,
          galleries: 16
        }
      },
      {
        id: 10,
        year: '',
        yrahTxt: '',
        cover: '/data/Exhibitions/Permanent/9.jpg',
        h3: 'Folk Customs in Old Beijing',
        p: "The theme of this exhibition is 'Life in Hutong.' By displaying the scenes of wedding, birth giving and festivals among the ordinary people living in Hutong, it portrays a vivid close-up on customs and rituals of the people's life in Beijing tracing back history to late Qing and early Republic of China period.",
        info: {
          topImg: '9',
          imgLast: '.png',
          title: 'Folk Customs in Old Beijing',
          date: 'Permanent Exhibition',
          time: '',
          loc: 'Room F, F5',
          page: [
            { tit: '', article: "<p>The theme of this exhibition is 'Life in Hutong.' By displaying the scenes of wedding, birth giving and festivals among the ordinary people living in Hutong, it portrays a vivid close-up on customs and rituals of the people's life in Beijing tracing back history to late Qing and early Republic of China period.</p>" },
          ],
          objects: 0,
          galleries: 88
        }
      },
    ],
    Past: [
      {
        id: 11,
        year: '2021',
        yrahTxt: 'May 18, 2021 - August 17, 2021',
        cover: '/data/Exhibitions/Past/1.jpg',
        h3: 'Pursuing Eternity: Conservation of Museum Collections in China',
        p: "China is a country of great creativity, and since ancient times, countless Chinese inventions and creations have lit up the vast starry sky of human civilization, leaving behind a large number of precious cultural heritage.",
        info: {
          topImg: '1',
          imgLast: '.png',
          title: 'Pursuing Eternity: Conservation of Museum Collections in China',
          date: 'May 18, 2021 - August 17, 2021',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          page: [
            { tit: 'Foreword', article: "<p>A towering tree must have its roots; the river that flows from the mountain must have its source. The roots of every nation lie in its history and culture, and these roots are passed down to us through cultural heritage. China is a country of great creativity, and since ancient times, countless Chinese inventions and creations have lit up the vast starry sky of human civilization, leaving behind a large number of precious cultural heritage. Our long history has bestowed us with many national treasures that shed light on the origin of Chinese civilization and the characteristics of Chinese culture. They are the manifestation of the great contributions Chinese civilization has made to the world. They reflect the cultural code and the source of strength that has led China to prosperity. </p><p>However, the Earth is generous to offer such treasures, but many survive now as mere fragments that can only hint at their former glory. According to statistics, by the end of 2019, a total of 108 million pieces (sets) of movable cultural heritage had been unearthed or handed down in China. During the passage of time, many of those heritage were damaged at varying degrees. Only by urgent conservation and restoration, can they be passed down to the later generations.</p>" },
            { tit: '2. Penetrating Insight', article: '<p>Cultural heritage that have survived the ages, like a quiet old man, seal their past in their silence, leaving us with countless unanswered questions. To reach the truth we must walk through endless darkness, endless darkness that could perhaps be lit up by the light of technology.</p><p>Technology illuminates the darkness and bestows us penetrating insight into the secrets of the unknown world of antiquity. Through pictures, data and graphs, the historical appearance of cultural heritage is recreated at the level of shape, structure and composition. Each piece of cultural heritage, like a cultural symbol, is gradually brought to life through scientific knowledge and humanistic verification.</p>' },
            { tit: '3. Skillful Hands', article: '<p>As Chinese civilization developed, ancient craftsmen adhered to the harmonious ideal of using the "seasons from heaven, the energy of the Earth, the beauty from materials and exquisite craftsmanship" in the creation of their work.</p><p>They turned materials such as earth, leather, wood, stone, gold, silk and bamboo into exquisite objects with the unique characteristics of Eastern Civilization. As time goes by, these objects have suffered from varying degrees of damage and are in urgent need of conservation and restoration. With Chinese cultural heritage as the backbone, heritage conservationists have developed a system of conservation and restoration techniques suitable for China, based on the traditional aesthetic concept of "integrity, symmetry and balance," combined with the skills of restoration passed down from generation to generation. They also draw on the theories, techniques and mechanisms of the Western restoration system, so as to bring cultural relics back to life.</p><p>Skilled and imaginative ancient craftsmen made these objects with their ingenious creativity, and now technology-assisted heritage conservationists inject new life into those damaged cultural heritage. </p>' },
            { tit: '4. Rejuvenation', article: `<p>China is a land of creativity and a great country of traditional craftsmanship. China's traditional crafts play an important part in China's excellent traditional culture and play a special role in continuing the Chinese cultural lineage and maintaining the nation's spiritual identity. Traditional crafts such as carriage making, pottery firing, silk weaving and dyeing were advanced technologies in ancient China and undeniably promoted the formation and progress of civilization. Cultural heritage carry our national memory and implicate rich technical, scientific and artistic connotations. Taking cultural heritage as the starting point, we should carry out interdisciplinary research in archaeology, material science, arts and crafts, and the history of science and technology, so that the knowledge of traditional craftsmanship can be brought to a scientific depth of "knowing how and why," thereby restoring a relatively complete system of ancient technology and rejuvenating the traditional craftsmanship that have lasted for thousands of years.</p>` },
            { tit: '5. Pursuing Eternity', article: "<p>The environment is one of the major factors in the damage and degradation of museum collections. Therefore, the main goal of preventive protection is to reduce the rate of degradation through environmental control and to carry out integrated prevention and control for various types of risks. We should make a prudent plan to prevent gradual creeping degradation, which is echoed by the preventive treatment of disease in <i>Huangdi Neijing (The Inner Canon of the Yellow Emperor)</i>. This means 'preventing disease before it happens, preventing disease from exacerbating and preventing recurrence.' Nowadays, preventive conservation based on risk management is the international trend in the field of heritage conservation. Owing to this, the conservation of museum collections is transforming from traditional 'rescue' conservation to modern 'preventive' conservation. At present, China's research on the preventive conservation of museum collections has made major breakthroughs. A 'stable and clean' concept of preventive conservation has been formed; a new environmentally friendly and efficient plant-derived disinfectant has been invented; and equipment for cultural heritage conservation, as an important material guarantee, is being developed by technologies specific for cultural heritage. All in all, the system solutions with unique Chinese characteristics provide important guarantees for pursuing the eternal conservation of those splendid cultural heritage.</p>" },
          ],
          objects: 53,
          galleries: 60
        }
      },
      {
        id: 12,
        year: '2021',
        yrahTxt: 'May 21, 2021 - August 22, 2021',
        cover: '/data/Exhibitions/Past/2.jpg',
        h3: 'Wonders: The Ancient Andean Civilization in Peru',
        p: "On the west side of the South American continent, within the territory of the Republic of Peru, there is a narrow strip of land from the Andes to the Pacific Ocean with a variety of co-existing natural ecosystems like valleys, arid plains, and highlands. Without any wide river or fertile soil, it is, however, the main cradle of the Andean civilization, South America's most important prehistoric civilization.",
        info: {
          topImg: '2',
          imgLast: '.png',
          title: 'Wonders: The Ancient Andean Civilization in Peru',
          date: 'May 21, 2021 - August 22, 2021',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, F1',
          page: [
            { tit: 'Preface', article: "<p>On the west side of the South American continent, within the territory of the Republic of Peru, there is a narrow strip of land from the Andes to the Pacific Ocean with a variety of co-existing natural ecosystems like valleys, arid plains, and highlands. Without any wide river or fertile soil, it is, however, the main cradle of the Andean civilization, South America's most important prehistoric civilization. Apart from the well-known Inca Empire, the land has also seen the rise of many other cultures like Chavín, Nazca, Moche, Wari, Sicán, Chimú, etc. From 1500 BCE to the 16th century, the people here created grand architecture, exquisite stone carvings, colorful fabrics, multi-colored ceramics, and dazzling gold and silver wares. Now, let us take a look at people's lives in ancient Peru to explore their material and spiritual life. </p>" },
            { tit: 'Chapter One EMERGENCE OF SOCIAL COMPLEXITY (ca. 1500 – 300 BCE)', article: "<p>From 1500 to 200 BCE, several cultures flourished in the Andean region, among which the most prominent one was the Chavín culture centered at Chavín de Huántar, near the south end of the north highlands of Peru. In its heyday (900-200 BC) the Chavin influenced a large range of places from the north highlands to the south coast of Peru. Archaeological discoveries in these areas, showing a relatively consistent style, indicate that the Chavín culture was taken by many regions at that time. This period represents the first cultural peak of the Andean civilization. Many features of Andean civilization, such as jaguar worshiping and large ceremonial centers, were established and strengthened during this period and have continued in subsequent cultures.</p>" },
            { tit: 'Chapter Two EMERGENCE OF DIVERSE REGIONAL CULTURES (ca. 200 BCE – 600 CE)', article: "<p>After 200 BCE, as Chavín culture gradually declined, many parts of Peru that were originally influenced by it developed their own distinctive cultures. In the north and central parts, the Vicús, Gallinazo, and Lima cultures emerged. From the 1st to the 5th century, north highland cultures, such as the Cajamarca and Recuay, were side by side with the emerging Moche culture along the north coast. On the south coast, the Paracas culture, influenced by the Chavín culture, gradually evolved into the Nazca culture. At the beginning of the 6th century, the Moche culture eventually developed into the most powerful culture in the coastal region, and one of the most representative cultures of the Andean civilization. This section mainly shows the fine artworks of Nazca and Moche.</p>" },
            { tit: 'Chapter Three INTERREGIONAL POLITICAL SYSTEMS (ca. 600 – 1100 CE)', article: "<p>In the second half of the 6th century, climatic disturbances and food shortages led to the population concentration and migration around the central Andes, so several highly influential cultures rose in these regions. Among them, the Tiwanaku culture, originated around Lake Titicaca and powered by its military capacity and religious traits, continued to flourish for a long time. The Wari culture, arising later in the central highlands, kept a close link to the earlier Nazca and the neighboring Tiwanaku. In the 7th century, Wari developed a complex sociopolitical system that resulted in its dominance for nearly three centuries. The Sicán culture came into being later than the other two, but it rose rapidly by the abundant natural resources on the north coast and by incorporating the essence of the Moche culture. It was the new epoch of Andean civilizations, especially in metallurgy and irrigation agriculture.</p>" },
            { tit: 'Chapter Four LAST EMPIRES (CA. 1100 – 1572 CE)', article: "<p>Around the year 1000 CE, with the gradual disintegration of the governance of the Wari in the central highlands and the Tiwanaku in the south, new political forces began to collide with each other. On the north coast, around 1100 CE, the decline of the middle Sicán allowed the Chimú to thrive. Based on their capital–Chanchan in the Moche valley, they began its expansion along the coast. By the end of the 14th century, the Chimú kingdom dominated the central and north coasts. In the later stages of the Chimú expansion, however, the Incas, in the Cuzco of the south highlands in Peru, began to build up their power by all means. By the end of the 15th century, the empire of the Incas, annexing the Chimú, became the largest political entity ever established by Native Americans in the Americas. In the first half of the 16th century, with Spanish colonists invading Peru, the Inca Empire met its downfall.</p>" },
          ],
          objects: 170,
          galleries: 39
        }
      },
      {
        id: 13,
        year: '2020,2021',
        yrahTxt: 'December 22, 2020 - May 23, 2021',
        cover: '/data/Exhibitions/Past/3.jpg',
        h3: "Great Spirit of a Master of Beijing Opera : In Commemoration of the 120th Anniversary of Ma Lianliang's Birth",
        p: "Over Peking opera's more than two hundred years of evolution, it has assimilated the art and essence of previous forms of Chinese opera to become a quintessential part of traditional Chinese culture.",
        info: {
          topImg: '3',
          imgLast: '.png',
          title: "Great Spirit of a Master of Beijing Opera : In Commemoration of the 120th Anniversary of Ma Lianliang's Birth",
          date: 'December 22, 2020 - May 23, 2021',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room M, B1',
          page: [
            { tit: 'Foreword', article: `<p>In the late 18th century, Hui opera came to Beijing via the "Four Great Anhui Troupes" and eventually became an integral part of the Peking opera known today. Over Peking opera's more than two hundred years of evolution, it has assimilated the art and essence of previous forms of Chinese opera to become a quintessential part of traditional Chinese culture. The art form's prosperity gave rise to a wave of nationally admired works and outstanding talent courtesy of the operas' actors and actresses. Within this realm, Ma Lianliang was an epoch-making master of "laosheng," or dignified older-male roles, the founder of the Ma School of Peking opera, and one of the key members of the "Four Great Beards." During his years, Ma produced endless memorable opera moments, now considered classics in the cannon.</p><p>There is an old saying that on a small stage, you can tell right from wrong and a play with its actors playing roles of the ancients can inspire generations and generations. 2021 will mark the 120th anniversary of Ma Lianliang's birth. To commemorate his work, let us look back at Ma's art career and appreciate the beauty of Peking opera.</p>` },
            { tit: 'Part I. A Legendary Life', article: "<p>In 1901, the Boxer Protocol was signed. At the turn of the 20th century, internal revolt and foreign invasion continued to erode China's power and the ruling Qing Dynasty's dominance was declining. However, in the great upheaval, Peking opera thrived. Men and women in the city — whether in the imperial court or on the street — were all imitating the singing of 'Jiao Tian Er' (the stage name of Peking opera artist Tan Xingpei). The bleakness of the song and the tragic, agitated voice of the laosheng character — reflected in the reversing of the xipi and erhuang melodies — resonated with the people caught in the great turmoil. The waning of the Qing Dynasty thus ushered in a prosperous period for Peking opera, which gradually reached its peak. The past hundred years have seen numerous Peking opera masters come and go such as Cheng Changgeng, Tan Xinpei, Yang Xiaolou, Yu Shuyan, Mei Lanfang, Cheng Yanqiu, Zhou Xinfang, and Ma Lianliang. Among them, Ma was notable for devoting his entire life to Peking opera despite the vicissitudes of his life. During times of tribulations, he never ceased to make advances and innovations, eventually founding his own school and solidifying his place as a legend of the craft. </p>" },
            { tit: 'Part II. Amazing Performing Art', article: "<p>Peking opera is a coalescence of many artistic elements and a variety of schools that shine on the stage. Ma Lianliang's performative art was of historic significance for the development of Peking opera and can be credited with the development of several classical opera figures with his crisp and clear voice and natural and unrestrained looks. Throughout his life, Ma always endeavored to perfect his performances, unwavering in his belief that, 'For us artists, the true, the good, and the beautiful are the only three principles we seek.' By looking to his peers, learning the best stage practices, and drawing from his life experiences, Ma created a unique style. This has ensured that while an opera always comes to an end, Ma's curtain will never fall.</p>" },
            { tit: 'Part III. An Enormous Influence on Peking Opera', article: "<p>As one of the most influential Peking opera masters in China in the 20th century, Ma Lianliang enjoyed a good reputation both at home and abroad. His artistic achievements even transcended the realm of Peking opera and his great renown won him an extensive social network composed of famous figures, celebrities, and political giants. Owing to Peking opera, like-minded individuals became acquainted and supported each other in their art, helping to create classics of the era. As we know, the Fuliancheng Troupe coached a host of opera students, including Ma Lianliang, who in turn went on to make prominent contributions in opera education and passing the art form down to younger generations.</p>" },
            { tit: 'Conclusion', article: "<p>Peking opera has witnessed China's many ups and downs over the past hundred years. Ma Lianliang himself lived through three tumultuous eras: the end of the Qing Dynasty, the Republic of China, and the beginning of the People's Republic of China. He spent more than half a century on the opera stage and although his art was firmly rooted in Chinese traditions, he was never afraid of looking to the past in order to innovate. As he said, 'Without inheritance, performing art has no foundation, and without creation, it cannot develop.' Those words remain true today, where the art of Peking opera can only be sustained and inherited through development and renewal.</p>" },
          ],
          objects: 11,
          galleries: 24
        }
      },
      {
        id: 14,
        year: '2020',
        yrahTxt: 'September 26, 2020 – November 15, 2020',
        cover: '/data/Exhibitions/Past/4.jpg',
        h3: 'Spacetime Travel of Cultural Heritages',
        p: 'Five influential "time-space" units are selected to be displayed at the exhibition "Spacetime Travel of Cultural Heritages" to draw you closer to the life of our ancestors, the essence of Chinese civilization and historical ups and downs.',
        info: {
          topImg: '4',
          imgLast: '.png',
          title: 'Spacetime Travel of Cultural Heritages',
          date: 'September 26, 2020 – November 15, 2020',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: 'Foreword', article: `<p>China's profound history and culture resemble the boundless time and space, brightly illuminated by innumerable sparkling stars. Five influential "time-space" units are selected to be displayed at the exhibition "Spacetime Travel of Cultural Heritages" to draw you closer to the life of our ancestors, the essence of Chinese civilization and historical ups and downs. This digital exhibition of cultural relics is made to inspire exploration and improve personal experience. In doing so, we intend to present an all-round novel approach to learn cultural heritages and the history of China. At the same time, we present cultural and creative achievements from the young generation so as to show how they understand and think about Chinese civilization.</p><p>There is no limit when it comes to the "spacetime travel" The five "time-space" units are only dust in the vast space of the history of China. We hope more people can delve into an exploratory journey to find and understand more about the Chinese civilization. </p><p>Hyperlinks are provided at each exhibition space for you to gain additional information on each "time-space" unit. We hope these can serve as your inspiration for further exploration of the extensive and profound Chinese civilization.</p>` },
            { tit: 'Part I. Humans as an Integral Part of Nature: Supernaturals and Rituals', article: `<p>Bronzes functioned as a significant carrier of "rituals" in ancient China, hence the old saying "vessels embody rituals." Meanwhile, by endowing bronzes with "ferocious beauty," ancient Chinese anchored their wishes on supernatural powers, which were expected to guide their collective society. This phenomenon reflects the ideology of traditional Chinese culture, which says, "Humans are an integral part of nature." As we pay attention to these bronzes via digital imaging devices, we should observe their aesthetics and delicate patterns as well as learn the marvelous techniques applied to make them.</p>` },
            { tit: 'Part II. Standards Formed: Ration and Order', article: `<p>War and order are two common subjects in our history textbooks. The founding of the Qin Dynasty was the result of epic wars and dramatic changes in institutions. Qin defeated six other states in ten years, putting an end to the situation in which feudal lords obtained regional autonomy and kept contending for the throne. Eventually, this established the first autocratic monarchy in the history of China.</p><p>The Qin Dynasty put into effect an array of institutions and orders that emphasized on hierarchy, realizing the transitions from the Subinfeudation System to the Commandery-County System and from the Patriarch System to an approach where the virtuous and the capable come first, and therefore, from a "segmented nation" to a "unified empire." This ushered in a new age of institutional rationality to ancient China. Let's perceive the valiance and order as well as the ardor and resourcefulness of the first dynasty's great unity.</p>` },
            { tit: 'Part III. Beauty and Virtues: Ingenuity and Craftsmanship', article: "<p>When looking into the daily life of ancient Chinese, one often finds their pursuit of beauty and reflection over virtues. When these mental activities materialize, they come up with ingenious inventions that carry ancient people's wisdom and emotions, eventually becoming pieces of stuff that are closely connected to our contemporary life. </p><p>Some cultural heritages closely related to the daily life of ancient Chinese are chosen for display in digital approaches. The interactive experience will deepen your understanding of the ingenuity and craftsmanship of ancient Chinese and the beauty and virtues that dominated their life. </p>" },
            { tit: "Part IV. Literati's Arts: Vigor and Spirit", article: "<p>In China's profound history and culture, poems, calligraphy and paintings are rich with the artistic conception of ancient Chinese literati. They are not only forms of art, but also represent ways of behaviors and the unfading spirits of their creators who sometimes retain self-restraint and discretion and sometimes let nature take its course, free from concerns. Now, let's revisit the scene of Lanting (or Orchid Pavillion) Gathering and purify our spirits.</p>" },
            { tit: 'Part V. Cultural Exchanges: Mutual Learning and Integration', article: "<p>Chinese civilization is the only one in the human history that has prospered for more than 5,000 years with no interruption, a result of unremitting practices of international exchanges and mutual learning and an inclusive and confident cultural mindset established in time immemorial. We participated in the impressive silk road and peaked in the Tang Dynasty. In the process, Chinese civilization can always integrate with the continuous influences from foreign countries and result in new cultural outlook.</p>" },
          ],
          objects: 0,
          galleries: 11
        }
      },
      {
        id: 15,
        year: '2020',
        yrahTxt: 'January 17, 2020 – August 2, 2020',
        cover: '/data/Exhibitions/Past/5.jpg',
        h3: '1420 From Nanjing to Beijing',
        p: "Relocation from Nanjing to Beijing was carried out in 1420, from the Bell Mountain to the Yan Mountains. By taking you back to that time, this exhibition will fully present the stories behind the establishment of the capital and its relocation.",
        info: {
          topImg: '5',
          imgLast: '.png',
          title: '1420 From Nanjing to Beijing',
          date: 'January 17, 2020 – August 2, 2020',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          page: [
            { tit: 'Foreword', article: `<p>How many times did imperial vigor in Jinling (present-day Nanjing) wax and wane?</p><p>In 1368, Zhu Yuanzhang, known as Emperor Hongwu, proclaimed himself ruler of a new dynasty and established his capital at Jinling. As an ancient saying declared,"All the wealth of the world comes from the Southeast, with Jinling at the center." It boasted many well-off people and abundant resources and had long been strategically significant. However, 30 years later, the tempest did not originate from Bell Mountain, but from the foot of Yan Mountains, thousands of miles to the north of the empire, where Zhu Di, Prince of Yan launched the Jingnan Campaign. Four years later, his army stormed into Jinling and he was proclaimed Emperor.</p><p>In 1420, Zhu Di, who had taken the title of Emperor Yongle, issued an edict to make Beijing the new capital and not just a temporary lodging as before, this to take place as soon as the lunar new year began. Why did Emperor Yongle abandon the picturesque riverine south and decide to defend the frontier in the arid north? Did he believe that Jinling was losing its imperial vigor? Did he expect any blessing from the birthplace of a dynasty? Or, was it rather that he was annoyed by the frequent Mongol border incursions?</p><p>Relocation from Nanjing to Beijing was carried out in 1420, from the Bell Mountain to the Yan Mountains. By taking you back to that time, this exhibition will fully present the stories behind the establishment of the capital and its relocation.</p>` },
            { tit: 'Part I. Capital Established in Nanjing', article: `<p>In the final years of the Yuan dynasty, the government was mired in violent disorder; rules and laws were excessively lenient; great disparity emerged between rich and poor. In 1351 (11th year of the Emperor Zhizheng's reign), Liu Futong led the Red Turban Rebellion in Yingzhou, which evoked several Red Turban armies emerging in the area north and south of the Huai River. Soon, Liu seized the city of Bianliang and assisted Han Lin'er to succeed the throne as"Emperor Longfeng of the Great Song." No other rebellion could surpass this in strength and influence. Other major rebellions included Zhang Shicheng who conquered Gaoyou, Chen Youliang who captured Jianghan, Ming Yuzhen who proclaimed himself King of Western Shu, Fang Guozhen who dominated the east of Zhejiang, etc. During this period of incessant turbulence and wars, Zhu Yuanzhang from Zhongli of Haozhou (present-day Fengyang in Anhui Province) seized the opportunity to conquer Nanjing. Taking it as his operational base, he finally overthrew the Yuan Dynasty, reunified China and established the Ming Dynasty.</p>` },
            { tit: 'Part II. Relocation of the Capital to Beijing', article: `<p>In August 1368, first year of Emperor Hongwu's reign, The Ming army occupied Dadu (Khanbaliq, present-day Beijing) and renamed Daxing Prefecture as Beiping Prefecture. Two years later, Zhu Di was enfeoffed as Prince of Yan, with the capital of his princedom established at Beiping. After Emperor Hongwu died, Emperor Jianwen succeeded his grandfather and started to take back territory and power from his uncles. Consequently, Zhu Di launched the Jingnan Campaign and seized the throne. After months of confidential discussion with his ministers, Zhu Di decided to relocate the capital to Yan. In October 1420, the 18th year of Emperor Yongle's reign, the imperial palaces in Beijing were completed, and the Emperor issued an instruction to construct the capital city of Beijing. On the first day of the lunar New Year of 1421, he showed up in the Fengtian Palace to receive respects for his reign. Governmental offices in Beijing therefore canceled the words"行在 (temporary lodging for an emperor on tour)," while governmental offices in Yingtian (Nanjing) added the words"南京 (Nanjing)" before their names. Beijing became the capital and Nanjing the secondary capital. As a result, Beijing once again became the center of power of a unified dynasty since the Yuan Dynasty.</p>` },
            { tit: 'Part III. Legacy for Later Ages', article: "<p>Emperor Yongle's relocation of capital to Beijing resulted in the separation between the political and economic centers. However, an interdependent relationship was established between the two places, drawing the north and the south closer. The northern defense line of the Ming, taking Beijing as the center, was frequently broken. However, in two hundred years, it effectively secured the core agricultural area. Owing to great social stability, the Ming Dynasty recovered its previous prosperity. However, prosperity was also accompanied by unexpected changes, opportunities and challenges.</p>" },
            { tit: 'Conclusion', article: `<p>Where can we find the former imperial vigor now?</p><p>"Imperial vigor" probably refers to the resource superiority possessed by an emperor or a capital city. In Chinese history, imperial vigor never belonged to a single person or a single place. Whoever fully utilized their resource superiority and complied with the general trends to carry out undertakings that benefited the nation and the people would gain the imperial vigor.</p><p>In 1420, the relocation of capital from Nanjing to Beijing not only changed the destiny of the two cities, but also had a great impact on the ruling strategy and the geography, culture and economy of a unified empire. From today's perspective, Emperor Yongle's relocation conformed to the historical trend of the gradual separation of the political and military center from the economic and cultural center of an autocratic dynasty. Besides, it made great contributions to the formation of the Chinese nation and its culture. Therefore, we may well say that it was Emperor Yongle's relocation of the capital that gave Beijing imperial vigor, and not the other way around.</p>` },
          ],
          objects: 12,
          galleries: 12
        }
      },
      {
        id: 16,
        year: '2019,2020',
        yrahTxt: 'December 21, 2019 - December 21, 2020',
        cover: '/data/Exhibitions/Past/6.jpg',
        h3: 'Read the City – Exploring the Central Axis of Beijing',
        p: 'Beijing has an age-old and mysterious urban axis. Established in the Yuan Dynasty (1271-1368), it serves the function of a"book spine", connecting the north and south of the city and forming a unique Beijing city pattern of bilateral symmetry and solemnity.',
        info: {
          topImg: '6',
          imgLast: '.png',
          title: 'Read the City – Exploring the Central Axis of Beijing',
          date: 'December 21, 2019 - December 21, 2020',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room O (Waterscape Garden, B1)',
          page: [
            { tit: 'Foreword', article: `<p>Beijing has an age-old and mysterious urban axis. Established in the Yuan Dynasty (1271-1368), it serves the function of a"book spine", connecting the north and south of the city and forming a unique Beijing city pattern of bilateral symmetry and solemnity. Mr. Liang Sicheng has defined the central axis as one"that dominates the overall pattern of an ancient major architectural complex in China". Ancient Chinese"founded a state at the center of the world, and built the imperial palace at the center of that state". Functioning as the ridge and spirit of the ancient capital, the Central Axis of Beijing represents the values of precision, moderation, orderliness and hierarchy, as well as the faith in humans as an integral part of nature. Moreover, it reflects traditional Chinese ideology on the construction of a national capital. As the existing longest urban central axis in the world, it contains the essence of ancient architecture of Beijing, carries on the memorable moments of the Chinese civilization, has witnessed quite a few little-known stories, and left us with some unresolved historical mysteries. Now, let's set off on a journey that transcends time and space to explore the mysteries of the Central Axis of Beijing.</p>` },
            { tit: 'Part I. Tracing · Ancient Legends', article: "<p>A view of regarding the North Pole as the center was first developed in prehistoric primitive tribes, marking the initial stage of urban central axis. Although people in the past dynasties strove to form such an entity, it was not until the Yuan Dynasty that a pattern most approximating the one proposed in the Rites of Zhou: Book of Diverse Crafts was established. That pattern actually contains the rudiments of the Central Axis of Beijing. During the Ming and Qing dynasties (1368 to 1911), the Central Axis of Beijing was further developed and eventually completed.</p>" },
            { tit: 'Part II. Exploring · Bearing of a Great Power', article: "<p>From Yongdingmen to the Bell and Drum Towers via Zhengyangmen, Tian'anmen, Taihe Palace, Jingshan Mountain, the Central Axis of Beijing connects the outer, inner and imperial city with the imperial palace. The main buildings along the central axis are symmetrical and staggered in height, thus creating a unique and magnificent picture and an exciting architectural symphony. The Central Axis of Beijing, in addition to forming the ridge of the frame of Beijing city, serves as the best embodiment of the capital's boundless charm that makes it a famous historical and cultural city. Let's explore the past and feel the grandeur.</p>" },
            { tit: 'Part III. Narration · New Outlook', article: "<p>As the time passed, various dynasties rose and fell in succession. After the monarchical system eventually perished, the Central Axis of Beijing, before an important carrier of imperial authority, saw great changes in its destiny and eventually found fresh justification in the new concept of urban construction. The feudal imperial facilities, such as the Forbidden City, Tian'anmen Square and temples, gradually became places to serve the public. The change of function complies with the requirements of the new era and demonstrates historical progress. With its northward and southward extension and as its application for World Cultural Heritage listing approaches, the Central Axis of Beijing springs into life again, just like the city it dissects.</p>" },
            { tit: 'Conclusion', article: `<p>In the passage of time, the Central Axis of Beijing has always been the representative of vibrant Chinese civilization. It is the"Axis of China" that shows the bearing of a great power, the"Axis of the City" that opens up a great cultural space in Beijing, the"Axis of Emotions" that transmits great cultural customs, and also the"Axis of the Heart" that connects the ancient and modern people. Let's open our minds to think and explore its values and look into its future. With our wisdom and dreams devoted to it, it will surely recover its past splendor.</p>` },
          ],
          objects: 7,
          galleries: 60
        }
      },
      {
        id: 17,
        year: '2019',
        yrahTxt: 'September 28, 2019 - November 24, 2019',
        cover: '/data/Exhibitions/Past/7.jpg',
        h3: 'Splendid China - Exhibition of Ancient Chinese Textiles',
        p: "Various weaving activities in ancient China not only met the necessity of food and clothing but also offered the source of aesthetic feeling.",
        info: {
          topImg: '7',
          imgLast: '.png',
          title: 'Splendid China - Exhibition of Ancient Chinese Textiles',
          date: 'September 28, 2019 - November 24, 2019',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          page: [
            { tit: 'Foreword', article: `<p>"<i>The window opened, we face field and ground; And cup in hand, we talk of crops of grain.</i>"</p><p>Embroidery has always been a classic topic in pastoral poems, containing sympathy for the poor conditions of people and praise of their labor. Planting mulberry trees and breeding silkworms, spinning hemp and weaving cloth... Various weaving activities in ancient China not only met the necessity of food and clothing but also offered the source of aesthetic feeling. Cloth and silk, as the result of the combination of technology and inspiration, are also the culture carrier of clothing rituals and fashion trends of a bygone era. Therefore, compared with other arts and crafts, weaving can reflect the technological level, economic conditions and aesthetic trends of each dynasty more directly. Today we will explore the interwoven cultural vein of China through the age-old but unfading materials of cloth and silk.</p>` },
            { tit: 'Part 1. Completeness of Etiquette', article: `<p>China is a State of Ritual, and that is why its alias has the character "Xia (elegance)"; Chinese clothing is splendid, and that is why its alias has the character "Hua (splendor)."The original textile were woven by such materials as silk, hemp, cotton and wool, and were then cut into several pieces to make clothing. Apart from such practical uses as cover, heat retention and decoration for bodies, clothing also has several social functions in restraining individual behaviors, identifying social status and class as well as cementing cultural identity. The Pre-Qin textiles and clothing, therefore, helped establish the social etiquette and aesthetic norms, thus playing a part in everyday life of people in the first national fusion in Chinese history.</p>` },
            { tit: 'Part 2. Aesthetic Styles of Han and the Western Region', article: `<p>"<i>The Emperor had swept the world of his foes, concentrated the sovereignty to his own.</i>" </p><p>The "great unification" formed in the Qin and Han dynasties expedited national fusion, economic development and the boom of technological production; the unification of Chinese script and units of measurements such as weights and measures and the implementation of a series of political systems integrated the features of arts and crafts in various regions of China. The establishment of the Silk Road in the Han Dynasty enhanced central China's connection with the Chinese Turkestan region, thus deepening the economic and cultural exchanges between the two regions. Through the long Silk Road, traces of bilateral cultural exchanges between the West and East are still perceptible in the ancient textiles, enabling us to appreciate the aesthetic styles of Han Dynasty and the western region.</p>` },
            { tit: 'Part 3. China as a Great Power', article: "<p>Emperor Gaozu of Tang initiated a flourishing age in which China had a strong national strength. During the glorious age of the Tang Dynasty, China enjoyed unprecedented cultural exchanges between its eastern and western regions and received visits from many countries and innumerable businessmen and travelers. In the meantime, a reform in decorative themes of textiles and other arts and crafts was carried out. Mysterious Chinese dragons and other beasts in the Pre-Qin and Han dynasties changed into blossoms (symbols of fortune) and other themes that people preferred, assuming a sense of grace and dignity. Besides, using plants and flowers as decoration had a lasting influence even before the Ming and Qing dynasties were initiated. However, the way to the boom period was prepared as early as the start of national fusion in the Southern and Northern Dynasties.</p>" },
            { tit: 'Part 4. Elegance of the South and Ease of the North', article: "<p>Tang styles were so influential that even after the Five Dynasties period, the patterns of flowers and birds of Tang were still adopted as the preferred decoration of textile. During the Song, Liao, Jin and Xia dynasties, flowers became the pattern of clothing widely-used by multiple ethnic groups. It is reflected through the decoration of textiles that no political confrontation could ever impede the historical trend of national fusion. As national fusion developed into pluralistic integration, the differences in social customs and aesthetic styles between northern and southern regions resulted in specific characteristics in decoration patterns. In general, the decoration of the Song Dynasties featured elegance and that of Liao, Jin and Western Xia tended to be wild and free.</p>" },
            { tit: 'Part 5. Exquisiteness and Elegance', article: "<p>In the Yuan Dynasty, the Mongols re-established a unified regime and resumed the connection between the Eastern and Western regions through military activities during the Expedition. In addition, due to the preference of the emperors and the employment of craftsmen from West and central Asia, while following the crafts and styles of the textiles of the Song Dynasties, the Mongol nationality restored the use of gold brocade in the Song Dynasties, leading the trend of wearing exquisite and elegant clothing. At the same time, due to the unification of a regime and the re-establishment of the connection with the West, cotton planting and weaving originally limited in border areas spread inland. Developed methods of cotton planting and weaving brought about a reform of wearing fabric. Soft, durable and affordable cotton cloth gradually replaced silk and hemp as the common wearing fabric.</p>" },
            { tit: 'Part 6. Splendid Textiles', article: `<p>"<i>With brocade as my clothes, while pearls decorate my collar.</i>"</p><p>The lines originally intended to describe theatrical costumes in poems of the Qing Dynasty reflect the beauty and splendor of the clothing and ornaments of the Ming and Qing dynasties. As the last prosperous periods of feudal China, the Ming and Qing dynasties enjoyed a well-developed economy and consummate technical skills. In an era abounded in material products, towns with specialized handicraft production and cities with developed industry and commerce nourished their citizens. As a result, secular fashion prevailed. The textile industry underwent dramatic changes in the Ming Dynasty. Satin replaced brocade as the top-grade silk fabric, and cotton cloth was substituted for silk as the most common textile fabric. More top-grade crafts entered into common people's lives, and their aesthetic culture was also reflected on the textiles of this era through printing and dyeing.</p>` },
            { tit: 'Conclusion', article: `<p>Our ancestors of the Han Dynasty wove poems on brocade. Thanks to this, we are able to know when the Silk Road was established and how generous China was to the world.  </p><p>Reflecting on Chinese history, in the process of pluralistic integrative national fusion, the integration of printing and dyeing technologies, and clothing and aesthetic culture of all nationalities never ceased, eventually forming the existing specific national styles of Chinese textiles. History tells us that China's prosperity led to the opening of the Silk Road. Due to the joint efforts of all Chinese nationalities, world civilizations conducted exchanges here, while Chinese silk spread to the world. In the meantime, the bi-directional connection of the Silk Road enabled China to absorb the cultures and technologies of various countries, regions and nations and enrich the open and inclusive Chinese culture with them, and eventually create new textile technologies and crafts.</p><p>Today, 70 years after the establish of People's Republic of China, under the guidance of "Two Centenary Goals," a more splendid China is sure to be established on the way to the great rejuvenation of the Chinese nation by diligent Chinese people.</p>` },
          ],
          objects: 27,
          galleries: 38
        }
      },
      {
        id: 18,
        year: '2019',
        yrahTxt: 'September 27, 2019 - December 1, 2019',
        cover: '/data/Exhibitions/Past/8.png',
        h3: 'The Art of Chinese Landscape Paintings from 12th to 20th Century',
        p: 'Chinese people have long taken mountains and rivers as aesthetic objects in nature. It is recorded in The Analects that "The wise find pleasures in rivers and the virtuous in mountains."',
        info: {
          topImg: '8',
          imgLast: '.png',
          title: 'The Art of Chinese Landscape Paintings from 12th to 20th Century',
          date: 'September 27, 2019 - December 1, 2019',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Oval Room, F2 & F3',
          page: [
            { tit: 'Foreword', article: '<p>"<i>The beauty of mountains and rivers had been much talked about from time immemorial.</i>"</p><p>Chinese people have long taken mountains and rivers as aesthetic objects in nature. It is recorded in The Analects that "The wise find pleasures in rivers and the virtuous in mountains." It can be inferred from this line that people had already recognized the aesthetic value of mountains and rivers more than 2,000 years ago. Since the Wei and Jin Dynasties in the early period of the Common Era, the Chinese people have injected more profound humanistic connotations into mountains and rivers. Zong Bing, in his work Exposition on Painting Mountains and Rivers, opined that "Saints see the world with wisdom... Mountains and rivers represent the beauty of Tao by means of their physical forms." He also initiated the aesthetic state of mind in appreciating mountains and rivers - "enjoying scenery without physically travel" and "free flow of the mind". Well developed in the Tang and Song Dynasties, landscape painting prospered, with three artists in the leading roles providing a model for the following generations. In Yuan, Ming and Qing Dynasties and modern times, numerous schools emerged representing various styles and leaving a lot of masterpieces for the later generations.</p><p>In those masterpieces, artists provided innumerable and memorable descriptions and songs of praise to depict countless well-known mountains and rivers, scenic spots and the idyllic retreats of poets. This exhibition aims to present and praise the splendid beauty of China in ancient landscape paintings.</p>' },
            { tit: 'Part I. Ascending', article: `<p>"<i>Grand and lofty are the mountains, with their large mass reaching to the heavens.</i>" </p><p>The Central Plain of China is largely flat, with only a small number of mountains standing up against the skyline. The ancestors, regarding those mountains as miracles, showed their respect and worship. As humanism developed and after people paid visits to various mountains, these became closer to people. Besides, visits to mountains were also found helpful to open one's mind. "When reaching the great peak (of sacred Mount Tai)/ we hold all mountains in a single glance." The sense of awe in this utterance is clear.</p><p>From worshiping mountains to climbing mountains, humans underwent a change of mind, being transformed from understanding mountains to understanding themselves. Human's feelings towards mountains, although differing from person to person, are all unlimited and hard to let go, just like the various perspectives artists adopt in landscape painting - namely, the "three distances of horizon, depth, and height". "The Five Mountains", as the landmarks of five famous and much-visited places of China, created a strong and lasting warm feeling.</p>` },
            { tit: 'Part II. Waterside', article: '<p>"<i>The fall seasonal water was pellucid and unfathomable, solemn ambiance made guests feel worry-free.</i>"</p><p>Water, crystal clear, nourishes all and serves as an invaluable natural resource for human survival. The Chinese people prefer to regard water as the embodiment of many virtues, and expect people to learn from it. Confucius described water as "Like morality, like justice, like Tao, like bravery, like law..."  Lao-Tzu, the philosopher who founded Taoism, said: "Great virtue is like water". They all considered water as the carrier of exemplary morals.</p><p>Besides, lines about rivers are extremely common in ancient poems. For example, "The sky at sunset like a colored brocade, the river calm like a skein of white silk." "The river winds around the fragrant islet,  where the blooming flowers in her light all look like sleet." "Long river runs beyond return and winds drive yellow clouds hundreds of miles, a snow-peak whitely circled by the swirl of a nine-fold stream." All those lines create innumerable artistic conceptions of rivers.</p><p>In the history of landscape paintings, artists never stinted in their efforts to depict such great waterways as the Yangtze River, Yellow River, Qiantang River, Taihu Lake, Dongting Lake and even the East China Sea, leaving us numerous masterpieces.</p>' },
            { tit: 'Part III. Viewing Landscape', article: `<p>"<i>In Nature's bosom remains the historical site, my friends and I now in our turn climb to the heights.</i>"</p><p>The phrase "scenic spots" carries rich cultural connotations. The longer the history, the richer the connotations, for people never stop enriching them with decency and emotions. It is precisely because of the praise lavished by generations of refined scholars that humanism could be preserved, giving more vitality to those scenic spots. Orchid Pavilion and Red Cliff, for example, won a widespread reputation and respect owing to the paeans of praise in literature or calligraphy masterpieces.</p><p> "Eight Great Sights of Yanjing", "Eight Great Sights of Shu", "Eight Great Sights of Yandang Mountain" and "Scenic Spots of Jiangzuo", for example, are all landscapes formed in certain historical periods, redolent with specific local culture and historical memories. Although some have broken down, we can still see their past splendor in paintings.</p>` },
            { tit: 'Part IV. Seclusion', article: '<p>"<i>Under a beam door, one can enjoy leisure.</i>" </p><p>Ancient Chinese recluses preferred to reside in groves and by springs. Therefore, ancient artists often added cottages, huts, houses, forest pavilions, streams, boats, carriages, dogs, horses, human figures, and so on to their paintings to depict their life.</p><p>According to a line "The countryside is of too much desolation, the court life is too noisy and vain.", seclusion seems to infer hesitation between "conducting oneself in society" and "conducting oneself in seclusion". Visitors and houses hidden in woods also demonstrate the relationship between the recluses and the outside world.</p><p>Seclusion seemed to represent the ideal lifestyle of ancient Chinese scholars who served as governmental officials. When dwelling amid mountains and rivers, recluses received visitors, visited friends, drank fragrant tea, went boating, read books, sang songs freely, played stringed music instruments and watched bubbling springs. All these activities were fostered by the environment of the mountains and rivers around them. Those who placed themselves in such locales, aimed not only to view the landscape, but also to reflect on themselves and meditate.</p>' },
            { tit: 'Part V. Virtual Travel', article: '<p>"<i>With a plot of wolfberries and chrysanthemums to go with my wine, I rove the landscapes covering the walls while reclining in my bed.</i>"</p><p>The ancient Chinese people were passionate about landscapes. However, unable to tour on their own due to the long distances involved or because of illness, they painted mountains and rivers on scrolls so that from time to time they could invite friends to scrutinize them, whether they were distant views, deserted groves or an uninhabited wilderness. That was how they enjoyed scenery through virtual travel.</p><p>Images of mountains and rivers in those paintings derived from the personal impressions of artists and were based on the patterns of landscape paintings established in history. Enjoying the scenery depicted in paintings is to replace reality with artistic conceptions, which manifests the wisdom and open-mindedness of ancient Chinese.</p><p>Along the winding mountain paths, we pass by quiet and beautiful waterside pavilions and deep valleys; climbing in the mist and drizzle, we see innumerable mountains and valleys; searching and feeling the artistic conceptions; we ponder the memories of mountains and rivers in history.</p>' },
            { tit: 'Conclusion', article: `<p>"The spirit soars when staring at the Autumn cloud, feeling vast and mighty when facing a Spring wind. Such an experience is nowhere to be found, not even with metal and stone music and libation-cups." Are you feeling so carefree and pleasant after touring our exhibition?</p><p>Landscape paintings can carry our elegant interest, satisfy our pursuit of life in seclusion and arouse our passion for nature and extraordinary refined state of mind. For those wonderful scenes we have never seen, we will definitely yearn for them; for those we knew well, we will surely be amazed at the changes over the ages. In the meantime, your soul receives a time of rest, comfort and even a spiritual baptism.</p><p>The landscapes, including soaring mountains covered with greenery, broad rivers, thick forests and tall bamboos and river shoals, are the homes of both the original artists and ourselves, and are also parts of our beloved motherland.</p><p>Thinking of this, how can we not gasp in admiration, and not be bursting with pride? Why don't we strive to make our green hills and clear waters more beautiful?</p>` },
          ],
          objects: 23,
          galleries: 15
        }
      },
      {
        id: 19,
        year: '2019,2020',
        yrahTxt: 'September 26, 2019 - February 16, 2020',
        cover: '/data/Exhibitions/Past/9.jpg',
        h3: 'The History and Culture of Zhejiang Province',
        p: "Human activities in Zhejiang Province can be traced back to the Paleolithic Age over one million years ago.",
        info: {
          topImg: '9',
          imgLast: '.png',
          title: 'The History and Culture of Zhejiang Province',
          date: 'September 26, 2019 - February 16, 2020',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room D, F3',
          page: [
            { tit: 'Part 1. The Prologue of Oriental Civilization (Prehistoric Period)', article: `<p>Human activities in Zhejiang Province can be traced back to the Paleolithic Age over one million years ago. Since about 10,000 years ago, regions along the Qiantang River entered the Neolithic Age one after another. Shangshan Culture, Kuahuqiao Culture and Hemudu Culture vaguely demonstrated the basic development progress of the south bank regions in the Neolithic Age, and marked a significant milestone in the history of the origin of world rice planting. As for the north bank regions, Majiabang Culture, Songze Culture and Liangzhu Culture flourished successively. Among them, Liangzhu Culture is regarded as typical evidence of China's 5,000 years of civilization due to its well-developed productivity, sophisticated social structure and complete etiquette system.</p><p>From then on, the prologue of Oriental civilization began.</p>` },
            { tit: 'Part 2. The Home of the Ancient Yue State During the Spring and Autumn Period (Pre-Qin Dynasty)', article: '<p>When Central China was in the Xia, Shang and Zhou periods, the Yue people, different from the Huaxia people, were active in the region now named Zhejiang Province. They were the oldest and most developed branch of the Baiyue tribes as mentioned in the classics of the Spring and Autumn Period. At the end of the Spring and Autumn Period, the Yue people established their capital in Kuaiji (now Shaoxing, Zhejiang Province). After years of preparation and training, the Yue people finally destroyed the State of Wu and led their troops northward, ruling southeastern China for some time.</p><p>Assimilating into the culture of Central China, the Yue people maintained their regional culture and enriched it with new ideas, thus creating the Ancient Yue Civilization in the lower reaches of the Yangtze River in the Eastern Zhou Dynasty. Stamped hard pottery, proto-porcelain, technology for casting bronze and many other handicrafts thrived, making remarkable contributions to Chinese civilization.</p>' },
            { tit: 'Part 3. The Continuous Social Integration of North and South (Qin, Han, and Six Dynasties Period)', article: `<p>It was a long process for the South to be absorbed into the huge culture in the North. Under the regime of the Qin and Han dynasties, the political system"The world, the nation, the family" was finally established in China. Political rights were concentrated on emperors, while lifestyles, whether in daily life or at festivals, remained diversified. As a result, living resources and customs in various parts of South China began to integrate into a whole through continuous communication and sharing of customs.</p><p>During the Three Kingdoms Period, a lot of monks from China's western region visited its eastern region, thus bringing Buddhist culture. During the Jin dynasties, people's enthusiasm in Buddhist culture picked up more momentum. Many reconstructed their houses into temples, thus laying the foundation for Zhejiang Province to be a leader of Buddhism in China in the future.</p>` },
            { tit: 'Part 4. A South-eastern Paradise - the Kingdom of Wu and Yue (Period of Five Dynasties and Ten Kingdoms)', article: '<p>"The Late Tang and the Five Dynasties were turbulent and war-ridden, but Zhejiang, under the protection of Qian Liu, enjoyed 90 years of lasting peace and prosperity and became the only paradise at that time in China..." The prosperity of other cities after warfare and turmoil was not comparable to that of the Kingdom of Wu Yue. </p><p>Committed to the basic state policies of"A neutral power with a stable society" and"Proper governance of kingdom," Qian made strenuous efforts to build water conservancy projects, develop production and expand overseas trade. Under the careful management of various kings of Qian"s family, the Kingdom of Wu Yue maintained its prosperity and stability and became a bright pearl of Southeastern China and the mainstay of China, thus laying a solid foundation for Hangzhou to become the capital of the Southern Song Dynasty.</p>' },
            { tit: 'Part 5. The Pursuit of Openness in the Southern Song Capital (Since Song Dynasty)', article: '<p>The Song Dynasty thrived despite challenges and hardships. Meanwhile, artistic innovation and the ideology of "back-to-ancients" prevailed. Under such an atmosphere, the society at that time featured inclusiveness, provable by the diversified composition of the group of scholars, lifestyles, ideologies and artistic tastes, manifesting a culture of Song that is characterized by diversity and coexistence of elegance and popularity.</p><p>People of the Southern Song Dynasty migrated and settled in South China. Relatively liberal policies brought brilliant achievements in the economy, culture and institutional improvement. At the same time, as its territory was being squeezed and the emperor still followed the beaten track to pursue stability, the signs of the impending doomsday of the empire emerged.</p>' },
            { tit: 'Part 6. The Prosperity of the Maritime Business', article: '<p>"The ancient capital is buried deep in dust. The eastern sea surges without end." Poet of the Tang Dynasty Bai Juyi depicted the two widely different worlds in Returning to the Fields–in Three Parts. After the"An Lushan Rebellion" in the late Tang Dynasty, the national economic center was shifted to the south, the Silk Road declined, and the Maritime Silk Road started to prosper. From then on, Chinese businessmen began to take active roles on various ship routes in Asia. History offered Mingzhou and other coastal port cities unprecedented development opportunities. As a result, those coastal border towns became the key ports of ancient China overnight.</p>' },
            { tit: 'Conclusion', article: '<p>Although Beijing is thousands of miles away from Zhejiang, the two regions were closely intertwined several times throughout history."Thousands of rocks contend to be splendid and 10,000 valleys contend to be flowing; bushes and trees above them, something like the clouds singing and dancing." Compared with the north, widely different landscapes generate a distinct culture in the south.</p><p>Treasures of Yue demonstrate the elegant tastes of the Yue people; the history of Zhejiang conveys the various trades and the inheritance of culture at that time; landscapes of Zhejiang show us the way to be harmonious with nature, that is, to refrain from activity contrary to nature and regard ourselves as the integral parts of nature. In view of this, the Chinese people look for strength from the history and gain confidence in their culture.</p>' },
          ],
          objects: 26,
          galleries: 40
        }
      },
      {
        id: 20,
        year: '2019',
        yrahTxt: 'September 12, 2019 - October 31, 2019',
        cover: '/data/Exhibitions/Past/10.png',
        h3: 'Mountains, Rivers and Motherland: The Beijing Western Hills and Yongding River Cultural Belt',
        p: "The Western Hills, boundless; the Yongding River, rippling. We are about to set off on a cultural journey that transcends ancient and modern times and which expresses our love for the motherland.",
        info: {
          topImg: '10',
          imgLast: '.png',
          title: 'Mountains, Rivers and Motherland: The Beijing Western Hills and Yongding River Cultural Belt',
          date: 'September 12, 2019 - October 31, 2019',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room O, B1',
          page: [
            { tit: 'Foreword', article: `<p>Beijing, the world-renowned city that integrates ancient and modern culture, has witnessed the magnificent development of human civilization from the start of humanity to modern urban civilization in the present day. In order to inherit and build on Beijing's traditional culture to create an even more brilliant civilization, it is necessary for us to look back to its beginnings and explore the past and future of our homeland.</p><p>Traces of ancient human communities and cultural relics from various historical periods were discovered in and around the Western Hills and along the Yongding River banks. In other words, the hills and the river brought the history and culture of Beijing into existence. The region was a cultural artery from which flowed the harmony between nature, humankind and love for the motherland. It nourished the spiritual land of Beijingers and carried the historical gene inherited from the early days of East Asians and the Han Chinese people. There are still innumerable cultural relics and unresolved historical mysteries from this region, which are both enchanting and thought-provoking.</p><p>The Western Hills, boundless; the Yongding River, rippling. We are about to set off on a cultural journey that transcends ancient and modern times and which expresses our love for the motherland.</p>` },
            { tit: 'Part 1 The Corridor Connecting Civilizations', article: `<p>Beijing is located at the intersection of the North China Plain, Taihang Mountain Range and Yanshan Mountain Range. The Western Hills – Yongding River region boasts rich water resources and vast lands, forming a natural corridor connecting plateaus, mountainous regions, plains and sea. The region's development and gradual cultural fusion over the millennia is a result of the integration of prehistoric civilizations, the collision and exchange of farming and nomadic cultures, and the establishment of the regime and capital in the region by ethnic minorities such as the Khitan, Jurchen and Mongols.</p>` },
            { tit: "Part 2 Reasons behind the Capital's Prosperity ", article: `<p>The alluvial fan of the Yongding River creates sufficient space for the urban construction of Beijing and also provides abundant water resources, raw materials and natural transport capacity. Relying on raw materials as well as the land and water transport channels in the Western Hills – Yongding River region, several dynasties such as the Jin, Yuan, Ming and Qing established their capitals there, cementing Beijing's historical place as the nation's political and cultural center.</p>` },
            { tit: 'Part 3 The Root of Cultural Inheritance', article: `<p>Advantageous, abundant ecological resources and time-honored, profound cultural practices have contributed to the integration of multiple cultures across the region. This includes a royal culture based on the landscapes of imperial gardens, a folk culture that has its roots in folk religion, and a"Red" culture, which is evident through the many revolutionary relics in the area. The modern Western Hills – Yongding River region inherits and continues Beijing's history and culture, promoting harmony between nature and humankind as well as its people's love for the motherland.</p><p class="one">Conclusion</p><p>The construction of an eco-civilization is the"strategy that is crucial for the next millennium." This will enable China to achieve a sustainable form of development which is critical to its future progress. It was proposed at the 19th National Congress of the CPC that we must learn that lucid waters and lush mountains are invaluable assets and act on this understanding to implement the strictest possible systems of environmental protection. The Western Hills – Yongding River cultural belt, stretching across Mentougou, Yanqing, Fangshan and Changping mountainous districts, is part of the Beijing ecological conservation area, an important ecological barrier and water resource protection area.</p>` },
          ],
          objects: 13,
          galleries: 23
        }
      },
      {
        id: 21,
        year: '2019',
        yrahTxt: 'June 8, 2019 - August 8, 2019',
        cover: '/data/Exhibitions/Past/11.jpg',
        h3: 'Implements of Ingenuity - An Exhibition of Modern Chinese Ceramic Art',
        p: "From nomad to settler, from pottery to porcelain, time witnessed the development of man as they progressed from barbarism to civilization. People have always believed that craft is the basis of ceramics, art the soul, technique the means, and beauty the essence.",
        info: {
          topImg: '11',
          imgLast: '.png',
          title: 'Implements of Ingenuity - An Exhibition of Modern Chinese Ceramic Art',
          date: 'June 8, 2019 - August 8, 2019',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room M, B1',
          page: [
            { tit: "In Celebration of the 70th Anniversary of the Founding of the People's Republic of China", article: '<p class="one">Foreword</p><span>Only when a person settles down can he bear the heart of benevolence.</span><span>– <i>The Book of Changes: Appended Explanations</i></span><br/><span>&emsp;Once a band of wandering hunter-gatherers, human beings eventually settled down on a piece of land to start an agricultural life.</span><span>Living off the land, people planted various crops, raised livestock of all sorts, and fabricated necessary implements and tools to help in their daily living.</span><span>&emsp;From nomad to settler, from pottery to porcelain, time witnessed the development of man as they progressed from barbarism to civilization.</span><span>&emsp;&emsp;Ceramic art, from its early beginnings to its current form, has always pursued the path of exploration and innovation.</span><span>&emsp;People have always believed that craft is the basis of ceramics, art the soul, technique the means, and beauty the essence.</span><span>&emsp;&emsp;Returning to nature, life and simplicity are the artistic origins of ceramics and also the core of human nature in art.</span>' },
            { tit: 'Unit 1<br/>Interest and Charm (36 pieces in total)', article: '<p>Interest and charm have always occupied an important position in the development and transformation of ceramic art. Ceramics were originally meant to be practical objects. On that basis, artists from ancient times to the present-day have been pursuing beauty with a focus on its interest and charm. With the blending together of the fresh breath of life and a spiritual ink style, the vivid landscape and idyll coexist with the tranquil aesthetic artistic conception. Whether it is the chilly plum or soaring bamboo, the magnificent pine or upright cypress, the luxuriant flowering crabapple with a singing warbler perched atop, or peach blossoms outside the bamboo groves on a moonlit night by the spring river, they all embody the poetic and picturesque pursuit of a better life.</p>' },
            { tit: 'Unit 2<br/>Interest and Charm (36 pieces in total)', article: `<p>Zen thought and the philosophical concept of naturalness, simplicity and tranquility in ancient China, when reflected in ceramic creations, are the ultimate pursuit of purity, elegance, tranquility and harmony. When the inner expression of simplicity, abstraction and concepts are transformed into free and easy artistic creation, ceramics" vitality and connotation   come into being. "From a wine pot amidst the flowers, I drink alone without partners." Isn't it the identity of object and self as well as the creation of utmost harmony that compels poets to pursue the drinking of wine?</p>` },
            { tit: 'Unit 3 <br/>Lifelikeness (29 pieces in total)', article: '<p>The artistic concept as traditional ceramic art develops into modern ceramic sculpture is becoming increasingly individualized and diversified. Art derives from life. In artwork creation, the life experience, artistic perception and aesthetic taste of the creator decides its line are natural and smooth or winding and simple, its colors are bright and unrestrained or graceful and restrained, or the form is focused on the aesthetic atmosphere or the recording of facts. "It begins with the similarity in form and ends with the similarity in spirit", and "Physical form gives birth to spirit". This is the artistic appeal generated by lifelike ceramic sculpture.</p>' },
            { tit: 'Unit 4 Change', article: '<p>Modern ceramic art, featuring the liberation of personality, the inheritance of tradition and the mixture of multiple elements, emphasizes and reproduces the traditional style of ceramic culture while enriching it with innovative ideas. Against the historic backdrop of conflict, collision and integration, modern ceramic art is increasingly inspiring people to think and discover, giving life unlimited enthusiasm and motivation.</p>' },
            { tit: 'Epilogue', article: `<p>Since the founding of the People's Republic of China, dramatic changes have taken place in China's ceramic industry. The ceramic industry has gradually moved from a complete manual mode of production to industrialization. The kilns and crafts with traditional features have been restored and carried forward. In addition, as modern ceramic design continues to develop, a number of ceramic artists have appeared. After the 1990s, modern ceramic art, as a new art form, gradually became popular in China, further enriching and developing China's ceramic culture.</p><p>This exhibition displays the works of more than 100 ceramic art masters in China. Once they choose their career, they dedicate their whole life to the mastery of their craft. Over the years, they have worked conscientiously and diligently, honing their craft in silence, combining various techniques, bringing traditional techniques into full play. They repeatedly firing the clays, actively exploring new ways, and pursuing the spiritual realm of perfection and beauty.</p><p>There is never an end to improving and perfecting an art form. Let's pay honor to the creators and to the new era!</p>` },
          ],
          objects: 15,
          galleries: 0
        }
      },
      {
        id: 22,
        year: '2019',
        yrahTxt: 'March 2, 2019 - July 7, 2019',
        cover: '/data/Exhibitions/Past/12.png',
        h3: "The City of Ji'an: Glorious Past & Prosperous Future",
        p: 'The name "Jian" means auspicious, prosperous and a life of peace, reflecting the hope of the ancestors for a good and blessed life.',
        info: {
          topImg: '12',
          imgLast: '.png',
          title: "The City of Ji'an: Glorious Past & Prosperous Future",
          date: 'March 2, 2019 - July 7, 2019',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room D, F3',
          page: [
            { tit: 'Foreword', article: '<p>Located in the center of Jiangxi Province, Ji"an City lines both sides of the Gan River. People in ancient times lived and prospered here. The river gave birth to the city, fostered its culture, and infused its inhabitants with great mental vitality. Here, you can discover the Shang Dynasty (1600-1046 BCE) civilization of Dayangzhou, a town in Xingan County; visit the Jizhou Kiln, which has been in use for 500 hundred years; and listen to the sound of chanting of ancient books in Bailuzhou Academy. Here, the revolutionary spirit emerged in the Jinggang Mountain area and was passed down through the generations.</p><p>The name "Ji"an" means auspicious, prosperous and a life of peace, reflecting the hope of the ancestors for a good and blessed life. With a history of several thousand years, Ji"an is a shining beacon for civilization in the entire country. And the spirit engendered in the Jinggang Mountain Revolutionary Area is like a beautiful melody marking the progress of modern China.</p>' },
            { tit: 'I. The Land of Great Culture', article: '<p>Today, when looking over Dayangzhou Town in Xingan County, the "north gate" of Ji"an stands proud, the fields with plenty of water and lush grass stretch to the horizon, and everything appears at peace. However, back to September, 1989, a brilliant Bronze Age civilization that had been developed by the Yin-Shang people in the central China was discovered here. "Dayangzhou town, Xingan County" thus achieved fame in national history. The discovery of this lost civilization has revealed a kingdom of mystery and fantasy.</p><p>The territory of the kingdom extended far, being steadily influenced by the Shang Dynasty culture of central China. The local culture also reflects the great beauty of the south. Here, branches of various cultures converge, creating a distinct connection between the Yellow River and Yangtze River civilizations in particular.</p>' },
            { tit: 'II. Connecting the South and the North', article: '<p>The Gan is the biggest river flowing south-north in Jiangxi Province, well known since ancient times. As a "golden channel," it is the mother river of Ji"an, giving birth and contributing to the development of the ancient city of Luling (the name of Ji"an in ancient times).</p><p>For thousands of years, vessels and boats have operated along the river, their masts lined up like forests; wooden and bamboo rafts also shuttled to and fro. It was a major route to the Yangtze River, enabling easy travel to various places around the country. "With a bag and an umbrella, we venture forth to become entrepreneurs." The people of Luling have long been venturing far and wide to fulfill their dreams and ambitions.</p>' },
            { tit: 'III. Kiln of Thousands of Years', article: '<p>Jizhou kiln was as important as the famed Jingdezhen kiln in the Jiangxi region during the Song and Yuan dynasties (from the 10th to the 14th centuries), and was unparalleled at the time for its black glazed porcelain. Its production method is characterized by a pursuit for naturalness, with an integration of the techniques of other kilns and the spirit of Buddhism and Confucianism, while also learning skills from various craftsmen throughout the country. Using the advantage of Gan River, the products of the kiln could be shipped for sale across the country, with their reputation even spreading overseas.</p><p>The unique natural resources, profound cultural accumulation and intelligence of Luling people combined to create the great Jizhou kiln. Its innovative ability was unparalleled among various folk kilns, leaving an indelible mark on Chinese porcelain history.</p>' },
            { tit: 'IV. Talents of Luling', article: '<p>Since its foundation as Luling County in the 25th year of the First Emperor of Qin (222 BCE) after he defeated the kingdom of Chu, it possesses a history of more than two thousand years. Nurtured by a brilliant cultural atmosphere, talents have been emerging from generation to generation, making it an influential cultural base of the Gan River basin and the Jiangxi region. Supported by the profound Confucian traditions and local humanistic characters of integrity and loyalty, the local "Luling culture" characterized by "emphasizing on both talent and integrity" has had profound impact on the progress of Chinese history and civilization.</p>' },
            { tit: 'V. The Cradle of Revolution', article: '<p>The Jinggang mountain range was a cradle of Chinese revolution. Here, with combination of the general principle of Marxism and the practices of Chinese revolution, the Chinese communists represented by Mao Zedong founded the "armed independent regime of workers and peasants." The first rural revolutionary base was established here, the mode of "surrounding the cities from the countryside and seizing power by armed forces" was created here; and the spirit of the Jinggang Mountain Revolutionary Area formed here, which is a valuable treasure left by the period. Adapting to the conditions of the new era, we have to firmly adhere to the pursuit of ideals, seek truth from facts and explore new paths, work hard to overcome difficulties, and turn to the people for assistance and support, thus integrating the spirit of the new era with that of the Jinggang Mountain Revolutionary Area. The Jinggang mountain range is the eternal spiritual home for Chinese Communists and the base of the great beginning of the Sinicization of Marxism.</p>' },
            { tit: 'Epilogue', article: `<p>As time passes by, through sublimation and sedimentation of the ages, the history of Ji"an has suffused its soul and veins. Look back to the past, the county of Ji"an has been unparalleled in ancient times; Stay true to the original mission, it will follow the calling of the new era. On the 70th birthday of the People's Republic of China, in the name of Ji"an, we offer wishes of good luck and peace to our country and well-being and happiness to our people!</p>` },
          ],
          objects: 16,
          galleries: 10
        }
      },
      {
        id: 23,
        year: '2019',
        yrahTxt: 'February 28，2019 - June 30，2019',
        cover: '/data/Exhibitions/Past/13.png',
        h3: 'Qinghai in the Belt and Road',
        p: "The clouds of Qinghai roam far and wide to the eastern land; the valley of the Hehuang is unparalleled in the western border region.",
        info: {
          topImg: '13',
          imgLast: '.png',
          title: 'Qinghai in the Belt and Road',
          date: 'February 28，2019 - June 30，2019',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          page: [
            { tit: 'Foreword', article: `<p>The clouds of Qinghai roam far and wide to the eastern land; the valley of the Hehuang is unparalleled in the western border region.</p><p>In the Qin and Han dynasties, the Qiang people, Bronze Age rulers of Qinghai, were involved in the war between the dynasty ruling the central plain and the Huns. As a result, central plain dynasty forces first entered the Hehuang region. In the subsequent turbulent times involving the Wei and Jin dynasties, the war raging in central China spread west to Qinghai. The Tuyuhun clan of the Xianbei people from Liaodong finally established their kingdom in the former homeland of the Qiang people. However, after ruling for over three hundred years, this kingdom stretching thousands of miles was gradually crushed by invading troops of the Sui and Tang dynasties from one direction and the Tibetan Empire from the other. Eventually, Qinghai became the frontier of the war between the Tang Dynasty and the Tibetan Empire. After the Anshi Rebellion, Qinghai was occupied by the latter for hundreds of years. In the early 11th century, the remnants of the old Tibetan Empire founded the Qingtang Regime, which was then overturned by the Northern Song Dynasty. Subsequently, the regimes of the Jin and Western Xia and the unified dynasties of the Yuan, Ming and Qing steadily strengthened their governance and rule in Qinghai. </p><p>These political and military conflicts and confrontations covering thousands of years on the one hand show Qinghai as a military base of unparalled significance due to its favorable geographical position. Though situated far away on the remote western frontier, Qinghai was always closely related to the changes in the situation of the hinterland. On the other hand, through the ages, multiple ethnic groups migrated there and merged with each other, while traffic routes connecting the surrounding areas and to places beyond the western border of China were continually established, forming an important part of the Silk Road network, the Tang-Tibet Ancient Road and the Ancient Tea Horse Road.</p><p>The beauty of Qinghai can be traced through its mountains, rivers and ancient roads.</p>` },
            { tit: 'I. Dawn of Civilization', article: `<p>Qinghai has a long history and a brilliant culture. As early as the Old Stone Age, people were living there. Chipped tools have been discovered along the Tuo Tuo River, Hol Sil, Sanchakou of the Kunlun Mountains and the Yellow River terrace in the Longyangxia region. The cultural relics of the New Stone Age were also widely distributed in areas running from the extensive and fertile Hehuang Valley to the boundless Qaidam Basin. The complex cultural composition, to some degree, reflects the cultural development of ancient Qinghai, and shows certain historical origins for the multi-ethnic features of Qinghai today.</p>` },
            { tit: 'II. Han Government and Qiangzhong Road', article: `<p>In the Qing and Han dynasties, the Hun started to rise up from the northern prairie. In the period of Modu Chanyu, by"defeating the Eastern Hu regime and Yuezhi people, setting up authority among aboriginal tribes and ruling the Qiang clans", the Qiang people in Qinghai and the Western Regions became the auxiliary force for the Hun intrusion into the core territory of the Han Dynasty. Up to the time of Emperor Wu, the Western Han Dynasty started to"beat off the Hun in the north and drive off the Qiang in the west". In the period of Han Emperor Zhao, Jincheng prefecture was set up, thus bringing the east of Qinghai into the system of prefectures & counties under central governance. In the Eastern Han dynasty, Xiping prefecture (today's Xining city) was set up after being separated from Jincheng prefecture to further strengthen the Han rule over the western territories, and the Qiangzhong Road became a vital communications line connecting the East and the West, forming the desert silk road with the northern roads.</p>` },
            { tit: 'III. Tuyuhun Kingdom', article: `<p>Tuyuhun was primarily the name of the eldest son of Murong Shegui, the Chanyu of the Murong people of the Xianbei Clan in Liaodong. Due to disputes with his brothers, Tuyuhun led his clan to move to the eastern part of Qinghai, and became powerful after the invasion of Diqiang. His grandson, Yeyan, used his name as the nomenclature of the clan and title of the regime. At the time, China was in the state of secession and separated regimes. Those governing Qinghai or engaged in the fighting for control included the Former Liang, the Former Qin, the Later Liang, the Southern Liang, the Western Qin and the Northern Liang. After Sui Emperor Yang led the expedition to defeat Tuyuhun, the regime gradually declined. In the early Tang Dynasty, as Tuyuhun frequently harassed the northwest frontier region, Emperor Taizong sent the great general Li Jing to defeat it and take control of its territory. Meanwhile, the regime in Tibet gradually expanded to Gansu-Qinghai region, and overthrew Tuyuhun in 663. The last king of Tuyuhun Nuohebo led the remnants to flee to Liangzhou.</p><p>"Tuyuhun Road" ("Henan Road") thrived after Hexi Road was blocked, and became part of the route as the only way connecting Central Asia, West Asia, and Central China. From the 4th century to the latter half of the 7th century, the Tuyuhun people were the leading force in the historical progress of Qinghai.</p>` },
            { tit: 'IV. Tibetan and Tang Empires ', article: `<p>In the 6th century, the Tibetan regime was established in the Shannan area of Tibet. It then expanded toward Qinghai and eventually destroyed Tuyuhun. Then a prolonged military and political confrontation erupted in Qinghai between the Tang Dynasty and the Tibetan Empire. After the outbreak of the Anshi Rebellion, the Tibetans occupied most parts of Qinghai as the Tang Dynasty transferred its force to suppress the rebellion in the east. After the middle of the 9th century, civil strife continued in the Tibetan Empire, and Zhang Yichao, a Han Chinese from Shazhou, took the opportunity to gain control of eastern Qinghai. At the end of the Tang Dynasty, a large-scale civilian slave riot broke out across the territory of Tibet. The Qinghai Tibetan regime also fell apart. During the period of the Tang-Tibet war, a road connecting Central China with Tibet, Nepal, and India was established, namely the Tang-Tibet Road, and Qinghai became a part of this route as the only way for connecting the commerce and trade as well as national friendship between Central China and South Asia.</p>` },
            { tit: 'V. Qinghai after the Eleventh Century', article: `<p>In 842, with the killing of Zanpu Dama of the Tibetan Empire, the Hehuang region of Qinghai fell into a state of scattered tribal secession. In 1032, Gusiluo chose Qingtang City (now Xining City) as his capital, and established a local regime with Tibetan forces as the main body. In the third year of the Chongning Period (1104), the Song Dynasty army occupied the Hehuang region, and turned Shanzhou into Xining Prefecture, marking the beginning of the history of"Xining". After the annihilation of the Northern Song Dynasty, the empires of Jin and Western Xia occupied the eastern part of Qinghai and the area south of the Yellow River for about a century. In 1227, the eastern part of Qinghai was incorporated into the territory of the Mongolian khanate. In 1370, the Ming army took control of the eastern part of Qinghai, and Xining Prefecture was transformed into Xining Wei in the sixth year of the Hongwu Period (1373). In the early Qing Dynasty, the Hehuang region was controlled by Gushi Khan, head of Khoshut Khanate of Mongolia. In the early years of Emperor Yongzheng's reign, after the rebellion of Lob Tsangdanjin was settled, the Qing government finally realized formal rule over the Qinghai Hehuang region.</p><p>Since the Yuan Dynasty, the Hehuang region of Qinghai has shown a pattern of multi-ethnic settlement and the coexistence and development of a variety of religions. During the period, the tea-horse trade thrived, and the Ancient Tea Horse Road became an important channel connecting trade between Central China and Tibet.</p>` },
            { tit: 'Epilogue', article: `<p>Qinghai, with numberless mountains and rivers, is divided into three categories of geomorphic features from the north to the south, and bears cultural, agricultural and stock resources in great abundance.</p><p>It became a strategic military base, with the integration and settlement of multiple ethnic groups, and development of traffic connecting China with the foreign countries.</p><p>In the past, the mountains, rivers and roads formed various stages in the long history of Qinghai. However, to explore the history and culture of Qinghai, we shall further open up the temporal and spatial dimensions of history, and meditate in a broader field of vision, and perhaps you will make that discovery for yourself. </p><p>In fact, the most important chapter in the history of Qinghai is the role Qinghai has assumed and the functions it has played in the confrontation between various forces outside its borders. In other words, the history of Qinghai is"not on" Qinghai. The reason is just that Qinghai has always served as a link and joint, and the ruler's attention is always not on, but beyond the valleys & mountains of Qinghai, with thoughts always lingering at the end of the ancient roads or following the surging eastward-bound Hehuang River.</p><p>Time changes, and now Qinghai has a new positioning in the People's Republic of China. In the new age of national unity, abundance of goods and prosperity, Qinghai, the place of great beauty, will become greater as the country gets stronger, and more beautiful, providing a better, sweeter life for its people.</p>` },
          ],
          objects: 37,
          galleries: 10
        }
      },
      {
        id: 24,
        year: '2019',
        yrahTxt: 'January 29, 2019 - March 17, 2019',
        cover: '/data/Exhibitions/Past/14.jpg',
        h3: 'Harmony and Good Harvest: Celebrating the Spring Festival in the Year of Pig',
        p: "The Spring Festival is the most solemn traditional festival in China. Returning home to celebrate the festival with one's family members is a fundamental obligation for all Chinese people.",
        info: {
          topImg: '14',
          imgLast: '.png',
          title: 'Harmony and Good Harvest: Celebrating the Spring Festival in the Year of Pig',
          date: 'January 29, 2019 - March 17, 2019',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Waterscape Courtyard',
          page: [
            { tit: 'Foreword', article: `<p>The Spring Festival is the most solemn traditional festival in China. Returning home to celebrate the festival with one's family members is a fundamental obligation for all Chinese people. During this time, hundreds of millions of them are traveling the length and breadth of the country on an eagerly-awaited journey home for family reunion, demonstrating the inheritance of traditional family values and the strong cohesion of the nation. Notably, the pig is an indispensable part of the festival, which can be seen from the Chinese character "豕" (pig), which helps form the word "家" (family).This signals that ancient Chinese people had changed their productive and economic formative habits from migration to settlement in the agrarian age. The pig, as one of the twelve animals related to the 12 two-hour periods of each day, and the last of the Twelve Earthly Branches, represents completion of a 12-year cycle and the start of another. This is so similar to the Chinese people, who return home at the turn of the lunar year and leave on a new journey after it.</p>` },
            { tit: 'I. One Life and Growth in Nature', article: `<p>What is family? The Chinese character "家" (family) corresponds to image.png in Chinese Oracle Bone Inscriptions. As the character pattern shows, it depicts the idea of a pig (豕) inside a house. Together the character represents a stable residence with pigs as an important part of the livestock, meaning that Chinese people no longer engaged in endless migration but had settled down to lead a peaceful and rich life. However, some scholars consider the character"家" as meaning a place to offer sacrifices to the ancestors, basing their arguments on some of the inscriptions of the ruins of Yin, the capital (1350 – 1046 BCE) of the Shang (Yin) Dynasty where archaeologists have found many oracle bones and oracle bone scripts. Others experts have suggested that the character was treated as interchangeable with the character "嘉" in ancient times, the latter character meaning marriage. All in all, it depicts different aspects of people's productive activities and life in an agrarian society. Pigs were of great importance in the development course of agricultural civilization. It was the material basis, a sign of family wealth, a holy sacrifice carrying people's emotion and hope, as well as a symbol for families to strengthen ties and continue long-held values.</p>` },
            { tit: 'II. Favorable Weather and Good Harvest', article: `<p>About ten thousand years ago, humans underwent a transition from a migratory lifestyle to a settled existence. From then on, the focus was on farming activities. The growth of crops depended on natural conditions, such as topography, soil quality, heat, light, and water. Sufficient rainfall was critical to agricultural production. Through observation, ancient people found that certain habits of pigs were closely related to rain. From the biological properties, pigs' sweat glands are underdeveloped, so they often use water or mud to relieve the internal heat during hot weather, especially during the muggy period before the summer rains. Ancient Chinese people called this phenomenon a"swine bath". According to the remarks appended to lines in The Book of Changes, once, a wedding procession encountered swine covered with mud, and then it rained. A line in The Book of Songs says"There are swine, with their legs white, all wading through streams. The moon also is in the Hyades, which will bring greater rain." There was also a documented method of predicting rainfall by observing the shape of dark clouds, which was colloquially called"Black swine crossing a river". As recorded in the Oracle Bone Inscriptions, swine and sheep were used as sacrifices to the clouds. In the ancient rain-praying ceremony, swine were often used as the token to communicate with the gods. Ancient Chinese people, through observing heaven and earth and combining the relevant phenomena with astronomy, horoscopy and divination, endowed swine with specific symbolic meaning - hai (亥,last of the Twelve Earthly Branches), the direction of north, the color of black, the kan position (corresponding to"water") in the Eight Trigrams. From the Jade Pig Loong of the Neolithic Age to the Thunder God portrayed as a figure with a pig's head and a snake's body, and from the incarnation of the River God to the celestial being"Marshal Tianpeng", the image of pig gradually became abstracted and sublimated, endowed with magical power to control rain, and bearing people's aspirations for favorable weather and a good harvest.</p>` },
            { tit: 'III. Time and Life Cycle', article: `<p>At the apex of the sky, the sun and the moon meet twelve times a year, and it takes about 12 years for Jupiter to complete a single orbit of the sun. On the vast land, crops ripen once a year, connoting the rules of nature and phenology and the rhythm of people's productive activities and overall life. To record this cycle, the ancient Chinese people successively adopted the Jupiter cycle, the counter-Jupiter annual system, and finally determined to use the Sexagenary Cycle Calendar. When the twelve animals of the 12 two-hour periods were made corresponding to the Earthly Branches and endowed with the meanings of the year of birth and Zodiac, each year acquired lively representations. Since humans began to settle down, pigs entered their life, and were gradually enshrined. With their plump body and easeful lifestyle, pigs became the symbol of wealth, abundance and good fortune in Chinese folk culture. The Zodiac Pig, as the boundary point of time and life cycle, marks an end, and also a beginning. </p>` },
            { tit: 'Epilogue', article: `<p>Over the past 2,000 years, whenever a new life was born on this land housing an ancient civilization, it would be bestowed with a gift enshrining the time and people's faith – the Zodiac. Specific to traditional Chinese culture, this was a common imagination that carried Chinese people's aspiration and dreams for the unknown life to come. Besides, it witnessed the dialectical thinking of humans when they were striving to communicate with both heaven and earth, and the final pursuit of harmonious coexistence among all creatures. If the pig entering human families marks the end of a primitive civilization, the harmony and well-being of each family emerged from thousands of years of toil, then the harmonious coexistence between humans and nature is the cultural gene of sustainable development! Let us ring out the Year of the Dog and ring in the Year of the Pig, while remembering that time stops for no one and our lost youth will never return!</p>` },
          ],
          objects: 22,
          galleries: 10
        }
      },
      {
        id: 25,
        year: '2018,2019',
        yrahTxt: 'December 18, 2018 - March 24, 2019',
        cover: '/data/Exhibitions/Past/15.jpg',
        h3: 'Silesia Rediviva: The Baroque period in Silesia -- Collection of Art and Handicrafts from the National Museum in Wrocław, Poland',
        p: "The characteristics of the Baroque period in Silesia empowered a renascent Silesian society in all aspects of life. This exhibition is presenting the historical artifacts from the Baroque Silesia in the hope of that they could help you to appreciate both the common life of the people and the creativity of artists.",
        info: {
          topImg: '15',
          imgLast: '.png',
          title: 'Silesia Rediviva: The Baroque period in Silesia -- Collection of Art and Handicrafts from the National Museum in Wrocław, Poland',
          date: 'December 18, 2018 - March 24, 2019',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: 'Preface', article: `<p>Silesia is a historical region of Central Europe located mostly in what is now the southwestern part of Poland, with small parts in the Czech Republic and Germany. Throughout history, a number of regimes became active war players in acquiring stakes and interests. Confrontational relations among regions often drove wars, which made the geopolitics of the area even more complicated. Silesia endured being a critical battlefield for forces fighting against each other over its rich natural resources. Constant turmoil resulted in Silesia's borders and national affiliation having changed over time. From the 9th century up to the 18th century, Silesia had been under the control of Great Moravia, the Duchy of Bohemia, the Kingdom of Poland, the Holy Roman Empire, Prussia and so on. Nevertheless, the changes of regimes benefited Silesia to celebrate multi-national exchanges and integration on cultures, arts and, ethnic influences from various channels, sources and, backgrounds.</p><p>The characteristics of the Baroque period in Silesia empowered a renascent Silesian society in all aspects of life. The end of the Thirty Years War that was the most brutal and violent conflict between the Catholics and the Protestants in the 17th century, finally brought about not only the religious movement which led to artistic boom, but also initiated social stability and economic recovery. This exhibition is presenting the historical artifacts from the Baroque Silesia in the hope of that they could help you to appreciate both the common life of the people and the creativity of artists.</p>` },
            { tit: 'I. Restructuring the Elite', article: `<p>Frequent changes of governments in Silesia over the centuries prompted the structural change of the elite members who had different family roots and backgrounds. The 17th century was a critical period of time during which the old and the new aristocrats, the religious and the secular institutions, as well as the newly emerged burgher class were all competing for powers and recognition in Silesia.</p><p>The Piasts played the role of the actual governors of Silesia since the 10th century when the area was incorporated into the Kingdom of Poland. The family was still in power even after Silesia became a part of the Bohemian Crown and the Holy Roman Empire with many of the Piast dukes' privileges and rights remained. However, the emperors of the Holy Roman Empire gradually increased the administrative control over Silesia during and after the Thirty Years War (1618-1648). Imperial officials dispatched directly from the court, such as the treasurers, were holding the executive power in implementing policies on behalf of the emperors. They were one of the few influential people in the region. Other notable powerful members of the elite were the Protestant nobility, most of whom came from German speaking areas. As early as during the Fragmentation of Poland (roughly from the 12th to the 14th century), the immigration of German-speaking people had already started in Silesia. In the 16th century, the Protestant community in Silesia expanded as the Reformation continued. More and more Protestant German nobles came to this region for settlement. Alongside the full-fledged prestigious Cistercian Abbey, the clergy in the Catholic Church became eminent within the elite group. After the Thirty Years War, Jesuit sent by the Holy See to various places also gained importance among the elite. Noticeably, struggling to improve their social status under the absolutist rules, the newly risen burgher class however became politically influential through the wealth generated and accumulated from the works they had been undertaking in Silesia's city construction and the economic development process. Objects displayed in this section reflect the elite from this particular period of time.</p>` },
            { tit: 'II. Flourishing of Baroque Art', article: `<p>The Baroque originated from Italy in the mid-16th century, and flourished through the entire 17th century. It arrived in Silesia nearly a century later due to instability caused by wars. Being a primary war zone during the Thirty Years War, Silesia had suffered heavy losses. Cities were sabotaged, most people lived in poverty; and stagnation in social development was holding the cultural recovery back. However, the results of this war provided opportunities for the arrival of the turning point for artistic development in Silesia: firstly, Silesia was once again back under the control of the Catholic Churches. And secondly, Silesia was, geographically, close to two Baroque art centers: Vienna in Austria and Prague in Bohemia — the domains of the Holy Roman Emperors. Being in this location had a significant impact on art in Silesia during the Baroque period. When the Protestant churches were replaced by the Catholic establishments, the reserved, simple-formed art was also substituted by the imaginative, passionate and, flamboyant Baroque art. It was then that the shaded Silesian art stepped into the limelight and flourished. Michael Lucas Leopold Willmann the painter and Matthias Steinl the sculptor were the two great artists who stood out representing the highest achievement of early Baroque art in Silesia. They devoted their lives to the creation of artwork for churches and the public, and have gained worldwide appreciation and recognition by their masterpieces of imagination and artistic inspirations. Therefore, they were the most renowned Baroque figures in the Silesian art history.</p>` },
            { tit: "III. Rebuilding People's Lives", article: `<p>The Thirty Years War (1618~1648) fought between Catholics and Protestants was driven by religious tensions rooted deeply in the fragmented Holy Roman Empire. It gradually developed into a more general conflict involving most of the European great powers. It was one of the most destructive conflicts in the German speaking area including Silesia. The postwar economic recovery in Silesia provided opportunities for the arrival of the city burgher class. This group of people engaged in all kinds of social activities and skilled occupations. Craftsmen in trade guilds, owners of small businesses, doctors and, government officials were some fine examples. The rapid growth in wealth empowered this newly risen burgher class to play a crucial role in the Baroque era's city development. Hard working and well-to-do, the burgher class valued the importance of education and had active minds. Having realized that common people's lives could be threatened, at any given moment, by catastrophic events, such as plagues, wars, natural or man-made disasters, yet they did not cease performing their professional duties, adding values to society, or celebrating the joy of life, and was always longing to be well remembered. Just as the handicrafts are presented in the exhibition, which are items with excellent skills and showcase the riches and the foot prints of people who produced or possessed them.</p><p>Silesia was also taking great pride in these handicrafts representing high-level applied arts. The funerary shields, pewter tankards, silver vessels, welcome cups and, elements of armaments are examples that were famous for, and were exported to both Western and Eastern of Europe. The admiration was the driving power to encourage and inspire the artisans. This is a world created by man to fulfill all his needs — a Baroque world.</p>` },
            { tit: 'Epilogue', article: `<p>The Baroque period of Silesia was a time filled with beauty and yet pain. The pursuit of beliefs and eternity was not restrained by struggles and contradictory in ideology. A yearning for art and aesthetics mingled with heartbreaking suffering from wars. The admiringly enjoyable feelings brought about beautiful things and objects created for artistic purposes inspired artists; meanwhile artists' creativity which sparkled with passion and enthusiasm was appealing dearly to the public. What legacies one could leave to the world is always a proposition for many of us. Once we move our eyes away from the area of Silesia to view the continent of Europe as a whole, to no one's surprise, throughout history wars and conflicts have never been obstacles for social progress. New patterns of international relations in modern Europe could be forming quietly before they are even noticed.</p>` },
            { tit: 'Postscript', article: `<p>Being strongly promoted and supported by the Embassy of China in Poland in 2016, the Capital Museum of China and the National Museum in Wrocław of Poland launched one of their most significant projects to set up a program-exchange of importing and exporting exhibitions in reciprocity. The two museums also signed an agreement which laid a foundation for a long-term strategic cooperative relationship thereafter.</p><p>On December 11th 2017, Capital Museum held an exhibition of Chinese People's Life in the Time of Late Ming Dynasty at the National Museum in Wrocław, Poland. A vivid picture of the life of the literati, religious beliefs and, a prosperous city life in the Ming dynasty during the 16th and 17th centuries was revealed through more than 106 exhibits to the audience in Poland. The exhibition was a huge success with a total of nearly 30,000 visitors in three months. It was observed that much attention was attracted by the exhibition in the city of Wrocław which has a total population of only 600,000. While the exhibition was taking place, during the Chinese New Year; another event hosted by both museums, called “Reading the Cities — Collaborating with Different Cultures: Sending New Year Messages Online Between China and Poland” was on. The directors of the two museums and audiences from both countries sent out Chinese New Year blessings and best wishes to each other over the internet. Not only was the event an occasion for the people in understanding the extensive history of both cities of Beijing and Wrocław; it was also a great opportunity in strengthening connections and friendship between the two countries.</p><p>2018 is the year of the 100th anniversary of Poland regaining its independence as well as the year of the 70th anniversary of the founding of the National Museum in Wrocław. Moreover, we are going celebrate the 70th anniversary of the establishing of diplomatic relations between the People's Republic of China and the Republic of Poland in 2019. In such a special occasion, it is of great significance that our two museums have been cooperating to host the exhibition of Silesia-Rediviva: the Baroque period in Silesia - Collection of Art and Handicrafts from the National Museum in Wrocław, Poland. Mr. Piotr Oszczanowski, the Director of the National Museum in Wrocław, has attached great importance to the exhibition and devoted himself to the curatorial work and carefully selected the most distinctive paintings and sculptures in the Baroque era in Silesia to share the magnificent artistic accomplishments and cultural creations achieved in the second half of the 17th century. Although what we could explore from the exhibition about the history of Silesia is merely a small part in the entire European history, it presents us an epitome of European art as a whole. We hope that the exhibition will assist the audience to have a glimpse into various evens and occasions in history; and it will also open up a new window through which different scenes might be viewed. Long may the friendship between the people of China and Poland last!</p>` },
          ],
          objects: 32,
          galleries: 31
        }
      },
      {
        id: 26,
        year: '2018',
        yrahTxt: 'September 6, 2018 - December 23, 2018',
        cover: '/data/Exhibitions/Past/16.jpg',
        h3: 'Five Capital Cities of Liao',
        p: "Starting with Yelü Abaoji, posthumously known as Emperor Taizu of Liao, the Liao dynasty was an empire ruled by the Khitan people from northern China for more than 200 years.",
        info: {
          topImg: '16',
          imgLast: '.png',
          title: 'Five Capital Cities of Liao',
          date: 'September 6, 2018 - December 23, 2018',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          page: [
            { tit: 'Prelude', article: `<p>"In the north, where the vast desert stretches away to meet the azure sky, live the Khitan people, owning countless carriages and robust horses. Spring brings them boundless green interspersed with bright red peonies."</p><p>The nomadic Khitan people in the northern realms of ancient China were gifted in riding and dancing. Their horses galloped freely in the wild; music and dance filled the yurts in which they lived. They were keen on hunting and camping according to seasons. In Spring, they hunted along the rivers; in Autumn, they hunted in the mountains. Nature blessed them with abundant resources.</p><p>In addition to the impressive landscape and their unique native customs, the Khitan people left a remarkable mark on Chinese history. They ruled north China for over 300 years. The story began in 907, when Yelü Abaoji, posthumously knows as Emperor Taizu of Liao, founded the Liao Dynasty. In 1125, Yelü Yanxi, known as Emperor Tianzuo of Liao, was taken prisoner by the Jurchen people of the Jin Dynasty. After that, Yelü Dashi led the remnants of the Khitan people to establish the Western Liao Dynasty. In 1218, the Mongol Empire put an end to its rule. In its heyday, Liao dominated the Later Jin Dynasty, controlled the Sixteen Prefectures and successively defeated the armies of the Song Dynasty. All the surrounding countries were subservient to Liao. The five capitals that were established over history were a witness to its glory in succession.</p><p>From the parallel five capitals, the Khitan people nurtured their powerful rule over northern China and then cast covetous eyes on the Central Plains. The lofty palaces and bustling streets in the five capitals reflected the competitive landscape during a turbulent era, the rise and fall of empires, the integration of peoples and the fusion of customs and beliefs. The five capitals were stages on which many legendary stories were unveiled.</p>` },
            { tit: 'Part I. Five Capital Cities', article: `<p>The Liao dynasty divided its realm into five circuits, each with a capital city: the Shangjing (Supreme Capital) of Linhuang, the Zhongjing (Central Capital) of Dading, the Dongjing (Eastern Capital) of Liaoyang, the Nanjing (Southern Capital) of Xijin and the Xijing (Western Capital) of Datong. The History of Liao points out that "Shangjing was the Supreme Capital ruled by the imperial court, with officers of all ranks. The officers of the other four capitals varied depending on the region and time period. Generally, frontier defense was the focus of the officers in Xijing, while officers in Nanjing and Zhongjing were mainly in charge of finances and taxes." The record may not be precise but it reflects the diverse focuses and functions of the five capitals. </p>` },
            { tit: 'Part II. Nabo through the Four Seasons', article: `<p>The dynasty ruled by the Khitan people, a nomadic culture focused on hunting culture, had the custom of Nabo throughout the four seasons. The emperors of Liao did not live in any of the five capitals but camped with the imperial court in different regions of his realm throughout the year. In addition to fishing, goose shooting, hunting, and keeping cool in summer, Nabo activities included praying to the heaven and rain, worshiping the mountains and ancestors, discussing state affairs, handling government affairs, receiving foreign envoys and tributes from tributary states and clans. Therefore, the ambulant political center of Liao moved with the camp of emperors. </p>` },
            { tit: 'Part III. Parallel Northern and Southern Administrations', article: `<p>Since the reign of Emperor Taizu of Liao, Yelü Abaoji, the Khitan people had encroached upon the Central Plain. Emperor Taizong of Liao, Yelü Deguang, gained the Sixteen Prefectures by supporting Shi Jingtang in overthrowing Later Tang and founding Later Jin during the internal political strife of Later Tang. Learning from the Tang dynasty, Liao emperors divided the newly obtained lands and peoples into two regions and employed parallel northern and southern administrations to govern the multi-ethnic state. The flexible governance facilitated the harmony of the peoples in the regions as well as national amalgamation.</p>` },
            { tit: 'Part IV. Shared Political Systems', article: `<p>Although Liao employed innovative systems and governance, its fundamental political system was similar with that of the Northern Song dynasty at that time. Both states were reigned by emperors; therefore, the two states were also known as the northern and southern state. The consistency and similarity in fundamental political systems boosted shared political ideals, social values, moral fashion, among others between the two empires. Tolerant and open-minded, Liao emperors ruled in ways that greatly encouraged the integration of nations. </p>` },
            { tit: 'Part V. Towering Temples and Stupas', article: `<p>As the followers of Buddhism, Liao emperors contributed to the prosperity of Buddhism in northern China. Generous royal gifts and believers' offerings were attributed to the flourishing temple economy. Majestic Buddhist temples were scattered all over the capitals, circuits and counties of the empire. By preaching Buddhism in a plain way, celebrating Buddha's Birthday, introducing Buddhist funerals, establishing a Buddhist community called Qianrenyi (thousands of Buddhists), Buddhism penetrated the society and bridged the nations as a vital cultural tie.</p>` },
            { tit: 'Epilogue', article: `<p>"The prosperous five capitals outshone every other city; numerous majestic towers were erected in these magnificent cities." Thanks to relevant archaeological discoveries and documentary records, we have the chance to appreciate the grand buildings and exquisite antique treasures of Liao. Fine antiques that originated from the Liao Dynasty now standing tranquil, are a living outline of the Khitan people's history: the rise and fall of Liao, the historical figures, the shapes and ornaments of cultural relics and the existing historical ruins. The exhibition is dedicated to presenting a traceable, tasteful and referable history and designed to capture the attention and evoke appreciation, rumination and introspection of visitors. </p><p>The exhibition focusing on the five capitals of Liao presents an outline of the Khitan people and the Liao Dynasty. It offers incontestable evidence of the development and features of the diverse and integrated Chinese people. China contains a diverse range of ethnic groups that mingled with each other and became interdependent, united as one along the long road of history. </p>` },
          ],
          objects: 26,
          galleries: 7
        }
      },
      {
        id: 27,
        year: '2018',
        yrahTxt: 'August 14, 2018- October 7, 2018',
        cover: '/data/Exhibitions/Past/17.jpg',
        h3: 'The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century',
        p: "In the 18th century, as the two largest cities in the world, Tokyo and Beijing both celebrating great prosperity. Beijing was booming with the economic success under the reigns of Emperor Kangxi and Emperor Qianlong; whilst people in Tokyo were also living affluently in peace under the rule of the Tokugawa Shogunate. Although urban planning, life styles and artistic cultures between Tokyo and Beijing were very different, the two cities shared common traits of stability and sustainability during this period of time.",
        info: {
          topImg: '17',
          imgLast: '.png',
          title: 'The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century',
          date: 'August 14, 2018- October 7, 2018',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: 'Prelude', article: `<p>Facing each other across a narrow strip of water, China and Japan are neighboring countries with a history of relations for centuries. Tokyo, the capital city of Japan, was previously named Edo when Shogun Tokugawa Ieyasu made it the headquarter of his regime at the beginning of the 17th century. Although the meaning of Edo is literally estuary, Edo was a small coastal town on the Kanto plain with a number of rivers flowing into the sea. It rapidly developed into the absolute center of Japan under the rule of the shogunate. With the arrival of Emperor Meiji, Edo became an imperial capital and its name changed to Tokyo after the Meiji Reformation. Tokyo has been since then turned into a symbol of political and imperial power. Beijing, once the imperial capital of the Yuan, Ming and Qing empires, is now the capital of the People's Republic of China.</p><p>In the 18th century, as the two largest cities in the world, Tokyo and Beijing both celebrating great prosperity. Beijing was booming with the economic success under the reigns of Emperor Kangxi and Emperor Qianlong; whilst people in Tokyo were also living affluently in peace under the rule of the Tokugawa Shogunate. Although urban planning, life styles and artistic cultures between Tokyo and Beijing were very different, the two cities shared common traits of stability and sustainability during this period of time.</p>` },
            { tit: 'Section One', article: `<p class='one'>The construction of Beijing and Edo</p><p>The building of Beijing initiated in 1267 during the Yuan dynasty when the city was called Dadu and known as Khanbaliq by the Mongols. It was stretched in scale a century later over the Ming and Qing periods. In 1420, Emperor Zhudi, the third ruler of the Ming dynasty, moved his capital from Nanjing to Beijing, and officially designated Beijing as the new imperial capital of the Ming Empire. In 1644, when the Ming Empire collapsed to its end, Beijing subsequently became the capital of the Great Qing Empire under the administration of the Shuntian Prefecture. The Qing emperors followed the traditions of urban planning outlined in the Ming, hence the general layout of the city remained unchanged. </p><p>The name of Edo was allegedly taken from the Japanese word for estuary, the geographic name of Edo can be traced in historical documents recorded during the Kamakura period (1185~1333). As the earliest settlers in the area, the Edo clan claimed ownership of the land in the 12th century, and the location was later known as Edo. The Edo clan lost its power by the end of Muromachi period (1336~1573) and the ownership of the region was taken over by the famous general Ōta Dōkan (1432~1486), a military tactician, who was considered as the founder of the castle of Edo. In 1590, Tokugawa Ieyasu was granted lands in the Kanto area. With the advantages of vast landscapes and good water transportation systems, Ieyasu built his stronghold here and constructed his new castle as secure as it could be. In 1603, Ieyasu was awarded the title of Sei-i Taishōgun (Commander-in-Chief of the Expeditionary Force Against the Barbarians), and had Edo developed into a political center of Japan. The second Shogun of the Tokugawa shogunate, Hidetada, succeeded the power from his father Ieyasu and started building the internal stone walls as the core center of the castle of Edo. Streets and blocks within the walls were therewith improved and perfected.</p>` },
            { tit: 'Section Two', article: `<p class='one'>Urban life in Beijing and Edo</p><p>Being consumption-oriented, both Beijing and Edo were bringing an influx of wealth, goods and talented people into the cities from every corner of the countries. It is not difficult for us to imagine the hustle and bustle of Beijing and Edo from the vivid depictions in the paintings of "Wan Shou Sheng Dian" (Scenes of Emperor Kangxi's 60th Birthday Celebrations) and "Kidai Shōran" (Excellent Views of Our Prosperous Age) respectively. Various of trades and professions emerged in both cities to accommodate the exuberantly growing demands of people's needs.</p><p>As the result of the progressive development in trades and commerce in Edo by the 18th century, a liberal and open-minded way of thinking played an essential role in the formation of a distinctive, yet unique culture in Japanese society. For example, people in Edo were keen on festivities and ceremonies of worshiping, therefore some events were specifically created to incorporate popular traditional local customs. Moreover, cultural salons embraced people from all social backgrounds to join in. No matter to what social stratification they belonged, noble or not, samurai or civilians, all were welcomed. These cultural salons were powerhouses in recreating, promoting and developing literature, arts and learning, etc.</p>` },
            { tit: 'Section Three', article: `<p class='one'>Art and culture in Edo</p><p>Tokyo was known as Edo Castle in the 18th century, the political stability and the successful business activities, during this period of time, assured its people a wealthy life and the diverse urban cultures. With the focus on the aesthetic aspect from the aristocrats or the samurai class, the craftsmanship in artistic and cultural works, including calligraphies, paintings, sculptures, lacquer wares, and textiles, progressed to a much higher standard. It was a time that saw not only a legacy of a far-reaching and profound impact on contemporary Japanese art and culture, but also the traditional techniques and craftsmanship in Japanese folk arts which were blending with the essence of foreign artisanship.</p><p>Due to various problems and difficulties in trade with China by the end of the Ming dynasty, and the increased market demands in ceramic products from the western world, the Dutch East India Company (Verenigde Oost-Indische Compagnie or VOC, established in 1602) started to substitute Chinese ceramic wares for the Japanese ones. The change accelerated the development of the porcelain industry in Japan. Japanese porcelain, a combination of Chinese patterns and Japanese designs, was very much favored by the European aristocracies. Meanwhile, in Japan, lacquer wares were popular items in daily life. They were made as decorations on architecture, furniture, ornaments and gifts. Ukiyo-e is a unique genre of Japanese art, however, the idea of Western realism was widely applied in Ukiyo-e by the Japanese artists to illustrate stories of urban life in the new capital, Edo. As a popular art form among ordinary people, Ukiyo-e works played a part in advocating the humanist values of Japan. The city of Edo had been kept vibrant and alive by all the wonderful and amazing cultures and arts, and the people who created them.</p>` },
            { tit: 'Epilogue', article: `<p>China and Japan are neighbors across the sea. The geographical realities had generated opportunities in improving mutual understandings and relations. They have also been influencing each other with their cultures and arts throughout more than 2000 years of communication. </p><p>Beijing and Tokyo are two famous cities in East Asia with rich culture and history. Maintaining a close relationship and bilateral ties between the two cities has been important in the past 40 years. We hope this exhibition is able to help the audience to experience the urban city life in these two different places at the same period of time in history. Exhibits from Beijing and Tokyo are presented together in contrast within given time frames. Such arrangement is aiming to give the audience an idea of traditions and the culture with which people might not be as familiar as they are with that from their own hometown.</p><p>Confucius said that "Virtue is not left to stand alone. He who practices it will have neighbors." Being loyal to friends and charitable to neighbors, are the teachings of Confucianism for neighboring counties, just like Japan and China, in dealing with mutual relations. We wish the two cities - Beijing and Tokyo, and the two countries - China and Japan, a promising future for the years to come!</p>` },
          ],
          objects: 47,
          galleries: 36
        }
      },
      {
        id: 28,
        year: '2018',
        yrahTxt: 'February 27, 2018 - July 22, 2018',
        cover: '/data/Exhibitions/Past/18.jpg',
        h3: 'The Culture of Sky Road -- Exhibition of Tibetan History and Culture',
        p: "The Qinghai-Tibet Plateau is the world's youngest as well and has seen the rise of Chinese and Indian culture. It may be geographically isolated by its high altitude and steep mountain roads, but here one can witness the mysteries and diversity of Tibetan culture.",
        info: {
          topImg: '18',
          imgLast: '.png',
          title: 'The Culture of Sky Road -- Exhibition of Tibetan History and Culture',
          date: 'February 27, 2018 - July 22, 2018',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          // <p class='one'></p><p></p>
          page: [
            { tit: 'Preface', article: `<p>Known as the "Roof of the World" and the "Third Pole of the Earth," the Qinghai-Tibet Plateau is China's largest and the world's highest plateau, stretching all the way from the Himalayas north to the Kunlun Mountains, Altun Mountains and Qilian Mountains. The Pamir mountains and the Karakoram Range lie to its west, while to the east and northeast lie the Tsinling Mountains and the Loess Plateau. The Qinghai-Tibet Plateau is the world's youngest as well and has seen the rise of Chinese and Indian culture. It may be geographically isolated by its high altitude and steep mountain roads, but here one can witness the mysteries and diversity of Tibetan culture.</p><p class='one'>Part One: Origins of Civilization</p> <p>Several great rivers that bred ancient Eastern civilization originated from the Qinghai-Tibet Plateau. The meandering rivers, too, are sources of life and civilization across the snow-covered plateau. fine stone leaves, plain pottery and mysterious gold vessels silently tell the story of how a nationality evolved. </p><p class='one'>1. Ancestors </p> <p>Artifacts excavated from the late Paleolithic Period dating back between 10,000 and 50,000 years demonstrate that there lay the footprint of human activity. Some scholars consider the microlithic culture in Tibet as part of the non-geometric microlithic culture centered in North China, based on the analysis of the characteristics of what is found at present. Remains of ancient humans became greater in number and more diversified in form after the Neolithic Age. The Karub archaeological site has potently proved that as early as 4,000 to 5,000 years ago, not only was there the existence of human beings on the Qinghai-Tibet Plateau, but also a relatively developed primitive culture.</p><p class='one'>2. Tribal Unification</p> <p>Many tribes distributed along the Qinghai-Tibet Plateau since the Neolithic Age were gradually unified by Songtsen Gampo into the Tubo Empire. Of these, the Zhangzhung, Sumpa and Yarlung played a vital role in the historical formation and progress of the Zang nationality. </p>` },
            { tit: 'Part Two: Sky Road of the Plateau', article: `<p>Natural barriers can never stop humans from making contact with each other. The Qinghai-Tibet Plateau adjoins the Hexi Corridor and Xinjiang Uygur Autonomous Regionto the north, Central Asia and South Asia to the southwest and Bashu (ancient Sichuan) to the east. Peaks, gorges, waterways and mountain passes have all served as strategic passages for human activity since ancient times. Indeed, the plateau's sky road has enabled cultural exchange between China and India, Tibet and neighboring regions of the mainland and other countries and regions stretching back thousands of years.</p> <p class='one'>1. The Silk Roads of the Plateau</p> <p>The silk roads of the plateau referred to a transportation network linking ancient Tibet with the mainland and neighboring countries and regions at different times in history. They were made up of ancient traffic routes including the Tang-Tibet Ancient Road, Tubo-Nepal Road and Tea-Horse Road, which prospered during the Tang and Song dynasties. Aided by these routes, ancient Tibet maintained economic, political and cultural exchange with surrounding countries. </p> <p class='one'>2. Tea-Horse Trade </p> <p>Tea drinking became the major means for water replenishment and vitamin acquisition due to the Tibetan meat-heavy dietary habits. Meanwhile, horses were critical resources for both production and the military in central China at that time. Commerce and trade communication between Tibet and central China was linked by the tea-horse trade. The silk roads that stretched along the plateau further connected Tibet to India and even to central Asia.</p>` },
            { tit: 'Part Three: Buddhism in a Snow-covered Land', article: `<p>Many people have long yearned to come to Tibet, eager to get far away from the maddening crowd and to seek a pure land with a pure heart. The snow-covered plateau is home not only to magnificent natural landscapes, but also to majestic temples that draw pious believers. People want to know how Buddhism became the faith of the Zang nationality, why there are different styles of religious art and how Buddhism spread in Tibet.</p> <p class='one'>1. The Tubo Empire and the Early Spread of Buddhism  </p><p>After taking office, Songtsen Gampo established the Tubo Empire by unifying the tribes and appointing scholars like Thon-mi Saṃbhoṭa to study in India and create Tibetan Buddhism. He also built a new regime to do away with the national conditions influenced by the ancient Bon religion, and to introduce Indian Buddhism to the inland. Buddhism was enacted by law, with Bon continuing to compete for supremacy. In fact, under the guise of religious conflicts, the ongoing competition between old and new political powers was established.</p> <p class='one'>2. The Fall of the Tubo Empire and Revival of Buddhism</p><p>As Bon traditions were being suppressed, Buddhism, promoted by the upper classes in the Tubo Empire, met with protests by the old guard and led to a lack of belief among the masses. In 842, the assassination of Gland-dar-ma, who had promoted persecution of Buddhism, led to the demise of the Tubo Empire. Buddhism survived from the collapse of the Tubo Empire and ensuing wars, and through integration with Bon traditions and ethnic culture, it became not only accepted but the national religion in this snow-covered land.</p><p>The royal descendants of the Tubo Empire escaped to Ngari Prefecture and established the Guge Kingdom. In 1041, the king invited the Indian monk Atisa to come and promote Buddhism. Along with the permeation of Buddhist traditions that had been preserved in Qinghai Province, Buddhism began to revive in Tibet. </p><p class='one'>3. The Development of Tibetan Buddhism</p><p>Buddhism spread in Tibet again after the collapse of the Tubo Empire. There appeared various religious sects in each region, which led Buddhism to become increasingly diversified in form. Ultimately, Tibetan Buddhism took shape as the result of long-term nationalization and localization. The development of Tibetan Buddhism as a crystallization of the wisdom of the Tibetan people was undeniably bound to the link between Tibet and the surrounding areas and mainland. </p>` },
            { tit: 'Part Four: Allegiances Through Marriage', article: `<p>The historical tale of the marriage between Songtsen Gampo and Princess Wencheng is well-known to many a household. Both the Tang-Tubo alliance and other connections forged through marriage officially initiated the harmonious relationship between Tibet and the inland. With increasingly closer connections through successive dynasties, the Tibetan people joined efforts to develop and build Tibet, thus making great contributions to the pluralistic integration of Chinese national community and the unification of a multi-ethnic country. </p> <p class='one'>1. Tang-Tibet Marriage</p><p>In the 15th year of the Zhenguan reign during the Tang Dynasty (641 AD), Songtsen Gampo married the princess Wencheng. Then, in the 4th year of the Jinglong reign during the Tang Dynasty (710 AD), Tritsug Detsen married Princess Jincheng. The relationship between the Tang and Tibet was therefore formed by these marriages. The two princesses brought technical skills to Tubo, making great contributions to the empire's production and development, as well as the stabilization and peace of the national frontier.  </p> <p class='one'>2. Sakya Pandita (The Yuan Dynasty)</p><p>In 1244, at Borjigin Kuoduan's invitation, Sakya Pandita, together with his nephews Iphags-pa and Phyagnardorje, held talks in Liangzhou (present-day Wuwei City, Gansu Province) and then preached Tibetan Buddhism in Mongolia. Later, Sakya succeeded in making all religious sects submit to the authority of Mongolia, which laid the foundation for Tibet paying allegiance to the Yuan government. In 1260, Kublai conferred on Iphags-pa first the title of State Preceptor and then the title of Royal Preceptor. The Yuan government established the Zongzhi Institute in 1264, appointing the Royal Preceptor to take charge of Buddhist and Tibetan local affairs. The Zongzhi Institute was later changed into the Xuanzheng Institute. Since the Yuan Dynasty, the central government began formally to take over management of Tibet. </p> <p class='one'>3. Conveyance to the Ming Dynasty</p><p>The Ming Government was granted jurisdiction of all religious sects of Tibetan Buddhism, thus forming the pattern of three Dharmarajas and five religious leaders. Each religious sect kept close contact with the Ming government through a stream of tributaries and rewards. </p> <p class='one'>4. Mongolia's Allegiance to the Qing Government</p><p>In the late Ming Dynasty, Tsongkhapa promoted religious reform and set up the Ge-luk-ba Order, which won the support of believers in Tibet. Supported by Heshuote, Mongolia, the growing Ge-luk-ba Order gradually consolidated its political and religious status. Following the strategy of holding Shamanism in high esteem to encourage Mongolia to acknowledge the allegiance to the Qing government (the Qing Dynasty), Emperor Shunzhi invited the fifth Dalai to make a pilgrimage to Beijing and titled him Dalai Lama in 1653. In 1713, Emperor Kangxi conferred the title of Penchen E'erdeni on Lobsang Yeshe. After that time, titling was carried out by the Qing government, whose direct rule over Tibet was reinforced by its association with the Ge-luk-ba Order. </p>` },
            { tit: 'Conclusion', article: `<p>There are roads that touch the sky and traverse the roof of the world; they connect to a snow-covered landscape on one end and to the Chinese inland on the other. Along them has contact with the outside world been made and kept. For thousands of years, communication was strengthened along lines of footprints and rows of tracks created by fearless visionaries. At the beginning there was no path, until the sky roads were carved into the land by people driven on by their love for Tibet, including you and me.  </p>` },
          ],
          objects: 19,
          galleries: 21
        }
      },
      {
        id: 29,
        year: '2018',
        yrahTxt: 'March 27, 2018 - June 22, 2018',
        cover: '/data/Exhibitions/Past/19.jpg',
        h3: 'Art, Culture and Daily Life in Renaissance Italy',
        p: "The Renaissance is one of the most glorious cultural movements in Italian history. Through rediscovery, revival, appropriation and development of the classical Greco-Roman tradition, the Renaissance led to great cultural innovation.",
        info: {
          topImg: '19',
          imgLast: '.png',
          title: 'Art, Culture and Daily Life in Renaissance Italy',
          date: 'March 27, 2018 - June 22, 2018',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: '', article: `<p>PREFACE</p><p>The Renaissance is one of the most glorious cultural movements in Italian history. Through rediscovery, revival, appropriation and development of the classical Greco-Roman tradition, the Renaissance led to great cultural innovation. It brought profound and enduring changes in culture, arts, politics, social life and many other fields, and marked the beginning of a new era in the history of Western Civilization.</p><p>The collection ranges from paintings to clothes, daily utensils to architectural images. Through these we hope our audience will develop a deeper understanding of the social, political and cultural nuances that make up the Italian Renaissance as a cultural movement. </p>` },
            { tit: '', article: `<p>SECTION I. TRADITION AND INNOVATION</p><p>Within the realm of art, the so-called"Renaissance", i.e."rebirth", was born in Florence during the first years of the 15th century. From there it spread, in different forms and manners, through Italy and Europe until the end of the 16th century. </p><p>During the Renaissance, art was looked at through important inventions and discoveries. </p><p>The use of mathematical methods to represent space on a flat surface and greater attention paid to reality and the consequent need to represent what we see in a scientific way, was characteristic of the Renaissance. Classical antiquity was also referenced as it was again seen as a golden age and a clear breaking point was made from the Middle Ages.</p><p>In those years, Florence was one of the richest and most cultivated cities in Europe. Its government was formed by a powerful bourgeois oligarchy that was able to commission numerous artists in the execution of important works. Filippo Brunelleschi (Florence 1377-1446) for example, was not only the architect of the Cupola laid on the medieval Duomo of Florence, but also the inventor of the innovative method of linear perspective.</p><p>Italian cities, manifested dynamic creativity, evident particularly in the arts, architecture and cultural life. Such urban renewal and development inspired the modern theory of Urbanism.</p>` },
            { tit: '', article: `<p>SECTION II. MAN AT THE CENTER OF THE UNIVERSE</p> <p>"I have placed you at the very center of the world, so that from that vantage point you may with greater ease glance round about you on all that the world contains. We have made you a creature neither of heaven nor of earth, neither mortal nor immortal, in order that you may, as the free and proud shaper of your own being, fashion yourself in the form you may prefer" (Oration on the Dignity of Man, 1486).</p> <p>This proclamation made by Renaissance philosopher Pico della Mirandola, is considered the"Manifesto of the Renaissance." It reflects a profound transformation in the way people thought during the 15th and 16th centuries, when greater significance was given to humankind and its activities.</p> <p>Renaissance art was characterized by the increase of secular subjects. Paintings depicted contemporary events. In particular, portrait painting became a true genre because of an increase in demand. Besides court portraits of kings and lords, portraits of merchants, brides and artists emerged and expressed a strong sense of self-awareness.</p> <p>Additionally, prosperous commerce provided cities with wealth, and changed consumer taste. Material life shifted from simplicity to opulence. The urban aristocracy built magnificent palaces and villas, and adorned themselves to glorify their social status.</p> ` },
            { tit: '', article: `<p>SECTION III. ART AND BELIEF</p> <p>During the Renaissance, art witnessed the slow but steady growth of secularism in Italy. With the adoption of humanism and the concept of man as the center of the universe, divine figures were more humanized and a new balance was drawn between God and man. Nonetheless, religion continued to play an important role in daily urban life. Religious canvases and wood panels were not only commissioned by churches but also by wealthy bourgeoisie who acquired paintings to decorate private chapels and galleries. </p> <p>The artist introduced aspects of contemporary life into these religious paintings and humanized religious subjects. The Madonna with Child, for example, became a naturalized and real representation of maternity. Artists often used sketches directly from true life. The body of the Dead Christ looked like a real body of a young man and sometimes was painted to resemble classical statues. Numerous saints represented also have faces and attitudes of common men and women. </p> <p>In churches an altarpiece decorated every main altar, and sacred figures were painted in noble interiors or in landscapes. In addition, the housing design and interior decoration style became increasingly classical with walls adorned by paintings depicting classical myths and historical stories.</p> ` },
          ],
          objects: 16,
          galleries: 17
        }
      },
      {
        id: 30,
        year: '2017,2018',
        yrahTxt: 'July 15, 2017 - July 15, 2018',
        cover: '/data/Exhibitions/Past/20.jpg',
        h3: 'Reading the City — Discovering the Charm of Beijing Quadrangles',
        p: "Square courtyards, straight alleyways, gray roof tiles, blackish green shades, small and large gatehouses, sturdy door piers, flying pigeons, respectful salutations... All these comprise people's first impressions of Beijing. Quadrangles, witness to all these things, carry thousand years of traditional Chinese culture.",
        info: {
          topImg: '20',
          imgLast: '.png',
          title: 'Reading the City — Discovering the Charm of Beijing Quadrangles',
          date: 'July 15, 2017 - July 15, 2018',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room O (Waterscape Garden), B1',
          page: [
            { tit: '', article: `<p>Square courtyards, straight alleyways, gray roof tiles, blackish green shades, small and large gatehouses, sturdy door piers, flying pigeons, respectful salutations... All these comprise people's first impressions of Beijing. Quadrangles, witness to all these things, carry thousand years of traditional Chinese culture. Yet, what makes quadrangles so beautiful and splendid? On July 15, 2017, this question could be answered by the exhibition "Reading the City—Discovering the Charm of Beijing Quadrangles". </p> <p>As the second phase of an ongoing project, this exhibition is another masterpiece launched after "Reading the City - Searching for Historical Beijing City". The exhibition follows the previous concept and creative mode of taking teenagers as the core audience, makes breakthroughs in the traditional experience provided by museums, and attracts teenagers to maximize their participation in the experience through multiple channels and perspectives. The process of exploring and learning can help equip them with the ability of active observation, diligent thinking and innovation.</p> <p>The quadrangle has been taken as a traditional type of habitation with a history stretching back thousands of years. Beijing has long been composed of countless large and small courtyards of this kind. The exhibition highlights the beauty of traditional Chinese culture through the beauty of the patterns created by Beijing Quadrangles, the beauty of color decoration, the beauty of order, the beauty of life, and the recording of creative beauty. Visitors to the exhibition will not only be able to understand the history of Beijing City and its quadrangles, but also enjoy bright Chinese colors, draw exquisite auspicious patterns, learn the traditional rules and etiquette, and feel the joyful emotions exclusive to Beijing Quadrangles.</p> <p>We also offer a fun and informative interactive device, by which you can "build" your own quadrangle, enjoy giant books and multimedia experience of traversing the past and the modern world. Exhibits are not abundant, but they are certainly very unique. Among them, 17 sets of old objects and over 200 sets of exhibits form one of the highlights. With unique display mode and reconstruction of scene, you will vividly feel the idyllic scenery in the courtyards of ancient Beijing.</p> ` },
          ],
          objects: 0,
          galleries: 7
        }
      },
      {
        id: 31,
        year: '2018',
        yrahTxt: 'February 8, 2018 - March 18, 2018',
        cover: '/data/Exhibitions/Past/21.jpg',
        h3: 'Best Wishes from the Auspicious Dog - Celebrating the Spring Festival in Museum',
        p: '​Exhibition Theme: "Best Wishes from the Auspicious Dog", as part of the series of exhibitions titled "Celebrating the Spring Festival in Museum", has three objectives, the first being to introduce Chinese Zodiac culture.',
        info: {
          topImg: '21',
          imgLast: '.png',
          title: 'Best Wishes from the Auspicious Dog - Celebrating the Spring Festival in Museum',
          date: 'February 8, 2018 - March 18, 2018',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room M, B1',
          page: [
            { tit: '', article: `<p>Exhibition Theme: "Best Wishes from the Auspicious Dog", as part of the series of exhibitions titled "Celebrating the Spring Festival in Museum", has three objectives, the first being to introduce Chinese Zodiac culture. </p> <p>The exhibition, held at the turn of every year, will help the audience to understand the profound connotations, wisdom and historical culture of the Chinese Zodiac animals through displays and explanations of relevant relics. </p> <p>Second, taking the relationship between dogs and humans as the main theme and combining cultural relics, pictures and historical facts, the exhibition objectively and vividly presents the audience with the assistance that dogs have given us throughout history; their significance and the trust and dependence formed in the process of long-term coexistence, and their cultural image that symbolizes peace and fortune. Moreover, it also displays dogs' brave, loyal and responsible characters. In doing so, we aim to advocate to the audience the love of our human partners and their awareness of the importance of the equal and harmonious relationship between humans and animals, so that the audience will understand why protecting animals means also protecting us human beings. </p> <p>Third, it is intended to demonstrate a dogs' auspicious and festival folk culture. Integrating the Chinese Zodiac culture and Chinese Spring Festival culture, it is imbued with the element of "Luck" no matter its content or form, because "Luck" not only represents Chinese people's mindset of "Praying for blessing", but also embodies our wish for the audience to have a lucky new year.</p> ` },
            { tit: '', article: `<p>Preface<br/>Legend has it that dogs came to protect us at god's will, so they are endowed with a loyal, courageous, wild and kind temperament. In our long-standing relationship, humans have formed an intimate partnership with dogs. They help us pursue prey, guard our houses and herds and accompany us in our lives. Over the long course of interactions, humans have felt dogs' dedication, and developed respect for their characters. Let's gain a better understanding of dogs at our exhibition in the new year!</p> <p>1. Auspicious Zodiac<br/>The Chinese Zodiac cultural system, comprising of Heavenly Stems and Earthly Branches and twelve animal images, is the essence of the law of temporal and spatial changes in the universe by Chinese ancestors, and reflects humans' wisdom in understanding the objective world. The later generations had further developed and enriched it with various cultural elements and their faith which transcends reality. </p> <p>The circulation of Heavenly Stems and Earthly Branches merges into the philosophical concept of the theory of the Five Elements of Yin and Yang and possesses the auspicious meanings of chasing evil. Each vivid animal of the Zodiac also becomes a mascot for one of the twelve years and is placed with people's good wishes. For thousands of years, people have experienced the passing of years through the exchange of Zodiac signs. They have also prayed for good fortune and stability by giving them auspicious meaning. As a result, the system is no longer a way of counting years, but has become a wonderful cultural existence in Chinese people's lives.</p> ` },
            { tit: '', article: `<p>2. Dog the Guardian of Safety<br/>According to the current archaeological findings, dogs were the earliest animals domesticated by human beings in China, as early as ten thousand years ago. As humans domesticated dogs, they gained a lot of experience, which laid the foundation for the domestication of more farm animals. This is highly significant in the development of human civilization. In the long-term relationship between humans and dogs, dogs have always been a good helper and loyal company to our life and work. They provide us access to more resources and better living conditions through their alertness and courage; they show their fidelity through protecting our houses and fruits of labor; they stay with their masters so that they will not feel lonely. All in all, dogs are loyal guardians of family wealth and life.  </p> <p>3.  Jade Pendant Reward<br/>"You gave me a papaya while I gave you a jade pendant in return. It is for being friends forever. You gave me a peach while I gave you a beautiful stone in return. It is for being friends forever. You gave me a plum while I gave you a black gem in return. It is for being friends forever."</p> <p>These are lines from The Book of Songs, which indicates that humans value relationships and uphold righteousness. Historically, dogs have provided tremendous help to mankind's production and life. People appreciate their dedication, respect their courage and loyalty, and as a way of being kind to partners and cherishing their friendship, many regions and nations have formed cultural customs of loving and respecting dogs. In the auspicious meaning of traditional Chinese culture, dogs have also become a symbol of peace, wealth and joy in people's lives.</p> <p>Epilogue<br/>Humans are never alone in the world. Mountains, rivers, followers, the sky, birds and beasts are all gifts from heaven. Dear friends, you have accompanied us for ten thousand years, we will cherish your company and never part with you! Fidelity and responsibility are great virtues, gratitude and care are splendors of human characters. Beings are all equal. A harmonious world requires the efforts of all. We wish we can befriend the animals living in the same world as us forever!</p>` },
          ],
          objects: 12,
          galleries: 19
        }
      },
      {
        id: 32,
        year: '2017,2018',
        yrahTxt: 'December 12, 2017 - March 11, 2018',
        cover: '/data/Exhibitions/Past/22.jpg',
        h3: "Chinese People's Life in the Time of Late Ming Dynasty",
        p: "The European Renaissance brought about the awareness of humanity and the rapid development of economy and culture for European society. At the same time in the east part of the Asian continent, China was in the Ming dynasty (1368–1644).",
        info: {
          topImg: '22',
          imgLast: '.png',
          title: "Chinese People's Life in the Time of Late Ming Dynasty",
          date: 'December 12, 2017 - March 11, 2018',
          time: '',
          loc: 'National Museum in Wrocław',
          page: [
            { tit: 'Preface', article: `<p>The European Renaissance brought about the awareness of humanity and the rapid development of economy and culture for European society. At the same time in the east part of the Asian continent, China was in the Ming dynasty (1368–1644). The social economy and culture flourished in a different pattern from Europe. From the exhibition, we not only can experience the social development, cultural prosperity, and elegant life during the Ming dynasty in the 16th and 17th centuries, but also can sense the wisdom of the Eastern counties.</p> <p class='one'>Part I. A Society of Respecting Culture</p> <p>The Imperial Civil Examination System for selecting government officials started from Sui dynasty (581–618). In the Ming period, this examination system had been in practice for about a thousand years. Positions of officials were not hereditary and could not be handed down to the next generation except the titles granted by the imperial family. Scholars from lower classes also had chances to be civil officials with higher ranks through the imperial examination by which a gentry class of scholar-bureaucrats was formed. This demonstrated a relatively open social stratification and a society of respecting culture.</p>` },
            { tit: 'Part II. Religions and Daily Life', article: `<p>In Ming period, China was a country of separation in religions. Although the emperor was called the Son of Heaven, he had never been the head of any religious authorities. To ordinary Chinese people, religious emblems appeared on utensils for daily life. In this period, the significant changes in society were that many missionaries from Western countries introduced much knowledge of modern science and technology when they came to China.</p> <p class='one'>Part III. Flourishing City Life</p> <p>In Late Ming period (after middle 16th century), agriculture and handicrafts progressed and the market developed quickly both at home and abroad. Maritime trade was permitted after 1567 and much silver was imported into China. As a result, the silver became hard currency and the commodity economy was rapidly developed.</p> <p class='one'>Epilogue</p> <p>In 16th–17th centuries, the prosperous economy made people's life more colorful and liberal. Chinese humanism roughly synchronized with that in Europe, but different from the latter the Chinese humanism did not revive interest of the ancient thought.</p> <p>Although the social ideological trends in China did not promote the development of market economy, and the Industrial Revolution did not happen in China, changes were irresistible, and Chinese began to contribute to social transformation on their own way.</p>` },
          ],
          objects: 12,
          galleries: 9
        }
      },
      {
        id: 33,
        year: '2018',
        yrahTxt: 'February 10, 2018 - March 5, 2018',
        cover: '/data/Exhibitions/Past/23.jpg',
        h3: 'Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen',
        p: `​The exhibition "Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen," sponsored by the Embassy of People's Republic of China in the Republic of Mauritius, Ministry of Arts and Culture in the Republic of Mauritius and the Beijing Municipal Administration of Cultural Heritage, and hosted by the China Cultural Center in Mauritius and the Capital Museum, was unveiled on Feb. 10, 2018 at the Cultural Center."`,
        info: {
          topImg: '23',
          imgLast: '.png',
          title: 'Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen',
          date: 'February 10, 2018 - March 5, 2018',
          time: '',
          loc: 'China Cultural Center in Mauritius',
          page: [
            { tit: '', article: `<p>The exhibition "Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen," sponsored by the Embassy of People's Republic of China in the Republic of Mauritius, Ministry of Arts and Culture in the Republic of Mauritius and the Beijing Municipal Administration of Cultural Heritage, and hosted by the China Cultural Center in Mauritius and the Capital Museum, was unveiled on Feb. 10, 2018 at the Cultural Center. </p> <p>Then Mauritius President Ameenah Gurib-Fakim, Vice President Barlen Vyapoory, Chinese Ambassador to Mauritius Sun Gongyi, Mauritius Minister of Art and Culture Prithvirajsing Roopun, Mayor of Port Louis, the capital, Daniel Eric Clive Laurent, and President of the Capital Museum Bai Jie, all attended the opening ceremony, which was presided over by Song Yanqun, cultural counselor of the Chinese Embassy in Mauritius and director of the Chinese Culture Center in Mauritius.</p> <p>In a warm speech to the opening ceremony, then President Gurib-Fakim pointed out that the exhibition, as an important part of the celebration of the 50th anniversary of the independence of Mauritius, was held during the Spring Festival (Chinese Lunar New Year) - one of the statutory public holidays in Mauritius, which reflected the friendship and multi-cultural integration between two countries. Ambassador Sun Gongyi, in his speech, said that "offering birthday congratulations to the elderly" shows younger generations' respect for the elderly and conveys the Chinese culture of filial piety. In today's society, "filial piety" clearly demonstrated the Chinese people's consistent spiritual pursuit of harmony between each person and well suits the festive atmosphere of family reunion and joy and harmony during the Spring Festival.</p> <p>In his speech, President of the Capital Museum Bai Jie thanked the president of Mauritius for her attention and attendance at the opening ceremony of the exhibition. He extended his sincere congratulation to the Mauritius president and other local guests on the 50th anniversary of Mauritius's independence and congratulated Ambassador Sun on the 30th anniversary of the establishment of the China Cultural Center in Mauritius. He pointed out that Chinese President Xi Jinping is advocating that people all over the world should jointly build a community of shared future for mankind, in which both Chinese and Mauritian people were important members. "Museum people are the messengers between different cultures. We hope to build the community of shared future through museum exhibitions," he added.</p> <p>This exhibition is the third consecutive year the Capital Museum has held an exhibition in Mauritius, following the "Beijing New Year Customs" in 2016 and the "Beijing Wedding Customs" in 2017. The exhibition starts with the widely circulated "Twenty-Four Filial Piety" story in China and helps viewers understand Chinese traditional culture behind it. Each exhibition is equipped with interactive activities and ritual performances to showcase Chinese civilization lively and dynamically, as a way to tell good stories of China and explain historical wisdom.</p> <p>The opening day was welcomed by the ebullient audience. Mr. Lin, already a third-generation Mauritius Chinese citizen, said he felt even more gracious about the great motherland after his visit to the exhibition, which enhanced his cultural confidence as a Mauritian Chinese. The event was reported by many journalists from such local media as "Mauritian News," "Express," and "Challenge." Xinhua News Agency dispatched special reporters to the scene for an on-site interview. CCTV offered a live broadcast online at a non-reporter station, giving an estimated audience of more than 700,000 Chinese and foreign citizens a chance to see the exhibition.</p> ` },
          ],
          objects: 0,
          galleries: 12
        }
      },
      {
        id: 34,
        year: '2017',
        yrahTxt: 'September 30, 2017 - December 3, 2017',
        cover: '/data/Exhibitions/Past/24.jpg',
        h3: "Treasures of Hong Kong: 20th Anniversary of Hong Kong's Handover",
        p: "Collection is part of human nature designed to meet certain practical or spiritual needs, such as appreciation, study and remembrance. From the Paleolithic Era,individual ornaments bone beads and gravel collection, to the Qing Dynasty's magnificent royal collections, such collection activities have always accompanied human development.",
        info: {
          topImg: '24',
          imgLast: '.png',
          title: "Treasures of Hong Kong: 20th Anniversary of Hong Kong's Handover",
          date: 'September 30, 2017 - December 3, 2017',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: 'Preface', article: `<p>Collection is part of human nature designed to meet certain practical or spiritual needs, such as appreciation, study and remembrance. From the Paleolithic Era,individual ornaments bone beads and gravel collection, to the Qing Dynasty's magnificent royal collections, such collection activities have always accompanied human development.</p> <p>This current collection has evolved from people's original interest in collecting and studying bronze ware and stone carvings in the Song Dynasty. The rise of epigraphy led to the collection, appreciation and research of ancient objects. Liu Chang's "Pre-Qin Stele Engraved with Antiquities", Ouyang Xiu's "Collection of Antiques", Zhao Mingcheng's "Bronze and Stone Inscriptions", Lv Dafen's "Illustrated Antiques" and other works show the literati's great passion for collection and appreciation in the Song Dynasty. In the more recent Ming and Qing dynasties, a vintage style was popular not only among emperors, officials, the aristocracy and the literati, but also among some merchants, well-off families and even among common people.</p> <p>Hong Kong, the "Oriental Pearl", is athriving international metropolis. Since the 1980's and 1990's, Hong Kong has become one of the world's three major art trade centers. With the creation of the "one country, two systems" policy, and a favorable geographical position - backed by mainland China and facing the world, Hong Kong plays an important role in the field of private collection around the world.</p> <p>Appreciation is an attitude, collection is a way of life. On the occasion of the 20th anniversary of the return of Hong Kong to the motherland, this exhibition enables us to see magnificent collections of Hong Kong.</p> ` },
            { tit: 'PartⅠ Pure bright glaze porcelain', article: `<p>In the history of China's porcelain, green- glazed porcelain was the first to appear. In the Tang Dynasty, with the initial flourishing of Yue kiln celadon in the south, and the appearance of mature white porcelain in the north, a situation of "South Green - North White" formed. From the Yuan Dynasty, Jingdezhen fully developed the production of glazed porcelain. By the time of the Ming Dynasty, there were green, white, red, black, blue, yellow, green and other kinds of glazed porcelain. In the Qing Dynasty, the craft of glazed porcelain was advanced in regard to the creation of unadulterated and stable color, whether in red glaze colored by copper oxide at a high temperature, such as cowpea red, altar red and Lang kiln red, in green glaze colored by iron oxide, such as azure, holly and powder green, in celeste blue glaze colored by cobalt oxide, and in low-melting glaze such as yellow and green glaze. </p> <p class='one'>Part Ⅱ Beautiful blue and white porcelain</p> <p>Blue and white porcelain is a brilliant flower flourishing in the long history of Chinese porcelain. Using cobalt as a colorant, a craftsman paints on the porcelain body before glazing it, and then fires it at a high temperature. Owing to its white body, pure transparent glaze, elegant cobalt blue pattern, it has become a mysterious sign of the East, a carrier of the great Chinese spirit, a top seller overseas and a favorite across Eurasia.</p>` },
            { tit: 'Part Ⅲ Painted porcelain', article: `<p>The Qing Dynasty, especially during the imperial reigns of Kangxi, Qianlong and Yongzheng, saw the economy and national strength reach a new peak. A series of reform measures took place, for example, the"artisan household system"was abolished, the "government order, people fire"system resumed, and emperors selected officials to be in charge of porcelain management. As a result, the Jingdezhen royal porcelain kiln made important innovative breakthroughs in style, pattern and color, bringing its development into a climax.</p> <p class='one'>Epilogue</p> <p>This year marks the 20thanniversary of Hong Kong's return to the motherland. Twenty years of experience has proved the greatness of the conceptof "one country, two systems". Mainland China and Hong Kong are closely related and mutually dependent.Deeper exchanges and cooperation represent an irresistible trend. In addition to its brilliance and elegance, something even more precious is hidden behind the collection stories and the feelings of traditional culture. As you wander around the exhibition, reveling in the creative beauty, do you not feel a sense of inspiration about the current era?</p>` },
          ],
          objects: 12,
          galleries: 8
        }
      },
      {
        id: 35,
        year: '2017',
        yrahTxt: 'May 18, 2017 - August 27, 2017',
        cover: '/data/Exhibitions/Past/25.jpg',
        h3: 'Splendor and Beauty - The Archaeological Finds in Recent 20 Years in China',
        p: 'Archaeological work has witnessed a golden age in the past 30 years or so following introduction of policy reform and opening up. Attributed to new technologies and concepts, and to the advent of large-scale infrastructure, many finds have been recorded and publicly acknowledged; the exhibition of "Splendid Finds: The Archaeological Excavations at the Royal Cemetery of Haihunhou Kingdom in Han Dynasty" is one of them.',
        info: {
          topImg: '25',
          imgLast: '.png',
          title: 'Splendor and Beauty - The Archaeological Finds in Recent 20 Years in China',
          date: 'May 18, 2017 - August 27, 2017',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          // <p class='one'></p> <p></p>
          page: [
            { tit: 'Origin of the Exhibition "Splendor and Beauty"', article: `<p>Archaeological work has witnessed a golden age in the past 30 years or so following introduction of policy reform and opening up. Attributed to new technologies and concepts, and to the advent of large-scale infrastructure, many finds have been recorded and publicly acknowledged; the exhibition of "Splendid Finds: The Archaeological Excavations at the Royal Cemetery of Haihunhou Kingdom in Han Dynasty" is one of them. In fact, from 1990 to 1996, the State Administration of Cultural Heritage held four exhibitions of Chinese art treasures to inform the public about the archaeological finds and exquisite cultural relics. However, since 1996 no such exhibition has been held. Therefore, from the end of last year, the Administration launched an exhibition of archaeological finds covering the preceding two decades.</p> <p class='one'>Significance of the Exhibition "Splendor and Beauty"</p> <p>This exhibition is co-organized by the Art Exhibitions China and the Capital Museum. Planning work started at the end of last year, and exhibits were carefully selected, so as to represent the top 10 national archaeological finds. It is our wish that, through this magnificent exhibition, visitors can acquire a full understanding of the splendid Chinese culture and exquisite relics, as well as some knowledge of the cultural, State and national identities that underlie aesthetic phenomenon.</p> <p class='one'>Meaning of "Beauty and Splendor"</p> <p>Beauty is an inherent pursuit of Chinese people, which can be seen from cultural relics of all past ages. And splendor is the highest level of beauty. The "Harmonious Beauty" and "Harmonious Splendor" in Chinese history represent ancient people’s incremental knowledge and changing views of beauty and splendor, now revealed from an in-depth cultural perspective through these archaeological finds.</p>` },
          ],
          objects: 13,
          galleries: 9
        }
      },
      {
        id: 36,
        year: '2017',
        yrahTxt: 'January 20, 2017 - May 21, 2017',
        cover: '/data/Exhibitions/Past/26.jpg',
        h3: 'Treasures Filling the Hall - Exhibition of Ancient Life in Beijing, Tianjin and Hebei Province',
        p: "From ancient times, Beijing, Tianjin and Hebei Province have been closely connected due to their geographical adjacency. The origin, deepness, relation, uniqueness and brightness of the culture in these three places are fully explained by the inheritance of the core values of traditional Chinese culture, and the ideas and art which the people are pursuing.",
        info: {
          topImg: '26',
          imgLast: '.png',
          title: 'Treasures Filling the Hall - Exhibition of Ancient Life in Beijing, Tianjin and Hebei Province',
          date: 'January 20, 2017 - May 21, 2017',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room M, B1',
          page: [
            { tit: 'Preface', article: `<p>From ancient times, Beijing, Tianjin and Hebei Province have been closely connected due to their geographical adjacency. The origin, deepness, relation, uniqueness and brightness of the culture in these three places are fully explained by the inheritance of the core values of traditional Chinese culture, and the ideas and art which the people are pursuing. Just as the saying goes, "Each place has its own way of supporting its own inhabitants." With the same origin of culture, the three places share familiar characteristics in people's dreams and lifestyles.</p> <p>The rites of ancient life represent the principles and norms that people abided by, which they believed could make their lives more harmonious; the creation of artworks stands for the people's aspirations for beauty, and embodies their wisdom in life and their sublimated spirit of art. Ubiquitous happy blessing in their life manifests their fine wishes for the future. Nobleness, affluence, luck and happiness became people's yearnings at that time.</p>` },
          ],
          objects: 20,
          galleries: 40
        }
      },
      {
        id: 37,
        year: '2016,2017',
        yrahTxt: 'September 27, 2016 – March 26, 2017',
        cover: '/data/Exhibitions/Past/27.jpg',
        h3: 'Hall of Mental Cultivation in the Forbidden City',
        p: "The Hall of Mental Cultivation became a place for relaxation for emperors during the reign of Qing Emperor Yongzheng (1723-1735) and where emperors didtheir daily work.",
        info: {
          topImg: '27',
          imgLast: '.png',
          title: 'Hall of Mental Cultivation in the Forbidden City',
          date: 'September 27, 2016 – March 26, 2017',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room D, F3',
          page: [
            { tit: 'Preface', article: `<p>The Hall of Mental Cultivation became a place for relaxation for emperors during the reign of Qing Emperor Yongzheng (1723-1735) and where emperors didtheir daily work.</p> <p>Qing emperors read and made comments on daily documents, discussed national affairs with court officials, and appreciated antiques, didBuddhist activities and enjoyed the happiness of every-day life with family. As a symbol of the center of imperial power, the Hall of Mental Cultivation also witnessed several interesting unusual circumstances such asthe Empress Dowager Cixi dealing withstate affairs behind a screen, the failure of the Self-Strengthening Movement launched by the Qing court during the second half of 19th century, and the end of Chinese monarchy in 1912.</p> <p>Let us walk into the Hall of Mental Cultivation and experience the rise and fall of the Qing Dynasty (1644-1911).</p> ` },
          ],
          objects: 11,
          galleries: 10
        }
      },
      {
        id: 38,
        year: '2017',
        yrahTxt: 'February 8, 2017 - April 9, 2017',
        cover: '/data/Exhibitions/Past/28.jpg',
        h3: 'Edo and Beijing - City and Life in the 18th Century',
        p: "In the 18th century, Beijing and Edo, as the respective capitals of China and Japan, showed of their prosperity, each being a significant metropolis. This exhibition shows the prosperous Edo in the era of the Shogunate, and flourishing Beijing in the pre-Qing Dynasty period from different perspectives through well-chosen exhibits.",
        info: {
          topImg: '28',
          imgLast: '.png',
          title: 'Edo and Beijing - City and Life in the 18th Century',
          date: 'February 8, 2017 - April 9, 2017',
          time: '',
          loc: 'Tokyo Edo Museum',
          page: [
            { tit: '', article: `<p>In the 18th century, Beijing and Edo, as the respective capitals of China and Japan, showed of their prosperity, each being a significant metropolis. This exhibition shows the prosperous Edo in the era of the Shogunate, and flourishing Beijing in the pre-Qing Dynasty period from different perspectives through well-chosen exhibits spread over three halls, from the macro-urban functions and planning to the details of common people's life, and to colorful urban arts. The exhibition consists of three chapters. The first chapter is "City and Governance of Edo and Beijing", the second is "Urban Life in Edo and Beijing", and the third is "Qing Dynasty Culture and Art in Beijing". In the same era, the similarities and differences between the two cities and their material life reflect the commonalities and uniqueness of the two countries' cultures.</p> <p>Since 2002, the Capital Museum and the Tokyo Edo Museum have conducted various cooperation and exchange programs through the platform of "International Museum Seminar of China, Japan and South Korea". This exhibition is one of the achievements of Chinese and Japanese cooperation. The exhibition not only strengthens the relationship between the two museums, but also serves as a grand occasion for cultural exchange between the two cities and even the two countries. According to the plan, in 2018, "Beijing and Tokyo - City and Life in the 18th Century" will be held in the Capital Museum.</p>` },
            { tit: 'Chapter 1. City and Governance of Edo and Beijing', article: `<p>Picture: Inner city map of Edo<br/>Edo Period<br/>Collected by the Tokyo Edo Museum<br/><img title:'图片' src='/data/Exhibitions/infoPage/map1.jpg'/><br />It depicts the inner part of Edo City surrounded by the innermost moat. Inside the first city wall is the Imperial Palace, right of center in this picture. Below the palace are the second and third city walls. To the left is the Western Palace for reclusive generals and imperial heirs. Above the Imperial Palace are the Imperial gardens and residences for the Tayasu and Shimizu families, two of the three privileged branches of the Tokugawa (Shogunate) family. From this we can see that the structure of Edo is spirally expanded from the center.</p> <p>Picture: Inside and outside city map of Beijing<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map2.jpg'/><br />This late 19th Century picture shows the layout of Beijing in the Qing Dynasty in detail. In addition to the imperial city, the inner city and outer cities and the distribution of gates and yamen (government offices), hutongs, major streets and the garrisons in the inner city of the Eight Banners of Manchuria are also drawn in detail. This is a painting by Qing Dynasty artist Zhao Hong , who was born in Yanghu County, Jiangsu Province (now Wujin District, Changzhou City, Jiangsu Province), with a signature in the lower left corner.</p>` },
            { tit: 'Chapter 2.  Urban life in Edo and Beijing', article: `<p>Picture: Scroll "Hee Shing Tour" (partial)<br />1805<br /><img title:'图片' src='/data/Exhibitions/infoPage/map3.jpg'/><br />This depicts the flourishing commerce, row upon row of shops and the bustling flow of pedestrians in the Nihonbashi area of Edo, stretching from Kanda Bridge to Nihonbashi. According to the words on the donation box of the reconstructed Ekoin Temple, it was probably made around the 2nd year of the Bunka era (1805). In the following year, the temple was burnt down. The scroll can be used to verify the layout of the Nihonbashi district in the late 18th Century. </p><p>Picture: Celebrations for Emperor Kangxi's 60th Birthday (Partial)<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map4.jpg'/></p><p><img title:'图片' src='/data/Exhibitions/infoPage/map5.jpg'/><br />It depicts the 60-year-old birthday of Emperor Qianlong. From the left to the right of the scroll, Emperor Qianlong and his entourage set off from the garden-style palace and pass through the gate of Xizhimen into the city of Beijing and then into the Xihuamen of the Forbidden City. The way is dotted with drama stages, lanterns and streamers, and thronged with people waiting to see the emperor. Divided by the Xizhimen, the scroll comprises two rolls, with the total length of 130 meters.</p><p>Picture: Vendor's Back Box<br />Edo Period<br />Collected by the Edo Tokyo Museum in Japan<br /><img title:'图片' src='/data/Exhibitions/infoPage/map6.jpg'/><br />The backrest is flattened and fitted with a metal strip. Opening the locked box door, one can see 10 layers of drawers, each of which is separated into several small compartments. Judging from these, we can imagine it belonged to a vendor selling articles of daily use. </p><p>Picture: Doctor's Medical Kit<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map7.jpg'/></p><p><img title:'图片' src='/data/Exhibitions/infoPage/map8.jpg'/><br />This is a medical kit carried by an itinerant doctor. It has several drawers for medicines and treatment tools such as acupuncture needles. </p><p>Picture: White velvet purse with peony pattern<br />Edo Period<br />Collected by the Edo Tokyo Museum in Japan<br /><img title:'图片' src='/data/Exhibitions/infoPage/map9.jpg'/><br />This is a white velvet purse with such patterns as peony and clouds. Velvet is a kind of textile that makes the surface fluff by processing, and it was localized after being introduced into Japan by the Portuguese during the Tenbun era (1532-55). In the late Edo period, velvet was a very popular material for clothing. It was used not only in these small objects, but also in making a kimono collar (detachable collar).</p><p>Picture: Jing embroidery purse with melon pattern<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map10.jpg'/></p><p>Picture: Screen painted with quails contending in song<br />Second half of the 18th Century <br />Collected by the Edo Tokyo Museum in Japan <br /><img title:'图片' src='/data/Exhibitions/infoPage/map11.jpg'/><br />Quails are popular for their crowing. In the Edo period, quails were popular not only among the families of the generals, but also among common folk, who even published breeding handbooks explaining feeding methods, ways to distinguish superior quails with a good voice, etc. Crowing and posturing competitions were prevalent in the second half of the 18th Century. Such competitions were always staged in the morning when male birds have the most beautiful voices. This screen depicts the scene of such competitions.</p><p>Picture: Bird cage<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map12.jpg'/><br />Bird-raising and bird-watching is a big joy in life for many Beijingers. A well-made cage and its occupant bird represent the identity of the masters who like to walk around with it. They chat with friends or families at home, at the roadside or in the teahouse, while listening to their birds. This tradition, handed down from the Qing Dynasty, can be seen everywhere even now in Beijing.</p>` },
            { tit: 'Chapter 3. Qing Dynasty Culture and Art in Beijing', article: `<p>Picture: Deer<br />Painted by Shen Quan <br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map13.jpg'/><br />This is rich in color, with delicate brushwork, and so lifelike as if the images are emerging from a picture. Shen Quan was from Zhejiang Province, and used the pseudonym of Nanping. He was good at painting birds and flowers. His painting technique was characterized by rich colors, with particular emphasis on rendering. He was hired by the Japanese Shogunate in 1731 (lasting for 16 years).  He stayed in Nagasaki for three years, during which he spread the skill of sketch drawing to Japan, exerting significant influence over Japanese art circles.</p><p>Picture: Eight kinds of ancient and modern paintings (sample of paintings that teach Chinese painting techniques)<br />By Song Zishi <br />In 1771(8th year of the Meiwa era)<br />Collected by the Edo Tokyo Museum in Japan<br /><img title:'图片' src='/data/Exhibitions/infoPage/map14.jpg'/><br /><img title:'图片' src='/data/Exhibitions/infoPage/map15.jpg'/></p><p>In the preface of Edo painter Song Zishi's picture book (sample collection) also appeared Shen Quan's name. Song Zishi was a representative of the Nanpin School. He studied painting from Xiong Pei in Nagasaki and then from the artist Qing Ziyan of the Qing Dynasty in 1758 (the 8th years of Bao Li period) to establish his own painting method. Song Zishi published several such model books for painting as this one, which played an important role in the popularization of Nanpin School.</p><p>Picture: Blue and white porcelain plate with the pattern of imperial Porcelain Plant<br />Qing Dynasty<br />Collected at the Capital Museum</p><p>On the white plate are the imperial kiln(Jingdezhen Official Kiln), streets, surrounding scenery and the detailed production of porcelain, painted with cobalt blue material. In the center are three courtyards flanked by porcelain workshops. On both sides of the mountain gate, which is at the lower part of the picture, are the Jingde Division and Fuliang County Government who supervised kiln affairs. It is an extremely valuable historical material helping study of the production system and folk custom of Jingdezhen in the Qing Dynasty.</p><p>Picture:  Imperial light greenish white jade writing-brush washer in the shape of a melon<br />Qing Emperor Qianlong<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map16.jpg'/><br />The light greenish white jade writing-brush washer in the shape of a melon is incised with a poem by Qing Emperor Qianlong. It has a curly leaf-shaped handle, with five petals blooming along the washer and hexagonal flower-shaped legs. We can conclude from these that it was Emperor Qianlong who ordered the internal court to inscribe the poem and the line.</p>` },
          ],
          objects: 16,
          galleries: 5
        }
      },
      {
        id: 39,
        year: '2017',
        yrahTxt: 'January 20, 2017 - March 19, 2017',
        cover: '/data/Exhibitions/Past/29.jpg',
        h3: 'Golden Rooster Crows - Celebrating the Spring Festival in Museum',
        p: "Rooster is the messenger of light and a symbol of good luck in Chinese people’s idea; it is a Chinese zodiac sign, a common domestic bird everywhere around us, and also a sign of early morning. In thousands of years, its image can be seen everywhere.",
        info: {
          topImg: '29',
          imgLast: '.png',
          title: 'Golden Rooster Crows - Celebrating the Spring Festival in Museum',
          date: 'January 20, 2017 - March 19, 2017',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          page: [
            { tit: '', article: `<p>Rooster is the messenger of light and a symbol of good luck in Chinese people’s idea; it is a Chinese zodiac sign, a common domestic bird everywhere around us, and also a sign of early morning. In thousands of years, its image can be seen everywhere. Now we entered the year of rooster, let us take this opportunity to learn more about the rooster, which is the only poultry in twelve Chinese zodiac signs.</p>` },
          ],
          objects: 15,
          galleries: 21
        }
      },
      {
        id: 40,
        year: '2016,2017',
        yrahTxt: 'December 15, 2016 – March 15, 2017',
        cover: '/data/Exhibitions/Past/30.jpg',
        h3: 'Yaks into Beijing - Cultural Exhibition of Plateau Yaks',
        p: "As a treasure of Chinese civilization, Tibetan culture is not only related with local people’s lives, but also with yaks. For thousands of years, yaks have been accompanying Tibetans.",
        info: {
          topImg: '30',
          imgLast: '.png',
          title: 'Yaks into Beijing - Cultural Exhibition of Plateau Yaks',
          date: 'December 15, 2016 – March 15, 2017',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: '', article: `<p>As a treasure of Chinese civilization, Tibetan culture is not only related with local people’s lives, but also with yaks. For thousands of years, yaks have been accompanying Tibetans.</p> <p>The Yak Museum of Tibet is the first yak-themed museum in the world. It preserves and spreads the yak culture and explores the dependent relationship between humans and yaks. As one of the major aid-Tibet projects launched by Beijing, the museum began preparations in 2011 and opened for trial operations on May 18, 2014.</p> <p>With the theme of the yak, this exhibition aims to show the yaks’ ecology, history and culture through a unique yak culture ofTibetan Plateau. Moreover, it is also an achievement report for the aid-Tibet projects, which is a way to show great respect to those who have aided Tibet Autonomous Region.</p>` },
          ],
          objects: 6,
          galleries: 14
        }
      },
      {
        id: 41,
        year: '2016',
        yrahTxt: 'September 9, 2016 - December 9, 2016',
        cover: '/data/Exhibitions/Past/31.jpg',
        h3: 'The Capital Cities of Yuan Dynasty',
        p: "In ancient times, many world capitals had multiple functions in politics, economy, culture and military; this was true in China too. Throughout history of almost 5,000 years, Chinese located, planned and constructed their capital cities according to a complicated tradition based on practical and aesthetic rules.",
        info: {
          topImg: '31',
          imgLast: '.png',
          title: 'The Capital Cities of Yuan Dynasty',
          date: 'September 9, 2016 - December 9, 2016',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          page: [
            { tit: '', article: `<p>Imperial Capital — the regal place where the son of heaven resided.</p> <p>In ancient times, many world capitals had multiple functions in politics, economy, culture and military; this was true in China too. Throughout history of almost 5,000 years, Chinese located, planned and constructed their capital cities according to a complicated tradition based on practical and aesthetic rules. Chang’an (present Xi’an)and Luoyangbetween the Han (206 BCE – 220 CE) and Tang (618-907 CE) dynasties respectively, Bianjing (present Kaifeng)and Lin’an (present Hangzhou) during the Northern and Southern Song dynasties (960-1279 CE)were all prosperous, elegant and well-designed cities.</p> <p>It was Kublai Khan (reigned 1260–1294 CE) who established the Yuan Dynasty (1271–1368 CE), who ascended throne and later became the Emperor of China. He and his descendants decreed the building plan of three capital cities, Shangdu (Xanadu), Dadu (Khanbaliq) and Zhongdu. The first two cities stood along the well-known Silk Road, thanks for this reason, both became widely famous in the world.</p> ` },
          ],
          objects: 15,
          galleries: 12
        }
      },
      {
        id: 42,
        year: '2016',
        yrahTxt: 'August 9, 2016 - November 9, 2016',
        cover: '/data/Exhibitions/Past/32.jpg',
        h3: 'Yanjing Eight Palace Handicrafts',
        p: 'Beijing is also named Yanjing. When it became the capital of the Jurchen ethnicity Jin Empire in 1115, excellent craftsmen from all over the country were summoned to the court. The work of these craftsmen gradually blended different styles and became a series of palace handicrafts named “Beijing Style”.',
        info: {
          topImg: '32',
          imgLast: '.png',
          title: 'Yanjing Eight Palace Handicrafts',
          date: 'August 9, 2016 - November 9, 2016',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: '', article: `<p>Beijing is also named Yanjing. When it became the capital of the Jurchen ethnicity Jin Empire in 1115, excellent craftsmen from all over the country were summoned to the court. The work of these craftsmen gradually blended different styles and became a series of palace handicrafts named "Beijing Style". Among these, eight crafts - jade carving, ivory carving, cloisonné enamel, carved lacquer, painted and inlaid lacquer, filigree, Beijing embroidery, and imperial carpets were inherited and well developed and praised as "Yanjing Bajue" ("Yanjing Eight Palace Handicrafts").</p><p>Although with the changing times and the rise of industrialization, delicate handicrafts were not as much a part of life, these eight exquisite handicrafts reflected the craftsmen's sincerity and artistic hearts. In this exhibition, we travel back and trace how these eight great folk handicrafts combined with imperial aesthetics.</p>` },
          ],
          objects: 34,
          galleries: 12
        }
      },
      {
        id: 43,
        year: '2016',
        yrahTxt: 'March 2, 2016 – June 26, 2016',
        cover: '/data/Exhibitions/Past/33.jpg',
        h3: 'Splendid Finds: The Archaeological Excavations at the Royal Cemetery of Haihunhou Kingdom in Han Dynasty',
        p: "The excavation and the protection of the Han Dynasty burial site of Haihunhou Kingdom which is located near Nanchang, Jiangxi Province have been listed as the key focus among other archaeological projects by the State Administration of Cultural Heritage.",
        info: {
          topImg: '33',
          imgLast: '.png',
          title: 'Splendid Finds: The Archaeological Excavations at the Royal Cemetery of Haihunhou Kingdom in Han Dynasty',
          date: 'March 2, 2016 – June 26, 2016',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: '', article: `<p>The excavation and the protection of the Han Dynasty burial site of Haihunhou Kingdom which is located near Nanchang, Jiangxi Province have been listed as the key focus among other archaeological projects by the State Administration of Cultural Heritage. The discovery of the treasures not only draws a nationwide attention, but also is counted as the top class archaeological work, the top class archaeological preserved project, andthe top class exhibition according to State Administration of Cultural Heritage. Sound excavations at the cemetery site is carefullyand accurately arranged and carried out under the support from the local cultural authorities, the local government and national professionals who helped out with the archaeological process to uncover the mystery of the Haihunhou Kingdom and its age.</p> <p>Jiangxi Provincial Institute of Cultural Relics and Archaeology attributes to the whole archaeological work at the excavation site covering an area of 10,000 square meters. There is the royal tomb of King Haihunhou including the main tomb chamber, resting chambers, and chariots pits as well as tombs of his concubines. More than 10,000 pieces of treasures are discovered. Probing of surroundings of the cemetery within 1,000,000 square meters area basically could identify the actual location of the capital of Haihunhou Kingdom, the Zijin city, which is at present day Xinjian District in Nanchang. King Haihunhou Liu He’s tomb, other tombs of kings titled with Haihunhou, tombs of noble family members and tombs of common people are the major ruins in the mausoleum compound. Experts have declared that this compound is the best-preservedcemetery among kingdoms of the Han Dynasty withthe most complete tomb structure, the clearest ancient city layout, and the richest and the most luxurious items ever discovered in China by far.The discovery of the cemetery of Haihunhou not only supports us to understand the history of Jiangxi but also gives us a great picture of political status, economic development, social conditions, and culturalachievements of the Western Han Dynasty.</p> <p>Amazing finds unearthed at the Haihunhou Kingdom excavation site and the protections of these treasures are receiving enthusiastic response from the public. There are more than 300 pieces of representative unearthed objects available for this special exhibition which dedicates to satisfying audience’s curiosity. Display of the royal cemetery of Haihunhou with all-round viewing angle allows us to get a close-up on mysterious and glorious history of the kingdom.</p> ` },
          ],
          objects: 11,
          galleries: 12
        }
      },
      {
        id: 44,
        year: '2016',
        yrahTxt: 'March 8, 2016 - June 26, 2016',
        cover: '/data/Exhibitions/Past/34.jpg',
        h3: 'Queen, Mother, General: 40th anniversary of Excavating Shang Tomb of Fu Hao',
        p: "She is Fu Hao, the first female general recorded in history of China. Her husband is the King Wu Ding who reigns for 59 years and creates a flourishing age for Shang Dynasty. The capital city she lived later becomes the Yinxu (Ruins of Yin), a place well known among Chinese archaeologists.",
        info: {
          topImg: '34',
          imgLast: '.png',
          title: 'Queen, Mother, General: 40th anniversary of Excavating Shang Tomb of Fu Hao',
          date: 'March 8, 2016 - June 26, 2016',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room B, F1',
          page: [
            { tit: '', article: `<p>She is Fu Hao, the first female general recorded in history of China. Her husband is the King Wu Ding who reigns for 59 years and creates a flourishing age for Shang Dynasty. The capital city she lived later becomes the Yinxu (Ruins of Yin), a place well known among Chinese archaeologists. The period she lived is called Shang, the second dynasty according to traditional Chinese historiography. Chinese characters can be traced back to thisperiod.</p> <p>Fu Hao was appointed by King Wu Ding to command an army and go on expedition repeatedly. Moreover, she was also in charge of recruit. Once the number of soldiers she recruited made a record in the Shang Dynasty. Fu Hao hosted the sacrifice of royal court in person and worshipped the ancestorsof Shang Dynasty on the behalf of Shang court. In Chinese society, the right of sacrifice and military was monopolized by man. It's worth mentioning that Fu Hao is the first female general recorded in Chinese history, and she is the only woman who has both of the rights of royal sacrifice and military command in ancient China.</p> <p>During the middle of King Wu Ding’s reign, Fu Hao unfortunately died. Wu Ding felt very sad and buried Fu Hao right in the area of palace and temple. The location of Fu Hao’s tomb suggests that Wu Ding cherished the memory of Fu Hao, or he hoped Fu Hao could guard Shang as a goddess forever. Archaeologists found 1,928 funeral objects in Fu Hao’s tomb and the ruin of a palace on the tomb. After Fu Hao’s death, King Wu Ding dreamed her for many times. Many oracle bones record that he prayed the blessing of Fu Hao for the upcoming battles. Fu Hao’sdescendants also sacrificed to her and regarded her as a goddess.</p> <p>Fu Hao is the defender of Shang Dynasty. At the same time, she has the great contribution to the development of Chinese civilization. The capital Yin she devotes her life to defend has become the site of World Cultural Heritage. The myth of the ancient capital city is gradually unveiled along with archaeological excavation work being carried forward. HenanProvince, where the Yinxu site located in, plays an important role in the beginning and development of Chinese civilization.</p> ` },
          ],
          objects: 8,
          galleries: 7
        }
      },
      {
        id: 45,
        year: '2016',
        yrahTxt: 'February 2, 2016 - February 29, 2016',
        cover: '/data/Exhibitions/Past/35.jpg',
        h3: 'Peachwood Charms — Spring Festival Custom Show of Beijing and Shanghai',
        p: "More than three thousand years ago, the construction of the capital of Yan in the Western Zhou Dynasty (1046-771 BCE) began in the area that now forms today's Fangshan District in Beijing, marking the beginning of the city's development.",
        info: {
          topImg: '35',
          imgLast: '.png',
          title: 'Peachwood Charms — Spring Festival Custom Show of Beijing and Shanghai',
          date: 'February 2, 2016 - February 29, 2016',
          time: '',
          loc: 'Spring Herb Room, Lou Lim Ieoc Garden, Macao, China',
          page: [
            { tit: '', article: `<p>More than three thousand years ago, the construction of the capital of Yan in the Western Zhou Dynasty (1046-771 BCE) began in the area that now forms today's Fangshan District in Beijing, marking the beginning of the city's development. After experiencing many vicissitudes from the Warring States Period to the Liao Dynasty, it had been transformed from merely being an important city in the north into "Nanjing", the second capital of the Liao Dynasty (907-1125) founded by the Khitan ethnic minority. In 1153, the capital of the Jin Dynasty was moved to Beijing, and it was renamed as Zhongdu City. Thereafter, Beijing remained the capital of various feudal dynasties, known as Yuandadu in the Yuan Dynasty and Beijing during the Ming and Qing dynasties. In such a city inhabited by both emperors and common people, a unique cultural phenomenon of integrating rules and regulations into daily life and customs gradually took shape. As a result, people in Beijing pay special attention to following the rules of life, reflected in a series of folk activities lasting for more than a month during the Spring Festival.</p> <p class='one'>Unit 1 Spring Festival in Beijing</p> <p>"Spring Festival" originally referred to the first day of the first month under the lunar calendar; however, people in Beijing often start to prepare and celebrate as early as the 8th day of the 12thlunar month. Activities included boiling Laba porridge, offering sacrifices to the kitchen god, staying up late on New Year's Eve to celebrate, paying new year calls, holding memorial rites, worshiping the god of wealth and visiting temple fairs. The Spring Festival ends with the Lantern Festival, the 15th day of the first lunar month. Those people who have worked hard for a year, perhaps in distant places, are finally reunited with their families, joining with relatives and friends to pray to the gods for good luck in the coming year.</p> <p class='one'>Unit 2 Tradition and Fashion</p>  <p>After the long passage of time, the Forbidden City, home of the emperors with its red walls and yellow tiles, still stands in Beijing, a city that has seen numerous generations formed in the Hutongs (communities built around alleyways). Urban planning in Beijing is still based on the central axis of the city established in the Ming and Qing Dynasties and extending out from the Forbidden City. As the capital of the People's Republic of China, Beijing is becoming a world city welcoming people from all countries. Tradition and fashion coexist here, manifesting its cultural inclusiveness.</p>` },
          ],
          objects: 0,
          galleries: 11
        }
      },
      {
        id: 46,
        year: '2015',
        yrahTxt: 'April 24, 2015 - August 12, 2015',
        cover: '/data/Exhibitions/Past/36.jpg',
        h3: 'Geneva at the Heart of Time – Origin of Swiss Watchmaking Culture',
        p: 'The exhibition"Geneva at the Heart of Time – Origin of Swiss Watchmaking Culture" organized by Capital Museum of China in collaboration with the Geneva Museum of Art and History and Vacheron Constantin officially opened in Capital Museum.',
        info: {
          topImg: '36',
          imgLast: '.png',
          title: 'Geneva at the Heart of Time – Origin of Swiss Watchmaking Culture',
          date: 'April 24, 2015 - August 12, 2015',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: '', article: `<p>The exhibition"Geneva at the Heart of Time – Origin of Swiss Watchmaking Culture" organized by Capital Museum of China in collaboration with the Geneva Museum of Art and History and Vacheron Constantin officially opened in Capital Museum. At a time when the 65th anniversary of the establishment of bilateral relations between Switzerland and China is being celebrated, it is the first ever Swiss horological exhibition staged by the Capital Museum.</p> <p>With about 350 exhibits, including antique clocks, pocket watches and wristwatches, as well as watchmaking tools and equipment, the exhibition displays the history and excellence of Swiss watchmaking and offers a unique view into the fine watchmaking history of Geneva, the cradle of this craft for more than three centuries, with a focus on its technical aspects and excellent craftsmanship. </p> <p>The more than 220 watches and enamel exhibits of the Geneva Museum of Art and History are exquisite and precious, for example, "Les Frères Huault", Geneva (Switzerland), enamelers; Fromanteel, watchmaker, London (England), gilt brass and enamel pocket watch, ca.1680 and Rochat Frères, Cage with three singing birds and a striking mechanism, Geneva (Switzerland), ca. 1814. The Manufacture Vacheron Constantin is also exhibiting about 80 exclusive pieces from its heritage collection, including the first-known pocket watch created by Jean-Marc Vacheron, the firm’s founder, and an exquisite skeleton clock first shown at the National Exhibition of Zurich in 1939. In addition, Vacheron Constantin is showing off some of its precious tools and equipment.</p> <p>The exhibition also showcases a reconstructed 18th Century Geneva cabinotiers workshop, based on a painting by Christophe François von Ziegler that is on display at Museum of Art & History, Geneva.</p> <p>In addition to the exhibition of heritage pieces, craftsmen from Geneva, including a Master Watchmaker, Master Enameller, Master Gem-setter, Master Engraver, and Master Guillocheur, will demonstrate their age-old state-of-the-art techniques from April 23rd to May 3rd, May 28th to June 3rd, and July 9th to July 15th, 2015. </p> ` },
          ],
          objects: 10,
          galleries: 6
        }
      },
      {
        id: 47,
        year: '2014,2015',
        yrahTxt: 'December 26, 2014 – March 25, 2015',
        cover: '/data/Exhibitions/Past/37.jpg',
        h3: 'Smile of Khmer: Cambodian Ancient Cultural Relics and Art',
        p: 'Ancient Cambodia was once known as the Angkor Kingdom of the ancient Khmer people who inhabited the area. "Angkor" marked the heyday of ancient Khmer culture, which left an immortal architectural and sculptural art mode, focused on Angkor Wat as its most notable and unique achievement.',
        info: {
          topImg: '37',
          imgLast: '.png',
          title: 'Smile of Khmer: Cambodian Ancient Cultural Relics and Art',
          date: 'December 26, 2014 – March 25, 2015',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room D, F3',
          page: [
            { tit: '', article: `<p>Ancient Cambodia was once known as the Angkor Kingdom of the ancient Khmer people who inhabited the area. "Angkor" marked the heyday of ancient Khmer culture, which left an immortal architectural and sculptural art mode, focused on Angkor Wat as its most notable and unique achievement. The majority of the cultural relics in the exhibition are from Angkor, and this is the first time ever for a large exhibit of "Angkor art" to be seen in Beijing.</p> <p>The ancient arts masterpieces lent by the National Museum of Cambodia mostly highlight large sandstone statues. The statues are made in quiet and elegant style, and are typical symbols of the classical Buddhist Art of Southeast Asia. Furthermore, there are examples of ancestral temple architectures, with vivid various styles and patterns and superb carving skills, representing the complex religious systems and history of Cambodia.</p> <p>"Angkor art" is the reflection of the prosperity and glory of the Angkor dynasty, as well as significant achievement during a period of great prosperity created by the Khmer people. We believe that the exhibition will bring a comprehensive brand-new visual experience to audiences drawn from all walks of life.</p> ` },
          ],
          objects: 9,
          galleries: 1
        }
      },
    ],
    Overseas: [
      {
        id: 48,
        year: '2021',
        yrahTxt: 'May 21, 2021 - August 22, 2021',
        cover: '/data/Exhibitions/Past/2.jpg',
        h3: 'Wonders: The Ancient Andean Civilization in Peru',
        p: "On the west side of the South American continent, within the territory of the Republic of Peru, there is a narrow strip of land from the Andes to the Pacific Ocean with a variety of co-existing natural ecosystems like valleys, arid plains, and highlands. Without any wide river or fertile soil, it is, however, the main cradle of the Andean civilization, South America's most important prehistoric civilization.",
        info: {
          topImg: '2',
          imgLast: '.png',
          title: 'Wonders: The Ancient Andean Civilization in Peru',
          date: 'May 21, 2021 - August 22, 2021',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, F1',
          page: [
            { tit: 'Preface', article: "<p>On the west side of the South American continent, within the territory of the Republic of Peru, there is a narrow strip of land from the Andes to the Pacific Ocean with a variety of co-existing natural ecosystems like valleys, arid plains, and highlands. Without any wide river or fertile soil, it is, however, the main cradle of the Andean civilization, South America's most important prehistoric civilization. Apart from the well-known Inca Empire, the land has also seen the rise of many other cultures like Chavín, Nazca, Moche, Wari, Sicán, Chimú, etc. From 1500 BCE to the 16th century, the people here created grand architecture, exquisite stone carvings, colorful fabrics, multi-colored ceramics, and dazzling gold and silver wares. Now, let us take a look at people's lives in ancient Peru to explore their material and spiritual life. </p>" },
            { tit: 'Chapter One EMERGENCE OF SOCIAL COMPLEXITY (ca. 1500 – 300 BCE)', article: "<p>From 1500 to 200 BCE, several cultures flourished in the Andean region, among which the most prominent one was the Chavín culture centered at Chavín de Huántar, near the south end of the north highlands of Peru. In its heyday (900-200 BC) the Chavin influenced a large range of places from the north highlands to the south coast of Peru. Archaeological discoveries in these areas, showing a relatively consistent style, indicate that the Chavín culture was taken by many regions at that time. This period represents the first cultural peak of the Andean civilization. Many features of Andean civilization, such as jaguar worshiping and large ceremonial centers, were established and strengthened during this period and have continued in subsequent cultures.</p>" },
            { tit: 'Chapter Two EMERGENCE OF DIVERSE REGIONAL CULTURES (ca. 200 BCE – 600 CE)', article: "<p>After 200 BCE, as Chavín culture gradually declined, many parts of Peru that were originally influenced by it developed their own distinctive cultures. In the north and central parts, the Vicús, Gallinazo, and Lima cultures emerged. From the 1st to the 5th century, north highland cultures, such as the Cajamarca and Recuay, were side by side with the emerging Moche culture along the north coast. On the south coast, the Paracas culture, influenced by the Chavín culture, gradually evolved into the Nazca culture. At the beginning of the 6th century, the Moche culture eventually developed into the most powerful culture in the coastal region, and one of the most representative cultures of the Andean civilization. This section mainly shows the fine artworks of Nazca and Moche.</p>" },
            { tit: 'Chapter Three INTERREGIONAL POLITICAL SYSTEMS (ca. 600 – 1100 CE)', article: "<p>In the second half of the 6th century, climatic disturbances and food shortages led to the population concentration and migration around the central Andes, so several highly influential cultures rose in these regions. Among them, the Tiwanaku culture, originated around Lake Titicaca and powered by its military capacity and religious traits, continued to flourish for a long time. The Wari culture, arising later in the central highlands, kept a close link to the earlier Nazca and the neighboring Tiwanaku. In the 7th century, Wari developed a complex sociopolitical system that resulted in its dominance for nearly three centuries. The Sicán culture came into being later than the other two, but it rose rapidly by the abundant natural resources on the north coast and by incorporating the essence of the Moche culture. It was the new epoch of Andean civilizations, especially in metallurgy and irrigation agriculture.</p>" },
            { tit: 'Chapter Four LAST EMPIRES (CA. 1100 – 1572 CE)', article: "<p>Around the year 1000 CE, with the gradual disintegration of the governance of the Wari in the central highlands and the Tiwanaku in the south, new political forces began to collide with each other. On the north coast, around 1100 CE, the decline of the middle Sicán allowed the Chimú to thrive. Based on their capital–Chanchan in the Moche valley, they began its expansion along the coast. By the end of the 14th century, the Chimú kingdom dominated the central and north coasts. In the later stages of the Chimú expansion, however, the Incas, in the Cuzco of the south highlands in Peru, began to build up their power by all means. By the end of the 15th century, the empire of the Incas, annexing the Chimú, became the largest political entity ever established by Native Americans in the Americas. In the first half of the 16th century, with Spanish colonists invading Peru, the Inca Empire met its downfall.</p>" },
          ],
          objects: 170,
          galleries: 39
        }
      },
      {
        id: 49,
        year: '2018,2019',
        yrahTxt: 'December 18, 2018 - March 24, 2019',
        cover: '/data/Exhibitions/Past/15.jpg',
        h3: 'Silesia Rediviva: The Baroque period in Silesia -- Collection of Art and Handicrafts from the National Museum in Wrocław, Poland',
        p: "The characteristics of the Baroque period in Silesia empowered a renascent Silesian society in all aspects of life. This exhibition is presenting the historical artifacts from the Baroque Silesia in the hope of that they could help you to appreciate both the common life of the people and the creativity of artists.",
        info: {
          topImg: '15',
          imgLast: '.png',
          title: 'Silesia Rediviva: The Baroque period in Silesia -- Collection of Art and Handicrafts from the National Museum in Wrocław, Poland',
          date: 'December 18, 2018 - March 24, 2019',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: 'Preface', article: `<p>Silesia is a historical region of Central Europe located mostly in what is now the southwestern part of Poland, with small parts in the Czech Republic and Germany. Throughout history, a number of regimes became active war players in acquiring stakes and interests. Confrontational relations among regions often drove wars, which made the geopolitics of the area even more complicated. Silesia endured being a critical battlefield for forces fighting against each other over its rich natural resources. Constant turmoil resulted in Silesia's borders and national affiliation having changed over time. From the 9th century up to the 18th century, Silesia had been under the control of Great Moravia, the Duchy of Bohemia, the Kingdom of Poland, the Holy Roman Empire, Prussia and so on. Nevertheless, the changes of regimes benefited Silesia to celebrate multi-national exchanges and integration on cultures, arts and, ethnic influences from various channels, sources and, backgrounds.</p><p>The characteristics of the Baroque period in Silesia empowered a renascent Silesian society in all aspects of life. The end of the Thirty Years War that was the most brutal and violent conflict between the Catholics and the Protestants in the 17th century, finally brought about not only the religious movement which led to artistic boom, but also initiated social stability and economic recovery. This exhibition is presenting the historical artifacts from the Baroque Silesia in the hope of that they could help you to appreciate both the common life of the people and the creativity of artists.</p>` },
            { tit: 'I. Restructuring the Elite', article: `<p>Frequent changes of governments in Silesia over the centuries prompted the structural change of the elite members who had different family roots and backgrounds. The 17th century was a critical period of time during which the old and the new aristocrats, the religious and the secular institutions, as well as the newly emerged burgher class were all competing for powers and recognition in Silesia.</p><p>The Piasts played the role of the actual governors of Silesia since the 10th century when the area was incorporated into the Kingdom of Poland. The family was still in power even after Silesia became a part of the Bohemian Crown and the Holy Roman Empire with many of the Piast dukes' privileges and rights remained. However, the emperors of the Holy Roman Empire gradually increased the administrative control over Silesia during and after the Thirty Years War (1618-1648). Imperial officials dispatched directly from the court, such as the treasurers, were holding the executive power in implementing policies on behalf of the emperors. They were one of the few influential people in the region. Other notable powerful members of the elite were the Protestant nobility, most of whom came from German speaking areas. As early as during the Fragmentation of Poland (roughly from the 12th to the 14th century), the immigration of German-speaking people had already started in Silesia. In the 16th century, the Protestant community in Silesia expanded as the Reformation continued. More and more Protestant German nobles came to this region for settlement. Alongside the full-fledged prestigious Cistercian Abbey, the clergy in the Catholic Church became eminent within the elite group. After the Thirty Years War, Jesuit sent by the Holy See to various places also gained importance among the elite. Noticeably, struggling to improve their social status under the absolutist rules, the newly risen burgher class however became politically influential through the wealth generated and accumulated from the works they had been undertaking in Silesia's city construction and the economic development process. Objects displayed in this section reflect the elite from this particular period of time.</p>` },
            { tit: 'II. Flourishing of Baroque Art', article: `<p>The Baroque originated from Italy in the mid-16th century, and flourished through the entire 17th century. It arrived in Silesia nearly a century later due to instability caused by wars. Being a primary war zone during the Thirty Years War, Silesia had suffered heavy losses. Cities were sabotaged, most people lived in poverty; and stagnation in social development was holding the cultural recovery back. However, the results of this war provided opportunities for the arrival of the turning point for artistic development in Silesia: firstly, Silesia was once again back under the control of the Catholic Churches. And secondly, Silesia was, geographically, close to two Baroque art centers: Vienna in Austria and Prague in Bohemia — the domains of the Holy Roman Emperors. Being in this location had a significant impact on art in Silesia during the Baroque period. When the Protestant churches were replaced by the Catholic establishments, the reserved, simple-formed art was also substituted by the imaginative, passionate and, flamboyant Baroque art. It was then that the shaded Silesian art stepped into the limelight and flourished. Michael Lucas Leopold Willmann the painter and Matthias Steinl the sculptor were the two great artists who stood out representing the highest achievement of early Baroque art in Silesia. They devoted their lives to the creation of artwork for churches and the public, and have gained worldwide appreciation and recognition by their masterpieces of imagination and artistic inspirations. Therefore, they were the most renowned Baroque figures in the Silesian art history.</p>` },
            { tit: "III. Rebuilding People's Lives", article: `<p>The Thirty Years War (1618~1648) fought between Catholics and Protestants was driven by religious tensions rooted deeply in the fragmented Holy Roman Empire. It gradually developed into a more general conflict involving most of the European great powers. It was one of the most destructive conflicts in the German speaking area including Silesia. The postwar economic recovery in Silesia provided opportunities for the arrival of the city burgher class. This group of people engaged in all kinds of social activities and skilled occupations. Craftsmen in trade guilds, owners of small businesses, doctors and, government officials were some fine examples. The rapid growth in wealth empowered this newly risen burgher class to play a crucial role in the Baroque era's city development. Hard working and well-to-do, the burgher class valued the importance of education and had active minds. Having realized that common people's lives could be threatened, at any given moment, by catastrophic events, such as plagues, wars, natural or man-made disasters, yet they did not cease performing their professional duties, adding values to society, or celebrating the joy of life, and was always longing to be well remembered. Just as the handicrafts are presented in the exhibition, which are items with excellent skills and showcase the riches and the foot prints of people who produced or possessed them.</p><p>Silesia was also taking great pride in these handicrafts representing high-level applied arts. The funerary shields, pewter tankards, silver vessels, welcome cups and, elements of armaments are examples that were famous for, and were exported to both Western and Eastern of Europe. The admiration was the driving power to encourage and inspire the artisans. This is a world created by man to fulfill all his needs — a Baroque world.</p>` },
            { tit: 'Epilogue', article: `<p>The Baroque period of Silesia was a time filled with beauty and yet pain. The pursuit of beliefs and eternity was not restrained by struggles and contradictory in ideology. A yearning for art and aesthetics mingled with heartbreaking suffering from wars. The admiringly enjoyable feelings brought about beautiful things and objects created for artistic purposes inspired artists; meanwhile artists' creativity which sparkled with passion and enthusiasm was appealing dearly to the public. What legacies one could leave to the world is always a proposition for many of us. Once we move our eyes away from the area of Silesia to view the continent of Europe as a whole, to no one's surprise, throughout history wars and conflicts have never been obstacles for social progress. New patterns of international relations in modern Europe could be forming quietly before they are even noticed.</p>` },
            { tit: 'Postscript', article: `<p>Being strongly promoted and supported by the Embassy of China in Poland in 2016, the Capital Museum of China and the National Museum in Wrocław of Poland launched one of their most significant projects to set up a program-exchange of importing and exporting exhibitions in reciprocity. The two museums also signed an agreement which laid a foundation for a long-term strategic cooperative relationship thereafter.</p><p>On December 11th 2017, Capital Museum held an exhibition of Chinese People's Life in the Time of Late Ming Dynasty at the National Museum in Wrocław, Poland. A vivid picture of the life of the literati, religious beliefs and, a prosperous city life in the Ming dynasty during the 16th and 17th centuries was revealed through more than 106 exhibits to the audience in Poland. The exhibition was a huge success with a total of nearly 30,000 visitors in three months. It was observed that much attention was attracted by the exhibition in the city of Wrocław which has a total population of only 600,000. While the exhibition was taking place, during the Chinese New Year; another event hosted by both museums, called “Reading the Cities — Collaborating with Different Cultures: Sending New Year Messages Online Between China and Poland” was on. The directors of the two museums and audiences from both countries sent out Chinese New Year blessings and best wishes to each other over the internet. Not only was the event an occasion for the people in understanding the extensive history of both cities of Beijing and Wrocław; it was also a great opportunity in strengthening connections and friendship between the two countries.</p><p>2018 is the year of the 100th anniversary of Poland regaining its independence as well as the year of the 70th anniversary of the founding of the National Museum in Wrocław. Moreover, we are going celebrate the 70th anniversary of the establishing of diplomatic relations between the People's Republic of China and the Republic of Poland in 2019. In such a special occasion, it is of great significance that our two museums have been cooperating to host the exhibition of Silesia-Rediviva: the Baroque period in Silesia - Collection of Art and Handicrafts from the National Museum in Wrocław, Poland. Mr. Piotr Oszczanowski, the Director of the National Museum in Wrocław, has attached great importance to the exhibition and devoted himself to the curatorial work and carefully selected the most distinctive paintings and sculptures in the Baroque era in Silesia to share the magnificent artistic accomplishments and cultural creations achieved in the second half of the 17th century. Although what we could explore from the exhibition about the history of Silesia is merely a small part in the entire European history, it presents us an epitome of European art as a whole. We hope that the exhibition will assist the audience to have a glimpse into various evens and occasions in history; and it will also open up a new window through which different scenes might be viewed. Long may the friendship between the people of China and Poland last!</p>` },
          ],
          objects: 32,
          galleries: 31
        }
      },
      {
        id: 50,
        year: '2018',
        yrahTxt: 'August 14, 2018- October 7, 2018',
        cover: '/data/Exhibitions/Past/17.jpg',
        h3: 'The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century',
        p: "In the 18th century, as the two largest cities in the world, Tokyo and Beijing both celebrating great prosperity. Beijing was booming with the economic success under the reigns of Emperor Kangxi and Emperor Qianlong; whilst people in Tokyo were also living affluently in peace under the rule of the Tokugawa Shogunate. Although urban planning, life styles and artistic cultures between Tokyo and Beijing were very different, the two cities shared common traits of stability and sustainability during this period of time.",
        info: {
          topImg: '17',
          imgLast: '.png',
          title: 'The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century',
          date: 'August 14, 2018- October 7, 2018',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: 'Prelude', article: `<p>Facing each other across a narrow strip of water, China and Japan are neighboring countries with a history of relations for centuries. Tokyo, the capital city of Japan, was previously named Edo when Shogun Tokugawa Ieyasu made it the headquarter of his regime at the beginning of the 17th century. Although the meaning of Edo is literally estuary, Edo was a small coastal town on the Kanto plain with a number of rivers flowing into the sea. It rapidly developed into the absolute center of Japan under the rule of the shogunate. With the arrival of Emperor Meiji, Edo became an imperial capital and its name changed to Tokyo after the Meiji Reformation. Tokyo has been since then turned into a symbol of political and imperial power. Beijing, once the imperial capital of the Yuan, Ming and Qing empires, is now the capital of the People's Republic of China.</p><p>In the 18th century, as the two largest cities in the world, Tokyo and Beijing both celebrating great prosperity. Beijing was booming with the economic success under the reigns of Emperor Kangxi and Emperor Qianlong; whilst people in Tokyo were also living affluently in peace under the rule of the Tokugawa Shogunate. Although urban planning, life styles and artistic cultures between Tokyo and Beijing were very different, the two cities shared common traits of stability and sustainability during this period of time.</p>` },
            { tit: 'Section One', article: `<p class='one'>The construction of Beijing and Edo</p><p>The building of Beijing initiated in 1267 during the Yuan dynasty when the city was called Dadu and known as Khanbaliq by the Mongols. It was stretched in scale a century later over the Ming and Qing periods. In 1420, Emperor Zhudi, the third ruler of the Ming dynasty, moved his capital from Nanjing to Beijing, and officially designated Beijing as the new imperial capital of the Ming Empire. In 1644, when the Ming Empire collapsed to its end, Beijing subsequently became the capital of the Great Qing Empire under the administration of the Shuntian Prefecture. The Qing emperors followed the traditions of urban planning outlined in the Ming, hence the general layout of the city remained unchanged. </p><p>The name of Edo was allegedly taken from the Japanese word for estuary, the geographic name of Edo can be traced in historical documents recorded during the Kamakura period (1185~1333). As the earliest settlers in the area, the Edo clan claimed ownership of the land in the 12th century, and the location was later known as Edo. The Edo clan lost its power by the end of Muromachi period (1336~1573) and the ownership of the region was taken over by the famous general Ōta Dōkan (1432~1486), a military tactician, who was considered as the founder of the castle of Edo. In 1590, Tokugawa Ieyasu was granted lands in the Kanto area. With the advantages of vast landscapes and good water transportation systems, Ieyasu built his stronghold here and constructed his new castle as secure as it could be. In 1603, Ieyasu was awarded the title of Sei-i Taishōgun (Commander-in-Chief of the Expeditionary Force Against the Barbarians), and had Edo developed into a political center of Japan. The second Shogun of the Tokugawa shogunate, Hidetada, succeeded the power from his father Ieyasu and started building the internal stone walls as the core center of the castle of Edo. Streets and blocks within the walls were therewith improved and perfected.</p>` },
            { tit: 'Section Two', article: `<p class='one'>Urban life in Beijing and Edo</p><p>Being consumption-oriented, both Beijing and Edo were bringing an influx of wealth, goods and talented people into the cities from every corner of the countries. It is not difficult for us to imagine the hustle and bustle of Beijing and Edo from the vivid depictions in the paintings of "Wan Shou Sheng Dian" (Scenes of Emperor Kangxi's 60th Birthday Celebrations) and "Kidai Shōran" (Excellent Views of Our Prosperous Age) respectively. Various of trades and professions emerged in both cities to accommodate the exuberantly growing demands of people's needs.</p><p>As the result of the progressive development in trades and commerce in Edo by the 18th century, a liberal and open-minded way of thinking played an essential role in the formation of a distinctive, yet unique culture in Japanese society. For example, people in Edo were keen on festivities and ceremonies of worshiping, therefore some events were specifically created to incorporate popular traditional local customs. Moreover, cultural salons embraced people from all social backgrounds to join in. No matter to what social stratification they belonged, noble or not, samurai or civilians, all were welcomed. These cultural salons were powerhouses in recreating, promoting and developing literature, arts and learning, etc.</p>` },
            { tit: 'Section Three', article: `<p class='one'>Art and culture in Edo</p><p>Tokyo was known as Edo Castle in the 18th century, the political stability and the successful business activities, during this period of time, assured its people a wealthy life and the diverse urban cultures. With the focus on the aesthetic aspect from the aristocrats or the samurai class, the craftsmanship in artistic and cultural works, including calligraphies, paintings, sculptures, lacquer wares, and textiles, progressed to a much higher standard. It was a time that saw not only a legacy of a far-reaching and profound impact on contemporary Japanese art and culture, but also the traditional techniques and craftsmanship in Japanese folk arts which were blending with the essence of foreign artisanship.</p><p>Due to various problems and difficulties in trade with China by the end of the Ming dynasty, and the increased market demands in ceramic products from the western world, the Dutch East India Company (Verenigde Oost-Indische Compagnie or VOC, established in 1602) started to substitute Chinese ceramic wares for the Japanese ones. The change accelerated the development of the porcelain industry in Japan. Japanese porcelain, a combination of Chinese patterns and Japanese designs, was very much favored by the European aristocracies. Meanwhile, in Japan, lacquer wares were popular items in daily life. They were made as decorations on architecture, furniture, ornaments and gifts. Ukiyo-e is a unique genre of Japanese art, however, the idea of Western realism was widely applied in Ukiyo-e by the Japanese artists to illustrate stories of urban life in the new capital, Edo. As a popular art form among ordinary people, Ukiyo-e works played a part in advocating the humanist values of Japan. The city of Edo had been kept vibrant and alive by all the wonderful and amazing cultures and arts, and the people who created them.</p>` },
            { tit: 'Epilogue', article: `<p>China and Japan are neighbors across the sea. The geographical realities had generated opportunities in improving mutual understandings and relations. They have also been influencing each other with their cultures and arts throughout more than 2000 years of communication. </p><p>Beijing and Tokyo are two famous cities in East Asia with rich culture and history. Maintaining a close relationship and bilateral ties between the two cities has been important in the past 40 years. We hope this exhibition is able to help the audience to experience the urban city life in these two different places at the same period of time in history. Exhibits from Beijing and Tokyo are presented together in contrast within given time frames. Such arrangement is aiming to give the audience an idea of traditions and the culture with which people might not be as familiar as they are with that from their own hometown.</p><p>Confucius said that "Virtue is not left to stand alone. He who practices it will have neighbors." Being loyal to friends and charitable to neighbors, are the teachings of Confucianism for neighboring counties, just like Japan and China, in dealing with mutual relations. We wish the two cities - Beijing and Tokyo, and the two countries - China and Japan, a promising future for the years to come!</p>` },
          ],
          objects: 47,
          galleries: 36
        }
      },
      {
        id: 51,
        year: '2018',
        yrahTxt: 'March 27, 2018 - June 22, 2018',
        cover: '/data/Exhibitions/Past/19.jpg',
        h3: 'Art, Culture and Daily Life in Renaissance Italy',
        p: "The Renaissance is one of the most glorious cultural movements in Italian history. Through rediscovery, revival, appropriation and development of the classical Greco-Roman tradition, the Renaissance led to great cultural innovation.",
        info: {
          topImg: '19',
          imgLast: '.png',
          title: 'Art, Culture and Daily Life in Renaissance Italy',
          date: 'March 27, 2018 - June 22, 2018',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: '', article: `<p>PREFACE</p><p>The Renaissance is one of the most glorious cultural movements in Italian history. Through rediscovery, revival, appropriation and development of the classical Greco-Roman tradition, the Renaissance led to great cultural innovation. It brought profound and enduring changes in culture, arts, politics, social life and many other fields, and marked the beginning of a new era in the history of Western Civilization.</p><p>The collection ranges from paintings to clothes, daily utensils to architectural images. Through these we hope our audience will develop a deeper understanding of the social, political and cultural nuances that make up the Italian Renaissance as a cultural movement. </p>` },
            { tit: '', article: `<p>SECTION I. TRADITION AND INNOVATION</p><p>Within the realm of art, the so-called"Renaissance", i.e."rebirth", was born in Florence during the first years of the 15th century. From there it spread, in different forms and manners, through Italy and Europe until the end of the 16th century. </p><p>During the Renaissance, art was looked at through important inventions and discoveries. </p><p>The use of mathematical methods to represent space on a flat surface and greater attention paid to reality and the consequent need to represent what we see in a scientific way, was characteristic of the Renaissance. Classical antiquity was also referenced as it was again seen as a golden age and a clear breaking point was made from the Middle Ages.</p><p>In those years, Florence was one of the richest and most cultivated cities in Europe. Its government was formed by a powerful bourgeois oligarchy that was able to commission numerous artists in the execution of important works. Filippo Brunelleschi (Florence 1377-1446) for example, was not only the architect of the Cupola laid on the medieval Duomo of Florence, but also the inventor of the innovative method of linear perspective.</p><p>Italian cities, manifested dynamic creativity, evident particularly in the arts, architecture and cultural life. Such urban renewal and development inspired the modern theory of Urbanism.</p>` },
            { tit: '', article: `<p>SECTION II. MAN AT THE CENTER OF THE UNIVERSE</p> <p>"I have placed you at the very center of the world, so that from that vantage point you may with greater ease glance round about you on all that the world contains. We have made you a creature neither of heaven nor of earth, neither mortal nor immortal, in order that you may, as the free and proud shaper of your own being, fashion yourself in the form you may prefer" (Oration on the Dignity of Man, 1486).</p> <p>This proclamation made by Renaissance philosopher Pico della Mirandola, is considered the"Manifesto of the Renaissance." It reflects a profound transformation in the way people thought during the 15th and 16th centuries, when greater significance was given to humankind and its activities.</p> <p>Renaissance art was characterized by the increase of secular subjects. Paintings depicted contemporary events. In particular, portrait painting became a true genre because of an increase in demand. Besides court portraits of kings and lords, portraits of merchants, brides and artists emerged and expressed a strong sense of self-awareness.</p> <p>Additionally, prosperous commerce provided cities with wealth, and changed consumer taste. Material life shifted from simplicity to opulence. The urban aristocracy built magnificent palaces and villas, and adorned themselves to glorify their social status.</p> ` },
            { tit: '', article: `<p>SECTION III. ART AND BELIEF</p> <p>During the Renaissance, art witnessed the slow but steady growth of secularism in Italy. With the adoption of humanism and the concept of man as the center of the universe, divine figures were more humanized and a new balance was drawn between God and man. Nonetheless, religion continued to play an important role in daily urban life. Religious canvases and wood panels were not only commissioned by churches but also by wealthy bourgeoisie who acquired paintings to decorate private chapels and galleries. </p> <p>The artist introduced aspects of contemporary life into these religious paintings and humanized religious subjects. The Madonna with Child, for example, became a naturalized and real representation of maternity. Artists often used sketches directly from true life. The body of the Dead Christ looked like a real body of a young man and sometimes was painted to resemble classical statues. Numerous saints represented also have faces and attitudes of common men and women. </p> <p>In churches an altarpiece decorated every main altar, and sacred figures were painted in noble interiors or in landscapes. In addition, the housing design and interior decoration style became increasingly classical with walls adorned by paintings depicting classical myths and historical stories.</p> ` },
          ],
          objects: 16,
          galleries: 17
        }
      },
      {
        id: 52,
        year: '2018',
        yrahTxt: 'February 10, 2018 - March 5, 2018',
        cover: '/data/Exhibitions/Past/23.jpg',
        h3: 'Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen',
        p: `The exhibition "Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen," sponsored by the Embassy of People's Republic of China in the Republic of Mauritius, Ministry of Arts and Culture in the Republic of Mauritius and the Beijing Municipal Administration of Cultural Heritage, and hosted by the China Cultural Center in Mauritius and the Capital Museum, was unveiled on Feb. 10, 2018 at the Cultural Center."`,
        info: {
          topImg: '23',
          imgLast: '.png',
          title: 'Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen',
          date: 'February 10, 2018 - March 5, 2018',
          time: '',
          loc: 'China Cultural Center in Mauritius',
          page: [
            { tit: '', article: `<p>The exhibition "Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen," sponsored by the Embassy of People's Republic of China in the Republic of Mauritius, Ministry of Arts and Culture in the Republic of Mauritius and the Beijing Municipal Administration of Cultural Heritage, and hosted by the China Cultural Center in Mauritius and the Capital Museum, was unveiled on Feb. 10, 2018 at the Cultural Center. </p> <p>Then Mauritius President Ameenah Gurib-Fakim, Vice President Barlen Vyapoory, Chinese Ambassador to Mauritius Sun Gongyi, Mauritius Minister of Art and Culture Prithvirajsing Roopun, Mayor of Port Louis, the capital, Daniel Eric Clive Laurent, and President of the Capital Museum Bai Jie, all attended the opening ceremony, which was presided over by Song Yanqun, cultural counselor of the Chinese Embassy in Mauritius and director of the Chinese Culture Center in Mauritius.</p> <p>In a warm speech to the opening ceremony, then President Gurib-Fakim pointed out that the exhibition, as an important part of the celebration of the 50th anniversary of the independence of Mauritius, was held during the Spring Festival (Chinese Lunar New Year) - one of the statutory public holidays in Mauritius, which reflected the friendship and multi-cultural integration between two countries. Ambassador Sun Gongyi, in his speech, said that "offering birthday congratulations to the elderly" shows younger generations' respect for the elderly and conveys the Chinese culture of filial piety. In today's society, "filial piety" clearly demonstrated the Chinese people's consistent spiritual pursuit of harmony between each person and well suits the festive atmosphere of family reunion and joy and harmony during the Spring Festival.</p> <p>In his speech, President of the Capital Museum Bai Jie thanked the president of Mauritius for her attention and attendance at the opening ceremony of the exhibition. He extended his sincere congratulation to the Mauritius president and other local guests on the 50th anniversary of Mauritius's independence and congratulated Ambassador Sun on the 30th anniversary of the establishment of the China Cultural Center in Mauritius. He pointed out that Chinese President Xi Jinping is advocating that people all over the world should jointly build a community of shared future for mankind, in which both Chinese and Mauritian people were important members. "Museum people are the messengers between different cultures. We hope to build the community of shared future through museum exhibitions," he added.</p> <p>This exhibition is the third consecutive year the Capital Museum has held an exhibition in Mauritius, following the "Beijing New Year Customs" in 2016 and the "Beijing Wedding Customs" in 2017. The exhibition starts with the widely circulated "Twenty-Four Filial Piety" story in China and helps viewers understand Chinese traditional culture behind it. Each exhibition is equipped with interactive activities and ritual performances to showcase Chinese civilization lively and dynamically, as a way to tell good stories of China and explain historical wisdom.</p> <p>The opening day was welcomed by the ebullient audience. Mr. Lin, already a third-generation Mauritius Chinese citizen, said he felt even more gracious about the great motherland after his visit to the exhibition, which enhanced his cultural confidence as a Mauritian Chinese. The event was reported by many journalists from such local media as "Mauritian News," "Express," and "Challenge." Xinhua News Agency dispatched special reporters to the scene for an on-site interview. CCTV offered a live broadcast online at a non-reporter station, giving an estimated audience of more than 700,000 Chinese and foreign citizens a chance to see the exhibition.</p> ` },
          ],
          objects: 0,
          galleries: 12
        }
      },
      {
        id: 53,
        year: '2017,2018',
        yrahTxt: 'December 12, 2017 - March 11, 2018',
        cover: '/data/Exhibitions/Past/22.jpg',
        h3: "Chinese People's Life in the Time of Late Ming Dynasty",
        p: "The European Renaissance brought about the awareness of humanity and the rapid development of economy and culture for European society. At the same time in the east part of the Asian continent, China was in the Ming dynasty (1368–1644).",
        info: {
          topImg: '22',
          imgLast: '.png',
          title: "Chinese People's Life in the Time of Late Ming Dynasty",
          date: 'December 12, 2017 - March 11, 2018',
          time: '',
          loc: 'National Museum in Wrocław',
          page: [
            { tit: 'Preface', article: `<p>The European Renaissance brought about the awareness of humanity and the rapid development of economy and culture for European society. At the same time in the east part of the Asian continent, China was in the Ming dynasty (1368–1644). The social economy and culture flourished in a different pattern from Europe. From the exhibition, we not only can experience the social development, cultural prosperity, and elegant life during the Ming dynasty in the 16th and 17th centuries, but also can sense the wisdom of the Eastern counties.</p> <p class='one'>Part I. A Society of Respecting Culture</p> <p>The Imperial Civil Examination System for selecting government officials started from Sui dynasty (581–618). In the Ming period, this examination system had been in practice for about a thousand years. Positions of officials were not hereditary and could not be handed down to the next generation except the titles granted by the imperial family. Scholars from lower classes also had chances to be civil officials with higher ranks through the imperial examination by which a gentry class of scholar-bureaucrats was formed. This demonstrated a relatively open social stratification and a society of respecting culture.</p>` },
            { tit: 'Part II. Religions and Daily Life', article: `<p>In Ming period, China was a country of separation in religions. Although the emperor was called the Son of Heaven, he had never been the head of any religious authorities. To ordinary Chinese people, religious emblems appeared on utensils for daily life. In this period, the significant changes in society were that many missionaries from Western countries introduced much knowledge of modern science and technology when they came to China.</p> <p class='one'>Part III. Flourishing City Life</p> <p>In Late Ming period (after middle 16th century), agriculture and handicrafts progressed and the market developed quickly both at home and abroad. Maritime trade was permitted after 1567 and much silver was imported into China. As a result, the silver became hard currency and the commodity economy was rapidly developed.</p> <p class='one'>Epilogue</p> <p>In 16th–17th centuries, the prosperous economy made people's life more colorful and liberal. Chinese humanism roughly synchronized with that in Europe, but different from the latter the Chinese humanism did not revive interest of the ancient thought.</p> <p>Although the social ideological trends in China did not promote the development of market economy, and the Industrial Revolution did not happen in China, changes were irresistible, and Chinese began to contribute to social transformation on their own way.</p>` },
          ],
          objects: 12,
          galleries: 9
        }
      },
      {
        id: 54,
        year: '2017',
        yrahTxt: 'February 8, 2017 - April 9, 2017',
        cover: '/data/Exhibitions/Past/28.jpg',
        h3: 'Edo and Beijing - City and Life in the 18th Century',
        p: "In the 18th century, Beijing and Edo, as the respective capitals of China and Japan, showed of their prosperity, each being a significant metropolis. This exhibition shows the prosperous Edo in the era of the Shogunate, and flourishing Beijing in the pre-Qing Dynasty period from different perspectives through well-chosen exhibits.",
        info: {
          topImg: '28',
          imgLast: '.png',
          title: 'Edo and Beijing - City and Life in the 18th Century',
          date: 'February 8, 2017 - April 9, 2017',
          time: '',
          loc: 'Tokyo Edo Museum',
          page: [
            { tit: '', article: `<p>In the 18th century, Beijing and Edo, as the respective capitals of China and Japan, showed of their prosperity, each being a significant metropolis. This exhibition shows the prosperous Edo in the era of the Shogunate, and flourishing Beijing in the pre-Qing Dynasty period from different perspectives through well-chosen exhibits spread over three halls, from the macro-urban functions and planning to the details of common people's life, and to colorful urban arts. The exhibition consists of three chapters. The first chapter is "City and Governance of Edo and Beijing", the second is "Urban Life in Edo and Beijing", and the third is "Qing Dynasty Culture and Art in Beijing". In the same era, the similarities and differences between the two cities and their material life reflect the commonalities and uniqueness of the two countries' cultures.</p> <p>Since 2002, the Capital Museum and the Tokyo Edo Museum have conducted various cooperation and exchange programs through the platform of "International Museum Seminar of China, Japan and South Korea". This exhibition is one of the achievements of Chinese and Japanese cooperation. The exhibition not only strengthens the relationship between the two museums, but also serves as a grand occasion for cultural exchange between the two cities and even the two countries. According to the plan, in 2018, "Beijing and Tokyo - City and Life in the 18th Century" will be held in the Capital Museum.</p>` },
            { tit: 'Chapter 1. City and Governance of Edo and Beijing', article: `<p>Picture: Inner city map of Edo<br/>Edo Period<br/>Collected by the Tokyo Edo Museum<br/><img title:'图片' src='/data/Exhibitions/infoPage/map1.jpg'/><br />It depicts the inner part of Edo City surrounded by the innermost moat. Inside the first city wall is the Imperial Palace, right of center in this picture. Below the palace are the second and third city walls. To the left is the Western Palace for reclusive generals and imperial heirs. Above the Imperial Palace are the Imperial gardens and residences for the Tayasu and Shimizu families, two of the three privileged branches of the Tokugawa (Shogunate) family. From this we can see that the structure of Edo is spirally expanded from the center.</p> <p>Picture: Inside and outside city map of Beijing<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map2.jpg'/><br />This late 19th Century picture shows the layout of Beijing in the Qing Dynasty in detail. In addition to the imperial city, the inner city and outer cities and the distribution of gates and yamen (government offices), hutongs, major streets and the garrisons in the inner city of the Eight Banners of Manchuria are also drawn in detail. This is a painting by Qing Dynasty artist Zhao Hong , who was born in Yanghu County, Jiangsu Province (now Wujin District, Changzhou City, Jiangsu Province), with a signature in the lower left corner.</p>` },
            { tit: 'Chapter 2.  Urban life in Edo and Beijing', article: `<p>Picture: Scroll "Hee Shing Tour" (partial)<br />1805<br /><img title:'图片' src='/data/Exhibitions/infoPage/map3.jpg'/><br />This depicts the flourishing commerce, row upon row of shops and the bustling flow of pedestrians in the Nihonbashi area of Edo, stretching from Kanda Bridge to Nihonbashi. According to the words on the donation box of the reconstructed Ekoin Temple, it was probably made around the 2nd year of the Bunka era (1805). In the following year, the temple was burnt down. The scroll can be used to verify the layout of the Nihonbashi district in the late 18th Century. </p><p>Picture: Celebrations for Emperor Kangxi's 60th Birthday (Partial)<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map4.jpg'/></p><p><img title:'图片' src='/data/Exhibitions/infoPage/map5.jpg'/><br />It depicts the 60-year-old birthday of Emperor Qianlong. From the left to the right of the scroll, Emperor Qianlong and his entourage set off from the garden-style palace and pass through the gate of Xizhimen into the city of Beijing and then into the Xihuamen of the Forbidden City. The way is dotted with drama stages, lanterns and streamers, and thronged with people waiting to see the emperor. Divided by the Xizhimen, the scroll comprises two rolls, with the total length of 130 meters.</p><p>Picture: Vendor's Back Box<br />Edo Period<br />Collected by the Edo Tokyo Museum in Japan<br /><img title:'图片' src='/data/Exhibitions/infoPage/map6.jpg'/><br />The backrest is flattened and fitted with a metal strip. Opening the locked box door, one can see 10 layers of drawers, each of which is separated into several small compartments. Judging from these, we can imagine it belonged to a vendor selling articles of daily use. </p><p>Picture: Doctor's Medical Kit<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map7.jpg'/></p><p><img title:'图片' src='/data/Exhibitions/infoPage/map8.jpg'/><br />This is a medical kit carried by an itinerant doctor. It has several drawers for medicines and treatment tools such as acupuncture needles. </p><p>Picture: White velvet purse with peony pattern<br />Edo Period<br />Collected by the Edo Tokyo Museum in Japan<br /><img title:'图片' src='/data/Exhibitions/infoPage/map9.jpg'/><br />This is a white velvet purse with such patterns as peony and clouds. Velvet is a kind of textile that makes the surface fluff by processing, and it was localized after being introduced into Japan by the Portuguese during the Tenbun era (1532-55). In the late Edo period, velvet was a very popular material for clothing. It was used not only in these small objects, but also in making a kimono collar (detachable collar).</p><p>Picture: Jing embroidery purse with melon pattern<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map10.jpg'/></p><p>Picture: Screen painted with quails contending in song<br />Second half of the 18th Century <br />Collected by the Edo Tokyo Museum in Japan <br /><img title:'图片' src='/data/Exhibitions/infoPage/map11.jpg'/><br />Quails are popular for their crowing. In the Edo period, quails were popular not only among the families of the generals, but also among common folk, who even published breeding handbooks explaining feeding methods, ways to distinguish superior quails with a good voice, etc. Crowing and posturing competitions were prevalent in the second half of the 18th Century. Such competitions were always staged in the morning when male birds have the most beautiful voices. This screen depicts the scene of such competitions.</p><p>Picture: Bird cage<br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map12.jpg'/><br />Bird-raising and bird-watching is a big joy in life for many Beijingers. A well-made cage and its occupant bird represent the identity of the masters who like to walk around with it. They chat with friends or families at home, at the roadside or in the teahouse, while listening to their birds. This tradition, handed down from the Qing Dynasty, can be seen everywhere even now in Beijing.</p>` },
            { tit: 'Chapter 3. Qing Dynasty Culture and Art in Beijing', article: `<p>Picture: Deer<br />Painted by Shen Quan <br />Qing Dynasty<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map13.jpg'/><br />This is rich in color, with delicate brushwork, and so lifelike as if the images are emerging from a picture. Shen Quan was from Zhejiang Province, and used the pseudonym of Nanping. He was good at painting birds and flowers. His painting technique was characterized by rich colors, with particular emphasis on rendering. He was hired by the Japanese Shogunate in 1731 (lasting for 16 years).  He stayed in Nagasaki for three years, during which he spread the skill of sketch drawing to Japan, exerting significant influence over Japanese art circles.</p><p>Picture: Eight kinds of ancient and modern paintings (sample of paintings that teach Chinese painting techniques)<br />By Song Zishi <br />In 1771(8th year of the Meiwa era)<br />Collected by the Edo Tokyo Museum in Japan<br /><img title:'图片' src='/data/Exhibitions/infoPage/map14.jpg'/><br /><img title:'图片' src='/data/Exhibitions/infoPage/map15.jpg'/></p><p>In the preface of Edo painter Song Zishi's picture book (sample collection) also appeared Shen Quan's name. Song Zishi was a representative of the Nanpin School. He studied painting from Xiong Pei in Nagasaki and then from the artist Qing Ziyan of the Qing Dynasty in 1758 (the 8th years of Bao Li period) to establish his own painting method. Song Zishi published several such model books for painting as this one, which played an important role in the popularization of Nanpin School.</p><p>Picture: Blue and white porcelain plate with the pattern of imperial Porcelain Plant<br />Qing Dynasty<br />Collected at the Capital Museum</p><p>On the white plate are the imperial kiln(Jingdezhen Official Kiln), streets, surrounding scenery and the detailed production of porcelain, painted with cobalt blue material. In the center are three courtyards flanked by porcelain workshops. On both sides of the mountain gate, which is at the lower part of the picture, are the Jingde Division and Fuliang County Government who supervised kiln affairs. It is an extremely valuable historical material helping study of the production system and folk custom of Jingdezhen in the Qing Dynasty.</p><p>Picture:  Imperial light greenish white jade writing-brush washer in the shape of a melon<br />Qing Emperor Qianlong<br />Collected at the Capital Museum<br /><img title:'图片' src='/data/Exhibitions/infoPage/map16.jpg'/><br />The light greenish white jade writing-brush washer in the shape of a melon is incised with a poem by Qing Emperor Qianlong. It has a curly leaf-shaped handle, with five petals blooming along the washer and hexagonal flower-shaped legs. We can conclude from these that it was Emperor Qianlong who ordered the internal court to inscribe the poem and the line.</p>` },
          ],
          objects: 16,
          galleries: 5
        }
      },
      {
        id: 55,
        year: '2015',
        yrahTxt: 'April 24, 2015 - August 12, 2015',
        cover: '/data/Exhibitions/Past/36.jpg',
        h3: 'Geneva at the Heart of Time – Origin of Swiss Watchmaking Culture',
        p: 'The exhibition"Geneva at the Heart of Time – Origin of Swiss Watchmaking Culture" organized by Capital Museum of China in collaboration with the Geneva Museum of Art and History and Vacheron Constantin officially opened in Capital Museum.',
        info: {
          topImg: '36',
          imgLast: '.png',
          title: 'Geneva at the Heart of Time – Origin of Swiss Watchmaking Culture',
          date: 'April 24, 2015 - August 12, 2015',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room A, B1',
          page: [
            { tit: '', article: `<p>The exhibition"Geneva at the Heart of Time – Origin of Swiss Watchmaking Culture" organized by Capital Museum of China in collaboration with the Geneva Museum of Art and History and Vacheron Constantin officially opened in Capital Museum. At a time when the 65th anniversary of the establishment of bilateral relations between Switzerland and China is being celebrated, it is the first ever Swiss horological exhibition staged by the Capital Museum.</p> <p>With about 350 exhibits, including antique clocks, pocket watches and wristwatches, as well as watchmaking tools and equipment, the exhibition displays the history and excellence of Swiss watchmaking and offers a unique view into the fine watchmaking history of Geneva, the cradle of this craft for more than three centuries, with a focus on its technical aspects and excellent craftsmanship. </p> <p>The more than 220 watches and enamel exhibits of the Geneva Museum of Art and History are exquisite and precious, for example, "Les Frères Huault", Geneva (Switzerland), enamelers; Fromanteel, watchmaker, London (England), gilt brass and enamel pocket watch, ca.1680 and Rochat Frères, Cage with three singing birds and a striking mechanism, Geneva (Switzerland), ca. 1814. The Manufacture Vacheron Constantin is also exhibiting about 80 exclusive pieces from its heritage collection, including the first-known pocket watch created by Jean-Marc Vacheron, the firm’s founder, and an exquisite skeleton clock first shown at the National Exhibition of Zurich in 1939. In addition, Vacheron Constantin is showing off some of its precious tools and equipment.</p> <p>The exhibition also showcases a reconstructed 18th Century Geneva cabinotiers workshop, based on a painting by Christophe François von Ziegler that is on display at Museum of Art & History, Geneva.</p> <p>In addition to the exhibition of heritage pieces, craftsmen from Geneva, including a Master Watchmaker, Master Enameller, Master Gem-setter, Master Engraver, and Master Guillocheur, will demonstrate their age-old state-of-the-art techniques from April 23rd to May 3rd, May 28th to June 3rd, and July 9th to July 15th, 2015. </p> ` },
          ],
          objects: 10,
          galleries: 6
        }
      },
      {
        id: 56,
        year: '2014,2015',
        yrahTxt: 'December 26, 2014 – March 25, 2015',
        cover: '/data/Exhibitions/Past/37.jpg',
        h3: 'Smile of Khmer: Cambodian Ancient Cultural Relics and Art',
        p: 'Ancient Cambodia was once known as the Angkor Kingdom of the ancient Khmer people who inhabited the area. "Angkor" marked the heyday of ancient Khmer culture, which left an immortal architectural and sculptural art mode, focused on Angkor Wat as its most notable and unique achievement.',
        info: {
          topImg: '37',
          imgLast: '.png',
          title: 'Smile of Khmer: Cambodian Ancient Cultural Relics and Art',
          date: 'December 26, 2014 – March 25, 2015',
          time: '9:00 - 17:00 (closed on Mondays)',
          loc: 'Room D, F3',
          page: [
            { tit: '', article: `<p>Ancient Cambodia was once known as the Angkor Kingdom of the ancient Khmer people who inhabited the area. "Angkor" marked the heyday of ancient Khmer culture, which left an immortal architectural and sculptural art mode, focused on Angkor Wat as its most notable and unique achievement. The majority of the cultural relics in the exhibition are from Angkor, and this is the first time ever for a large exhibit of "Angkor art" to be seen in Beijing.</p> <p>The ancient arts masterpieces lent by the National Museum of Cambodia mostly highlight large sandstone statues. The statues are made in quiet and elegant style, and are typical symbols of the classical Buddhist Art of Southeast Asia. Furthermore, there are examples of ancestral temple architectures, with vivid various styles and patterns and superb carving skills, representing the complex religious systems and history of Cambodia.</p> <p>"Angkor art" is the reflection of the prosperity and glory of the Angkor dynasty, as well as significant achievement during a period of great prosperity created by the Khmer people. We believe that the exhibition will bring a comprehensive brand-new visual experience to audiences drawn from all walks of life.</p> ` },
          ],
          objects: 9,
          galleries: 1
        }
      },
    ]
  }
}
export const Collections = {
  Bronzes: [
    {
      url: 'Bronzes',
      id: 1,
      h3: 'Bronze <i>He</i> Wine Vessel Inscribed by Ke',
      p: 'This vessel has a domed lid with a loop handle that has tiny animal faces (eyes and horns) at its ends. A smaller loop at one side of the lid is connected by a link to another loop at the top of the handle.',
      info: `<p>Western Zhou period  (1046 B.C.–771 B.C.)</p> <p>Total height 27 cm, length 25.7 cm, width 16 cm, mouth diameter 14.4 cm</p> <p>Unearthed from the Liulihe Archaeological Site in Fangshan District, Beijing</p> <p>This vessel has a domed lid with a loop handle that has tiny animal faces (eyes and horns) at its ends. A smaller loop at one side of the lid is connected by a link to another loop at the top of the handle. The vessel has an everted mouth with molded rim, a straight neck, a tubular spout, and opposite the spout a handle with an animal head. The undecorated body has four lobes and four vertical cylindrical legs. Four birds with long tails decorate the lid and another four encircle the neck, in both cases on a ground of <i>yunlei</i> (cloud and thunder) patterns. An inscription of 43 characters inside the lid is repeated on the inside wall of the neck. This is the longest inscription from the Liulihe site. It appears also on a bronze lei from the site. It names one Ke as the name of the maker of the two vessels, and it confirms that Liulihe was the location of the capital of the State of Yan during the Western Zhou period. The two vessels are important and reliable material evidence for the history of Beijing. </p><p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 2,
      h3: 'Bronze <i>Ding</i> Tripod Cauldron with Animal Mask',
      p: 'The vessel is a tripod bowl that contracts slightly toward its molded rim, on which stand two upright handles.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)<br />Height 36.8 cm, mouth diameter 29.9cm<br />Unearthed from the Liulihe Archaeological Site in Fangshan, Beijing</p> <p>The vessel is a tripod bowl that contracts slightly toward its molded rim, on which stand two upright handles. The swelling lower part of the bowl is supported on small hoof-shaped legs with flanged animal faces at their tops. The decoration of the bowl consists of a narrow band of six animal faces, each bisected by a flange, and below it nine pendant triangles formed of bird pairs. Both the birds and the animal faces are on a <i>yunlei</i> (cloud and thunder) pattern ground. The vessel is a typical, very fine early Western Zhou casting.</p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 3,
      h3: 'Bronze <i>Ding</i> Tripod Cauldron of Jin',
      p: 'This vessel contracts toward its molded rim, on which stand two massive outcurved handles. The outer face of each handle is decorated with a pair of confronted dragons.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)<br />Height 61.8 cm, mouth diameter 47 cm<br />Unearthed from the Liulihe Archaeological Site in Fangshan, Beijing<br /></p> <p>This vessel contracts toward its molded rim, on which stand two massive outcurved handles. The outer face of each handle is decorated with a pair of confronted dragons. The widest part of the bowl is undecorated. Above the undecorated zone is a band of six animal faces on a <i>yunlei</i> ground, each bisected by a flange. The bowl is supported on three legs with flanged animal heads at their tops and feet that flare toward the bottom. Inside the bowl the bottom has three shallow circular depressions corresponding to the three legs outside. The inside wall is inscribed with 26 characters in four lines. The biggest and heaviest bronze unearthed so far in the Beijing area, this vessel is the product of very skilled casting.</p><p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 4,
      h3: 'Bronze <i>Li</i> Lobed Tripod Cauldron Inscribed by Bo Ju',
      p: 'The vessel has a flat lid from which two horned animal faces look upward. Between them is a knob in the form of back-to-back ox heads.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)<br />Total height 33 cm, mouth diameter 22.9 cm, body diameter 24.2 cm<br />Unearthed from the Liulihe Archaeological Site in Fangshan, Beijing</p> <p>The vessel has a flat lid from which two horned animal faces look upward. Between them is a knob in the form of back-to-back ox heads. The lid has two notches that allow it to fit around the handles that stand on the molded rim of the vessel. Below the rim is a neck and then a three-lobed body supported on three stout legs. Short flanges divide the neck into six sections containing six dragons confronted in pairs. The lobes of the body have three horned animal faces matching the two on the lid. An inscription of 15 characters in four lines on the underside of the lid is repeated on the inside wall of the neck. This is one of the finest bronzes from the early Western Zhou Yan State cemetery.</p><p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 5,
      h3: 'Bronze <i>Gui</i> Food Vessel Inscribed "Bo"',
      p: 'The gui is an ancient food vessel type. This example, inscribed with the Chinese character "Bo", is called the Bo <i>Gui</i>. It has a domed lid with a cup-shaped handle.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)</p> <p>Total height 28.5 cm, mouth diameter 20.5 cm, ring foot diameter of 15.6 cm</p> <p>Unearthed from the Liulihe Archaeological Site in Beijing's Fangshan District </p> <p>The gui is an ancient food vessel type. This example, inscribed with the Chinese character "Bo", is called the Bo <i>Gui</i>. It has a domed lid with a cup-shaped handle. Below its molded rim the bowl contracts, then swells into a bulging belly, below which is a ring foot. The bowl has two handles in the shape of massive birds with heads tilted upward. From the bottoms of the handles issue two legs in the form of elephant heads whose trunks emerge from their mouths. Two more legs issue from the ring foot. The lid is quartered by barbed flanges. Two more flanges appear on the body, midway between the handles. An elephant on a <i>yunlei</i> ground pattern occupies each quarter of the lid and each quarter of the body. The elephants are confronted in pairs. The ring foot has a band of <i>yunlei</i> pattern in three tiers. An inscription of six characters in two lines appears inside the lid and again inside the bowl. The vessel is very fine. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 6,
      h3: 'Bronze <i>Lei</i> Inscribed by Ke',
      p: 'This vessel has a domed lid with a cup-shaped handle, a molded rim, a short neck, and a round shoulder with two animal-head handles interlocked with rings.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)</p> <p>Total height 33 cm, distance between handles 27.2 cm, mouth diameter 14.2 cm, body diameter 21.7 cm, ring foot diameter 14.2 cm</p> <p>Unearthed from the Liulihe Archaeological Site in Fangshan District, Beijing</p> <p>This vessel has a domed lid with a cup-shaped handle, a molded rim, a short neck, and a round shoulder with two animal-head handles interlocked with rings. Below the shoulder the vessel tapers toward a conical ring foot. On the far side, not visible in the illustration, a third animal-head handle projects from the body just above the ring foot. There are four whorl-circle bosses on the lid and six on the shoulder. Above the shoulder are two bowstring lines; below it is a groove. The vessel has the same 43-character inscription seen on the Ke he, and like the he it confirms the Liulihe site as the location of the capital of the Western Zhou State of Yan. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 7,
      h3: 'Bronze <i>Lei</i> Square Wine Vessel Inscribed “Zi”',
      p: 'Both the lid of this vessel and its knob have the shape of a hipped roof. The mouth, body, and foot are rectangular in cross section.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)</p> <p>Total height 59 cm, mouth 12.7 x 15.3 cm, foot 7.5 x 16.5 cm</p> <p>Unearthed from the Liulihe Archaeological Site in Fangshan District, Beijing</p> <p>Both the lid of this vessel and its knob have the shape of a hipped roof. The mouth, body, and foot are rectangular in cross section. Below a straight neck we come to a curved shoulder, a tapering lower part, and a high ring foot with slanting sides. The lid is decorated with upside-down animal faces. In the shoulder zone, two sides of the body have animal-head handles with rings while the other two have animal heads alone. The shoulder is decorated with dragons, two facing each handle or head. Below the shoulder, each side of the body is decorated with a pair of confronted birds, below the birds a large animal face, and below that a smaller animal face; the ring foot then has another pair of confronted birds. All these motifs are set on a ground of <i>yunlei</i> (cloud and thunder) patterns. Heavy vertical flanges project from the corners of the lid, body, and foot, and also from the center of each side. A third animal-head handle appears low on one side of the body. When filled with wine, the vessel would have been very heavy; this third handle would have helped tip it for pouring. An inscription of one character read Zi is cast on the inside wall of the neck.</p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 8,
      h3: 'Bronze Spoon',
      p: "This shovel-like spoon has a flat slablike handle with a seated person, a standing tiger, and projecting from the end, a ram's head with curling horns.",
      info: `<p>Shang Dynasty (c. 1600 – 1046 B.C.)</p> <p>Length 22.5 cm, width 4.5, height 5.4 cm</p> <p>This shovel-like spoon has a flat slablike handle with a seated person, a standing tiger, and projecting from the end, a ram's head with curling horns. The human figure has deep eye sockets, a wide nose, high cheeks, and a big mouth, and sits with its hands resting on its knees. The sides of the handle are covered with slanting striations.</p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 9,
      h3: 'Bronze <i>Dou</i>, Long-stemmed Bowl with Stylized Snake Patterns',
      p: 'This ancient food vessel has two parts, a cover with tripod legs and a stemmed bowl, both hemispherical.',
      info: `<p>Warring States Period  (475 B.C. –221 B.C.)</p> <p>Total height 49.2 cm, sphere diameter 16.8 cm, foot diameter 13.5 cm </p> <p>Unearthed from infrastructure projects in Huairou District, Beijing </p> <p>This ancient food vessel has two parts, a cover with tripod legs and a stemmed bowl, both hemispherical. Together they form a sphere; turned upside down, the cover becomes a tripod bowl. The decoration is in horizontal bands, some with zigzags that frame patterns, some with rectangular shapes that frame back-to-back S-shapes on a <i>leiwen</i> ground. The three legs on the cover and the pair of ring-shaped handles on the body are decorated with fine spirals and triangles. Unusual in shape, slender and elegant, this vessel seems to be peculiar to the Warring States period State of Yan. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 10,
      h3: 'Bronze <i>Gui</i> Food Vessel Inscribed "You"',
      p: 'The vessel has a domed lid with a cup-shaped handle at the top. The bulging bowl contracts slightly toward a molded rim; its ring foot rests on the necks of three rearing tigers.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.) </p> <p>Total height 28.5 cm, mouth diameter 20.3 cm</p> <p>Unearthed from the Liulihe Archaeological Site in Fangshan District, Beijing</p> <p>The vessel has a domed lid with a cup-shaped handle at the top. The bulging bowl contracts slightly toward a molded rim; its ring foot rests on the necks of three rearing tigers. Two animal-head handles have pendants in the form of curled-up elephant trunks. Under the ring foot there are three feet in the shape of weighted tigers. Both lid and body are decorated with long-tailed birds on a ground of <i>yunlei</i> (clouds and thunders) pattern. The ring foot is ornamented with a band of eyes and diagonals. An inscription of seventeen characters in three lines appears inside the lid and again inside the bowl. This is one of the finest bronzes of the early Western Zhou State of Yan. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 11,
      h3: 'Bronze <i>Gui</i> Food Vessel with the Inscription "Ban"',
      p: 'The vessel has a contracted mouth, an everted molded rim, and a sagging belly.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)</p> <p>Height 22.5 cm, mouth diameter 25.7 cm, bottom diameter 22 cm</p> <p>The vessel has a contracted mouth, an everted molded rim, and a sagging belly. Four animal-head handles quarter the bowl, beneath which is a ring foot. The bowl does not rest on its ring foot, however, but on legs shaped like elephant trunks hanging from the handles. The decoration in the main register consists of four animal faces, each facing outward from behind one of the handles. Above the main register is a band of whorl circles bordered by bowstring lines. Inside the ring foot is an inscription of 197 characters in twenty lines. The clear narrative of this text is a valuable supplement to historical records of the Western Zhou period.</p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 12,
      h3: 'Bronze <i>Jue</i> Wine Cup Inscribed "Shou"',
      p: 'This wine cup has a long broad spout and a short tail, both tilted upwards. At the base of the spout are two capped posts.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.) </p> <p>Height 25.2 cm, spout length 19 cm, leg length 10.3 cm, body diameter 12 cm</p> <p>This wine cup has a long broad spout and a short tail, both tilted upwards. At the base of the spout are two capped posts. The body is deep and circular, with a rounded bottom, a handle on one side, and three curving blade-shaped legs. The spout is decorated with beaked dragons. The body has a main register in which animal faces are flanked by dragons; along the upper edge of this register are triangles containing cicadas. <i>Yunlei</i> (clouds and thunders) pattern serves as the ground for all these motifs. Notched flanges run down the undersides of the spout and tail and onto the body of the vessel, ending at the lower edge of the main register. On the wall of the vessel, beneath the animal-head handle, is an inscription of one character that reads "Shou". The vessel is elegant in design and finely decorated. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 13,
      h3: 'Bronze <i>Dou</i>, Long-stemmed Bowl with Stylized Snake Patterns',
      p: 'This ancient food vessel has two parts, a cover with tripod legs and a stemmed bowl, both hemispherical.',
      info: `<p>Warring States Period (475 B.C. –221 B.C.)</p> <p>Total height 49.2 cm, sphere diameter 16.8 cm, foot diameter 13.5 cm </p> <p>Unearthed from infrastructure projects in Huairou District, Beijing </p> <p>This ancient food vessel has two parts, a cover with tripod legs and a stemmed bowl, both hemispherical. Together they form a sphere; turned upside down, the cover becomes a tripod bowl. The decoration is in horizontal bands, some with zigzags that frame patterns, some with rectangular shapes that frame back-to-back S-shapes on a <i>leiwen</i> ground. The three legs on the cover and the pair of ring-shaped handles on the body are decorated with fine spirals and triangles. Unusual in shape, slender and elegant, this vessel seems to be peculiar to the Warring States period State of Yan. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 14,
      h3: 'Bronze <i>Zhou</i> Helmet',
      p: 'An openwork crest rises from the rounded top of this helmet. It has a loop to which a tassel could have been tied.',
      info: `<p>Western Zhou Dynasty (1046 B.C.–771 B.C.)<br />Total height 25 cm, diameter 25 cm<br />Unearthed from Baifu Village, Changping, Beijing</p> <p>An openwork crest rises from the rounded top of this helmet. It has a loop to which a tassel could have been tied. Apart from the crest, the helmet is undecorated. Its wall is lengthened on the sides to protect the side of the head. At the rear the wall reaches a little lower than on the front. Helmets intended for use in battle were generally made of leather (which may well have offered more protection than bronze); bronze helmets are rare and may have been parade items. Bronze helmets usually have exteriors finished smooth and interiors left rough, so their interiors may have been lined or padded for the wearer's comfort. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 15,
      h3: 'Bronze <i>Yue</i>-axe decorated with a Bell and Animals',
      p: 'This is a battle axe with a tubular socket to receive a handle and a blade with three large perforations and curling top and bottom corners.',
      info: `<p>Western Zhou Dynasty (1046 B.C.–771 B.C.)<br />Height 44.2 cm, width 8.8 cm</p> <p>This is a battle axe with a tubular socket to receive a handle and a blade with three large perforations and curling top and bottom corners. The tubular socket has a flattened cross section. Two small animals climbing its back edge are separated by a jingle (there is a bronze pellet inside the bud-shaped jingle). The socket is decorated with raised rings containing dots and, at right angles to the rings, rows of dots and wavy lines. Two perforations in the socket may have helped secure the shaft in the tube. This is an unusual and truly eye-catching bronze axe. Volume 37 of the Qing imperial catalogue Xi Qing gu jian has a similar object that it calls "Zhou Pian Yun Qi."</p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 16,
      h3: 'Bronze <i>You</i> Wine Vessel Inscribed "Yu"',
      p: 'This tall vessel has a domed lid, a ring foot, a flattened oval body, and a swing handle whose curve echoes the curve of the body below.',
      info: `<p>Western Zhou period  (1046 B.C.–771 B.C.)</p> <p>Total height 24.5 cm, mouth diameter 10.9 x 8 cm</p> <p>Unearthed from the Liulihe Archaeological Site in Fangshan, Beijing</p> <p>This tall vessel has a domed lid, a ring foot, a flattened oval body, and a swing handle whose curve echoes the curve of the body below. The flattened shape puts strong emphasis on the animal faces that cover most of the body. They are flanked by small birds. The narrow band above the animal faces contains dragons separated by a small animal head in high relief. The lid has small versions of the animal faces on the body, again flanked by birds, but these faces are not aligned with the ones on the body but are turned to face sideways toward the handle. The handle was cast with its loop-shaped ends interlocked with loops projecting from the side of the vessel. The interlocked loops are concealed by animal heads belonging to the handle ends. An inscription of 14 characters in three lines appears inside the lid and again inside the body, on the bottom.</p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 17,
      h3: 'Bronze <i>You</i> Wine Vessel Inscribed "Danzi Gongfu Wu"',
      p: 'This oval-shaped vessel has a domed lid with a high collar and a bud-shaped knob decorated with cicadas.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)<br />Total height 34.5 cm, body diameter 15.5 x 11.6 cm<br /><br />Unearthed from the Liulihe Archaeological Site in Fangshan, Beijing</p> <p>This oval-shaped vessel has a domed lid with a high collar and a bud-shaped knob decorated with cicadas. A band of dragons on the dome is repeated on the body below. From the side of the lid all the way to the bottom of the belly, the profile of the vessel is a continuous curve. The flaring ring foot has another band of decoration, animal faces on a <i>yunlei</i> ground. An inscription inside the lid is repeated on the bottom inside the vessel. This is a typical vessel of late Shang and early Western Zhou.</p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 18,
      h3: 'Bronze <i>Zun</i> Wine Vessel Inscribed "Danzi Gongfu Wu"',
      p: 'This vessel has a tall flaring upper section, a faintly bulging middle section, and a high ring foot.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)</p> <p>Height 30 cm, mouth diameter 23 cm</p> <p>Unearthed from the Liulihe Archaeological Site in Fangshan, Beijing</p> <p>This vessel has a tall flaring upper section, a faintly bulging middle section, and a high ring foot. It is quartered by flanges whose upper ends overshoot the rim. The upper section has a horizontal band of snakes from which rise banana-leaf shapes formed of upside-down animal faces. In the middle section are two animal faces bisected by flanges and flanked by dragons. All these motifs rise from a <i>yunlei</i> (cloud and thunder) ground pattern. A cast inscription of five characters appears inside the vessel in the bottom. This is the finest vessel of its kind. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 19,
      h3: 'Bronze Square <i>Ding</i> Cauldron with Animal Mask',
      p: 'This square vessel has a rim with two upright handles, a short neck, a sloping shoulder, a boxlike body, and a flat bottom connected to four hoof-shaped legs.',
      info: `<p>Shang Dynasty (c. 1600 B.C. – 1046 B.C.)<br />Total height 22 cm, mouth 12.2 cm on a side, lower part 19.2 cm on a side</p> <p>This square vessel has a rim with two upright handles, a short neck, a sloping shoulder, a boxlike body, and a flat bottom connected to four hoof-shaped legs. There are flanges at the corners of the shoulder and at the centers of the sides of the body. Each side of the shoulder has a two-bodied tiger. Animal faces with horns that spiral off the surface are folded around the corners of the vessel body. The faces are set against a ground of <i>yunlei</i> (cloud and thunder) patterns. The legs of the vessel carry animal heads.</p><p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {

      url: 'Bronzes', smImg: '20',
      id: 20,
      h3: 'Bronze <i>Gui</i> Food Vessel with Inscription "&nbsp;<img src="/data/Collections/Bronzes/smImg.png" class="smImg"/>&nbsp;"',
      p: 'This vessel consists of a round bowl with a ring foot standing on a square pedestal.',
      info: `<p>Western Zhou period  (1046 B.C.–771 B.C.)<br />Height 22.1 cm, mouth diameter 18.9 cm, pedestal height 8.1 cm, pedestal width and depth 17.2 cm<br />Unearthed from the Liulihe Archaeological Site in Fangshan, Beijing</p> <p>This vessel consists of a round bowl with a ring foot standing on a square pedestal. The bowl and the hollow pedestal were cast together, in one piece. The bowl has two animal-head handles with rectangular pendants. The main register of the bowl and the sides of the pedestal are occupied by large animal faces. The faces are flanked by dragons on the bowl, by birds on the pedestal. The ring foot and the zone above the main register are occupied by narrow bands of whirligig bosses alternating with small crested dragons whose heads turn backwards over their bodies. On the bottom inside the bowl is an inscription of seven characters in two lines.</p><p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 21,
      h3: 'Bronze Dish with Birds, Fish, and a Turtle',
      p: 'This deep dish has a very high cylindrical foot and an everted rim with two posts in the form of birds facing opposite ways.',
      info: `<p>Shang Dynasty (c. 1600 B.C.-1046 B.C.)<br />Height 21.2cm, diameter 38.6 cm<br />Unearthed from the Shang Dynasty Liujiahe Tomb in Pinggu District, Beijing</p> <p>This deep dish has a very high cylindrical foot and an everted rim with two posts in the form of birds facing opposite ways. The foot has large rectangular openings that result from the way the mold was constructed. Below the openings is a band of slanting <i>leiwen</i> patterns. The exterior of the dish is undecorated. The interior has three fish equally spaced around the wall and a turtle on the bottom. The shell of the turtle is ornamented with whorls, a border of small circles, and clouds patterns. Apart from its bird-shaped posts this dish is similar to two others, a dish from Panlongcheng in Hubei (M2:1) and a dish bought by Beijing's Xiaoguan Purchasing Station in 1980. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 22,
      h3: 'Bronze <i>Lei</i> Wine Vessel with Three Ram Heads',
      p: 'This broad low vessel has wide body, a high slanting ring foot, a curving shoulder, and a high neck with a molded rim.',
      info: `<p>Shang Dynasty (c. 1600 B.C. -1046 B.C.)<br />Height 27 cm, diameter 20 cm<br />Unearthed from the Shang Dynasty Liujiahe Tomb in Pinggu District, Beijing</p> <p>This broad low vessel has wide body, a high slanting ring foot, a curving shoulder, and a high neck with a molded rim. The sharp angle separating shoulder from body is crossed by three large ram heads aligned with three animal faces in the main register on the body. The animal faces are separated by vertical flanges. The shoulder, ring foot, and narrow bands above and below the main register contain eyes and spirals (<i>mulei</i> pattern). The neck is undecorated except for two bowstring lines. The ring foot has three openings left by the casting method. A similar vessel was found in Xiaotun M388 at the Yinxu site</p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 23,
      h3: 'Bronze <i>Gui</i> Food Vessel Inscribed "Yu"',
      p: 'This vessel has a domed lid whose curve continues that of the bowl below.',
      info: `<p>Western Zhou period (1046 B.C.–771 B.C.)<br />Total height 26.5 cm, mouth diameter 13.4 cm<br />Unearthed from the Liulihe Archaeological Site in Fangshan, Beijing</p> <p>This vessel has a domed lid whose curve continues that of the bowl below. The lid has a cup-shaped handle with two openings in its sides. The bowl has two animal-head handles with pendants. Its ring foot stands on a square pedestal cast in one piece with it. The lid, bowl, and pedestal all have similar animal faces flanked by dragons. A band of kui-dragons at the top of the bowl is repeated on the ring foot. An inscription of 14 characters in three lines appears inside the lid. An inscription inside the bowl on the bottom has only six characters in two lines, reading "Marquis Yu made [this] precious vessel." Though the two inscriptions differ, there can be no doubt that the lid and body belong together. </p><p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 24,
      h3: 'Turquoise-inlaid Dragon-head Shaped Belt Hook',
      p: 'This gilded belt hook tapers into a dragon head-shaped end with a round knob. It is adorned with a geometric pattern inlaid with turquoise.',
      info: `<p>The Warring States Period (770 B.C. – 476 B.C.)</p> <p>Length: 25.4 cm, Width: 2.8 cm</p> <p>This gilded belt hook tapers into a dragon head-shaped end with a round knob. It is adorned with a geometric pattern inlaid with turquoise. Its large size makes it a rarity and a perfect example for studying the gilding and inlay technology.</p> `,
    },
    {
      url: 'Bronzes',
      id: 25,
      h3: 'Gold-inlaid Incense Burner with Cord-shaped Ears and Persian Inscription',
      p: 'This vessel has a wide mouth with a broad right-angled edge, a short contracted neck, cord-shaped upright ears, a round shoulder, a bulging belly and three short legs with shallow crotches.',
      info: `<p>The Reign of Jingtai, Ming Dynasty  (1450-1457)</p> <p>Height: 13.5 cm, Rim Diameter: 17.8 cm</p> <p>This vessel has a wide mouth with a broad right-angled edge, a short contracted neck, cord-shaped upright ears, a round shoulder, a bulging belly and three short legs with shallow crotches. Gold-inlaid patterns are applied on the rim, the neck, the shoulder and the belly. The mouth rim is decorated with a continuous square spiral pattern. Around the neck are eight round floral designs. On the shoulder there is a circle of Persian characters, which are epigrams saying to the effect that one should treasure his life and spend it worshipping Allah and learning the essence of life. The belly is adorned with patterns of passionflowers and interlocking Ganoderma. The year in which it was made, 885 in the Muslim calendar (1450 AD, or the first year of Jingtai in Ming Dynasty), is inscribed at the bottom in gold within double rings. With a graceful design and fine workmanship, this incense burner is a rarity that integrates Han and Muslim artistic styles.</p> `
    },
    {
      url: 'Bronzes',
      id: 26,
      h3: 'Bronze Basin <i>Xi</i> with Human-shaped Legs',
      p: 'This laver is shaped like a deep basin. It has a broad mouth with a slightly curved edge, a contracting belly adorned with two rings in beast heads on opposite sides and a flat bottom.',
      info: `<p>Han Dynasty (202 B.C.– 220 A.D.)</p> <p>Height: 14.5 cm, Rim Diameter: 27 cm</p> <p>This laver is shaped like a deep basin. It has a broad mouth with a slightly curved edge, a contracting belly adorned with two rings in beast heads on opposite sides and a flat bottom. The legs are in the shape of three human figures standing akimbo. They have open-wide eyes and mouths, wearing only short skirts, with the upper body naked and holding the basin on their shoulders. The belly of the basin is decorated with a group of raised cords. As a daily-used washing vessel, this laver resembles the late Warring States Period dui vessel with human-shaped legs in both the form and the decoration, which was unearthed at Langyashan in Huailai and presently collected in Hebei Provincial Institute of Cultural Relics.</p> `
    },
    {
      url: 'Bronzes',
      id: 27,
      h3: 'Bronze Pitch Pot <i>Tou Hu</i> with Eight Diagrams',
      p: 'This pot has a straight mouth, with two ears on opposite sides, a long straight neck, a round and broad shoulder and a bulging belly tapering downwards and a flat bottom.',
      info: `<p>Yuan Dynasty (1271-1368)</p> <p>Height: 39 cm, Rim Diameter: 9.5 cm, Bottom Diameter: 11 cm</p> <p>This pot has a straight mouth, with two ears on opposite sides, a long straight neck, a round and broad shoulder and a bulging belly tapering downwards and a flat bottom. The ears are adorned with a thunder pattern, the neck with a tile pattern, and the shoulder with a circle of square spiral pattern sandwiched by bow-string designs. The belly is decorated with an Eight-Diagrams pattern, and with a band of lotus petal pattern in its lower part. The vessel is a <i>Tou Hu</i> (pitch-pot) used in a game which started in the Spring and Autumn Period or Warring States Period and became popular in the Jin, Tang, Song, Jin and Yuan dynasties.</p> `
    },
    {
      url: 'Bronzes',
      id: 28,
      h3: 'Bronze Pot <i>Hu</i> with Animal-head Handles with Rings',
      p: 'This pot has a small round mouth, a short neck and a sloping shoulder with two opposite ears in the shape of an animal-head holding a ring.',
      info: `<p>Han Dynasty  (202 B.C.– 220 A.D.)</p> <p>Height: 26.7 cm, Rim Diameter: 5.4 cm</p> <p>This pot has a small round mouth, a short neck and a sloping shoulder with two opposite ears in the shape of an animal-head holding a ring. The belly is rather big with ridges on two sides, making its cross section and the ring foot under the belly like an olive. The ring foot is short, and slightly outstretched. The overall surface is unadorned. Its unique shape laid the basis for Han Dynasty oval pots.</p> `
    },
    {
      url: 'Bronzes',
      id: 29,
      h3: 'Dagger with Geometric Design',
      p: 'This is a bronze dagger made by northern people. The body is short, thick and heavy, but finely cast, with the hilt being adorned with a realistic design characteristic of nomadic culture.',
      info: `<p>The Spring and Autumn Period (770 B.C.– 476 B.C.)</p> <p>Unearthed at Yuhuangmiao, Yanqing, Beijing</p> <p>Length: 29.3 cm</p> <p>This is a bronze dagger made by northern people. The body is short, thick and heavy, but finely cast, with the hilt being adorned with a realistic design characteristic of nomadic culture.</p>`
    },
    {
      url: 'Bronzes',
      id: 30,
      h3: 'Shell-inlaid Gilded Deer',
      p: 'This crouching deer consists of a seashell body and bronze head and limbs. Its raised head is further fixed to the sea shell body by back-spreading antlers and ears.',
      info: `<p>Han Dynasty  (202 B.C.– 220 A.D.)</p> <p>Height: 4.3 cm, Bottom Size: 9×5.8 cm</p> <p>This crouching deer consists of a seashell body and bronze head and limbs. Its raised head is further fixed to the sea shell body by back-spreading antlers and ears. The lower edges of the belly and limbs curve upward to support the shells. Traces of gold could be seen somewhere on the body. Its ingenious integration of two materials, especially using the shell's pattern as the deer's pattern, can best represent the artistic efforts. The style was unique in Han Dynasty.</p> `
    },
    {
      url: 'Bronzes',
      id: 31,
      h3: 'Bronze <i>Jian</i> Water Basin with Dispersive Dragon Patterns and Animal-shaped Ears',
      p: 'A <i>Jian</i> was a water basin in ancient China. Its mouth is flaring with narrow and everted edge while its neck is slightly contracted. It has a bulging belly with the lower part tapers inwards, and a flat bottom.',
      info: `<p>Spring and Autumn Period (770 B.C.– 476 B.C.)</p> <p>Height 41.3 cm, diameter 75.4 cm </p> <p>A <i>Jian</i> was a water basin in ancient China. Its mouth is flaring with narrow and everted edge while its neck is slightly contracted. It has a bulging belly with the lower part tapers inwards, and a flat bottom. From the neck to the belly two pairs of handles in different forms are placed symmetrically, one pair in the form of a dragon holding a loop in its head and the other pair in the form of a climbing dragon popping its head around the edge. <i>Chi</i> dragons overlap with leaf patterns in a dispersive way on the surface of the vessel, with a random scattering of curly short lines and tadpole-shaped or raised dots. As a water vessel in ancient China, <i>Jian</i> was used as a mirror when containing water, or used for containing ice, or employed as a bath tub when capacious enough. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
    {
      url: 'Bronzes',
      id: 32,
      h3: 'Square <i>Ding</i> Cauldron Inscribed "Yu"',
      p: 'The vessel has a round-cornered rectangular lid in a shape of an upside-down shallow tray with two U-shaped supports.',
      info: `<p>Western Zhou period (1046 B.C.– 771 B.C.)<br />Total height 33 cm, mouth diameter 18.2 x 13 cm<br />Unearthed from the Liulihe Archaeological Site in Fangshan, Beijing</p> <p>The vessel has a round-cornered rectangular lid in a shape of an upside-down shallow tray with two U-shaped supports. The body contracts toward the mouth, which has a molded rim into which the lid fits perfectly. Two handles issue from the side of the body and turn upward. Their outer faces are decorated with dragons. The slightly curved underside is supported on four cylindrical legs. Most of the body is undecorated, but just below the mouth is a narrow band of two-bodied dragons whose bodies undulate like waves. A similar band appears on the side of the lid. Both bands have a ground of <i>yunlei</i> (cloud and thunder) pattern. The design of one head with two symmetrically placed bodies might imitate the common animal-face design. It might also be a way of indicating three-dimensional volume in the plane. The design was in fashion mainly from the late Shang period to the middle Western Zhou period. An inscription of 14 characters in three lines appears inside the lid and again on the wall of the body. </p> <p class='xx'>Edited by Dr. Robert Bagley and Dr. Haicheng Wang.</p>`
    },
  ],
  Ceramics: [
    // <i>He</i>
    {
      url: 'Ceramics',
      id: 1,
      h3: 'Blue-and-white Snuff Bottle with Mythic Fungus Design',
      p: 'This snuff bottle is hexagonal in shape. It has a trumpet mouth, a contracted neck, slip shoulders, a swelling belly and a ring foot. On the body there decorated with mythic fungus designs.',
      info: `<p>Yong Zheng period in Qing Dynasty (1723-1735)</p> <p>Height 5cm</p> <p>This snuff bottle is hexagonal in shape. It has a trumpet mouth, a contracted neck, slip shoulders, a swelling belly and a ring foot. On the body there decorated with mythic fungus designs. On the bottom there are triple rows of blue-and-white characters in regular script: "Made in the year of Yong Zheng of Qing Dynasty". A snuff bottle is a container of the snuff. It was originally created in Kang Xi period in Qing Dynasty. Its feature is having a small mouth but a swelling belly. Its lid links a tiny spoon, used for stretching something from the bottle.</p> `
    },
    {
      url: 'Ceramics',
      id: 2,
      h3: 'Ding-kiln White-glazed Bowl with Engraved Lotus Petal Pattern',
      p: 'The porcelain production of Ding Kiln in Jin Dynasty was as successful as it was in Northern Song Dynasty. This bowl is no less elaborate than those from Song Dynasty.',
      info: `<p>Jin Dynasty (1115~1234)</p> <p>Height: 6.9 cm, Rim Diameter: 18.4 cm, Bottom Diameter: 10 cm</p> <p>Unearthed from the tomb of Shi Zongbi in Tongzhou, Beijing.</p> <p>The porcelain production of Ding Kiln in Jin Dynasty was as successful as it was in Northern Song Dynasty. This bowl is no less elaborate than those from Song Dynasty.</p> `
    },
    {
      id: 3,
      url: 'Ceramics',
      h3: 'Blue-and-white Zun with Dragon Among Clouds Pattern',
      p: 'This zun (a beaker-shaped rectangular vessel, with flaring lip) has a trumpet mouth, contracted neck, swelling body tapering downwards, and ring foot everting outwards.',
      info: `<p>Yong Zheng period in Qing Dynasty (1723-1735)</p> <p>Height with lid 57cm, interor diameter 19.8cm</p> <p>This zun (a beaker-shaped rectangular vessel, with flaring lip) has a trumpet mouth, contracted neck, swelling body tapering downwards, and ring foot everting outwards. Under the mouth there decorated with the design of the sea and S-shaped clouds. Two flying dragons, forceful and powerful, with heads and tails chasing each other were depicted around the body. On the bottom there are double rows of blue-and-white characters "Made in the year of Yong Zheng of Qing Dynasty" in regular script. Its shape is beautiful and stable, the painting is delicate, the design is vivid and natural, and it is fine and white.</p> `
    },
    {
      id: 4,
      url: 'Ceramics',
      h3: 'Gangwa-kiln White-glazed Prunus Vase with Engraved Floral Design Against Black Background',
      p: 'The prunus vase, also called Jing vase, was wine container that first appeared and became prevalent in Northern Song Dynasty, and was also very common in Yuan, Ming and Qing dynasties.',
      info: `<p>Liao Dynasty (907~1125)</p> <p>Height: 42.2 cm, Rim Diameter: 7.3 cm</p> <p>Gangwa Kiln, located at Gangwayao Village in Chifeng City in present Inner Mongolia Autonomous Region, was one of the important porcelain kilns within the territory of Liao Dynasty.</p> <p>The prunus vase, also called Jing vase, was wine container that first appeared and became prevalent in Northern Song Dynasty, and was also very common in Yuan, Ming and Qing dynasties. In Qing Dynasty, they were usually used as furnishing article or as flower vases. It has a small mouth, a slender neck, a broad shoulder and a contracted belly. The tiny mouth could only hold plum branches, therefore its name.</p> `
    },
    {
      url: 'Ceramics',
      id: 5,
      h3: 'Jingdezhen-kiln Red-glazed Plate with Stamped Dragon Pattern',
      p: 'This plate, adorned with a veiled pattern of two dragons chasing each other on its wall and three cloud patterns at its bottom, is among the masterpieces of its kind.',
      info: `<p>Height: 3.3 cm, Rim Diameter: 16 cm</p> <p>Red-glazed porcelain was one of new products developed by Jingdezhen Kiln in Yuan Dynasty. This plate, adorned with a veiled pattern of two dragons chasing each other on its wall and three cloud patterns at its bottom, is among the masterpieces of its kind.

      </p> `
    },
    {
      url: 'Ceramics',
      id: 6,
      h3: 'Large Blue-and-white Brush Pot with Design of Human Figures',
      p: 'This brush pot has a straight mouth and a round flat bottom. drama-story pictures were depicted around the body, with rocks, flowers and trees in between.',
      info: `<p>Kang Xi period in Qing Dynasty (1662-1722)</p> <p>Height with lid 22cm, diameter of mouth 19.4cm, diameter of bottom 18.3cm</p> <p>This brush pot has a straight mouth and a round flat bottom. drama-story pictures were depicted around the body, with rocks, flowers and trees in between. Its body is delicate, the glaze is crystal and white, the blue-and-white color appears pure and bright. It is a typical object in mid-Kang Xi period. The pictures were painted in the technique of layers painting, and the figures were painted in slightly wavy strokes. It is in clear multiple levels, with thin and powerful lines, and the figures are vivid and natural.</p> `
    },
    {
      url: 'Ceramics',
      id: 7,
      h3: 'Blue-and-white Plate with Design of Kylin',
      p: 'This plate has a wide open mouth, an arc-shaped belly, ring-foot, and slightly concave on the exterior bottom.',
      info: `<p>Kang Xi period in Qing Dynasty (1662-1722)</p> <p>Height (with lid) 8.9cm, diameter of mouth 35.8cm, diameter of bottom 18.5cm</p> <p>This plate has a wide open mouth, an arc-shaped belly, ring-foot, and slightly concave on the exterior bottom. On the center of the plate there craved kylin (Chinese unicorn), with rocks, plantain and clouds in the background. The mouth edge was glazed in a circle of deep brown. There is a double-ring blue-and-white script in seal characters on the bottom. The colour is thick and concentrated; the glaze reveals blue-white. It is shapely and unadorned. The kylin is an ancient legendary auspicious animal, which has a deer body, , a single horn and a bull’s tail. It has scales on the whole body, which indicates auspiciousness. The kylin is one of the ancient "four spirits" ( kylin, , phoenix, turtle and dragon). The design of kylin as a porcelain decorative theme started in Jingdezhen Yao in Yuan Dynasty. This plate has the picture of kylin indicating good wishes.</p> `
    },
    {
      url: 'Ceramics',
      id: 8,
      h3: 'Blue-and-white Baoyue Bottle with Wheel Patterns',
      p: 'This bottle imitates Arabic metal vessels in shape and design, with its belly bearing wheel patterns unique to Arabic regions.',
      info: `<p>The reign of Yongle in Ming Dynasty (1403~1424)</p> <p>Height: 32 cm</p> <p>In the reign of Yongle, the flourishing overseas trade and increasing communication with West Asia led to appearance of exotic style porcelain, which are imitations of Arabic metal or pottery works; featuring irregular geometric patterns and continuous plant patterns characteristic of West Asian decoration.</p> <p>This bottle imitates Arabic metal vessels in shape and design, with its belly bearing wheel patterns unique to Arabic regions. Other types of porcelain imitations of Arabic vessels made by the imperial kiln at Jingdezhen include watering pots, water droppers, platters, large oval pots and basins with folded rims, demonstrating cultural exchanges between China and West Asia in Ming Dynasty.</p> `
    },
  ],
  Buddhist: [
    {
      id: 1,
      url: 'Buddhist',
      h3: 'Gilt Bronze Figure of Enlightenment of Sakyamuni Buddha Made by the Mansion of Prince Zhou',
      p: 'The Buddha figure sits in dhyanasana, his left hand is holding the meditation gesture (dhyanamudra) before umbilicus and his right hand is holding the touchdown gesture (bhumisparshamudra) on the right knee.',
      info: `<p>29th Year of Ming Emperor Hongwu's Reign (1396)</p> <p>Total height 6.6cm </p> <p>The Buddha figure sits in dhyanasana, his left hand is holding the meditation gesture (dhyanamudra) before umbilicus and his right hand is holding the touchdown gesture (bhumisparshamudra) on the right knee. He has tight curling hairs, a smooth domed usnisa, and a round face. He wears a robe dress draped over the left shoulder inside and a partial shirt outside and a monk's skirt <i>(dhoti)</i>, with simple and smooth patterns. The statue is small, but exhibits exquisite craftsmanship and elegant simplicity. Both the integral shaping of the statue and its detailed portrayal remain a perfect example of statue-making mastery and charm of the Tang and Song dynasties. </p> <p>The Buddha seat is a combination of a hexagon girdled Sumeru pedestal supporting the single-layered lotus seat. According to the inscription, the casting of the statue was funded by the Mansion of Prince Zhou, namely, Zhu Su (1361-1425), the fifth son of Emperor Hongwu. From the same mold altogether 5,048 statues were cast. </p> `
    },
    {
      id: 2,
      url: 'Buddhist',
      h3: 'Statue of Mahavairochana',
      p: 'After the initial period of Tibetan Buddhism, Nepal Buddhist statue art continued to affect Tibetan area.',
      info: `<p>The Didvided Tubo period (10 -13 Century A.D.)</p> <p>Gilt Bronze</p> <p>Height 18.5cm</p> <p>After the initial period of Tibetan Buddhism, Nepal Buddhist statue art continued to affect Tibetan area. During this period, Nepal Buddhist statue art had entered a mature stage, and the statues of Buddha are vivid and graceful, their garment lines are simple, most with copper casting, with their cores thick and bodies heavy, and were in fine casting processes. It was a custom to decorate the lotus thrones with large lotus petals, with generous shapes, showing a high artistic level. These statues reflect the features of Nepal statues during that period.</p> `
    },
    {
      id: 3,
      url: 'Buddhist',
      h3: 'Statue of Padmapani',
      p: 'While the art of Tibetan Buddhist Statues was absorbing foreign art in Tubo Dynasty period, it also paid attention to the integration with the local Tibetan artistic factors, which is revealed in this statue.',
      info: `<p>Tubo period (7-9 Century A.D.)</p> <p>Gilt Bronze</p> <p>Height 30.5cm</p> <p>While the art of Tibetan Buddhist Statues was absorbing foreign art in Tubo Dynasty period, it also paid attention to the integration with the local Tibetan artistic factors, which is revealed in this statue. The figure wears a triple crown, with a dignified and charming face. He wears a collar robe, with pleated ribbons on both sides of thighs. His hands are raised on the chest, holding the stem and the lotus open at the shoulders. A grand oval nimbus, whose outer edge has jagged flame light can be seen behind the statue. He wears high boots, stepping on large round padmasana. The style was affected by Nepal art significantly, but the style of the dress was from the upper nobilities of Tubo. This statue has great values in studying the Statues of Buddha and fashion culture in Tubo period of Tibet.</p> `
    },
    {
      id: 4,
      url: 'Buddhist',
      h3: 'Statue of Vajradhara',
      p: 'This statue is an imitation of the palace-style. The crown, face, decorative style, expressing techniques of garment outlines and the overall shape, are basically the same as the palace statues of Yong Le and Xuan De in Ming Dynasty.',
      info: `<p>First year of Zheng Tong in Ming Dynasty (1436)</p> <p>Gilt Bronze</p> <p>Height 16.5cm</p> <p>This statue is an imitation of the palace-style. The crown, face, decorative style, expressing techniques of garment outlines and the overall shape, are basically the same as the palace statues of Yong Le and Xuan De in Ming Dynasty. There are engraved inscriptions on the edge of padmasana, indicating that this statue was from the civilians not the palace. The most remarkable feature of this statue is that the figure's left hand holds a bell, and the right hand holds a pestle.</p> `
    },
    {
      id: 5,
      url: 'Buddhist',
      h3: 'Statue of Four-armed Avalokitesvara',
      p: 'Four-armed Avalokitesvara is the important worship god of Tibetan Buddhists; and is considered as the "Snow Manjushri".',
      info: `<p>The Divided Tubo period (9-13 Century A.D.)</p> <p>Gilt Bronze</p> <p>Height 23cm</p> <p>Four-armed Avalokitesvara is the important worship god of Tibetan Buddhists; and is considered as the "Snow Manjushri". The figure sits in cross-legged posture, wears a crown on the head, with a crown knot crossing out of the ears, and with rolling silk fabrics. The figure has plump cheeks, and the deep set eyes which are widely open. The upper body bares, decorated with collars, armlets and bracelets, and the belt of meditation hangs on the left shoulder, and the lower body is dressed in a thin skirt. The two hands in the middle are clasping together, the other two hands are holding on both sides of the body, the right hand holds a rosary and the left hand holds a lotus. By the left and right sides of the main statue there are a statue of Four-armed Avalokitesvara sitting in cross-legged gesture, and a statue of Padmapani sitting in playing gesture. Under the lotus throne there is a polygonal contraction corbel style pedestal, on the behind there is a large nimbus with boat-shaped flame pattern decorated with round canopy on the top. The whole statue is extremely beautiful, reflecting the distinctive characteristics of Indian Pala statues.</p> `
    },
    {
      id: 6,
      url: 'Buddhist',
      h3: 'Statue of the Fourth Panchen Lama',
      p: "The fourth Panchen (AD 567-1662), whose Buddhist monastic name was Losang Choskyi Gyaltsan, was one of the most influential eminent monks in Tibet's political and religious history.",
      info: `<p>Qing Dynasty  (1636 - 1911)</p> <p>Gilt Bronze</p> <p>Height 40.5cm</p> <p>The fourth Panchen (AD 567-1662), whose Buddhist monastic name was Losang Choskyi Gyaltsan, was one of the most influential eminent monks in Tibet's political and religious history. This statue sits in cross-legged posture on padmasana, without a crown on his head, the back of the head is oddly big, and a a swelling on his forehead; his eyes wide open, with a straight nose closed lips, a sharp jawand high cheekbones. He wears monk dress inside, kasaya and monk cloak come next, with the right shoulder bare. The clothes grains are smooth and vigorous. His right hand puts on the right leg touching the ground, and his left hand sets under the belly button in meditation gesture, and the overall image is strange and realistic which vividly reveals the outstanding features of the Fourth Panchen, and it is a highly artistic portrait statue. There are carved inscriptions of Tibetan, which shows that inside this stature, there is the sarira of the Fourth Panchen, and his merit is incomparably excellent.</p> `
    },
    {
      id: 7,
      url: 'Buddhist',
      h3: 'Statue of Amitabha',
      p: 'Amitabha is the leader of the Western Paradise claimed by Buddhism. The figure has spiral hair, with a high spherical bun on the top, and the face is dignified.',
      info: `<p>Second year of Yong Long in Tang Dynasty (681)</p> <p>Gilt Bronze</p> <p>Height 14.4cm</p> <p>Unearthed from Miyun County, Beijing</p> <p>Amitabha is the leader of the Western Paradise claimed by Buddhism. The figure has spiral hair, with a high spherical bun on the top, and the face is dignified. He wears a kasaya with a bare right shoulder, and the clothes grains are natural and smooth. He sits in cross-legged posture, with hands putting in a meditation gesture. Under the body there is a waist style lotus throne supported by a four-legged seat bed, and with carved inscriptions on the seat bed. There is a large boat-shaped nimbus behind the figure, whose inner rings were carved with lotus petals and outer rings carved with flame patterns. The whole statue has perfect shape with delicate techniques. It is a rare top quality Buddhist statue in Tang Dynasty.</p> `
    },
    {
      id: 8,
      url: 'Buddhist',
      h3: 'Statue of Mahasiddha Birwapa',
      p: 'Birwapa is one of the 84 Indian Mahasiddhas, and is the important guru enshrined by Sa-Skya-pa of Tibetan Buddhism.',
      info: `<p>Yong Le Period of Ming Dynasty (1403-1424)</p> <p>Gilt Bronze</p> <p>Height 33cm</p> <p>Birwapa is one of the 84 Indian Mahasiddhas, and is the important guru enshrined by Sa-Skya-pa of Tibetan Buddhism. He wears a crown, with a round face, round and prominent eyes, and the image looks mighty. He bears a spiral beard on his cheek and chin with big ring lobes under his ears, a typical Indian face. His upper body wears a collar, with jeweled necklaces and strings of ornaments on the chest; his lower body is covered with animal skin, and his wrist, arms and feet are decorated with bracelets. He sits in playfully with natural and strong arms and legs. His right hand is holding a skull bow lnear his chest, his left hand is holding high, with his index finger pointing to the sky, indicating the story scene of Birwapa's holding the sun by his hand when he bets with the woman selling liquor. There are inscriptions engraved on the base of the statue with characters of Da Ming Yong Le Nian Shi. The whole statue is tall, with a high artistic level, and is a rare masterpiece of palace statues in Ming Dynasty.</p> `
    },
    {
      id: 9,
      url: 'Buddhist',
      h3: 'Statue of Padmapani',
      p: 'The figure wears three-leave-shaped crown, wearing his hair in a high bun, and a fan-shaped crown knot crossing out of the ears. And there is rolled U-shaped silk fabrics,with the excess hair drooping on the shoulders.',
      info: `<p>The Divided Tubo period (9-13 century A.D.)</p> <p>Gilt Bronze</p> <p>Height 120cm</p> <p>The figure wears three-leave-shaped crown, wearing his hair in a high bun, and a fan-shaped crown knot crossing out of the ears. And there is rolled U-shaped silk fabrics,with the excess hair drooping on the shoulders. The face is long and round with square urna decorated between the eye-brows. The image looks dignified. The upper body is bare, with collars, jeweled necklaces and strings hung on the neck, with a connected holy belt on the left shoulder. The lower body is dressed in a thin skirt, with pleated drooping belts between the legs, and the limbs decorated with bracelets. Thefigure is standing in S-shape naturally; the muscles are plump and elastic, with left hand putting on the chest, and right hand drooping fearlessly. The whole shape and the decorative pattern reflect the typical style of the Indian Pala statues. It is a rare treasure of the early Tibetan Buddhist statues.</p> `
    },
  ],
  Jadewares: [
    {
      id: 1,
      url: 'Jadewares',
      h3: 'Sapphire Belt Plaque with Marks of Barbarians Playing with Lions',
      p: 'The production of jade belt plaques began in the Tang Dynasty, and jade belt system was followed in Five Dynasties, Song, Liao, Jin, and Ming periods.',
      info: `<p>Ming Dynasty (1368-1644)</p> <p>Length of thallium tail 9.8cm, width 5cm, minimum length 1.5cm, width 4.8cm</p> <p>Unearthed from the construction site of the Institute of Socialism in Weigongcun, Haidian District, Beijing in 1961</p> <p>The production of jade belt plaques began in the Tang Dynasty, and jade belt system was followed in Five Dynasties, Song, Liao, Jin, and Ming periods. A jade belt consists of Kua and thallium tail (ornaments with head pieces) collectively called as a belt plaque. Early Ming Dynasty was the heyday of jade belt plaques, and began to decline in the late Ming Dynasty. Jade belt plaque was an integral part of the official dress, and different Kua numbers and decorations marked the wearer's different status. Only emperors, empresses, concubines, crown princes, imperial princes, commander princes, dukes, nobles, prince consorts, imperial uncles, civil and military officials of the first grade were qualified to use jade belt plaques in Ming Dynasty. The number of jade belt plaques in early Ming Dynasty was uncertain. According the present survey, since Yong Le of Ming Dynasty the number of jade belts was all 20, including 18 Kuas and 2 thallium tails. Before the middle of Ming Dynasty, the decoration of jade belt Kua was very rich, mostly with engravings. But after the middle of Ming Dynasty, most jade belt plaques were with plain surfaces. This set of belt plaques was made of sapphire, whose color is plain with flawless uniform. Its designing idea is creative, with bright colours and neat engravings. The whole set consists 20 belt plaques, among which 2 rectangular thallium tails, 6 peach shaped ones, 4 small rectangles, 8 slightly different sizes of rectangles, but all are with sunken ground deep carvings and also with frames. Among them, 10 have patterns of figures playing with lions in relief, 6 peach shaped ones carved with human figures, 4 small rectangles carved in Ruyi-sceptre cloud design.</p> `
    },
    {
      id: 2,
      url: 'Jadewares',
      h3: 'White Round Jade Box with Mandarin-Duck-Like Handles',
      p: 'This round box was made of white jade, clean and delicate, and it has yellow erosive grains in some areas.',
      info: `<p>Song Dynasty (960-1279)</p> <p>Height 9.5cm, diameter 7cm</p> <p>Unearthed from the tomb of Qing Dynasty’s emperor Qianlong in Beijing’s Miyun County in 1962</p> <p>This round box was made of white jade, clean and delicate, and it has yellow erosive grains in some areas. On the box there is three-dimensional carving of a pair of mandarin ducks, with their mouths, chests connected. The crowns, eyes, and feathers were carved with uniform fine incised lines. This box has a cover. The mandarin ducks are connected into a whole subtly, and are respectively located in the box’s body and cover. They become two couples correspondingly when it is opened. It is still bright after being unearthed.</p> `
    },
    {
      id: 3,
      url: 'Jadewares',
      h3: 'Sapphire Ruyi-sceptre of Fortune',
      p: 'Ruyi-sceptre is a Chinese traditional mascot, which consists of a handle and a headpiece.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Length 34.5cm, width of the headpiece 7.2cm</p> <p>Unearthed from the tomb of the prince of Qian long, reign of Qing Dynasty in Miyun County</p> <p>Ruyi-sceptre is a Chinese traditional mascot, which consists of a handle and a headpiece. A headpiece of Ruyi-sceptre is often made in the shapes of the heart, the branch or the cloud as a plything., The sapphire Ruyi-sceptre in Qing Dynasty was the most favoured auspicious jade which was not only a treasure in the hands of nobles, but also a precious gift given by nobles to each other. This sapphire Ruyi-sceptre shines with green color mixed with yellow, with lock patterns. The whole piece was carved with the patterns of glossy ganoderma, fine jar and bat, indicating fortune, longevity and peace. It was still excellently bright after being unearthed.</p> `
    },
    {
      id: 4,
      url: 'Jadewares',
      h3: 'Sapphire Boat',
      p: 'This boat was made of sapphire or green jade, hard and bright with little stripes.',
      info: `<p>This boat was made of sapphire or green jade, hard and bright with little stripes. It is a three-dimensional reticulated work in the shape of a common Southern black sail boat, with bamboo-style outer leaf, and sail with tassels. A water storage tank stands on the poop, and an intaglioed character “#” can be seen on the sail which is closed at the top, and its anchor is closed at the bow.</p> `
    },
    {
      id: 5,
      url: 'Jadewares',
      h3: 'Greenish White Jade Tankard in the Shape of an Egret Holding Lotus Leaves',
      p: 'This tankard was made of greenish white jade, smooth and bright.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Height 21cm, width 12.5cm</p> <p>This tankard was made of greenish white jade, smooth and bright. It was carved with the techniques of openwork and relief and it looks like a huge lotus leaf rolled into the body of the tankard, and it was decorated with lotus leaves, buds, lotus clusters. The bottom of the tankard was made into the twisting stems and the cover was made into a rolling down lotus leaf, and its cover was carved in the shape of an egret holding a lotus, connected by a simulated chain.</p> `
    },
    {
      id: 6,
      url: 'Jadewares',
      h3: 'Rock-shaped Green Jade Article Carved with Figures of Walking Immortals',
      p: 'Most of the rock-shaped jade articles in Qing Dynasty were modeled in ancient paintings. Combined with the art of painting, they promoted jade carving crafts to a new level.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Width 31cm, height 26cm</p> <p>Unearthed from Yuanmingyuan ruins in Haidian District, Beijing in 1963</p> <p>Most of the rock-shaped jade articles from the Qing Dynasty were modeled in ancient paintings. Combined with the art of painting, they promoted jade carving crafts to a new level. This article was made of green jade, with yellow leather tufts in between of bluish green. The whole set was carved from jade pebbles, using traditional Chinese paintings techniques of far mountains and near sceneries. The three figures, young and old, on the article are walking on the steep cliffs with different postures, and under their feet, there are bridges and streams with luxuriant woods by the sides of the mountains---a pleasant natural scenery.</p> `
    },
    {
      id: 7,
      url: 'Jadewares',
      h3: 'Sapphire Table Screen with Feast Picture',
      p: 'Jade table screens were more popular furnishings in Qing Dynasty, which were mainly carved in the methods of incised lines and relief, generally inserted in wooden seats.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Diameter 21.6cm</p> <p>Jade table screens were more popular furnishings in Qing Dynasty, which were mainly carved in the methods of incised lines and relief, generally inserted in wooden seats. The patterns on both sides from the center of this table screen were carved by using multi-level relief techniques. Long gallery, plantain, cinnamon, table, bench, and figureswere carved on the one side, and on the other side, landscape,, willows, boat and figures can be found., using the method of far mountains and near sceneries, therefore, it has distinct levels and refined techniques, and excellent polishing.</p> `
    },
    {
      id: 8,
      url: 'Jadewares',
      h3: 'White Jade Pendant with Patterns of Children and a Poem',
      p: 'This pendant was made of white jade, which is meticulous, smooth and bright. Human figures were carved on the one side, surrounded by delicate lace-shaped fine frames; on the other side there was no frame but a poem.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Length 6.3cm, width 4.8cm</p> <p>This pendant was made of white jade, which is meticulous, smooth and bright. Human figures were carved on the one side, surrounded by delicate lace-shaped fine frames; on the other side there was no frame but a poem. There is a small hole on the top of the pendant for tying.</p> `
    },
  ],
  Calligraphies: [
    {
      id: 1,
      url: 'Calligraphies',
      h3: 'Transcript of the <i>Classic of Filial Piety</i>',
      p: 'Written approximately in the 3rd century B.C., the <i>Classic of Filial Piety</i> has 18 chapters in total. The transcript, a fragment and the second half of the <i>Classic of Filial Piety</i>, was written in the Western Jin Dynasty.',
      info: `<p>Zhang Jun</p> <p>Jin Dynasty (265-420 A.D.)</p> <p>Jin Dynasty (265-420 A.D.)</p> <p>Ink and Color on Paper</p> <p>Handscroll</p> <p>Width×Length: 27cm×89.4cm</p> <p>Written approximately in the 3rd century B.C., the <i>Classic of Filial Piety</i> has 18 chapters in total. The transcript, a fragment and the second half of the <i>Classic of Filial Piety</i>, was written in the Western Jin Dynasty. It is the earliest of all ancient transcripts of the <i>Classic of Filial Piety</i> known to man. Containing only a few interchangeable and variant characters, its text is largely consistent with the <i>Commentaries and Explanations</i> to the Thirteen Classics. Although the transcript has been slightly damaged, the ink on the paper still glows. The end of the transcript bears a colophon that indicates the name of the calligrapher and the date of completion. The style of its script is a mix of clerical script and regular script, with the technique of the strokes, such as heng (rightward horizontal stroke) and pie (a throw falling leftwards with slight curve), leaning towards that of clerical script. With sophistication, Zhang Jun successfully delivered the quality of rigorousness and quaintness in the art of calligraphy.</p>`
    },
    {
      id: 2,
      url: 'Calligraphies',
      h3: 'The Manuscripts of Five Classics',
      p: 'The book have eight volumes: The Classic of Poetry, the Classic of History, the Book of Rites, the Book of Changes and the Spring and Autumn Annals, all transcribed by Zheng Xie himself.',
      info: `<p>Zheng Xie</p> <p>Qing Dynasty (1636-1911)</p> <p>Ancient Book</p> <p>Width×Length: 29.5cm×19cm</p> <p>Zheng Xie (1693-1766), who styled himself as "Banqiao", originated in Xinghua, Jiangsu. As one of the Eight Eccentrics of Yangzhou, a group of eight Chinese painters active in the Qing Dynasty, Zheng was adept at calligraphy and painting. His unique calligraphy style, calculated while unrestrained, incorporated the merits of various schools. The strokes, large or small, thick or thin, were well orchestrated like the notes in a pleasant symphony. </p> <p>The book has eight volumes: <i>The Classic of Poetry</i>, the <i>Classic of History</i>, the <i>Book of Rites, </i>the <i>Book of Changes</i> and the <i>Spring and Autumn Annals</i>, all transcribed by Zheng himself. The cover of each volume was tagged and sealed by Liang Zhangju, an officer and poet of the Qing Dynasty, to prove that the handwriting was authentic. Liang also sealed the back of each volume. The title of each volume, handwritten by Zheng, was slightly larger in size than the characters in the text. Zheng's seals, intaglio and in relief, were also found on some of the title pages and text pages. </p> `
    },
    {
      id: 3,
      url: 'Calligraphies',
      h3: 'Odes to Plum Blossom',
      p: 'Huang Tingjian (1045-1105) originated in Xiushui, Jiangxi. Adept in cursive and running script, Huang established a calligraphic style of his own.',
      info: `<p>Huang Tingjian</p> <p>Northern Song Dynasty (960-1127)</p> <p>Hanging Scroll</p> <p>Ink and Color on Silk</p> <p>Width×Length:27.5cm×210cm</p> <p>Huang Tingjian (1045-1105) originated in Xiushui, Jiangxi. Adept in cursive and running script, Huang established a calligraphic style of his own. The scroll included three poems on plum blossom he wrote in cursive script in his middle age. Although thin and bony in shape of the script, Huang showcased a changeful style of brushwork, with resolute vigor of strokes and rhythmic handwriting, which varies from the works of his late years. The preface and colophon were written in minuscule running script with an unusually adventurous arrangement of components.</p> `
    },
    {
      id: 4,
      url: 'Calligraphies',
      h3: 'Calligraphy of Various Scripts',
      p: 'Dong Qichang (1555-1636), who styled himself as "Xuanzai" and "Sibai", was a celebrated calligrapher and painter born in Songjiang, Shanghai during the Ming Dynasty.',
      info: `<p>Dong Qichang</p> <p>Ming Dynasty (1368-1644)</p> <p>Handscroll</p> <p>Ink and Color on Paper</p> <p>Width×Length: 23.5cm×310cm</p> <p>Dong Qichang (1555-1636), who styled himself as "Xuanzai" and "Sibai", was a celebrated calligrapher and painter born in Songjiang, Shanghai during the Ming Dynasty. Dong was known for establishing his own style of calligraphy by incorporating the essence of all schools. His strokes, robust and graceful, brim with clarity and simplicity. Inspired by the calligraphers before him, Dong was especially adept in running and regular script and has left an indelible mark on the history of Chinese calligraphy. In these scrolls, he reproduced several paragraphs of the works of Wang Xizhi, Wang Xianzhi and Mi Fu, all renowned calligraphers in ancient China. The scrolls also included the poems of famous Chinese poets, such as Li Bai and Fan Zhongyan, Dong's comments on books and his own poems. His flexibility in the use of regular, cursive and semi-cursive script, embodying his extraordinary grasp of ancient calligraphic techniques and remarkable ability of striking out a new path. In the colophon, Gao Shiqi, a Chinese politician and collector of calligraphy works in the Qing Dynasty, claimed that he had bound two scrolls of Dong's works together and named them <i>Jinsha Tie</i> (金沙帖). </p> `
    },
    {
      id: 5,
      url: 'Calligraphies',
      h3: 'Scroll: The Explanations for Studies',
      p: 'The original text of the Explanations of Studies is a famous piece of article written by Han Yu, a Chinese historian, poet, and politician of the Tang Dynasty.',
      info: `<p>Xian Yushu</p> <p>Yuan Dynasty (1206-1368)</p> <p>Handscroll</p> <p>Ink and Color on Paper</p> <p>Width×Length: 49.1cm×795.5cm</p> <p>Xian Yushu (1257-1302), who styled himself as "Hulin Yinli", was a calligrapher born in Jixian County, Tianjin in the Yuan Dynasty. The original text of the Explanations of Studies is a famous piece of article written by Han Yu, a Chinese historian, poet, and politician of the Tang Dynasty. Xian reproduced the article in his late years in both cursive and running script, and occasionally regular script. With 108 rows, each 2-10 characters, the script was written at one stretch, demonstrating Xian's aspiration to both "rigorous structure" and "vivid vibe", and the harmony of the two. Considered a masterpiece of Xian's, the handscroll bears three seals. The scroll was postscripted by Liu Zhi and Ban Weizhi. Liu Zhi (1280-1334), who styled himself as "Shizhong" and "Buzhai", originated in Shanxi. His colophon bears the influence of Zhao Mengfu, a Chinese scholar, painter and calligrapher during the Yuan Dynasty, yet lacks sophistication. Ban Weizhi (the dates of his birth and death unknown), who styled himself as "Yangong" and "Shuzhai", was born in Kaifeng, Henan. Unlike Liu, Ban showcased a pleasant and elegant style of postscript. </p> `
    },
    {
      id: 6,
      url: 'Calligraphies',
      h3: 'Nine Poems of Tang Dynasty in Cursive Script',
      p: 'Wang Duo (1592-1652) was born in Mengjin, now Mengjin County, Henan. He became a jinshi (imperial scholar) in 1622 and ranked up to the Minister of Rites and the Great Secretariat of the Eastern Hall when the Ming was the ruling regime of China.',
      info: `<p>Wang Duo</p> <p>Qing Dynasty (1636-1911)</p> <p>Handscroll</p> <p>Ink on Satin</p> <p>Width×Length: 34.5cm×654cm</p> <p>Wang Duo (1592-1652) was born in Mengjin, now Mengjin County, Henan. He became a jinshi (imperial scholar) in 1622 and ranked up to the Minister of Rites and the Great Secretariat of the Eastern Hall when the Ming was the ruling regime of China. In the Qing Dynasty, Wang was the Minister of Rites, academician of the Institute for the Advancement of Literature and the Crown Prince's Tutor. Active at the shift of regimens as a renowned calligrapher, Wang passed away in 1652 and was honored with the posthumous title of "Wenan". Wang was adept in cursive and running script, and profoundly inspired by Wang Xizhi and Wang Xianzhi, two celebrated calligraphers in ancient China, especially the latter. He also extensively drew on the strengths of famous calligraphers in the Northern and Southern dynasties, the Tang and Song dynasties. Having meticulously studied the Chun Hua Ge Tie, the oldest imperial anthology of calligraphy rubbings made in 992, Wang established his own style of calligraphy and was honored the "Magic Calligrapher". While strictly following the rules of calligraphy and achieving a balance between tension and relaxation, Wang's script seems to have life of its own with overwhelming vitality. Back when the style of Dong Qichang, a celebrated calligrapher in the Ming Dynasty, swept over the circle of calligraphy, Wang and several calligraphers advocated following the example of accomplished calligraphers, and set their own banner. Their ambition helped pave a new way for the development of calligraphy. Well-balanced between tension and relaxation of strokes, the handscroll embodies a rare and unrestrained style of brushwork.</p> `
    },
    {
      id: 7,
      url: 'Calligraphies',
      h3: 'Running-cursive Script of Yanzhi Shu',
      p: 'Zhang Ruitu (1570-1644), who styled himself Changgong and with the alternative name Ershui, was a famous calligrapher in Ming Dynasty.',
      info: `<p>Hand scroll</p> <p>Zhang Ruitu</p> <p>Ming Dynasty  (1368-1644)</p> <p>154×51 cm</p> <p>Zhang Ruitu (1570-1644), who styled himself Changgong and with the alternative name Ershui, was a famous calligrapher in Ming Dynasty. He was a native of Jinjiang, Fujian Province. He was adept in running and cursive script and skillful with solid and side brushstrokes. His calligraphy style was elegant and had its own unique feature. Together with Xing Tong, Mi Wanzhong and Dong Qichang, He was regarded as one of the Four Famous Calligraphers in Late Ming Dynasty. This hanging scroll was written in 1625. The content came from the essay Yanzhi Shu by Xiao Dayuan, but some characters are different with the original work.</p> `
    },
    {
      id: 8,
      url: 'Calligraphies',
      h3: 'Poem To Zhu Jinquan in Running Script',
      p: 'Wen Zhengming (1470-1559) was a famous Ming Dynasty painter and calligrapher. His original given name was Bi with the alternative name Hengshan. Because people called him Zhengming commonly, he changed his name to Zhengzhong.',
      info: `<p>Hanging scroll</p> <p>Ming Dynasty (1368-1644)</p> <p>180×98.3 cm</p> <p>Wen Zhengming (1470-1559) was a famous Ming Dynasty painter and calligrapher. His original given name was Bi with the alternative name Hengshan. Because people called him Zhengming commonly, he changed his name to Zhengzhong. Born in the present-day Suzhou, Jiangsu Province, Wen called himself Hengshan Jushi. He was a man of great attainments in several calligraphic styles and famous for the synthetic calligraphy. Wen's calligraphy was fluent, forceful and natural. When old, he imitated the sharp and aggressive style of Huang Tingjian. This work imitated Huang Tingjian's big characters.</p> `
    },
    {
      id: 9,
      url: 'Calligraphies',
      h3: 'Imitation of Poem by Mi Fu in Running Script',
      p: 'Shen Quan (1624-1684) ,who styled himself Zhenrui, with the alternative names of Yitang and Chongzhai, was a native of Songjiang in Shanghai.',
      info: `<p>Hanging scroll</p> <p>Qing Dynasty  (1636-1911)</p> <p>171×50 cm</p> <p>Shen Quan (1624-1684), who styled himself Zhenrui, with the alternative names of Yitang and Chongzhai, was a native of Songjiang in Shanghai. As a famous calligrapher in Qing Dyansty, he followed the style of Mi Fu and Dong Qichang and was appreciated by Emperor Kangxi.</p> `
    },
    {
      id: 10,
      url: 'Calligraphies',
      h3: 'Poem Tai Shan (Mount Tai) in Running Script',
      p: 'Kang Youwei (1858-1927) was born in Nanhai, Guangdong Province. Kang was the noted calligrapher and calligraphic theoretician at the end of Qing Dynasty.',
      info: `<p>Hanging scroll</p> <p>Kang Youwei</p> <p>Qing Dynasty (1636-1911)</p> <p>151.2×40.5cm</p> <p>Kang Youwei (1858-1927) was born in Nanhai, Guangdong Province. His original given name was Zuyi, and styled himself Guangsha and Gengsheng and his alternative name was Changsu. Kang was the noted calligrapher and calligraphic theoretician at the end of Qing Dynasty. Influenced by his rich family background, he learned the calligraphy of several masters at an early age. Kang promoted the inscriptions of Northern Dynasties after his middle age and created the unique "Kang Nanhai style".</p> `
    },
    {
      id: 11,
      url: 'Calligraphies',
      h3: 'Hanging Scroll in Cursive Script',
      p: 'As a Manchurian of the Plain Yellow Banner, Tiebao (1752-1824) was a famous calligrapher in Qing Dynasty.',
      info: `<p>Tiebao</p> <p>Qing Dyansty (1636-1911)</p> <p>207×41 cm</p> <p>As a Manchurian of the Plain Yellow Banner, Tiebao (1752-1824) was a famous calligrapher in Qing Dynasty. His styled himself Yeting with the alternative names of Mei'an, Meiweng or Tieqing. His family name was originally Gioro and later Dong'e. Tiebao followed the style of Yan Zhenqing in regular script and Wang Xizhi and Monk Huaisu in cursive script. He was as well-known as famous calligraphers Liu Yong, Weng Fanggang and Yongxing.</p> `
    },
    {
      id: 12,
      url: 'Calligraphies',
      h3: 'Cursive Script Imitation of Yi Min Tie',
      p: 'Xing Tong (1551-1612), who styled himself Ziyuan, was a leading Ming Dynasty calligrapher from Linqing of Shandong Province.',
      info: `<p>Hanging scroll</p> <p>Xing Tong</p> <p>Ming Dynasty (1368-1644)</p> <p>168×26.3 cm</p> <p>Xing Tong (1551-1612), who styled himself Ziyuan, was a leading Ming Dynasty calligrapher from Linqing of Shandong Province. Xing was famous for tablet calligraphy and was called one of the "Xing Zhang Mi, Dong" together with Zhang Ruitu, Mi Wanzhong and Dong Qichang. This hanging scroll imitated Yi Min Tie by Wang Xizhi.</p> `
    },
    {
      id: 13,
      url: 'Calligraphies',
      h3: 'Antithetical Couplet in Running Script I',
      p: 'Weng Fanggang (1733-1818), who styled himself Zhengsan, had alternative names of Qin Xi and Su Zhai when old.',
      info: `<p>Weng Fanggang</p> <p>Qing dynasty (1636-1911)</p> <p>37.8×224.8 cm</p> <p>Weng Fanggang (1733-1818), who styled himself Zhengsan, had alternative names of Qin Xi and Su Zhai when old. He was a famous calligrapher in Beijing in Qing Dynasty. He engaged in the study of bronze and stone tablets, especially the textual research of famous tablets and notes. His calligraphy style which followed Ouyang Xun, Yan Zhenqing and Su Shi, is simple and elegant. As well- known as Liu Yong, Liang Zhongshu and Wang Wenzhi, he was adept in running and small regular scripts.</p> `
    },
  ],
  Paintings: [
    {
      id: 1,
      url: 'Paintings',
      h3: 'The Seclusion of Mount Chong',
      p: 'Wang Duo (1592-1652) was born in Mengjin, now Mengjin County, Henan. He became a <i>jinshi</i> (imperial scholar) in 1622 when the Ming was the ruling regime of China.',
      info: `<p>Wang Duo</p> <p>Qing Dynasty  (1636-1911)</p> <p>Ink on Satin</p> <p>Hanging Scroll</p> <p>Width×Length: 167cm×51cm</p> <p>Wang Duo (1592-1652) was born in Mengjin, now Mengjin County, Henan. He became a <i>jinshi</i> (imperial scholar) in 1622 when the Ming was the ruling regime of China. In the Qing Dynasty, Wang ranked up to the Minister of Rites. Active at the shift of regimens as a renowned calligrapher, he was also adept at poetry, anicent-style prose, landscape and floral painting. One of the features of Wang's imposing landscape painting is the rarity of texturing and rubbing, which sets the charm of his paintings apart. Bearing Wang's inscription and an intaglio seal, the <i>Seclusion of Mount Chong</i> was painted in 1650, when he was 58 years old. At the top of the scroll, a ridge winds down from the towering peak of Mount Chong. The shades of myriad hilltops obscure a temple, a cascade and a bridge in the middle, and set an ethereal tone for the rocks and trees at the bottom. In his elaborate orchestration of elements, Wang wielded the tip of his brush at his will and simply dotted the rocks at the lower water gap without texturing and rubbing. Even though he structured the scroll in the archaistic way many landscape painters did since the Ming and Qing dynasties, Wang didn't stick to the classic technique of <i>pima cun</i> (hemp-fiber texturing). Instead, he used dotting to deliver a sense of unconstraint in his own way. </p> `
    },
    {
      id: 2,
      url: 'Paintings',
      h3: '​Streams Amidst Mountains',
      p: 'Dong Bangda (1699-1769) was originated in Fuyang, Zhejiang. As a court painter in the Qing Dynasty, Dong was adept at landscape painting.',
      info: `<p>Dong Bangda</p> <p>Handscroll</p> <p>Qing Dynasty (1636-1911)</p> <p>Width×Length: 26.7cm×245cm</p> <p>Dong Bangda (1699-1769) was originated in Fuyang, Zhejiang. As a court painter in the Qing Dynasty, Dong was adept at landscape painting. He became a Jinshi (imperial scholar) in 1733 and was admitted to the Hanlin Academy as an editor in 1737. Ranking up to the Minister of Rites, Dong once took part in the compilation of imperial inventory catalogs. Enthusiastic about calligraphy and painting, Dong fell heir to the ancient techniques of seal script and clerical script. Inspired by artists of the Yuan Dynasty, Dong exceled at the use of painting techniques such as dry brush, outlining, texturing, and rubbing in landscape painting. His painting style, ethereal and exquisite, dwells somewhere between the Loudong School and Yushan School, equaling him with Dong Yuan and Dong Qichang, both reputed landscape painters in ancient China, as the "three Dongs".</p> <p>Streams Amidst Mountains is a long handscroll of ink painting imitating that of Jing Hao, a Chinese landscape painter and theorist of the Five Dynasties and Ten Kingdoms period in Northern China. The work employs Jing's texturing, and rubbing techniques to compress the landscape into layers of jutting rock-pillars between streams. In his inscription, Dong paid tribute to Jing. The handscroll bears imperial and collectors' seals, such as the Seal of Emperor Qianlong's Treasure, the Seal of Treasure Imperially Viewed at the Hall of Mental Cultivation, the Seal of Treasure Imperially Viewed by Emperor Qianlong, the Seal of Emperor Jiaqing's Treasure, the Seal of Emperor Xuantong's Treasure, the Seal of Treasure Imperially Viewed at the Sanxi Hall (literally three rarities), the Seal of Blessings to Offspring, the Seal of Shiqu Baoji, the Seal of Baoji Sanbian (literally a second continuation of the inventory-catalog), The Seal of Shiqu Dingjian, and the Seal of Baoji Chongbian (a continuation of the inventory-catalog).</p> `
    },
    {
      id: 3,
      url: 'Paintings',
      h3: 'A Thousand Peaks and Myriad Ravines',
      p: 'Wang Hui (1632-1717), who styled himself as "Shigu" and "Qinghui Laoren", was a student of Wang Shimin and Wang Jian, both reputed painters of the Qing Dynasty.',
      info: `<p>Wang Hui</p> <p>Qing Dynasty (1636-1911)</p> <p>Hanging Scroll</p> <p>Ink and Color on Paper</p> <p>Width×Length: 177.5cm×98.4cm</p> <p>Wang Hui (1632-1717), who styled himself as "Shigu" and "Qinghui Laoren", was a student of Wang Shimin and Wang Jian, both reputed painters of the Qing Dynasty. Adept at painting landscapes and imitating paintings of the Song and Yuan dynasties, Wang incorporated the features of different schools of painting and shaped his own style. Wang Hui was hailed as one of the Four Wangs, four Chinese landscape painters in the 17th century, all called Wang (surname). As the founder of Yushan School, Wang was awarded Emperor Kangxi's inscription for his excellent job in painting <i>Emperor Kangxi's Southern Inspection Tour scroll</i> in 1662, one of Wang's early masterpieces. <i>A Thousand Peaks and Myriad Ravines</i> was composed the way most landscape paintings were since the Yuan Dynasty. A courtyard house in the middle of the painting is set off by a riverbank and trees in the foreground. A small bridge spans the streak from behind the trees. A mountain ridge stretches peak after peak into the distance. To show the ambience of an invigorating autumn, Wang painted the scenery in light-reddish purple, and portrayed the rocks and trees with forceful strokes. In his intricate arrangement of elements, Wang used the technique of <i>pima cun</i> (hemp-fiber texturing) to paint the mountain rocks, stained the distant mountain with ink, and elaborately outlined the trees, all of which demonstrated his mastery of landscape painting techniques. At the upper right corner, Wang composed a verse of poem to celebrate the autumn. The piece bears various seals, ranging from Wang's personal seal and imperial and collectors' seals. His works were highly valued by the imperial court, literati and bureaucrats of the Qing Dynasty. </p> `
    },
    {
      id: 4,
      url: 'Paintings',
      h3: "Portrait of the Confucius' Disciples",
      p: `The preserved handscroll portrays the standing posture of 59 disciples of Confucius in total. The title label on the protective and decorative backing reads "Portrait of Confucius' Disciples by Yan Liben".`,
      info: `<p>Handscroll</p> <p>Yan Liben</p> <p>Ink and color on silk</p> <p>Song Dynasty（960 - 1279 A.D.）</p> <p>Width×Length: 32.3cm×870cm</p> <p>The preserved handscroll portrays the standing posture of 59 disciples of Confucius in total. The title label on the protective and decorative backing reads "Portrait of Confucius' Disciples by Yan Liben". The handscroll uses the technique of line drawing to vividly feature the disciples, each with their own mien that conveys a sense of seriousness or amiableness. Their vesture and accessories, depicted in different colors, radiates the qualities of elegance and self-possession. The frontispiece bears an inscription of Emperor Qianlong, "the Legacy of the Apricot Altar (where Confucius gave his lectures)". The artwork in the middle carries a complete set of eight seals of the emperor: the Seal of Treasure Imperially Viewed at the Sanxi Hall (literally three rarities), the Seal of Blessings to Offspring, the Seal of Emperor Qianlong's Treasure, the Seal of Treasure Imperially Viewed by Emperor Qianlong, the Seal of Shiqu Baoji (an inventory-catalog of works of painting and calligraphy in the collection of Emperor Qianlong), the Seal of Treasure Imperially Viewed in Shiqu, the Seal of Baoji Chongbian (a continuation of the inventory-catalog), and the Seal of Treasure Imperially Viewed at the Qianqing Palace (literally heavenly purity), along with his other seals, such as the Seal of Emperor Qianlong at Seventy, the Seal of Emperor Qianlong at the Wufu Wudai Hall (literally five happiness and five generations), the Seal of Ba Zheng Mao Nian Zhi Bao (literally the eighth way of governing the country is to care about commoners), and the Seal of Grand Emperor's Treasure. In addition, it bears the seals of connoisseurs such as Song Quan and his son. The artwork has colophons by Jiang Fu, son of Jiang Tingxi, an official painter and grand secretary to the imperial court in the Qing dynasty, together with Wang Jie, Cao Wenzhi, Peng Yuanrui and Dong Gao, all political figures in at that time. According to research on the colophons and inscription, it is Confucius's disciples depicted in the painting. The artwork comes with a story of many twists and turns. It was first awarded by Emperor Shunzhi (the third emperor of the Qing dynasty) to Song Quan, and after nearly 100 years came into the possession of Jiang Fu. Jiang then presented it to the Qianlong emperor, which was recorded in the Shiqu Baoji Xubian, a continuation of the inventory-catalog. The Qing administration then lost it to Japan during the World War II. After exchanges of possession, the handscroll was eventually returned to China, where it belongs.</p> `
    },
    {
      id: 5,
      url: 'Paintings',
      h3: 'Reading near a Stream with Bamboos',
      p: 'Yu Zhiding (1647-1716) was a court painter in Qing Dynasty. He specialized in painting figures.',
      info: `<p>Yu Zhiding</p> <p>Hanging Scroll</p> <p>Qing Dynasty (1636-1911)</p> <p>Width×Length: 56cm×30.2cm</p> <p>Yu Zhiding (1647-1716), who styled himself as "Shangji" and "Shenzhai", originated in Jiangdu (now Yangzhou, Jiangsu). As a court painter of the Qing Dynasty known for his sophistication in landscape and figure painting, Yu did most of the celebrity portraits of his time. He was inspired by a slew of artists of the Song and Yuan dynasties such as Ma Hezhi, whose most appreciated technique was the orchid leaf stroke – one that uses the middle of the paintbrush to provide a round, full and rich presentation that is soft on the edges and strong in the center. Yu's painting style was known to be elaborate, elegant and graceful.</p> <p>In the scroll, a man was reading in the shade of a brookside grove while leaning against a tea table. His young attendant walked towards him, holding orchid and <i>lingzhi</i> in a vase. Across the pristine clear brook a blanket of misty fog obscured the top of a faraway pavilion. Yu did not only deliver the composure of both men, but also captured the wrinkled details of their robes. The jagged rocks perfectly resonated with the thin outline of bamboo, which rendered the painting neat and exquisite. In his inscription, Yu titled the painting <i>Reading in the Shade of a Brookside Bamboo Grove.</i> Bearing both an intaglio seal and a seal in relief, the handscroll is considered a masterpiece of Yu's.</p> `
    },
    {
      id: 6,
      url: 'Paintings',
      h3: 'Autumn Hunt',
      p: 'Fathered by Li Tingyi, a minister of the Qing Dynasty administration, Li Zongwan was known as a bibliophile and a court painter.',
      info: `<p>Li Zongwan</p> <p>Handscroll</p> <p>Qing Dynasty (1636-1911)</p> <p>Width×Length: 21.1cm×194cm</p> <p>Li Zongwan (1705-1759), who styled himself as "Zida", "Yiyuan" and "Zhuxi", originated in Jinghai, Zhili (now Jinghai County, Tianjin City). Fathered by Li Tingyi, a minister of the Qing Dynasty administration, Li Zongwan was known as a bibliophile and a court painter. He became a Jinshi (doctorate) in 1721, the sixtieth year of Emperor Kangxi's reign, and was admitted to the Hanlin Academy. In his finest moments, Li was appointed the assistant minister of Justice. Adept at landscape painting, and bird-and-flower painting, Li carried elegance and exquisiteness into his every stroke. His penmanship, vibrant and graceful, put him on par with Zhang Zhao (1691-1745), another prominent calligrapher of his time. And therefore was praised as "the Zhang in the South and the Li in the North". Li was also an enthusiast of poetry and book collection.</p> <p>In the autumn hunt at Mulan Paddock in 1745, Emperor Qianlong ordered his entourage to poetize the grand event. With his fine technique of traditional Chinese realistic painting, Li reproduced the grandeur of the hunt down to the very last detail: an army of hunters on horseback, armed with bows and arrows, chased after panicked preys. Li postscripted the painting with a neatly lettered poem. The painting bears a series of seals for imperial appreciation and collection, such as the Seal of Treasure Imperially Viewed by Emperor Qianlong, the Seal of Treasure Imperially Viewed at the Sanxi Hall (literally three rarities), the Seal of Blessings to Offspring, the Seal of Emperor Jiaqing's Treasure, the Seal of Treasure Imperially Viewed by Emperor Jiaqing, the Seal of Emperor Xuantong's Treasure, the Seal of Shiqu Baoji (an inventory-catalog of works of painting and calligraphy in the collection of Emperor Qianlong), and the Seal of Baoji Sanbian (literally a second continuation of the inventory-catalog).</p> `
    },
    {
      id: 7,
      url: 'Paintings',
      h3: 'Portrait of Zhang Detian',
      p: "The portrait was co-painted by Jiao Bingzhen and Jiang Tingxi in 1726. Jiao was a native of Jining, Shandong who became a court painter and imperial astronomer in 1662, the first year of Emperor Kangxi's reign.",
      info: `<p>Jiao Bingzhen</p> <p>Qing Dynasty (1636-1911)</p> <p>Hanging Scroll</p> <p>Ink and Color on Silk</p> <p>Width×Length: 80.8cm×73cm</p> <p>The portrait was co-painted by Jiao Bingzhen and Jiang Tingxi in 1726. Jiao was a native of Jining, Shandong who became a court painter and imperial astronomer in 1662, the first year of Emperor Kangxi's reign. Skilled in painting landscapes, people, florals and buildings, Jiao incorporated the western graphical perspective in his highly-colored fine brushwork paintings, creating a unique style. The two most characteristic features of perspective are that objects appear smaller as their distance from the observer increases; and chiaroscuro. Jiang Tingxi (1669-1732), born in Changshu, Jiangsu, was a painter and grand secretary to the imperial court. He was particularly adept at using <i>mogu</i> technique (making forms by ink and color washes rather than by outlines) in his bird-and-flower paintings. </p> <p>In the <i>Portrait of Zhang Detian</i>, Jiao painted the boat, pavilion and Zhang. Jiao captured the composure of the man with fine-tuned strokes and reproduced the exquisite intricacy of the pavilion. Jiang, on the other hand, supplemented the portrait with brilliant details of lotus pond and willows. The painting depicted Zhang, a calligrapher, leaning against the table in a boat with a feather fan in his hand. On the table lay an open book, beside which a fine porcelain vase held lotus blooms, hinting at Zhang's noble aspiration. In the pondside pavilion were heaps of books. The sprightly-colored painting took an ingenious approach to portray the scene with a view from above. At the upper right corner, Jiao dated the painting, and at the upper left corner Jiang mentioned his supplementary role. This innovative piece of artwork bears three seals.</p> `
    },
    {
      id: 8,
      url: 'Paintings',
      h3: 'At Mount Li Escaping the Heat',
      p: 'Yuan Jiang (1671-?) was known in the Qing Dynasty for his sophistication in jiehua (painting executed with measuring devices such as ruled lines), landscape painting and brushwork of palatial gardens.',
      info: `<p>Yuan Jiang</p> <p>Qing Dynasty (1636-1911)</p> <p>Hanging Scroll</p> <p>Ink and Color on Silk</p> <p>Width×Length: 134cm×224cm</p> <p>Yuan Jiang (1671-?), who styled himself as "Wentao", originated in Yangzhou, Jiangsu. Yuan was known in the Qing Dynasty for his sophistication in jiehua (painting executed with measuring devices such as ruled lines), landscape painting and brushwork of palatial gardens. Following the footsteps of Qiu Ying, a Chinese painter who specialized in fine brushwork painting, Yuan inherited the blue-green landscape painting tradition, where he portrayed elaborately-structured sumptuous palaces and pavilions with brilliant colors.</p> <p>Completed in 1702, the hanging scroll draw inspiration from the stories where Emperor Xuanzong of Tang Dynasty spent his holiday at the summer resort – Mountain Li, which is now in Lintong, Shaanxi. From a panoramic view, Yuan reproduced the intricate spectacle of history. Luxuriantly emerald trees were scattered among the rocks of the rugged mountain. A lake lay at the foot of the mountain and joined the misty sky at a far end. A flight of stepstone led up to the secluded yet lofty Jiucheng Palace, the main building in the scroll. With a grand landscape in the background, Yuan carefully arranged the pavilions and palaces to bring out the grandeur of the summer holiday retreat. The brilliantly colored palace attendants, a heavily jagged mountain rocks and dot-stained emerald trees also helped bring this fine brushwork masterpiece to life. In his inscription, Yuan paid homage to the artists of the Southern Song Dynasty. The hanging scroll bears two seals carved in intaglio and relief.  </p> `
    },
    {
      id: 9,
      url: 'Paintings',
      h3: 'Poetic Plum Blossoms',
      p: 'Ink and color on paper<br />Song Dynasty (960-1279 A.D.) <br />Length 440cm, width 34cm<br />Beijing Cultural Relics Company',
      info: `<p>Anonymous</p> <p>Ink and color on paper</p> <p>Song Dynasty (960-1279 A.D.)</p> <p>Length 440cm, width 34cm</p> <p>Beijing Cultural Relics Company</p> `
    },
    {
      id: 10,
      url: 'Paintings',
      h3: 'Pavilion on Seamount',
      p: 'Chen Xiang (birth and death unknown) was famous for painting landscapes by his left hand.',
      info: `<p>Hanging scroll</p> <p>by Chen Xiang</p> <p>Ming Dynasty  (1368-1644)</p> <p>Ink and color on silk</p> <p>Length 206cm, width 104.8cm</p> <p>Chen Xiang (birth and death unknown), who was alternatively called Zuo Bi Shan Ren, was a native of Hangzhou, Zhejiang Province. He was famous for painting landscapes by his left hand. In this painting, there is tall pavilion by the sea painted meticulously and in detail. Foot-ruler was used to paint the pavilion building's scanning lines -- neat, accurate, delicate, elegant and in rich color. The stones and mountains were painted in the style of the "Zhe school". An inscription on the right side with "He Ting Ren", and "Zuo Bi Shan Ren" sealed in intagliated characters.</p> `
    },
    {
      id: 11,
      url: 'Paintings',
      h3: 'Spring Scenery in Southern China',
      p: 'Wen Zhengming (1470-1559) was the representative of "Wumen School", and one of the "Four Masters of the Ming Dynasty".',
      info: `<p>Hand scroll</p> <p>by Wen Zhengming</p> <p>Ming Dynasty (1368-1644)</p> <p>Ink and color on paper</p> <p>Length 26.2cm, width 124cm</p> <p>Wen Zhengming (1470-1559), original name Bi, who styled himself Zheng Ming, and was alternatively called Hengshan Jushi, was a native of Changzhou (now Suzhou, Jiangsu Province). He was the representative of "Wumen School", and one of the "Four Masters of the Ming Dynasty". He specialized in figures, landscapes, flowers and birds, especially got outstanding achievements in landscape paintings, which mostly described the theme of Southern landscapes. His representative work is Zhen Shang Zhai (hand scroll). The spring mountains in the painting were painted in mineral green and umber, with inscriptions of the sayings sung by Zhou Fu, and one poem "Southern Spring" by Ni Yunlin, and seals in intagliated characters "Zheng" and "Ming".</p> `
    },
    {
      id: 12,
      url: 'Paintings',
      h3: 'Native Land of Reeds',
      p: 'Dong Qichang (1555-1636) was the representative of the "Huating school", and the leader of the late Ming Dynasty paintings.',
      info: `<p>Hand scroll</p> <p>by Dong Qichang, etc.</p> <p>Ming Dynasty  (1368-1644)</p> <p>Ink and color on paper</p> <p>Length 24cm, width 278.7cm</p> <p>Dong Qichang (1555-1636), who styled himself Xuanzai, with alternative names of Sibai, Siweng, and Xiangguang Jushi, was a native of Huating (now Songjiang, Shanghai). He was the representative of the "Huating school", and the leader of the late Ming Dynasty paintings. He specialized in landscape paintings, which were in subtle elegance and vividness. He promoted paintings by scholars and officials, and had a significant impact on the paintings of Qing Dynasty. Both of the emperors Kang Xi and Qian Long liked his calligraphies and paintings, so his paining style was strikingly rife in the whole contry during that period. This painting was a joint work. The first part depicts the landscape with self-titled "Native Land of Reeds in Autumn" by Dong Qichang. Later, another inscription was added by Chen Jiru, saying that it was better to be titled as "Native Land of Perches". Since then, Zhuang Yan, Zhu Nianxiu, Li Shaoji, Chen Lian, Shi Jiaohuan, Lan Ying, Wu Zhen continued to add something to the painting, and there is an inscription of the year "Gui Chou (41st year of Wan Li, 1613)" signed by Lan Ying, and "Ren Zi (40th year of Wan Li, 1612)" signed by Wu Zhen.</p> `
    },
    {
      id: 13,
      url: 'Paintings',
      h3: 'Feet Immersing in Paulownia Shade',
      p: 'Shen Zhou (1427-1509）,was a native of Changzhou (now Suzhou, Jiangsu Province), and the founder of the "Wumen school"',
      info: `<p>Hanging scroll</p> <p>by Shen Zhou</p> <p>Ming Dynasty (1368-1644)</p> <p>Ink and color on silk</p> <p>Length 199cm, width 97.5cm</p> <p>Shen Zhou (1427-1509）, who styled himself Qinan, with the alternative name Shitian, and self-claimed as Bai Shiweng (Bai Shi old man), was a native of Changzhou (now Suzhou, Jiangsu Province), and the founder of the "Wumen school", and also one of the "Four Masters of the Ming Dynasty" (Shen Zhou, Wen Zhengming, Tang Yin, and Qiu Ying). His painting works had two kinds: brush and refined brush. His style was powerful, refreshing, and more pedantic and he was the representative of the Ming Dynasty's paintings by scholars and officials. This painting shows the quiet valley and deep lake, with peace and tranquility. The mountains and rocks in this painting are dominated by outlines with applying colors and the colors are mineral blue and mineral green --bright but not tacky. The branches were drawn in bold brush which shows the vigorous artistic conception. The leaves were drawn in outlines, and the color was dyed in vegetation green--the calm color. On the top right corner of the painting, there is a self-titled poem.</p> `
    },
    {
      id: 14,
      url: 'Paintings',
      h3: 'Fisherman',
      p: 'Wu Wei was a court painter of Ming Dynasty, and the founder of "Jiangxia School".',
      info: `<p>Hanging scroll</p> <p>By Wu Wei</p> <p>Ink and color on silk</p> <p>Ming Dynasty (1368-1644)</p> <p>Length 177cm, width 97.6cm</p> <p>Wu Wei (1459-1508), who styled himself Ciweng, with the alternative name Xiaoxian, was a native of Jiangxia (now Wuchang, Hubei Province). He was a court painter of Ming Dynasty, and the founder of "Jiangxia School". He specialized in painting figures, landscapes, especially in outline drawing without color or shading. He started painting in court in Cheng Hua period (1465-1487). In Hong Zhi period (1488-1505), he gained the emperor's royal seal, and was called "Master of Paining". His personal style was mainly evolved from the Southern Song academic tradition, and his figure painings were divided into bold free style, meticulous style and traditional ink and brush style. His early style was delicate and exquisite, after his middle age, his style was characterized by greater freedom and more expressive brushwork. The representative of his works is Wind and Snow on the Ba River Bridge. In this painting, the figures' faces, hands and feet were outlined with light ink and light colors, and the method of the composition was taken from the style of Southern Song Dynasty's "side corner" method, but his own style was characterized by fresh brushwork instead of Southern Song's calm and vigorous style. The upper left corner of the painting was signed "by Xiaoxian", and a seal of "Jiangxia Wu Wei" carved in relief can be found below it.</p> `
    },
  ],
  Gold: [
    {
      id: 1,
      url: 'Gold',
      h3: 'Gilt Silver Funerary Mask',
      p: 'The intact funerary mask is made of a sheet of hammered gilt silver. It has a clear facial contour with the hair pulled back, eyebrow bones prominent, eyes closed and lips pressed together, showing a composed mien.',
      info: `<p>Liao Dynasty (907-1125)</p> <p>Length 31cm, width 22.2cm</p> <p>Unearthed in Fangshan District, Beijing</p> <p>The intact funerary mask is made of a sheet of hammered gilt silver. It has a clear facial contour with the hair pulled back, eyebrow bones prominent, eyes closed and lips pressed together, showing a composed mien. Under the ears and on both sides of the temples there are little holes where earrings can be tied. Judging from its image, the mask presents the facial features of Northern minorities. This is the first funerary mask found in Beijing, and compared to those unearthed from tombs in Inner Mongolia and Liaoning Province, it is unique in having a hairstyle by sheet-working and chiseling and the presence of a neck. </p> <p>Funerary mask, also known as a face cover or a vizor, is one of the burial objects of the Khitan nobles. The Khitans are the posterity of the Donghu people, descending from a clan of Xianbei or Sienpei, an ancient minor nationality in China. Therefore, the Khitans kept many Donghu conventions such as braiding a queue and creating a mask for the deceased. Archeological findings have confirmed that all the metal masks were unearthed from noble tombs and that such a large quantity of masks in gold, silver, bronze, gilt silver or gilt bronze were made according to the facial types of the deceased and indicated social status, genders and age. Studies on data have also suggested that all these metal masks belonged to the middle and late period of the Liao Dynasty. </p> <p>In terms of the burial customs of deceased Khitans wearing a metal mask, there are two theories put forward by academia, one seeing the influence of Shamanism and the other Buddhism. Some researchers favoring the former theory, believe that the Khitan mask was worn by the deceased to fulfill the special mission of the shamans to communicate between humans and god; meanwhile, those preferring the latter theory believe that, since the majority of the metal masks are very similar to Buddha statues in shape created during the Liao dynasty, the Buddhism that was flourishing at the time must have had some influence over the development of the metal masks. The latest research, however, suggests metal masks delineating the facial features of the deceased nobles in Liao dynasty tombs are designed to show reverence and worship for the ancestors. In conclusion, the research on the Khitan metal mask is developing and deepening. </p> `
    },
    {
      id: 2,
      url: 'Gold',
      h3: 'Gold Armlets',
      p: 'The pair of armlets was made by bending a gold bar with a diameter of 0.4cm into a non-closed circle, with the two ends being shaped into two flattened fans.',
      info: `<p>Gold and silverware</p> <p>Shang Dynasty  (c. 1600 B.C.–1046 B.C)</p> <p>One is 93.5g in weight and 39cm in circumference and the other is 80g in weight and 38.1cm in circumference; its cross-section diameter is 0.4cm. </p> <p>Unearthed from a Shang-dynasty Tomb in the Liujiahe, Pinggu District, Beijing </p> <p>The pair of armlets was made by bending a gold bar with a diameter of 0.4cm into a non-closed circle, with the two ends being shaped into two flattened fans. Among the wide variety of armlets, this pair excavated from a Shang-dynasty tomb in the Liujiahe area exhibits the physical features of bronze culture in Northern China in early times. The pair of armlets, together with the pair of flattened trumpet-shaped earrings, gold hairpin and other adornments excavated from the same tomb, forms a comparatively large and heavy headdress combination. According to the measurement data, these goldwares have a gold content of 85%, a small amount of silver and a minute amount of bronze. Other objects in the same tomb include sixteen pieces of ritual bronzes such as ding (an ancient cooking vessel with two loop handles and three or four legs), li (an ancient cooking tripod with hollow legs), yan (an ancient double steamer), jue (an ancient wine vessel with three legs and a loop handle), and lei decorated with three rams (an ancient wine vessel). These bronzes from Northern China are similar to those from Central China in shape, indicative of a relatively high social status of the tomb owner. From this, scholars infer the tomb owner may have been a prince of some statelet in Northern China or an aristocrat appointed by the Shang-dynasty rulers.</p> <p>Judging from the time span, the bronzes unearthed from this site are dated from mid-Shang period. The goldware from the tomb exhibit typical regional features, which are probably adornments made by ethnic minorities living not far from the royal family of Shang Dynasty. They are basically the same in shape with those gold or bronze adornments excavated from tombs related to the lower Xiajiadian culture in Beijing, Hebei Province and Liaoning Province. It indicates that the occurrence and development of precious metal processing in the Shang Dynasty had a close connection with the Xiajiadian culture. These objects form an intact combination of hair accessories, earrings, and armlets, and are valuable articles for studying the earlier gold wares and adornment concepts of Chinese ancestors. </p> `
    },
    {
      id: 3,
      url: 'Gold',
      h3: 'Gold Medallion with Tibetan Characters and Lotus',
      p: 'The gold medallion was made with such techniques as mold casting and engraving. It is round with a wide and thick edge.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Diameter: 7.7cm, thickness: 0.7cm, and weight: 440g</p> <p>Unearthed from a Qing-dynasty Tomb in Xifengsi Town, Mentougou District, Beijing</p> <p>The gold medallion was made with such techniques as mold casting and engraving. It is round with a wide and thick edge. On one side are engraved with flowers and birds in a pond in low relief. It is overspread with lotus leaves, engraved with blooming lotus flowers in the center and on the two sides, and interspersed with lotus stems. The composition is well-proportioned. The images are accurate and vivid, and the lines are smooth and delicate. This presents a picture that is both realistic and decorative. On the other side of the gold medal are engraved letters and characters in a fish-roe ground. In the center is engraved the Chinese character of "Shou" (longevity). Around the Chinese character is the six-syllable Tibetan mantra, Om Mani Padme Hūm. The gold medallion not only expresses auspicious wishes, but also conveys a reverence for Buddhism.</p> <p>The gold medallion was unearthed from a Qing-dynasty Tomb in Xifengsi Town, Mentougou District. Due to the lack of relevant excavation information, the identity of the tomb owner is yet to be determined. The medallion is made of gold, is 440g in weight, exhibits exquisite craftsmanship and with a Buddhist mantra as its decoration, all factors reflecting the identity of the tomb owner of the dignitary who is probably a member of the Qing-dynasty royal family. </p> `
    },
    {
      id: 4,
      url: 'Gold',
      h3: 'Gold Accessory with Embossed Patterns',
      p: 'Shi Jian, literally meaning a kind of accessory, is made up of a hollowed-out plaque and seven pendants hanging by separate gold chains linked to rings.',
      info: `<p>Ming Dynasty (1368-1644)</p> <p>Length: 52cm, weight: 270.6g</p> <p>Unearthed from Wan Gui Tomb in Dongzhuang, You'anmenwai, Fengtai District, Beijing</p> <p>Shi Jian, literally meaning a kind of accessory, is made up of a hollowed-out plaque and seven pendants hanging by separate gold chains linked to rings. The plaque is in the shape of a lotus leaf with a pair of symmetrical mandarin ducks. Each of the chains has a pendant hooked under it, depicting a pair of scissors, a bag, a sword, a jar, a box, a bottle and an awl. The little pendants are exquisite. In particular, the jar, the bottle, the bag and the box are carved with delicate patterns that are highly decorative. The awl, "Xi" in Chinese, is in the shape of an animal tooth, and is a tool for untying knots. </p> <p>Shi Jian is a kind of portable decoration worn by ancient men. The phrase of "Seven Things" was first mentioned in the Records of Carriage and Costume of the Book of Tang, which refer to seven things that military officers of the Tang Dynasty wore, namely, a sabre, a knife, a whetstone, a wedge for carving, an awl for untying knots, a tube and a flint. This gold accessory with engraved patterns has seven pendants that are consistent with the seven things recorded in literature, being therefore a valuable exhibit confirming history.</p> `
    },
    {
      id: 5,
      url: 'Gold',
      h3: 'Gold Cup and Tray',
      p: 'The cup and the tray were unearthed from the same tomb. They form a set, with the cup placed on the tray.',
      info: `<p>Ming Dynasty (1368-1644)</p> <p>Height: 4.2 cm, Diameter: 7.8 cm, Bottom Diameter: 4.8 cm</p> <p>Unearthed from the tomb of Wan Gui outside the You'anmen Gate in Beijing</p> <p>The cup and the tray were unearthed from the same tomb. They form a set, with the cup placed on the tray.</p> `
    },
    {
      id: 6,
      url: 'Gold',
      h3: 'Gem-inlaid Lidded Gold Kettle with Dragon Pattern',
      p: 'This kettle has a flaring mouth, a narrow neck, a bulging belly, a ring foot, a spout and a handle on the opposite sides, and a lid linking the handle with a chain.',
      info: `<p>Ming Dynasty (1369-1644)</p> <p>Height: 19.4 cm, Rim Diameter: 4.4 cm, Bottom Diameter: 5.3 cm</p> <p>Unearthed from the tomb of Wan Tong in Nanyuan outside the Yongdingmen Gate in Beijing</p> <p>This kettle has a flaring mouth, a narrow neck, a bulging belly, a ring foot, a spout and a handle on the opposite sides, and a lid linking the handle with a chain. The lid, the neck and near the bottom are adorned with engraved patterns of plantain leaves, scrolls, clouds and lotus petals. There are two four-clawed winged dragons enclosed by flames on both sides of the belly. The lid, the spout and the handle are inlaid with twenty-seven rubies and sapphires, some of which have fallen off. Wan Tong was Wan Gui’s son and the younger brother of Concubine Wan of Emperor Xianzong. He was born in 1439 in the reign of Zhengtong and died in 1482 in the reign of Chenghua.</p> `
    },
    {
      id: 7,
      url: 'Gold',
      h3: 'Gem-inlaid Peach-shaped Gold Cup',
      p: 'The cup is shaped like a half peach, with the handle shaped like the branch and leaves.',
      info: `<p>Ming Dynasty (1368-1644)</p> <p>Height: 4.4 cm, Length: 6.8 cm, Width: 5.2 cm</p> <p>Unearthed from the tomb of Wan Tong in Nannyuan outside the Yongdingmen Gate in Beijing</p> <p>The cup is shaped like a half peach, with the handle shaped like the branch and leaves. The interior and the handle are inlaid with rubies and sapphires. For making the cup, molding, welding and inlay techniques were all used. It is well designed and exquisitely wrought, resembling a real peach. The rich colors of rubies, sapphires and gold add profusion and elegance to the already monotonous plain article.</p> `
    },
    {
      id: 8,
      url: 'Gold',
      h3: 'Octagonal Wine Cup with An Image of Drunken Li Bai',
      p: '',
      info: `<p>Ming Dynasty (1369-1644)</p> <p>Height: 2.9 cm, Rim Diameter: 7.8 cm, Bottom Diameter: 4.8 cm</p> <p>Unearthed from the tomb of Wan Gui outside the You’anmen Gate in Beijing</p> <p>This octagonal wine cup has a broad mouth with a folded rim, a gradually tapering downward body and a flat bottom. On the bottom is carved an image of drunken Li Bai (a great poet in the Tang Dynasty). He looks straight ahead with his right hand before his chest and left hand on an empty wine jar lying on its side. His right leg supports the right hand, and the left leg is bent. On the exterior surface engraved a scene of the Eight Immortals including in clockwise order Lü Dongbin, Han Zhongli, Tieguai Li, Zhang Guolao, Cao Guojiu, Han Xiangzi, Lan Caihe and He Xiangu. The cup is made with molding, welding and carving techniques.</p> `
    },
    {
      id: 9,
      url: 'Gold',
      h3: 'Gold Bottle with Cloud and Phoenix Pattern',
      p: 'This bottle has a wide mouth, a long neck, a bulging belly and a flat bottom.',
      info: `<p>The ninth year in the reign of Xuande in Ming Dynasty (1434)</p> <p>Height: 13 cm, Rim Diameter: 4.7 cm, Bottom Diameter: 8.9 cm</p> <p>Unearthed from the tomb of Dong Si in Haidian District, Beijing</p> <p>This bottle has a wide mouth, a long neck, a bulging belly and a flat bottom. It is fully adorned with a scroll pattern on the mouth rim, a smaller cloud and phoenix pattern on the neck, and a big cloud and phoenix pattern on the belly. It has a simple shape with a graceful outline and rich, elaborate patterns. The inscription on the outer bottom marks its maker, the year of production, its weight, and the purity of the gold.</p> `
    },
    {
      id: 10,
      url: 'Gold',
      h3: 'Octagonal Plate with Engraved Figures and Pavilions Design',
      p: 'This plate is in octagonal shape, decorated with a continuous geometric pattern on the rim.',
      info: `<p>Ming Dynasty (1368-1644)</p> <p>Height: 0.9 cm, Diameter: 16. 2 cm, Side Length: 6.6 cm</p> <p>Unearthed from the tomb of Wan Gui outside the You'anmen Gate in Beijing</p> <p>This plate is in octagonal shape, decorated with a continuous geometric pattern on the rim. It was firstly molded and then engraved with designs. The main motif at the bottom center is a group of men and buildings accompanied by trees, waves, bridges, horses and rocks. There are twenty-one men who are riding horses, carrying musical instruments, talking or drinking together, depicted with a natural, free and vivid style. The multi-eaves building, in contrast, are precisely rendered. As a whole, the scene has both activity and motionless, which is an engraving representation of traditional Chinese painting. The tomb occupant Wan Gui, born in 1392 in the reign of Hongwu and died in 1475 in the reign of Chenghua, was recorded in Annals of Ming Dynasty, who was the father of Wan Guifei, a concubine of Emperor Xianzong.</p> `
    },
  ],
  Coins: [
    {
      id: 1,
      url: 'Coins',
      h3: 'Spade-shaped Coin with Three Holes inscribed "Wang Dayu"',
      p: "The coin's stem, shoulders, arch, and feet are all rounded. The stem and feet have holes.",
      info: `<p>The State of Zhao (403-222 BCE) in the Warring States Period (475-221 BCE)</p> <p>Overall length 5.5 cm, width 2.9 cm, weight 7g</p> <p>The coin's stem, shoulders, arch, and feet are all rounded. The stem and feet have holes. One side of the coin is inscribed "Wang Dayu"(王大于), the other side "Twelve Zhu". The coin was issued by the State of Zhao in the middle Warring States period.</p> <p>The spade-shaped coin with three holes is the most valuable among all pre-Qin coins. Generally, the coin's obverse was cast with a place name and no lines, while the reverse specified its weight, liang for the heavier coin, "12 zhu", which is half a liang, for the lighter one. The stem of the coin is inscribed with "12".</p> <p>The spade-shaped coin with three holes was the coinage of Zhao in the middle Warring States period. More than twenty place names written on coins of this type have been deciphered, and it has been shown that they refer to dependencies of Zhao. The reverse not only specifies the weight but is also inscribed with the number "12". In addition, according to the inherited relationship between the spade-shaped coin with three holes and the spade-shaped coin with round-foot, the place names on the coin, and the historical records, it is believed the spade-shaped coin with three holes was probably cast in the era of prince Zhang, eldest son of King Wuling of Zhao, who destroyed the State of Zhongshan (414-296 BCE).</p> <p>According to Eastern Zhou and Qin Civilizations by Li Xueqin, the inscription on the head of the spade-shaped coin with three holes in the Capital Museum has been interpreted as "Wang Kua"(王夸) or "Yu Tai"(玉太) in the Dictionary of Chinese Ancient and Modern Spring Coins written by Qiu Wenming of the United States. "Wang Dayu" is the interpretation of Tang Shifu. In addition, He Linyi also made a study of the place name on the coin in his article Research on a spade-shaped coin inscribed "Wang Kua." His study of the pronunciation of geographical names related to "Wang Kua" and state affiliations in historical documents led him to conclude that "Wang Kua", "Wang Zhu", "Wang Du", and "Qing Du" are all phonetic transliterations of a single place. According to The Book of the State of Yan and the Book of the State of Zhongshan, "Wang Zhu" (recorded in DiLi Zhi as "Wangdu") belonged to Zhongshan, and according to the Basic Annals of the First Emperor of Qin, "Qingdu" belonged to Zhao. The written records can be mutually verified with the viewpoint, which says the spade-shaped coin with three holes is the "latest coin issued by the state of Zhao" in the Warring States period. </p> `
    },
    {
      id: 2,
      url: 'Coins',
      h3: 'A Pair of Socketed Coins with Arched Ends Inscribed with the Name of the State "Fei Jin"',
      p: 'Each of these bronze coins has a hollow stem (containing a clay core) and a flat part that is roughly rectangular except for its arched lower end.',
      info: `<p>Height 8.7 cm, width 4.7 cm, weights 20 grams and 20.6 grams</p> <p>Each of these bronze coins has a hollow stem (containing a clay core) and a flat part that is roughly rectangular except for its arched lower end. The flat part has three raised lines on each face and the inscription "Fei Jin" (𨚓釿), the name of a state. Coins of this type, standardized and finely cast, circulated in and near the Zhou king's capital from the Spring and Autumn period to the early Warring States period, from the 8th to the 5th century BCE. The Grand Chinese Dictionary explains the inscription "Fei" as a place name signifying the capital of Hua, a vassal statelet of the Zhou Dynasty located in the southwest part of today's Yanshi County, Henan Province. </p> <p>The socketed coin (kongshoubu) is one of the earliest cast metal coins in China. It imitates the shape of an ancient shovel or a similar tool. Coins of this type were cast and circulated in such agricultural regions or states as Zhou, Jin, Zheng, Wei, etc. of the Spring and Autumn and Warring States periods. Kongshoubu have three main shapes: (1) pointed upper and lower corners, (2) flat upper edge, and (3) slanting upper edge. The present pair belongs to type (2).</p> `
    },
    {
      id: 3,
      url: 'Coins',
      h3: 'Spade-shaped Coin with Arched Feet and the Inscriptions "Shan Yijin"',
      p: 'This spade-shaped coin is cast. It has a flat stem, arched shoulders, and squared-off feet, the feet being connected by an arch, hence its name.',
      info: `<p>The State of Wei (403-225 BCE) in the Warring States Period (475-221 BCE)</p> <p>Overall length 5.8 cm, width 3.8 cm, weight 12.8 g</p> <p>This spade-shaped coin is cast. It has a flat stem, arched shoulders, and squared-off feet, the feet being connected by an arch, hence its name. On one side there is an inscription written upside down and variously interpreted as "Shan Yijin"(陕一釿) or "Yu Yijin"(虞一釿). Both Shan and Yu are ancient place names. Scholars interpret the character Shan as currently a place located in the southwest of Shan County, Sanmenxia City, in Henan Province. </p> <p>This coin type was the currency of the State of Wei during the Warring States period. It was the main kind of spade-shaped coin in Wei, and the inscriptions often contained the Chinese character "Jin", the unit of currency. It is, therefore, also called “a spade-shaped coin inscribed Jin."</p> <p>The spade-shaped coin with arched feet was an early modification of the hollow-stemmed spade-shaped coin. The shape was not standardized, and there is no fixed formula for the content and arrangement of the inscription. The type has two main types of shoulder, flat and round. The inscriptions are sometimes written normally, sometimes written upside down, and sometimes written from the left. On the front face, the inscriptions generally recorded place names and denominations. And there are three main denominations: "Er Jin"(二釿), "Yi Jin"(一釿) and "Ban Jin"(半釿). The other side of the coin is mostly unadorned.</p> <p>According to the research of ancient numismatists, although the spade-shaped coin with arched feet has three denominations of "Er Jin", "Yi Jin" and "Ban Jin", the systems actually used had only two denominations. At first, they were "Er Jin" and "Yi Jin"; later these gave way to "Yi Jin" and "Ban Jin." The disappearance of "Er Jin" and the emergence of "Ban Jin" were currency reforms driven by the reduced weight of the coins. </p> `
    },
    {
      id: 4,
      url: 'Coins',
      h3: 'Huangsong Tongbao Coin',
      p: 'The Huangsong Tongbao coin, with its inscription not marking a reign title, were issued in the first year of Baoyuan reign of Zhao Zhen, Emperor Renzong in Song Dynasty (1038).',
      info: `<p>Northern Song Dynasty  (960-1127)</p> <p>Diameter: 2.4 cm, weIght: 3.9 g</p> <p>This finely cast coin has a clear inscription in Jiudiezhuan script. The Huangsong Tongbao coin, with its inscription not marking a reign title, were issued in the first year of Baoyuan reign of Zhao Zhen, Emperor Renzong in Song Dynasty (1038). Many of such coins have been handed down because they have circulated over a long period of time. Most unearthed or handed down items bear inscriptions in regular script or seal script, while the Jiudiezhuan script is quite rare, which usually appear on seals or paper money in Song and Yuan dynasties. It is found on no other coins in the history but Huangsong Tongbao coins. It is generally believed that this coin served as a trial-cast example or an auspicious article for praying for successful casting rather than a currency.</p> `
    },
    {
      id: 5,
      url: 'Coins',
      h3: '​Quadrupled Coins Inscribed "Four Coins Equivalent One Jin"',
      p: 'Each of the coin has the form of two coins, one right side up and one upside down, joined at their pointed lower corners.',
      info: `<p>State of Chu during the final days of the Warring States Period (475-221 BCE)</p> <p>Total length 9 cm, width 2.1 cm, weight 15 grams</p> <p>Each of the coin has the form of two coins, one right side up and one upside down, joined at their pointed lower corners. Their small, flat-stemmed, square-shouldered shape is rare. They were cast in two-part molds, and in both of them, the two parts of the mold shifted during casting, so at top and bottom of the coin the two sides are out of register. One end of the coin is inscribed "Four Coins"(四布) while the other is inscribed "Equivalent [of one] Jin " (当釿). Coins of this kind circulated in the Beibi area of the State of Chu during the late Warring States period. Few have ever been unearthed, so these examples are rare and valuable.</p> <p>During the Warring States period, Chu was the only state that issued coins of cast gold, silver, and copper. For its copper coins, there were two standard types, big and small. The big copper coin displayed the four characters "Shi Currency Jin Equivalent"(旆钱当釿) at the top. Characters at the bottom were interpreted as "Ten Huo"(十货) by previous scholars, while contemporary scholars interpret them as "Seven Dian (七颠)" or "Seven Shen (七慎)". Influenced by the coin shape circulating in central China, the big coin is rectangular and flat-stemmed, with a square shoulder and foot. The little coin is also termed quadrupled coins as related above. Experts believe that the quadrupled coins were a local currency that was cast and circulated in the border counties of the State of Chu after it occupied the Huaihe, Sishui regions and Wuyue regions, thus having a limited circulation.</p> <p>Why are these coins coupled at the feet? Li Xueqin holds that a half jin could have been easily obtained by breaking the coupling. The broken half weighs 7.5 to 8 grams, and 15 to 16 grams when combined, similar to the "Half Jin" and "One Jin" coins used in the State of Wei. Therefore, the big copper coin, quadrupled coin, and half-quadrupled coin provide three currency values, i.e. two jin, one jin, and half a jin. Chu and Wei shared a border, so these corresponding currency values were favorable to trade and circulation. </p> `
    },
    {
      id: 6,
      url: 'Coins',
      h3: 'Daming Baochao Paper Money',
      p: 'The Daming Baochao paper money is made of mulberry bulk paper. The bill, worth 1,000 cash and measuring 36.4 ×22 cm, is the largest Chinese paper money.',
      info: `<p>Ming Dynasty (1368-1644)</p>  <p>36.4 ×22 cm</p><p>Size: 36.4 ×22 cm</p> <p>The Daming Baochao paper money is made of mulberry bulk paper. The bill, worth 1,000 cash and measuring 36.4 ×22 cm, is the largest Chinese paper money. There are six characters Daming Tongxing Baochao meaning "Great Ming paper money" on top of the face, two characters Yiguan meaning "1,000 cash" below, and an image of ten strings of copper coins further below, which is flanked by the words "Great Ming paper money" and "to be circulated all over the country". The note below the coin image says, "Great Ming paper money, issued by Ministry of Revenue with approval by the emperor, circulates along with copper cash. Any forger will be decapitated, and the informer will be awarded with 250 taels of silver plus the property of the criminal. Date, the reign of Hongwu." The bill is bordered with dragon and seawater patterns. In the eighth year of the Hongwu reign of Ming Taizu Emperor Zhu Yuanzhang (1375), a paper money standard was established, accompanied by a paper money bureau and a paper money law. Great Ming paper money, accordingly issued, was inconvertible.</p> `
    },
    {
      id: 7,
      url: 'Coins',
      h3: 'Daqing Baochao Paper Money',
      p: 'The Daqing Baochao paper money was issued in the third year of Xianfeng (1853). It has various values measured in terms of copper cash.',
      info: `<p>Qing Dynasty  (1636-1911)</p> <p>24 × 13.2 cm</p> <p>Size: 24 × 13.2 cm</p> <p>The Daqing Baochao paper money was issued in the third year of Xianfeng (1853). It has various values measured in terms of copper cash. The four characters Daqing Baochao on top of its face means "Great Qing paper money", which are flanked by the words "to be circulated all over the country for fair transaction". On both sides of the square frame in the middle are characters indicating the serial number and the year in which it was made. In the middle is a printed picture of a number of standard copper coins stamped with a seal saying "Great Qing paper money". Below that is a note saying that the paper money could be used in place of copper cash for paying all sorts of taxes, that it was recognized by all tax bureaus outside Beijing, and that two thousand copper cash could be exchanged for a paper bill worth a tael of silver. Imitating Great Ming paper money, the bill is bordered with a dragon pattern with a wavy pattern beneath. It is made of kraft paper, with characters and patterns printed in blue. Such bills were issued from the third to the ninth year of Xianfeng's reign.</p> `
    },
    {
      id: 8,
      url: 'Coins',
      h3: 'Tianchao Wansui Coin',
      p: 'This is a big copper coin worth ten cash, with characters in a vigorous style. Red rust could be seen.',
      info: `<p>Liao Dynasty  (907-1125)</p> <p>Diameter: 6.2 cm, Weight: 68.1 g</p> <p>This is a big copper coin worth ten cash, with characters in a vigorous style. Red rust could be seen. The Khitan characters on the obverse read Tianchao wanshun or Tianchao wansui. It used to be in the collection of Zhou Zhaoxiang, a collector of antiques.</p> `
    },
    {
      id: 9,
      url: 'Coins',
      h3: 'Tongzhi Zhongbao Coin',
      p: 'This coin is a copper prototype, being slightly bigger than coins modeled on it.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Diameter: 3.3 cm, weight: 14.8 g</p> <p>This coin is a copper prototype, being slightly bigger than coins modeled on it. It is made of top-quality copper with a fine workmanship. It has a clear edge and characters with slender but vigorous strokes. The central square hole is not drilled through, only left a round hole in the middle. On the obverse is a regular-script inscription. On the reverse are two Chinese characters meaning ‘equivalent to ten cash above and below the hole and two Manchu words on the left and right. Made by hand, prototype coins (diao mu) were of the highest value among ancient coins.</p> `
    },
    {
      id: 10,
      url: 'Coins',
      h3: 'Xianchun Yuanbao Coin',
      p: 'The Xianchun Yuanbao coin is a "master coin", a model directly sand-cast from the prototype for mass production of coins.',
      info: `<p>Southern Song Dynasty (1127-1279)</p> <p>Diameter: 3.7 cm, Weight: 7.2 g</p> <p>The Xianchun Yuanbao coin is a "master coin", a model directly sand-cast from the prototype for mass production of coins. Though slightly inferior to the prototype, it is still of an exceptionally high quality in material and workmanship. This coin is made of first-rate copper, with a clear, elegant inscription and a fish-back-shaped edge that give it a high aesthetic value.</p> <p>Xianchun Yuanbao is the name for coins made in the reign of Xianchun (or Emperor Duzong, 1263~1274) in Southern Song Dynasty, which have three kinds of values, with regular-script inscriptions read vertically and their undersides marked with the years in which they were made (from "the first" to "the eighth"). Since no coins were made from the reign of Emperor Gongdi to the end of Song Dynasty, this was the last kind of square-holed round coins made in the dynasty.</p> `
    },
    {
      id: 11,
      url: 'Coins',
      h3: 'Xianfeng Yuanbao Coin',
      p: 'The coins have regular-script characters Xianfeng yuanbao on the obverse.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Diameter: 6.8 cm, Weight: 78.2 g</p> <p>The coins have regular-script characters Xianfeng yuanbao on the obverse. On the reverse are the Chinese characters dangqian (equivalent to 1,000 cash) above and below the hole, and the Manchu words baogong on the left and right. In the reign of Xianfeng, common coins were called tongbao, coins worth four to fifty cash zhongbao, and coins worth a hundred cash and above yuanbao, with as many as five grades of value. In the fifth year in the reign of Xianfeng (1855 AD), the mint in Gansu produced seven types of coins with various values, shapes and sizes and widely different weights. These two coins are exquisitely wrought, with elegant inscriptions. They are of high value because the mint had produced very few dangqian coins.</p> `
    },
    {
      id: 12,
      url: 'Coins',
      h3: 'Yidao Ping Wuqian Coin',
      p: 'This knife-shaped coin is made of bronze and consists of a ring and a "blade".',
      info: `<p>Wang Mang Era</p> <p>Length: 7.2 cm, Weight; 22 g</p> <p>This knife-shaped coin is made of bronze and consists of a ring and a "blade". The ring is shaped like a round coin with a square hole, with two incised seal characters yidao in gold inlay above and below the hole. There are three molded characters in relief ping wuqian, or "equivalent to five thousand wuzhu coins", on the blade. Together the five characters mean that one knife-shaped coin was worth five thousand wuzhu coins (coins weighing one twenty-fourth of a tael each). This is one of the knife-shaped coins made in 7 AD, or the second year in the reign of Wang Mang, who tried to revive ancient traditions. Wang Mang coins are favored by collectors for their high-quality bronze, unique style of inscriptions and striking shapes.</p> `
    },
  ],
  Brocades: [
    {
      id: 1,
      url: 'Brocades',
      h3: 'Jing Embroidery Pillow Top',
      p: 'This pillow top is made of pink satin and adorned with images of Chinese cabbages, radishes, grasshoppers and mantises mainly embroidered with green untwisted yarn.',
      info: `<p>Late Qing Dynasty</p> <p>Length: 35.5 cm, Width: 17 cm</p> <p>This pillow top is made of pink satin and adorned with images of Chinese cabbages, radishes, grasshoppers and mantises mainly embroidered with green untwisted yarn, with gradations and stereotypical effect produced through a variety of stitches, the change of colors, or adding other stitches to colored patches.

      </p> `
    },
    {
      id: 2,
      url: 'Brocades',
      h3: 'Jing Embroidery Money Bag with Melon Pattern',
      p: 'This money bag is made of blue brocade, with auspicious images of peaches, bats, melons and butterflies embroidered on both sides with colored threads and a variety of stitches.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Width: 14.5 cm, Height: 11 cm</p> <p>This money bag is made of blue brocade, with auspicious images of peaches, bats, melons and butterflies embroidered on both sides with colored threads and a variety of stitches.</p> `
    },
    {
      id: 3,
      url: 'Brocades',
      h3: 'Bluish White Satin Mirror Cover with Patterns of Quadruple Ruyi, Roundel, and Longevity Characters',
      p: 'This mirror cover is made of bluish white brocade, with patterns of four ruyi-ends, roundels, longevity characters, four-petal flowers and scrolls in a variety of colors.',
      info: `<p>Qing Dynasty  (1636-1911)</p> <p>Length: 13 cm, Width: 8 cm</p> <p>This mirror cover is made of bluish white brocade, with patterns of four ruyi-ends, roundels, longevity characters, four-petal flowers and scrolls in a variety of colors — pink, light pink, apricot, tea green, and aqua. It contains a small mirror.</p> `
    },
    {
      id: 4,
      url: 'Brocades',
      h3: 'Cover for Spectacles with Cloud Pattern and Four Golden Characters',
      p: 'The cloud pattern is embroidered with blue, light blue and dark blue silk threads and is bordered with white and bluish white silk threads to produce a stereotypical effect.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Length: 14.5 cm, Width: 6 cm</p> <p>The cloud pattern is embroidered with blue, light blue and dark blue silk threads and is bordered with white and bluish white silk threads to produce a stereotypical effect. There are two characters on the obverse and two more on the reverse, which are embroidered with twisted gold threads and which, put together, mean "be perceptive of the minutest detail". The colors are sober and the style is of a classic elegance.</p> `
    },
    {
      id: 5,
      url: 'Brocades',
      h3: 'Jing Embroidery Pouches',
      p: 'These two oval drawstring pouches are connected by a 67-cm-long white silk string with gilded cloud-patterned metal rings at both ends.',
      info: `<p>Qing Dynasty (1636-1911)</p> <p>Length: 67 cm, Width: 11.5 cm</p> <p>These two oval drawstring pouches are connected by a 67-cm-long white silk string with gilded cloud-patterned metal rings at both ends. Different techniques were employed for the two. One of them, measuring 8.5 cm high and 10.5 cm wide, has two dragons and the character for longevity. The other, measuring 11.5 cm high and 11.5 cm wide, has four regular-script characters meaning "good luck in everything" in red wool circled by a pattern of seawater and river cliffs in colored wool and red bats.</p> `
    },
    {
      id: 6,
      url: 'Brocades',
      h3: 'Small Jing Embroidery Articles',
      p: 'The articles include swatters, fan covers, thumb ring covers, money bags, pouches, key bags, and mirror covers.',
      info: `<p>Qing Dynasty  (1636-1911)</p> <p>The articles include swatters, fan covers, thumb ring covers, money bags, pouches, key bags, and mirror covers. Most of them are decorated with auspicious patterns—peonies and butterflies meaning wealth; "longevity peaches", "longevity stones" and longevity characters meaning longevity; and bats, roosters and "auspicious clouds" meaning good luck. Small Jing embroidery articles are characterized by fine craftsmanship and a rich variety of techniques.</p> `
    },
    {
      id: 7,
      url: 'Brocades',
      h3: "Tieluo Embroidery Monk's Hat",
      p: 'This hat, made of light yellowish black cotton gauze, has a square opening and a pointed roof sloping on four sides, with eaves on the left, right and back sides that slant toward the temples.',
      info: `<p>Yuan Dynasty (1271-1368)</p> <p>Height: 35 cm, Width of each Brim: 12.5 cm, Width of each of the Four Top Corners: 21 cm</p> <p>Unearthed from Shuangta Pagodas at Qingshousi Monastery in Beijing in 1955 </p> <p>This hat, made of light yellowish black cotton gauze, has a square opening and a pointed roof sloping on four sides, with eaves on the left, right and back sides that slant toward the temples. There are dark brown ruyi-end shaped decorations on the edge, and dark brown flame patterns on four sides.</p> `
    },
    {
      id: 8,
      url: 'Brocades',
      h3: 'Light Tan Satin Lined Gown with Veiled Cloud and Round Dragon Patterns',
      p: 'This is a double-breasted gown with a stand-up collar, front and back panels, and straight sleeves.',
      info: `<p>Early Qing Dynasty</p> <p>Length: 137 cm, Sleeve Span: 175 cm, Chest Circumference: 103.5 cm</p> <p>Unearthed from a Qing tomb at Sidaokou in the northern suburbs of Beijing </p> <p>This is a double-breasted gown with a stand-up collar, front and back panels, and straight sleeves. There is a roundel pattern enclosing two dragons playing with a pearl and a cloud pattern on the light tan eight-heddle satin. The roundel pattern measures 21 cm in diameter; each of the repetitive patterns measures 48 cm in the warp-wise direction and 37 cm in the weft-wise direction; the stand-up collar measures 8.5 cm high. There are five amber buttons down the front.</p> `
    },
  ],
  Cultural: [
    {
      id: 1,
      url: 'Cultural',
      h3: 'Peach-shaped Chengni Inkslab',
      p: 'Chengni inkslabs were one of the four most famous types of Chinese inkslabs.',
      info: `<p>Ming Dynasty (1368-1644)</p> <p>Length: 10.8 cm, Width: 6.9 cm, Thickness: 2. 5 cm</p> <p>Chengni inkslabs were one of the four most famous types of Chinese inkslabs. Produced in Jiang County in Shanxi, they are made of mud from the bottom of Fenhe River, which was air-dried and baked hard. They are capable of producing fine ink and retaining ink or water for a long time.</p> <p>This exquisitely wrought reddish brown inkslab is shaped like a peach, with two leaves forming a flat-bottomed water reservoir in-between.</p> `
    },
    {
      id: 2,
      url: 'Cultural',
      h3: 'Taohe Inkslab',
      p: 'Taohe stones, of which this inkslab is made, were named after it origin in Taohe River in Gansu.',
      info: `<p>Ming Dynasty  (1368-1644)</p> <p>Length: 15.8 cm, Width: 9.1 cm, Thickness: 5.3 cm</p> <p>Taohe stones, of which this inkslab is made, were named after it origin in Taohe River in Gansu. Their exploitation, which started in Song Dynasty, was very difficult because they were usually found at places with deep water and rapid currents. As Zhao Xigu, a man in Song Dynasty, wrote, "Besides Duan and She stones, Taohe stones were the most valuable in the north. Green and smooth, they could be made into top-quality inkslabs. However, lying on the bed of the deep river, they are very hard to obtain and are therefore priceless." For that reason, few Taohe inkslabs have been handed down.</p> <p>This inkslab, with a fine, smooth texture and a light green color with a yellow tint, is among the best of its kind. Simply shaped, it is bordered with lifelike dragons playing with water in shallow relief. It used to be in the possession of Ji Xiaolan (1724~1805), a Qing scholar from Xian County in Hebei. He was the chief compiler of Complete Library of the Four Treasuries (Siku quanshu), and the complier of Annotated Catalogue of the Complete Library of the Four Treasuries (Siku quanshu zongmu tiyao).</p> `
    },
    {
      id: 3,
      url: 'Cultural',
      h3: 'Shinuan Inkslab',
      p: 'Made of bluestone, this inkslab, with slanting sides, is adorned with curved lines on the front. It has two inkwells and a chamber underneath, with traces of smoke left inside.',
      info: `<p>Yuan Dynasty  (1271-1368)</p> <p>Length: 32 cm, Width: 28 cm, Thickness: 18 cm</p> <p>Made of bluestone, this inkslab, with slanting sides, is adorned with curved lines on the front. It has two inkwells and a chamber underneath, with traces of smoke left inside. The chamber, used for heating, is grayish white from burning. There are black and red traces in the inkwells. Inkslabs designed like this one are rare and peculiar to cold northern regions. It was unearthed at a Yuan Dynasty site east of Deshengmen Gate in Beijing.</p> `
    },
    {
      id: 4,
      url: 'Cultural',
      h3: 'Dustpan-shaped Ceramic Inkslab',
      p: 'This is a black chengni inkslab imitating Song dustpan-shaped inkslabs. There is an inscription in official script on the reverse.',
      info: `<p>Yuan Dynasty (1271-1368)</p> <p>Length: 12 cm, Width: 10.8 cm, Thickness: 2.4 cm</p> <p>This is a black chengni inkslab imitating Song dustpan-shaped inkslabs. There is an inscription in official script on the reverse, which contains the words Yunzhong Yuquan Laoren, the fancy name of Yelü Chucai, an eminent minister and statesman of Mongolia.</p> <p>Yelü Chucai (1190~1244), Jinqing by courtesy name, was a Khitan. He was the ninth-generation son of Yelü Abaoji, the first emperor of Liao Dynasty. An erudite and talented man, he was assigned to important positions by Genghis Khan (the first emperor of Yuan Dynasty) and Ögedei Khan (the second Yuan emperor), and attained the rank of Secretariat Director. He laid down a code of conduct for the sovereign and the subjects for Mongolia, reformed all corrupt customs, and abolished the practice of slaughtering the people of a conquered city. He practically built the framework of Yuan Dynasty, which gave him a prestigious posthumous title Wenzheng.</p> `
    },
    {
      id: 5,
      url: 'Cultural',
      h3: "Zijin Stone Inkslab Shaped Like the Character for 'Phoenix'",
      p: 'Zijin stones are found in Linqu in Shandong. This inkslab is made of top-quality stone, with a purple, smooth surface.',
      info: `<p>Song Dynasty (960-1279)</p> <p>Length: 22.7 cm, Width: 17.5 cm, Thickness: 3.9 cm</p> <p>Zijin stones are found in Linqu in Shandong. This inkslab is made of top-quality stone, with a purple, smooth surface. It has two feet in its front and a backward inclining water reservoir. There are apparent traces of ink left on its top. There is an incised inscription in five lines on the reverse side, with incomplete characters and the signature Yuanzhang. The inkslab, which had been damaged when unearthed, was discovered at the ruins of nobles' residences dating back to Yuan Dynasty at Houyingfang in Beijing. The cultural relics dating from the Neolithic Age unearthed together with it suggest that they were all collected as antiques by Yuan nobles. Zijin stone inkslabs had been rare after Song Dynasty, and this is the only one marked with the signature Yuanzhang. It is mentioned in History of Inkslabs, a book by Mi Fu, a famous Song calligrapher and painter.</p> <p>Mi Fu (1051~1107), with original name Juan and courtesy name Yuanzhang, was born in Taiyuan, Shanxi, and moved to Xiangyang in Hubei, and spent his old age in Zhenjiang, Jiangsu, therefore also calling himself a local of Wu (ancient name for Jiangsu). He was made an imperial academician in painting and calligraphy by Emperor Huizong, and held an official rank in Ministry of Rites. Skilled at writing poems and essays, he was an excellent painter, calligrapher and connoisseur. He achieved the highest level in running and cursive scripts, which, inspired by Wang Xianzhi's works, were elegant and uninhibited. He was one of the Four Song Masters, the other three being Su Shi, Huang Tingjian and Cai Xiang.</p> `
    },
    {
      id: 6,
      url: 'Cultural',
      h3: 'Tile-shaped Chengni Inkslab',
      p: 'This chengni inkslab, an ornament on a writing table, is modeled on tile-shaped inkslabs made in Han Dynasty, with a lightly depressed middle part and a rough surface.',
      info: `<p>Song Dynasty (960-1279)</p> <p>Length: 24 cm, Width: 17.5 cm, Thickness: 2 cm</p> <p>This chengni inkslab, an ornament on a writing table, is modeled on tile-shaped inkslabs made in Han Dynasty, with a lightly depressed middle part and a rough surface. It was unearthed in the vicinity of Beijing Zoo in 1969.</p> `
    },
    {
      id: 7,
      url: 'Cultural',
      h3: 'Chengni Inkslab',
      p: 'This is a rectangular inkslab made of ceramic. It has a simple shape, with a flat water reservoir, and is covered with earth stains.',
      info: `<p>Tang Dynasty (618-907A.D.)</p> <p>Length: 12.7 cm, Width: 8 cm, Thickness: 1.7 cm</p> <p>There is a rectangular raised inscription at the bottom indicating that it was owned by Shi Siyan from the southern gate of the West Capital, who might be an official in Chang'an.</p> <p>As recorded in a Ming book by Gao Lian, "Tang Dynasty chengni inkslabs are of the topmost quality, but unfortunately few have been handed down." That is to say, such inkslabs had become a rarity by Ming Dynasty, and today they are even rarer. Judging from the appearance of this one, Tang chengni inkslabs, having yet to come of age, are far inferior to those made in Song Dynasty.

      </p> `
    },
    {
      id: 8,
      url: 'Cultural',
      h3: 'She Inkslab',
      p: 'This is a she inkslab shaped liked the character for "phoenix". The water reservoir is connected with the inkwell, with the former being deeper than the latter.',
      info: `<p>Tang Dynasty  (618-907 A.D.)</p> <p>Length: 27.6 cm, Width: 9.4 cm, Thickness: 4.5 cm</p> <p>This is a she inkslab shaped liked the character for "phoenix". The water reservoir is connected with the inkwell, with the former being deeper than the latter. The top of the back bulges to be a semicircular shape, and there are two feet at the bottom. The inkslab is made of top-quality shuiboluo-patterned stone, the surface of which appears uneven but feels smooth. The stone, which is a kind of slate, does not lend for carving, and Tang ink stones of such a large size are rare.</p> `
    },
  ],
  Miscellaneous: [
    {
      id: 1,
      url: 'Miscellaneous',
      h3: 'Stacking Cosmetic Boxes Incised with Peacocks and Peonies',
      p: 'A stack of four cosmetic boxes are made of Chinese Xiuyan jade (a green jade, named for the occurrence at Xiuyan, Liaoning Province, China) in the shape of a cylinder, with a straight side and a slightly concave interior.',
      info: `<p>Jin Dynasty (1115–1234)</p> <p>Height 15.5 cm, diameter 12.8 cm</p> <p>A stack of four cosmetic boxes are made of Chinese Xiuyan jade (a green jade, named for the occurrence at Xiuyan, Liaoning Province, China) in the shape of a cylinder, with a straight side and a slightly concave interior. There are incised patterns on the surface of the boxes. The first-layer cosmetic box lies on top of the second with the first-layer interface imbedded into the second, and so on down to the bottom box. The round surface of the first-section lid is moulded with a peacock turning its head backwards surrounded by blooming peonies, and its exterior is incised with bow strings and two-tier reversed leaves. The exterior of the second and third sections are incised with bow strings and peonies with broken branches. The bottom-section is flat and incised with double bow strings and upright leaves. </p> <p>Along with the four make-up boxes, five other round boxes with floral patterns were unearthed. They were all found in the fourth-layer box containing white powder. All the five tiny boxes are the same in shape and slightly different in size and decoration. In terms of shape, the five boxes all have a flattened cover and bottom, and straight sides. The boxes have diameters varying from 4 cm to 4.7 cm and height varying form 1.8 cm to 2.1 cm. In terms of decorative patterns, the surface of the cover is incised with two bow strings and the inner wall with a flower.</p> <p>This is the first time that cosmetic articles of a definite dynasty were unearthed from an aristocratic Jurchen tomb in Beijing, thus providing valuable materials for studying the lifestyle and customs of women in the Jin Dynasty.</p> `
    },
    {
      id: 2,
      url: 'Miscellaneous',
      h3: 'Original Stele Inscribed with the Memorial on Announcement Commanded by Jia Sidao',
      p: 'Xuan Shi Biao, or the Memorial on Announcement, refers to the official memorial submitted by Zhong Yao (151-230), a chancellor of the kingdom of Wei in the Three Kingdoms period, to Cao Pi (187-226), first emperor of Wei.',
      info: `<p>Southern Song Dynasty (1127-1279)</p> <p>24.4 cm in height, 62.5 cm in width and 11.3 cm in thickness</p> <p><i> Xuan Shi Biao,  </i>or the Memorial on Announcement, refers to the official memorial submitted by Zhong Yao (151-230), a chancellor of the kingdom of Wei in the Three Kingdoms period, to Cao Pi (187-226), first emperor of Wei. Zhong Yao wrote the Memorial to persuade Cao Pi to accept the pledge of allegiance of Sun Quan (182-252), founder of the kingdom of Eastern Wu. The original work of the Memorial was lost during the reign of Emperor Mu (343-361) of the Eastern Jin Dynasty. The copy of the Memorial passed down to this day is, in fact is the version written by calligrapher Wang Xizhi (303-361) of the Western Jin Dynasty imitating the original work of Zhong Yao. </p> <p>This piece of work was thus named because it is the original stele into which Jia Sidao (1213-1275), prime minister of the Southern Song Dynasty, commanded artisans to inscribe Wang Xizhi's calligraphy of Zhong Yao's Memorial of Announcement. The stele was inscribed on the right side of the first line of the calligraphy with "Xizhi imitated Zhong Yao's calligraphy" written by Zhao Ji, Emperor Huizong of the Song Dynasty (1082-1135) on its frontage with a cross-page seal with Chinese characters "Xuan He" (Emperor Huizong's era name, from 1119-1125) on its surface, with the seal with four Chinese characters "Jia Si Dao Yin" (meaning "Sealed by Jia Sidao") in seal script, and with a calabash-shaped seal with Chinese characters "Yue Sheng" (Yuesheng is the alternative name of Jia Sidao) also in seal script. </p> <p>After Jia Sidao's death, the original stele inscribed with the Memorial of Announcement was buried deep underground and it was only unearthed in the late Ming Dynasty from the site of Banxian Cottage of the Jia Family in Hill Ge, Hangzhou. Since then, the stele was collected by curio hunters one after another. The back side of the stele carries an inscription with a preface and a postscript written by Jin Nong (1687-1763), a popular painter and calligrapher of the Qing Dynasty. On the surface of the auxiliary stele to the original one there are seals and signets of collectors and connoisseurs or prefaces and postscripts written by them. </p> <p>The stele is the only surviving one among all that inscribed with the<i> Memorial </i>on the Announcement in the Song Dynasty. The original and authentic writing by Zhong Yao had long been lost, nor could the Wang Xizhi's imitation be found. The only surviving version through a thousand years of history is the original stele. </p> <p>Compared to other works of Zhong Yao, the<i> Memorial of Announcement </i>represents a more mature style of regular script (kaishu). In terms of calligraphy technique, every stroke is powerful and vigorous. In terms of structure, the characters are simple, but decorous. In terms of style, Zhong Yao's characters are broad and rectangular. All these reflect the fact that calligraphy in Wei and Jin dynasties was assuming a more mature artistic style of regular script, laying the foundation for the thriving of regular script in the Tang Dynasty. Therefore, Zhong Yao's Memorial of Announcement lives up to its reputation of the originator of the regular script art in Chinese calligraphy history. </p>`
    },
    {
      id: 3,
      url: 'Miscellaneous',
      h3: 'Stele Made on the Order of Qing Emperor Qianlong',
      p: 'The Stele made on the order of Emperor Qianlong is a grade one collection item of the Capital Museum.',
      info: `<p>The 18th year of Emperor Qianlong's Reign (1753)</p> <p>Height 6.7m</p> <p>The Stele made on the order of Emperor Qianlong is a grade one collection item of the Capital Museum. The stele is made of white marble and consists of a stele top, a main body and a Sumeru-shaped pedestal. It is 6.7 meters in total height and weighs over 40 tons. </p> <p>The stele top is in the style of pyramid hip roof, with dragons at four ridges and a spherical polyhedron atop. In the lower side parts of the stele top display patterns such as clouds, dragons and Bodhi leaves in relief. The main body of the stele is inscribed with inscriptions bordered by dragons in relief. On the four sides of the stele is inscribed with the poems of Emperor Qianlong, namely, The Royal City and The Imperial City in Chinese and Manchu languages, which were written by the Emperor in the 18th year of his reign. The stele has a Sumeru-shaped pedestal contracted in the middle decorated with curling floral patterns. Vertically, the pedestal has lotus petals in its central parts and auspicious animals and peonies on its sides, all in reliefs. </p> <p>Coincidently, there is another stele made on the order of the Emperor inscribed with The Royal City and The Imperial City, which is outside Yongdingmen Avenue in Beijing. It is called the Yan Abutment. The two steles are similar in size, inscription and many other aspects, but have nuanced differences. For instance, the Yan Abutment has inscriptions on its south and north sides, each side inscribed with one of the two articles in both Chinese and Manchu languages, but no inscription on its east and west sides. In comparison, the stele collected in the Capital Museum has inscriptions of The Royal City and The Imperial City in Chinese on its south and north sides and the two texts in Manchu language on its east and west sides. </p> <p>During Emperor Qianlong's reign, there was a landscape of "one river, one bridge and two steles" in southern Beijing, the latter being the Stele Made by Emperor Qianglong's Order and collected in the Capital Museum and the square stele near Zhengyang Bridge to memorize the dredging of the river ordered by Emperor Qianlong respectively erected on the east and west sides of the bridge. The stele now collected by the museum was moved to the Duomu Palace on the western side of the bridge in the 32nd year of the reign of Emperor Guangxu (1907) and to the wall outside the Temple of Agriculture in the period of the Republic of China and then to the northeast corner within. It was buried in the 1930s during the Japanese invasion. Not until the spring of 2005 were its top, main body and pedestal unearthed successively under the Temple of Agriculture. The stele became part of the Capital Museum collection on November 10, 2006. In the same year, it was displayed as an exhibit in the southeast corner of the museum's north square. </p> `
    },
  ]
}
export const LearnEngage = {
  Students: [
    {
      info: {
        title: "Exploring the Alpacas of Peru's Andean Civilization",
        time: '14:00 - 15:30, June 12, 2021',
        loc: 'Paper Art Space (formerly the Colorful Workshop), B1',
        ren: '40 children aged 7-13',
        txt: `<p class="xx">Exploring the Alpacas of Peru's Andean Civilization</p><p>On this year's "Cultural and Natural Heritage Day," we welcome you to explore the secrets of Peru's Andean Civilization at the Capital Museum. Alpacas were especially important for the Andeans. What are the untold stories between alpacas and the Andeans in their special geographical environment? The museum will help you understand Andean Civilization and their alpacas. You will also be given the chance to paint their beautiful ornaments with your own hands.</p><p>On June 12, we look forward to taking you to the world of intangible cultural heritage and appreciate the infinite charm of traditional culture and art.</p>`,
        tip: '',
        tipTime: 'Registration Date: June 12'
      },
      id: 1,
      h3: "Exploring the Alpacas of Peru's Andean Civilization",
      p: 'The museum will help you understand Andean Civilization and their alpacas. You will also be given the chance to paint their beautiful ornaments with your own hands.',
      h4: 'Venue: Paper Art Space (formerly the Colorful Workshop), B1<br />Limit: 40 children aged 7-13<br />Date: 14:00 - 15:30, June 12, 2021'
    },
    {
      info: {
        title: 'Pocket Puzzle: Digital Code',
        time: 'May 18, 2021 18:30 - 20:00',
        loc: 'Reading City - Joy Space, B1',
        ren: '20 children aged 3-15',
        txt: `<p class='xx'>Series of Educational Activities Related to Exhibition"Pursuing Eternity: Conservation of Museum Collections in China"</p> <p class='xx'>05. Pocket Puzzle: Digital Code</p> <p>The"Pocket Puzzle: Digital Code" is a creative interactive game designed to offer the audience an exciting experience. During the game you will explore, solve puzzles, and experience a heart-wrenching story. Only by meticulous observation and active problem-solving manners can the audience break the digital code, and unlock exclusive heritage medals, knowledge and historical stories. Come and join us for a fascinating museum tour that is fun and instructive! </p>`,
        tip: '',
        tipTime: 'Registration Date: May 18, 2021 18:30 - 20:00'
      },

      id: 2,
      h3: 'Pocket Puzzle: Digital Code',
      p: 'The "Pocket Puzzle: Digital Code" is a creative interactive game designed to offer the audience an exciting experience.',
      h4: 'Venue: Reading City - Joy Space, B1<br />Limit: 20 children aged 3-15<br />Date: May 18, 2021 18:30 - 20:00'
    },
    {
      info: {
        title: 'Interpreting the Central Axis of Beijing through Maps',
        time: 'May 18, 2021 18:30 - 20:30',
        loc: 'Reading City - Joy Space, B1',
        ren: '15 children aged 13-16',
        txt: `<p class='xx'>Series of Educational Activities Related to Exhibition"Pursuing Eternity: Conservation of Museum Collections in China"</p> <p class='xx'>04. Interpreting the Central Axis of Beijing through Maps</p> <p>"Reading City: Interpreting the Central Axis of Beijing through Maps" is an interactive map designed for the"Reading City" series of exhibitions. Maps are loaded with history and the secrets of cities. With map interpretation, map-assisted explanations, exhibition room tours and other interactive experience activities, young people will understand the precision and credibility of the maps included in the book and discover the secrets of the Central Axis of Beijing from the perspective of time and space.</p> <p class='xx'>Lecturer: Bai Shujun</p> <p>Graduating from the History Department of Beijing Normal University, Bai Shujun started work at the Capital Museum in 2014, and is responsible for the outline preparation, publicity & education and interpretation of the Capital Museum's featured project –"Reading City" and its relevant exhibitions. Her major academic achievements include being the curator of the exhibition"Reading City – Exploring the Central Axis of Beijing" and the exhibition"Reading City – The Great Beauty of Beijing." She is also the editor-in-chief of project"Reading City: Interpreting the Central Axis of Beijing through Maps"; editor of the exhibition board of the project"Cultural Heritages Telling History" at community schools; and editor of the Wisdom of the Ancient People in Museums.</p> <p class='xx'>Zhou Min</p> <p>Zhou Min is an editor, a registered surveyor and a national leader in journalism and publishing. She enjoys the Special Allowance of the Government paid by the State Council. She has been engaged in map preparation and publication at SinoMaps Press for nearly 40 years, was the editor for many large and medium-sized map works, presided over or participated in many provincial and ministerial key projects, and involved herself in the editing and publication of many award-winning books. Nowadays, she is mainly engaged in the curriculum development of the study and practice activities of SinoMaps Press.</p>`,
        tip: '',
        tipTime: 'Registration Date: May 18, 2021 18:30 - 20:30'
      },
      id: 3,
      h3: 'Interpreting the Central Axis of Beijing through Maps',
      p: '"Reading City: Interpreting the Central Axis of Beijing through Maps" is an interactive map designed for the"Reading City" series of exhibitions.',
      h4: 'Venue: Reading City - Joy Space, B1<br />Limit: 15 children aged 13-16<br />Date: May 18, 2021 18:30 - 20:30'
    },
    {
      info: {
        title: "Having Fun at the 'Reading City - Joy Space' Activity",
        time: 'May 18, 2021 18:30 - 20:00',
        loc: 'Reading City - Joy Space, B1',
        ren: '20 children aged 3-15',
        txt: `<p class='xx'>Series of Educational Activities Related to Exhibition"Pursuing Eternity: Conservation of Museum Collections in China"</p> <p class='xx'>03. Having Fun at the"Reading City - Joy Space" Activity</p> <p>At this event, the audience will see an exhibition; receive interactive education; read excellent children's books selected by museums nationwide that related to history and culture; participate in interactive activities; and enjoy entertaining classes. The activities are presented according to five characteristics, which are joy, reading, traveling, leaping and music. In"joy," the audience will find happiness in the activities; in"reading," the audience will expand their knowledge; in"traveling," the audience will transcend time and space to appreciate culture and history and experience the changes of cities;"leaping" refers to the leap of mind, by which the audience may explore historical sites and jump between cities; and finally, in"music," the audience may learn about history and culture through audio signals at historical sites.</p> <p>Through the in-depth interactive experience, children will gain both happiness and knowledge, and realize the glamor of Beijing in various aspects. The event will trigger their capacity for immersive exploration and thinking, let the key words of the exhibition, museum and city become implanted in their hearts, and allow them to know more about Beijing and develop their love for the city.</p>`,
        tip: '',
        tipTime: 'Registration Date: May 18, 2021 18:30 - 20:00'
      },
      id: 4,
      h3: "Having Fun at the 'Reading City - Joy Space' Activity",
      p: "At this event, the audience will see an exhibition; receive interactive education; read excellent children's books selected by museums nationwide that related to history and culture; participate in interactive activities; and enjoy entertaining classes.",
      h4: 'Venue: Reading City - Joy Space, B1<br />Limit: 20 children aged 3-15<br />Date: May 18, 2021 18:30 - 20:00'
    },
    {
      info: {
        title: 'Biological Method for Removing Ancient Paintings and Calligraphy from Backings',
        time: 'May 18, 2021 18:30 - 19:30',
        loc: 'Paper Art Space (formerly the Colorful Workshop), B1',
        ren: '15 children aged 13-16',
        txt: `<p class='xx'>Series of Educational Activities Related to Exhibition"Pursuing Eternity: Conservation of Museum Collections in China"</p> <p class='xx'>02． Biological Method for Removing Ancient Paintings and Calligraphy from Backings</p> <p>At this activity, participants will learn the mounting process of traditional paintings and calligraphy, the great difficulties to separate ancient paintings and calligraphy from the support paper, the differences between the biological method and traditional method, and the fact that the conservation of cultural heritages involves multiple disciplines and requires both theory and practice. The activity is also intended to raise interest in science and culture among children and young people, who may grow up to make contributions to the conservation of China's cultural heritages.</p> <p class='xx'>Lecturer: Yan Li</p> <p>·Master degree holder; </p> <p>·Deputy researcher;</p> <p>·Researcher of the Department for the Conservation Technology and Traditional Skills of the Capital Museum;</p> <p>·Member of the 11th Standing Committee of the Beijing Youth Federation;</p> <p>·Member of the China Cultural Relics Academy;</p> <p>·Obtained three national invention patents and restored many pieces of ancient textiles, paintings and calligraphies from the Tang, Yuan and Ming dynasties with the new biotechnology method she developed;</p> <p>·Honors include"Beijing Advanced Worker,""Beijing May Fourth Youth Medal," and the‘Four Kinds of First Batch Talents." </p> <p><i>Assistant Teachers: Ma Yan, Ren Jingyi</i> (Researchers of the Department for the Conservation Technology and Traditional Skills of the Capital Museum)</p>`,
        tip: '',
        tipTime: 'Registration Date: May 18, 2021 18:30 - 19:30'
      },
      id: 5,
      h3: 'Biological Method for Removing Ancient Paintings and Calligraphy from Backings',
      p: 'At this activity, participants will learn the mounting process of traditional paintings and calligraphy, the great difficulties to separate ancient paintings and calligraphy from the support paper, the differences between the biological method and traditional method.',
      h4: 'Venue: Paper Art Space (formerly the Colorful Workshop), B1<br />Limit: 15 children aged 13-16<br />Date: May 18, 2021 18:30 - 19:30'
    },
    {
      info: {
        title: "'On Gardens' Event at the Exhibition | Sand Table Making at The Museum of Chinese Gardens and Landscape Architecture",
        time: 'October 5, 2019, 10:00-11:30',
        loc: 'Colorful Workshop, Capital Museum',
        ren: '25 children aged 8-12',
        txt: `<p>Classical Chinese gardens, praised as "silent poems and three-dimensional paintings", are a profound and significant part of traditional Chinese culture, carrying the beauty of nature and the wisdom and knowledge that ancient scholars pursued.</p> <p>Starting from the four major elements of gardens - mountains, rivers, plants and architecture, this event will offer participants a preliminary understanding of the constituent parts of Chinese gardens. Through analysis and interactive explanations, participants will gain fresh insight into the saying that characterize Chinese gardens as "Nature's gift, but cultivated by man."</p> <p>At this event, facilitators will use ultralight clay to teach participants how to make sand table models of gardens. Through making, arranging and combining the basic elements of gardens, they will learn Chinese gardening skills and finally present their beautiful dream homes through their works.</p> <p>The exhibition "On Gardens–Cultural Relics in Beijing's Famous Classical Gardens" co-organized by the Management Center of Parks and the Capital Museum, originally planned to open to the public from May 18, 2019 to October 7, 2019, will be extended to November 3, 2019 due to popular demand. </p>`,
        tip: 'Press and hold to reveal the QR code above for registration.',
        tipTime: 'Registration Date: October 5, 2019, 10:00-11:30'
      },
      id: 6,
      h3: "'On Gardens' Event at the Exhibition | Sand Table Making at The Museum of Chinese Gardens and Landscape Architecture",
      p: 'Classical Chinese gardens, praised as"silent poems and three-dimensional paintings",are a profound and significant part of traditional Chinese culture.',
      h4: 'Venue: Colorful Workshop, Capital Museum<br />Limit: 25 children aged 8-12<br />Date: October 5, 2019, 10:00-11:30'
    },
    {
      info: {
        title: 'Heritage of Imperial Calligraphy – Calligraphy Stone Carving Experience at Beihai Park',
        time: 'July 13, 2019, 10:00-11:00',
        loc: 'Printing Workshop',
        ren: '20 children aged 8-12 (Each accompanied by a parent)',
        txt: `<p>Built in 1166, Beihai Park has 853-year history and is the earliest garden built in the world and the best-preserved ancient imperial garden.</p> <p>The Yuegu Tower and the Quick Snow Hall in the Park boast a collection of 543 carved model calligraphy stones of the <span>Model Calligraphy of the Hall of Three Treasures and the Model Calligraphy of the Quick Snow Hall.</span> The two sets of calligraphy stones include more than 400 works from over 140 calligraphers from the Wei and Jin Dynasties to the end of the Ming Dynasty.</p> <p>As a distinctive part of Chinese cultural heritage, these valuable calligraphy stones are an important part of the history of Chinese calligraphy.</p> <p>The "Heritage of Imperial Calligraphy" activity, which takes the carved model calligraphy stones of Beihai Park as the cultural connotation and the duplicates of those stones as the interactive props, will encourage children to make rubbings of Wang Xizhi's Timely Clearing After Snowfall and Wang Xianzhi's Mid-Autumn. In addition, it will also publicize the imperial calligraphy stone-carving culture and display the traditional rubbing skills through explanations and interactive experiences.</p> `,
        tip: '<p>1. If you want to check your appointment, please scan to access the mini-program and tap "My Order."<br />2. Please make your appointment before July 12, 14:00. Please do not waste your appointment.<br />3. If you are unable to attend your appointment on that day, please cancel your appointment in "My Order." Absence without notification in advance will influence your future application for our activities.<p>',
        tipTime: 'Registration Date: July 13, 2019, 10:00-11:00'
      },
      id: 7,
      h3: 'Heritage of Imperial Calligraphy – Calligraphy Stone Carving Experience at Beihai Park',
      p: 'Built in 1166, Beihai Park has 853-year history and is the earliest garden built in the world and the best-preserved ancient imperial garden.',
      h4: 'Venue: Printing Workshop<br />Limit: 20 children aged 8-12 (Each accompanied by a parent)<br />Date: July 13, 2019, 10:00-11:00'
    },
    {
      info: {
        title: "When 'Cultural and Natural Heritage Day' Meets the Dragon Boat Festival",
        time: 'June 7, 2019, 9:30',
        loc: 'Printing Workshop',
        ren: '30 children aged 9-12',
        txt: `<p>A traditional Chinese festival falls on June 7.</p> <p>In September 2009, the Chinese Dragon Boat Festival was listed as a UNESCO Intangible Cultural Heritage Item, becoming the first Chinese festival to make it onto the list.</p> <p>This minor vacation also includes June 8, the 14th "Cultural and Natural Heritage Day" in China. The Capital Museum will take this opportunity to stage colorful events for you to celebrate the festival with us. </p>`,
        tip: '<p>If you forget to take a screenshot, please go to the official WeChat account of the Capital Museum and tap on "Love · Participation"–"Application · Events," which is located in the lower right corner, and then tap on the blue "My Appointment" icon located in the lower right corner.<br />Please do not waste your appointment. If you are unable to attend on that day, please cancel your appointment in WeChat. Absence without notification in advance will influence your future application for our activities.<br />Sign-in will start 15 minutes prior to the lecture. Audience with an appointment is expected to arrive on time to sign-in. If you are more than 15 minutes late, entry will not be possible on that day.<br />Audio recording, video recording, and photography are strictly prohibited without permission.</p>',
        tipTime: 'Registration Date: June 7, 2019, 9:30'
      },
      id: 8,
      h3: "When 'Cultural and Natural Heritage Day' Meets the Dragon Boat Festival",
      p: 'A traditional Chinese festival falls on June 7. In September 2009, the Chinese Dragon Boat Festival was listed as a UNESCO Intangible Cultural Heritage Item, becoming the first Chinese festival to make it onto the list.In September 2009, the Chinese Dragon Boat Festival was listed as a UNESCO Intangible Cultural Heritage Item, becoming the first Chinese festival to make it onto the list.',
      h4: 'Venue: Printing Workshop<br />Limit: 30 children aged 9-12<br />Date: June 7, 2019, 9:30'
    },
    {
      info: {
        title: 'Harmony and Good Harvest — Wits of the Pig',
        time: 'February 11 - February 13, 2019',
        loc: 'Colorful Room, B1',
        ren: '20 teenagers',
        txt: `<p>The Year of the Pig has arrived and with our temporary exhibition "Harmony and Good Harvest: Celebrating the Spring Festival in the Year of Pig", the Museum launched an educational event themed "Wits of the Pig". This exhibition took children on an interactive experience to learn about the culture of the Zodiac Pig, produce creative handicrafts, tell stories related to the Zodiac Pig, experience the culture of the Chinese Zodiac and take part in traditional folk activities. Together these activities helped stimulate the children's interest in traditional Chinese culture.</p>`,
        tip: '<p>1. If you are unable to attend due to personal reasons, please cancel your application on WeChat, so as not to occupy limited places. <br />2. If you are late for 15 minutes or more, entry will not be possible on that day. <br/>3. Absence without advance notification will affect future applications of our activities. Thank you for your cooperation!</p>',
        tipTime: 'Registration Date: February 11, 2019 - February 13, 2019'
      },
      id: 9,
      h3: 'Harmony and Good Harvest — Wits of the Pig',
      p: 'The Year of the Pig has arrived and with our temporary exhibition "Harmony and Good Harvest: Celebrating the Spring Festival in the Year of Pig", the Museum launched an educational event themed "Wits of the Pig".',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 teenagers<br />Date: February 11 - February 13, 2019'
    },
    {
      info: {
        title: 'Experience Nomadic and Hunting Culture of the Khitan people',
        time: 'December 1, 2018',
        loc: 'Colorful Room, B1',
        ren: '30 people',
        txt: `<p>The Exhibition "Five Capital Cities of Liao" will be extended and we will roll out more activities! </p> <p>With the support of Baarin Right Banner Museum, we present this orchestrated activity and invite you to experience the nomadic and hunting culture of the Khitan people. </p> <p>The Khitan people rode horses to assist them graze their flocks and herds, to hunt as well as to conquer. Even after they had built a great nation, they still boasted their nomadic and hunting culture which ran in their blood.</p> <p class='xx'>Establishing the System of "Nabo through the Four Seasons"</p> <p>The Khitan people held the custom of escaping the cold in autumn and winter, keeping cool in spring and summer, fishing and hunting along rivers, thus leading to the "Nabo throughout the four seasons" system. The system allowed the emperors of Liao to escape unpleasant weather, hunt, entertain, receive foreign envoys and tributes, meet and align with the leaders of surrounding minority ethnic groups and handle government affairs with ministers and departments. </p> <p class='xx'>Sticking to Environmental Protection</p> <p>The nomadic Khitan people revered the heaven and the earth, nature, gods and ancestors. Believing in animism and stressing ecological balance, they stopped hunting during the breeding season to protect wild animals and nature. </p> <p class='xx'>Highlighting the Craftsmanship of Harness</p> <p>As a nationality on horseback, the Khitan people attach great importance to the craftsmanship of harness. Harnesses bridge riders with horses, and harnesses made by the Khitan people were hailed as "second to none in the world." They constantly perfected craftsmanship because of their unique perception and comprehension of nomadic life and grassland. </p> <p>Let's go to the Capital Museum this Saturday to learn about "Nabo through the Four Seasons" and the Khitan people's environmental protection concepts and make fine saddles. 

        </p>`,
        tip: 'Visitors who cannot attend please cancel reservation before the closing date for entries via WeChat, or absence will be recorded and affect future applications.',
        tipTime: 'Registration Date: December 1, 2018'
      },
      id: 10,
      h3: 'Experience Nomadic and Hunting Culture of the Khitan people',
      p: 'The Exhibition “Five Capital Cities of Liao” will be extended and we will roll out more activities! With the support of Baarin Right Banner Museum, we present this orchestrated activity and invite you to experience the nomadic and hunting culture of the Khitan people.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 30 people<br />Date: December 1, 2018'
    },
    {
      info: {
        title: 'Making a Cockscomb-shaped Pot -- DIY Activity Supported by Liaoshangjing Museum',
        time: 'October 21, 2018',
        loc: 'Colorful Room, B1',
        ren: '30 people',
        txt: `<p>Having introduced Yelü Xiaoyong, this week Liaoshangjing Museum in Baarin Left Banner presents you a special activity: Moving Cockscomb-shaped Pot, which sheds light on a different grassland and a different Khitan people. </p> <p>A Cockscomb-shaped pot is a container which features the most distinctive national characteristic of Liao and is one of the most common funerary objects in Liao tombs. </p> <p>Cockscomb-shaped pot was the name for the pots with cockscomb-shaped handles; later, it also included the faux leather pots with similar shaped bodies and U-shaped or O-shaped handles.</p> <p>Don't you want to DIY such a fantastic pot?</p> <p>Why not come to the Capital Museum this Sunday to participate in this amazing DIY class?  </p> <p>Let's make colorful cockscomb-shaped pots with colored modeling clay. </p> <p>Let's make cockscomb-shaped bags with non-woven fabrics.</p> <p>We have unique handmade boards.</p> <p>We have fabulous magic beads in water mist.</p> <p>Those who make outstanding works will be rewarded!<br />Sign up and join us!</p> <p>Time<br />15:00-16:00 October 21</p> <p>Activity for:<br />Children aged 9-12</p>`,
        tip: 'Visitors who cannot attend please cancel reservation before the closing date for entries via WeChat, or absence will be recorded and affect future applications.',
        tipTime: 'Registration Date: October 21, 2018'

      },

      id: 11,
      h3: 'Making a Cockscomb-shaped Pot -- DIY Activity Supported by Liaoshangjing Museum',
      p: 'Having introduced Yelü Xiaoyong, this week Liaoshangjing Museum in Baarin Left Banner presents you a special activity: Moving Cockscomb-shaped Pot, which sheds light on a different grassland and a different Khitan people.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 30 people<br />Date: October 21, 2018'
    },
    {
      info: {
        title: 'Design Beautiful Clothes for Respected Teachers',
        time: 'September 8, 2018',
        loc: 'Colorful Room, B1',
        ren: '35 people',
        txt: `<p>Introduction</p> <p>To accompany the temporary exhibition "The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century," the Museum is staging a series of special educational events. At this Event - "Design Beautiful Clothes for Respected Teachers," teachers at the Museum will explain relevant knowledge of clothes of Beijing and Edo, take the audience to visit the exhibition hall, and help them to design and paint beautiful clothes at the site as Teachers' Day approaches.</p> <p>Registration Time: Registration starts a week before the event, with limited places available.</p> <p>Please gather at the Printing Workshop on the ground floor 10 minutes before the event. Please present the phone screenshot showing successful reservation and enter the Museum through the group entrance at the east gate underground.</p>`,
        tip: '<p>1.If unable to attend ford personal reasons, please cancel your reservation on Wechat before the registration period ends, so as not to take up the limited places unnecessarily. Absence without advance notification will affect any future applications.<br />2. Please bring your ID card or household registration for us to ensure the registration information is in line with the identity information. <br />3. The event is free, so please do not pay for anything at the exhibition.<br />4. If more than 15 minutes late, entry will not be possible on that day.</p>',
        tipTime: 'Registration Date: September 8, 2018'
      },
      id: 12,
      h3: 'Design Beautiful Clothes for Respected Teachers',
      p: `To accompany the temporary exhibition "The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century," the Museum is staging a series of special educational events. At this Event - "Design Beautiful Clothes for Respected Teachers," teachers at the Museum will explain relevant knowledge of clothes of Beijing and Edo, take the audience to visit the exhibition hall, and help them to design and paint beautiful clothes at the site as Teachers' Day approaches.`,
      h4: 'Venue: Colorful Room, B1<br />Limit: 35 people<br />Date: September 8, 2018'
    },
    {
      info: {
        title: 'Educational Events on Exhibition "The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century"',
        time: 'August 23, 2018',
        loc: 'Colorful Room, B1',
        ren: '40 people',
        txt: `<p>To accompany the temporary exhibition "The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century," the Capital Museum will stage a series of special educational events.</p> <p class='xx'>Activity I</p> <p class='xx'>Exploration of all Trades and Professions in Ancient Beijing and Edo (Tokyo)</p> <p>Introduction</p> <p>To accompany the temporary exhibition "The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century," the Museum stages a series of educational events. At this Event - "Exploration of all Trades and Professions in Ancient Beijing and Edo," - staff of the Museum will explain relevant knowledge of all trades and professions in ancient Beijing and Edo (Tokyo), and take audience to visit the exhibition hall and deliver a dramatic performance.</p> <p>Time</p> <p>August 23, 2018</p> <p>13:30 P.M.</p> <p class='xx'>Activity II</p> <p class='xx'>Culture and Art on Dishes in Tokyo and Beijing</p> <p>Introduction</p> <p>To accompany the temporary exhibition "The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century," the Museum is staging a series of special educational events. At this Event - "Culture and Art on Dishes in Tokyo and Beijing," teachers of the Museum will explain relevant knowledge of beautiful patterns and background culture in different areas of ancient Beijing and Edo, and take children to visit the exhibition hall and paint and decorate dishes.</p> <p>Time</p> <p>August 24, 2018</p> <p>13:30 P.M.</p>`,
        tip: '<p>1.Gathering Method Please gather at the Printing Workshop on the ground floor 10 minutes before the event. Please present the phone screenshot showing a successful reservation and enter the Museum through the group entrance at the east gate underground. Important Information If unable to attend for personal reasons, please cancel your reservation on Wechat before the registration period ends, so as not to take up the limited places unnecessarily. Absence without advance notification will affect any future applications. <br /> 2. Please bring your ID card or household registration to enable us to ensure the registration information is in line with the identity information. <br /> 3. The event is free; please do not pay for anything at the exhibition. 4. If more than 15 minutes late, entry will not be possible on that day.</p>',
        tipTime: 'Registration Date: August 23, 2018'
      },
      id: 13,
      h3: 'Educational Events on Exhibition "The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century"',
      p: 'To accompany the temporary exhibition “The Metropolises and the Prosperities within — Tokyo and Beijing in the 18th Century,” the Capital Museum will stage a series of special educational events.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 40 people<br />Date: August 23, 2018'
    },
    {
      info: {
        title: 'Immerse Oneself in Paintings of the Italian Renaissance',
        time: 'March 27, 2018 - June 22, 2018',
        loc: 'Exhibition Hall A',
        ren: '20 people',
        top: `<p>In addition to the exhibition "Art, Culture and Daily Life in Renaissance Italy," we have also designed a series of themed activities to enable you to savor Italy through painting works created during the Renaissance.</p> <p class='xx'>Activity I</p> <p class='xx'>Parts of a manuscript from the Renaissance</p>`,
        txt: `<p>Sketches are used to solve difficult problems met during the process of artistic creation. Moreover, they can also reveal the ideas and creative processes of artists. People of the period found much value in the sketches and started to collect them as early as in the 16th Century. In the exhibition hall several sketches of the artists of that time are displayed. What stories may be concealed behind these sketches? Come and unravel them with us!</p> <p>Date and Time</p> <p>May 12, 2018</p> <p>10:00~12:00 and 14:00~16:00, two exhibitions in total</p> <p>Target audience and Capacity</p> <p>Children aged 5~7; 20 children for each exhibition</p> <p>Venue</p> <p>Colorful Room, B1</p> <p class='xx'>Activity II</p> <p class='xx'>Find the Medici Family</p> <p>Although it cannot be said that without the Medici Family there would have been no Renaissance. However, without the Medici's, the Renaissance would not have developed as we know it today. Do you wonder what this wonderful family achieved and the life they led?</p> <p>Date and Time</p> <p>May 19, 2018</p> <p>10:00~12:00 and 14:00~16:00, two exhibitions in total</p> <p>Target audience and Capacity</p> <p>Children aged 6~9; 20 children for each exhibition</p> <p>Venue</p> <p>Colorful Room and Renaissance Exhibition Hall</p> <p><img src='/data/LearnEngage/ou/1.jpg'/></p> <p class='xx'>Activity III</p> <p class='xx'>World of Geometry in Architecture</p> <p>The word "geometry" comes from the Greek "geometria" meaning "measuring the Earth." What are the innumerable relationships between geometry and architecture? This exhibition takes famous architectural works of the Renaissance period as a clue. According to the geometric principles followed in the revival of ancient Roman architecture as shown in the exhibition content, it leads the parent-child family audience to explore the relationship between architecture and geometry. </p> <p>Date and Time</p> <p>May 26, 2018</p> <p>10:00~12:00 and 14:00~16:00, two exhibitions in total</p> <p>Target audience and Capacity</p> <p>10 groups of parent-child families (children aged 9~12)</p> <p>Venue</p> <p>Colorful Room and Renaissance Exhibition Hall</p> <p><img src='/data/LearnEngage/ou/2.jpg'/></p> <p class='xx'>Activity IV</p> <p class='xx'>Conversation between East and West – The Urban Lifestyle in the 15~16 Centuries</p> <p>To improve the effects of the Italian Renaissance exhibition, we have chosen works of art painted during this period. To be more specific, four themes of art, architecture, clothing and military equipment are selected for the display. Besides, the works of art and cultural relics of this period in China are also displayed in a way that encourages the adult audience to make comparisons between and understand the different urban lifestyles of "East and West" in the 15th to 16th Centuries.</p> <p>Date and Time</p> <p>June 16, 2018</p> <p>10:00~12:00 and 14:00~16:00, two exhibitions in total</p> <p>Target Audience and Capacity</p> <p>Those aged 18 or over; 20 people for each exhibition</p> <p>Venue</p> <p>Colorful Room, Renaissance Exhibition Hall and General History Hall, B1</p> <p><img src='/data/LearnEngage/ou/3.jpg'/></p> <p>After successful registration, the audience is expected to gather in the Printing Workshop 10 minutes before the activity begins. Please present the phone screenshot showing successful reservation and enter the Museum through the group entrance at the east gate underground. Registration method is specified at the end of this article.</p> <p>Moreover, we have prepared an exhibition guide. Please read it carefully and you will find it a great help</p> <p>1. Prepare yourself in finding the exhibition's significance</p> <p>Before the exhibition, take some time to think about your reason for attending this exhibition.</p> <p>Are you fascinated by the theme, or do you want to feel the atmosphere of an exhibition and spend joyful leisure time? Do you want to come alone or with your friends or soul mate?</p> <p>In any case, please make an appointment on Wechat or on our website and bear in mind the visiting time.</p> <p>Some people have said they could not find the reservation channel on the official website of the Capital Museum</p> <p>You can get yourself prepared for the theme, historical background, important exhibits and figures of the exhibition. It will be better if you bring your questions to the exhibition. Even if you cannot find the answers to those questions, they may help you deepen understanding and achieve good reflections on the exhibition.</p> <p>2. Appropriate and Pleasant Clothes<br />Neat and appropriate clothes can lift your spirits, and show your respect for others. Museums are always places frequented by literati, which may offer opportunities for close contact.</p> <p>But, wearing attire like this is far from "appropriate" since visiting a museum can be tiring</p> <p>3. Maintain a good mood</p> <p>A good mood can help you stay focused and keen during the visit.</p> <p>1). Don't be greedy</p> <p>Do not have the mentality of seeing all the exhibits. Not missing a single exhibit does not means that you can understand and are able to bear in mind the significance of all of them.</p> <p>Every spectator is special for us. Spectators vary in interest, capabilities, knowledge accumulation and stamina. Therefore, everyone's experience of visiting will be different. For better experience, seek out an exhibit that resonates with you.</p> <p>2). Tolerance</p> <p>Some of the exhibits, although not the works of the famous great artists, can vividly reflect the cultural life or the changes of drawing skills of those times.</p> <p>Spectators are expected to try to understand the exhibits with the mentality of tolerance and openness and think how these items were created and utilized by people of former times.</p> <p>3). Patience</p> <p>Children can be somewhat annoying when visiting an exhibition.</p> <p>However, children often excel in perceptive capability compared with adults. Adults, due to their normative educational experience, unconsciously seek guidance and direction during the visit, while children, not being confined by such considerations, can discover and explore completely from instinct. Therefore, it can be a good choice to follow a child's perspective and interest during the visit.</p> <p>It can be enjoyable to bring children to visit a museum.</p> <p>4). Taking a Photo of Artwork</p> <p>During the visit, an audience member is expected to follow some regular rules, which are: no speaking in a loid voice, no touching of exhibits, for example. For taking photos of paintings, please turn off the flashlight facility of your phone.</p> <p>However, you can still use your phone to record the beautiful moments such as the impressive details, delightful interactions between you and exhibits, which can make your photos livelier.</p> <p>5). Do not let the impressions of a visit slip away</p> <p>Do you still feel immersed in the exhibition after the visit?</p> <p>Do not let the impressions fade away. Instead, change them into your understanding and thoughts in writing. Merely putting down a few words can remind you of the experience the next time you see it.</p>`,
        tip: 'Visitors who cannot attend please cancel reservation before the closing date for entries via WeChat, or absence will be recorded and affect future applications.',
        tipTime: 'Registration Date: March 27, 2018 - June 22, 2018'
      },
      id: 14,
      h3: 'Immerse Oneself in Paintings of the Italian Renaissance',
      p: 'In addition to the exhibition "Art, Culture and Daily Life in Renaissance Italy," we have also designed a series of themed activities to enable you to savor Italy through painting works created during the Renaissance.',
      h4: 'Venue: Exhibition Hall A<br />Limit: 20 people<br />Date: March 27, 2018 - June 22, 2018'
    },
    {
      info: {
        title: 'Gorgeous Bunny',
        time: 'October 4, 2017',
        loc: 'Colorful Room, B1',
        ren: '25 people',
        top: `<p class='centen'>"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>`,
        txt: `<p>There are many small animals in the courtyards, including fluffy bunnies – a children's favorite. What do you think will happen when traditional New Year pictures of rabbits are combined with colored pencils? </p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'
      },
      id: 15,
      h3: 'Gorgeous Bunny',
      p: "There are many small animals in the courtyards, including fluffy bunnies – a children's favorite. What do you think will happen when traditional New Year pictures of rabbits are combined with colored pencils?",
      h4: 'Venue: Colorful Room, B1<br />Limit: 25 people<br />Date: October 4, 2017'
    },
    {
      info: {
        title: 'Primitive Beauty in Pottery',
        time: 'August 19, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 persons (6-8 AM and 9-12 PM)',
        txt: `<p>Over the two million years of evolution after the Paleolithic age, humans have gradually accumulated a sense and pursuit of beauty as we have learned to co-exist with nature. In the Neolithic age, humans started to settle and develop agriculture, which entailed more delicate tools and utensils. That was when humans began to use stone tools and pottery. So, what kind of beauty did people pursue in this period? Let/s get to know the daily life of primitive people.</p> <p>Age and Turnout: AM: 6-8 years old, 20 people; PM: 9-12 years old, 20 people.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: August, 2017'
      },
      id: 16,
      h3: 'Primitive Beauty in Pottery',
      p: 'Over the two million years of evolution after the Paleolithic age, humans have gradually accumulated a sense and pursuit of beauty as we have learned to co-exist with nature. In the Neolithic age, humans started to settle and develop agriculture, which entailed more delicate tools and utensils.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 persons (6-8 AM and 9-12 PM)<br />Date: August 19, 2017'
    },
    {
      info: {
        title: 'Stories in Quadrangle Courtyards –– Summer Study Tour',
        time: 'August 1-15, 2017',
        loc: 'Capital Museum',
        ren: '20 persons (aged 12-15, including foreign students in Beijing fluent in oral Chinese)',
        txt: `<p>How will you spend your summer vacation this year? Do you want some special memory of summer? Do you want to find out what are the interesting things behind the gates of a courtyard? Do you want to hear the pomegranate trees tell us the story in the courtyard?</p> <p>If you do, you can get it at our special summer trip, by which you will know in advance the wonderful content of the "Read the City—Traditional Culture in Courtyards", and also have opportunities to be a little cultural ambassador who explains the content for audience. Besides, since it is a study tour, we will take you to see and hear various stories of quadrangle courtyards. Join us!</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: August, 2017'
      },
      id: 17,
      h3: 'Stories in Quadrangle Courtyards –– Summer Study Tour',
      p: 'How will you spend your summer vacation this year? Do you want some special memory of summer? Do you want to find out what are the interesting things behind the gates of a courtyard? Do you want to hear the pomegranate trees tell us the story in the courtyard?',
      h4: 'Venue: Capital Museum<br />Limit: 20 persons (aged 12-15, including foreign students in Beijing fluent in oral Chinese)<br />Date: August 1-15, 2017'
    },
    {
      info: {
        title: "Reading the City — Exploring Parents' Memories of Childhood",
        time: 'July 18-29, 2017',
        loc: 'Capital Museum',
        ren: '20 persons (aged 9-12)',
        top: `<p>"In the spring, the courtyard is filled with flowers, low but warm and fresh." This is what Beijing quadrangle courtyards look like.</p>`,
        txt: `<p>Boys and girls, do you want to know about the stories in the courtyards? Join us! Together with other children, you can feel the memories of Mom and Dad’s childhood through watching, listening, speaking and making interesting handicrafts. In this way, you will learn about ancient Beijing and the quadrangle courtyards.</p> <p>At the end of the course, students will be able to report their performance in various ways according to their learning situation. We promise you a happy and meaningful time at the Museum.</p> <p>A total of 10 half-day courses, rest on July 23 and 24.<br />The morning course (9：00AM) is the same as the afternoon course (1：00PM). </p> <p>Entering through the North Gate (main entrance) at 9:00 or 1:00, and gather at the service counter on the first floor.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: July, 2017'
      },

      id: 18,
      h3: "Reading the City — Exploring Parents' Memories of Childhood",
      p: 'Boys and girls, do you want to know about the stories in the courtyards? Join us! Together with other children, you can feel the memories of Mom and Dad’s childhood through watching, listening, speaking and making interesting handicrafts. In this way, you will learn about ancient Beijing and the quadrangle courtyards.',
      h4: 'Venue: Capital Museum<br />Limit: 20 persons (aged 9-12)<br />Date: July 18-29, 2017'
    },
    {
      info: {
        title: "Excellent Calligraphy - Invitation to 'Reading the City'",
        time: 'July 15, 2017',
        loc: 'Capital Museum',
        ren: '20 persons (aged 10-15)',
        top: `<p>The "Reading the City - Discovering the Beauty of Quadrangle Courtyards" exhibition will be held on July 15. For this purpose, we have carefully planned a very special multicultural opening ceremony full of old Beijing characteristics. There will be cultural performances, onsite courses from some masters of art and interactive programs. We look forward to your presence and participation!</p>`,
        txt: `<p>Profound Chinese calligraphy contains the beauty of humanity. Here, calligraphers will take you to explore the secrets of calligraphy, and write down stories of quadrangle courtyards.</p> <p>Do not hesitate! Do not hesitate! Do not hesitate! Things that matter should be repeated for three times.</p> <p>This summer is bound to be different. Join us!</p> <p>After successful appointment, please sign in with your ID card and reservation message at the desk at the east gate on the ground floor from 9:00-9:30. Please come on time, otherwise your appointment will be canceled.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: July, 2017'

      },

      id: 19,
      h3: "Excellent Calligraphy - Invitation to 'Reading the City'",
      p: 'Profound Chinese calligraphy contains the beauty of humanity. Here, calligraphers will take you to explore the secrets of calligraphy, and write down stories of quadrangle courtyards.',
      h4: 'Venue: Capital Museum<br />Limit: 20 persons (aged 10-15)<br />Date: July 15, 2017'
    },
    {
      info: {
        title: 'Dreams Take Me to the Sky - Invitation to ‘Reading the City’',
        time: 'July 15, 2017',
        loc: 'Capital Museum',
        ren: '60 persons (aged 12-18)',
        top: `<p>The "Reading the City - Discovering the Beauty of Quadrangle Courtyards" exhibition will be held on July 15. For this purpose, we have carefully planned a very special multicultural opening ceremony full of old Beijing characteristics. There will be cultural performances, onsite courses from some masters of art and interactive programs. We look forward to your presence and participation!</p> `,
        txt: `<p class='xx'>Dreams Take Me to the Sky</p> <p>Everyone has or had a big dream.<br />We have never worried about whether it can be achieved, but just enjoyed the happiness of having a dream.<br />The dream, just like the doves flying across the quadrangle courtyards, perhaps will be taken to the sky one day.<br />Origami Master Liu Tong will be here to teach you how to turn an ordinary sheet of paper into a dove that carries our dreams and flies across the sky.<br />Teenagers, send your dreams to the sky!</p> <p>Do not hesitate! Do not hesitate! Do not hesitate! Things that matter should be repeated for three times.<br />This summer is bound to be different. Join us!</p> <p>After successful appointment, please sign in with your ID card and reservation message at the desk at the east gate on the ground floor from 9:30-10:00. Please come on time or your appointment will be canceled.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: July, 2017'
      },
      id: 20,
      h3: 'Dreams Take Me to the Sky - Invitation to ‘Reading the City’',
      p: 'The "Reading the City - Discovering the Beauty of Quadrangle Courtyards" exhibition will be held on July 15. For this purpose, we have carefully planned a very special multicultural opening ceremony full of old Beijing characteristics.',
      h4: 'Venue: Capital Museum<br />Limit: 60 persons (aged 12-18)<br />Date: July 15, 2017'
    },
    {
      info: {
        title: "Instructor Recruitment for the 'Read the City' Project",
        time: 'June 29 - July 3, 2017',
        loc: 'Capital Museum',
        ren: '15 persons (aged 13-18)',
        txt: `<p>Have you ever heard the grandparents talk about funny stories in the courtyards?<br />Have you ever walked around a real Beijing quadrangle courtyard?<br />Don't you wonder what quadrangle courtyard means for Beijing?<br />Please apply for the part-time job of instructor for the "Love Beijing · Read the Quadrangles" project.</p> <p>We will provide you with:<br />The most professional explanation training;<br />The most vivid live learning experience;<br />The most comprehensive knowledge of Beijing city;<br />The most down-to-earth culture of quadrangle courtyard.<br />Hope you can join us:<br />Come with us to "Read the City";<br />Become an excellent student instructor in the museum;<br />Become Beijing's little cultural messenger;<br />Hurry up and apply!!!<br />You can enjoy the platform the museum offers to show yourself, and spend the summer differently. Believe me, you will learn a lot.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: June - July, 2017'
      },
      id: 21,
      h3: "Instructor Recruitment for the 'Read the City' Project",
      p: `Have you ever heard the grandparents talk about funny stories in the courtyards? Have you ever walked around a real Beijing quadrangle courtyard? Don't you wonder what quadrangle courtyard means for Beijing? Please apply for the part-time job of instructor for the "Love Beijing · Read the Quadrangles" project.`,
      h4: 'Venue: Capital Museum<br />Limit: 15 persons (aged 13-18)<br />Date: June 29 - July 3, 2017'
    },
    {
      info: {
        title: "'Tour to Discover the Beauty of Quadrangle Courtyard' Activities- Inheriting the Beauty of Ancient Architectural Decoration",
        time: 'June 10, 2017',
        loc: 'Beijing Ancient Architecture Museum',
        ren: '30 persons (aged 13-15)',
        txt: `<p>"Tour to Discover the Beauty of Quadrangle Courtyard" Activities are large-scale outdoor experience activities of the "Reading the City - Discover the Beauty of Beijing Quadrangle Courtyard" Project. On the 12th China Cultural Heritage Day, we will continue to lead everyone into the Beijing Ancient Architecture Museum in the Temple of Agriculture, the royal altar temple. There, we will appreciate the ancient decorations of architecture and feel the cultural connotations and craftsmen's technique that lie underneath. When you have marveled at the exquisite beauty of ancient decorations of architecture, a more unexpected experience is still waiting for you. </p> <p>Please sign in at the front door 20 minutes before the activity starts. Students should bring their student ID card. </p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: June, 2017'

      },

      id: 22,
      h3: "'Tour to Discover the Beauty of Quadrangle Courtyard' Activities- Inheriting the Beauty of Ancient Architectural Decoration",
      p: '"Tour to Discover the Beauty of Quadrangle Courtyard" Activities are large-scale outdoor experience activities of the "Reading the City - Discover the Beauty of Beijing Quadrangle Courtyard" Project.',
      h4: 'Venue: Beijing Ancient Architecture Museum<br />Limit: 30 persons (aged 13-15)<br />Date: June 10, 2017'
    },
    {
      info: {
        title: 'Adventure in the Museum - A Digital Reading City',
        time: 'May 21, 2017',
        loc: 'Colorful Room, B1',
        ren: '30 children for each event (aged 8-15)',
        txt: `<p>Do you ever wonder about the secrets of ancient cities? Come to the Exhibition "Reading the City - Explore the historical cities in Beijing", where we have carefully prepared an exhibition that never ends – a digital exhibition. Here you can learn about the origins, functions and symbols of the ancient cities through rich multimedia content and interactive games. Hurry up and start the exploration with us!</p> <p>Activity Time: Sunday, May 21, 2017, 9: 30 AM<br />Venue: Colorful Room<br />Audience: Children aged 8-15 years old<br />Capacity: 30 children for each event</p> <p>【Meeting Point】<br />Please gather at the Colorful Room on the ground floor of the Capital Museum 10 minutes before the activity starts. Parents should show their advanced or on the day tickets along with their ID card, and take their children to enter through the north gate.</p> <p>Feedback: You are welcome to give us comments and feedback on the event, which will be used to improve the quality of our future activities. Thanks for your support!</p> <p>E-mail: bowuguandamaoxian@163.com</p> <p>Other activities concerning the adventures at the museum are coming soon!</p>`,
        tip: '<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. If you arrive 15 minutes late, entry will be forfeited.<br />3. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: May, 2017'
      },
      id: 23,
      h3: 'Adventure in the Museum - A Digital Reading City',
      p: 'Here you can learn about the origins, functions and symbols of the ancient cities through rich multimedia content and interactive games. Hurry up and start the exploration with us!',
      h4: 'Venue: Colorful Room, B1<br />Limit: 30 children for each event (aged 8-15)<br />Date: May 21, 2017'
    },
    {
      info: {
        title: '“Tour to Discover the Beauty of the Quadrangle Courtyard” Activities -Experiencing the Beauty of Ancient Architecture',
        time: 'May 20, 2017',
        loc: 'Beijing Ancient Architecture Museum',
        ren: '30 people (aged 13-15)',
        txt: `<p>Large-scale outdoor experience event "Tour to Discover the beauty of Quadrangle Courtyards" has officially kicked off. You are welcome to participate in it. The activity, taking courtyards as the theme, will help you to explore their characteristics. The first station will be at the Beijing Ancient Architecture Museum, where experts will offer relevant lectures and you can participate in some fascinating hands-on activities. Come and Join us! </p> <p>Activity Time:  May 20, 2017, 9: 30-11: 00 AM  <br />Venue: Beijing Ancient Architecture Museum<br />Audience: school students aged 13-15 years old<br />Turnout: 30 people<br />Application Time: Opens a week before the activity.</p> <p>【Meeting Point】<br />Please sign in at the front door of the Beijing Ancient Architecture Museum 20 minutes before the activity starts. Students should bring their student ID card.</p> <p>Feedback: You are welcome to give us comments and feedback on the event, which will be used to improve the quality of our future activities. Thanks for your support! </p>`,
        tip: '<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. Please bring a pen with you<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: May, 2017'

      },

      id: 24,
      h3: "'Tour to Discover the Beauty of the Quadrangle Courtyard' Activities -Experiencing the Beauty of Ancient Architecture",
      p: 'Large-scale outdoor experience event "Tour to Discover the beauty of Quadrangle Courtyards” has officially kicked off. You are welcome to participate in it. The activity, taking courtyards as the theme, will help you to explore their characteristics.',
      h4: 'Venue: Beijing Ancient Architecture Museum<br />Limit: 30 people (aged 13-15)<br />Date: May 20, 2017'
    },
    {
      info: {
        title: 'Golden Rooster Delivering Good News - Making a Shuttlecock',
        time: 'April 16 & 30, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 people (aged 10-15)',
        txt: `<p>The all-around development of moral, intellectual, physical, aesthetics and labor has always been the basic guideline for evaluating the quality of people. However, it is not easy to design an activity which embodies the five virtues. This time, we offer an educational activity specially designed for the Year of the Rooster. At the activity we will make shuttlecocks, by which we can obtain some knowledge and build up our body. Hurry up to apply!</p> <p>Activity Date: April 16 and April 30, 2017, 10:00 am<br />Audience: Children aged 10-15 years old<br />Capacity: 20 people</p> <p>Feedback: You are welcome to give us comments and feedback on the event, which will be used to improve the quality of our future activities. Thanks for your support!  </p>`,
        tip: '<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. Parents to participate in the activity must sign in on the spot with children’s ID card.<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: April, 2017'

      },

      id: 25,
      h3: 'Golden Rooster Delivering Good News - Making a Shuttlecock',
      p: 'The all-around development of moral, intellectual, physical, aesthetics and labor has always been the basic guideline for evaluating the quality of people. However, it is not easy to design an activity which embodies the five virtues.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 people (aged 10-15)<br />Date: April 16 & 30, 2017'
    },
    {
      id: 26,
      h3: 'Singing Rooster - Tempera Painting',
      p: 'Chicken, in a traditional sense, is one of the "six domestic animals". It has been part of human life since a long time ago. Although the image of a chicken is plain and unobtrusive, it is often used to express the auspicious meaning of "luck, virtue and elegance".',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 people (aged 7-14)<br />Date: April 16 & 23, 2017',
      info: {
        title: 'Singing Rooster - Tempera Painting',
        time: 'April 16 & 23, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 people (aged 7-14)',
        txt: `<p>Chicken, in a traditional sense, is one of the "six domestic animals". It has been part of human life since a long time ago. Although the image of a chicken is plain and unobtrusive, it is often used to express the auspicious meaning of "luck, virtue and elegance". In the Year of the Rooster, we initiate an activity for children of different ages to make tempera paintings with exclusive patterns. In the process you will also learn some<br />knowledge, so come and join us!</p> <p>Activity Date: April 16, 2017, 10:00 am<br />Audience: Children aged 7-10 years old<br />Capacity: 20 people</p> <p>Activity Date: April 23, 2017, 10:00 am<br />Audience: Children aged 10-14 years old<br />Capacity: 20 people</p>`,
        tip: `<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. Parents to participate in the activity must sign in on the spot with children's ID card.<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>`,
        tipTime: 'Registration Date: April, 2017'

      },

    },
    {
      id: 27,
      h3: 'Kite Making',
      p: 'In modern life, children are inundated by various electronic products. Thus, we have an activity for them to learn about the history and the production methods of traditional hand-made kites, and make a kite on their own.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 people (aged 8-10)<br />Date: April 2 & 15, 2017',
      info: {
        title: 'Kite Making',
        time: 'April 2 & 15, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 people (aged 8-10)',
        txt: `<p>In modern life, children are inundated by various electronic products. Thus, we have an activity for them to learn about the history and the production methods of traditional hand-made kites, and make a kite on their own.</p> <p>Activity time: April 2 and 15, 10:00 AM<br />Venue: Colorful Room<br />Capacity: Teenagers aged 8-10, 20 for each occasion.</p>`,
        tip: `<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. Parents to participate in the activity must sign in on the spot with children's ID card.<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>`,
        tipTime: 'Registration Date: April, 2017'

      },

    },
    {
      id: 28,
      h3: 'Handicraft Courses at Art World of Courtyards - To Discover Historic Building Models',
      p: 'In this activity, the structure, features and artistic characteristics of courtyards will be introduced to students, and they will learn how to set up a model festooned gate.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 persons (aged 10-14)<br />Date: March 19, 2017',
      info: {
        title: 'Handicraft Courses at Art World of Courtyards - To Discover Historic Building Models',
        time: 'March 19, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 persons (aged 10-14)',
        txt: `<p>In this activity, the structure, features and artistic characteristics of courtyards will be introduced to students, and they will learn how to set up a model festooned gate.</p>`,
        tip: 'Please arrive at Colorful Workshop 10 minutes in advance and prepare ID card for getting tickets if they are not booked in advance. Enter at the north gate.',
        tipTime: 'Registration Date: March, 2017'

      },

    },
    {
      id: 29,
      h3: 'Adventure in the Museum — A Digital Reading City',
      p: 'Do you ever wonder about the secrets of ancient cities? Come to the Exhibition "Reading the City - Explore the historical cities in Beijing", where we have carefully prepared an exhibition that never ends – a digital exhibition.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 children (aged 8-15)<br />Date: March 12, 2017',
      info: {
        title: 'Adventure in the Museum — A Digital Reading City',
        time: 'March 12, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 children (aged 8-15)',
        txt: `<p>Do you ever wonder about the secrets of ancient cities? Come to the Exhibition "Reading the City - Explore the historical cities in Beijing", where we have carefully prepared an exhibition that never ends – a digital exhibition. Here you can learn about the origins, functions and symbols of the ancient cities through rich multimedia content and interactive games. Hurry up and start the exploration with us!</p> <p>Activity Time: March 12, 2017, 9: 30 AM<br />Venue: Colorful Room<br />Audience: Children aged 8-15 years old<br />Capacity: 20 children for each event</p> <p>【Meeting Point】<br />Please gather at the Colorful Room on the ground floor of the Capital Museum 10 minutes before the activity starts. Parents should show their advanced or on the day tickets along with their ID card, and take their children to enter through the north gate.</p> <p>Feedback: You are welcome to give us comments and feedback on the event, which will be used to improve the quality of our future activities. Thanks for your support!</p>`,
        tip: '<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. If you arrive 15 minutes late, entry will be forfeited.<br />3. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: May, 2017'
      },

    },
    {
      id: 30,
      h3: 'Handicraft Courses at Art World of Courtyards - To Discover Secret of Door Piers',
      p: "On both sides of the door of Beijing's courtyard, a pair of door piers is commonly seen, which are different in size and engraving patterns. But why are the door piers placed there and what do their patterns represent? Come to us, and find the answer.",
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 persons (aged 10-14)<br />Date: March 4 and March 25, 2017',
      info: {
        imgShow: 0,
        title: 'Handicraft Courses at Art World of Courtyards - To Discover Secret of Door Piers',
        time: 'March 4 and March 25, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 persons (aged 10-14)',
        txt: `<p>On both sides of the door of Beijing's courtyard, a pair of door piers is commonly seen, which are different in size and engraving patterns. But why are the door piers placed there and what do their patterns represent? Come to us, and find the answer.</p>`,
        tip: 'Please arrive at Colorful Workshop 10 minutes in advance and prepare ID card for getting tickets if they are not booked in advance. Enter at the north gate.',
        tipTime: 'Registration Date: March, 2017'
      },

    },
    {
      id: 31,
      h3: 'Handicraft Courses at Art World of Courtyards - To Explore Auspicious Animals, Plants and Luck',
      p: 'Throughout the long history of Chinese folk culture, auspicious patterns are widely seen in daily life to express the hope for a better life and are often used in building components such as eaves, brick carvings, wood carvings and stone carvings.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 persons (aged 10-14)<br />Date: February 23, February 24 and March 11, 2017',
      info: {
        imgShow: 0,
        title: 'Handicraft Courses at Art World of Courtyards - To Explore Auspicious Animals, Plants and Luck',
        time: 'February 23, February 24 and March 11, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 persons (aged 10-14)',
        txt: `<p>Throughout the long history of Chinese folk culture, auspicious patterns are widely seen in daily life to express the hope for a better life and are often used in building components such as eaves, brick carvings, wood carvings and stone carvings.</p> <p>In this activity, various types of auspicious patterns will be introduced to students, helping them better understand the decorative features of this traditional art.</p>`,
        tip: 'Please arrive at the Colorful Workshop 10 minutes in advance and prepare ID card for getting tickets if they are not booked in advance. Enter at the north gate.',
        tipTime: 'Registration Date: February, 2017'
      },

    },
    {
      id: 32,
      h3: "Life in the Old Days - 'Have Fun in My House'",
      p: 'Beijing, Tianjin and Hebei, which are closely linked to each other, share a similar culture and enjoyment of life. As a result, people in the three cities share a lot of entertainment in common.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 people (aged 8-12)<br />Date: February 9 & 25, 2017',
      info: {
        title: "Life in the Old Days -'Have Fun in My House'",
        time: 'February 9 & 25, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 people (aged 8-12)',
        txt: `<p>Beijing, Tianjin and Hebei, which are closely linked to each other, share a similar culture and enjoyment of life. As a result, people in the three cities share a lot of entertainment in common. The activity "Have Fun in My House" is characterized by all kinds of carefully designed games and will let you experience a happy childhood without a computer like in the old days.</p> <p>Activity Time: February 9 and 25, 2017, 9: 30 AM<br />Venue: Colorful Room<br />Audience: Children aged 8-12 years old<br />Capacity: 20 children for each event</p>`,
        tip: "<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. Parents to participate in the activity must sign in on the spot with children's ID card.<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>",
        tipTime: 'Registration Date: ebruary, 2017'

      },

    },
    {
      id: 33,
      h3: "Life in the Old Days - 'Find Pleasure in My House'",
      p: 'In this activity we will learn about the furnishings and writing materials in the study, and learn to write the Chinese Character "Fu" (means good fortune) in different styles of calligraphy.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 people (aged 10-14)<br />Date: February 8 & 11, 2017',
      info: {
        title: "Life in the Old Days -'Find Pleasure in My House'",
        time: 'February 8 & 11, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 people (aged 10-14)',
        txt: `<p>In this activity we will learn about the furnishings and writing materials in the study, and learn to write the Chinese Character "Fu" (means good fortune) in different styles of calligraphy. In this way, you will find pleasure in the art of calligraphy and feel the profound traditional Chinese culture and art.</p><p>Activity Time: February 8 and 11, 2017, 10: 00 AM<br />Venue: Colorful Room<br />Audience: Children aged 10-14 years old<br />Capacity: 20 children for each event</p>`,
        tip: "<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. Parents to participate in the activity must sign in on the spot with children's ID card.<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>",
        tipTime: 'Registration Date: February, 2017'

      },

    },
    {
      id: 34,
      h3: "'Time Travel' Series of Activities - 'Into the Hall of Mental Cultivation' Instructor Training Course in Winter Vacation",
      p: 'It is the first time in hundreds of years that the precious relics from the Hall have been moved out from the Forbidden City. Now at the exhibition hall in the Capital Museum, you can not only see these exhibits closely, but also understand the imperial living details and sense the imperial atmosphere.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 15 people (aged 9-14)<br />Date: February 7-12, 2017',
      info: {
        title: "'Time Travel' Series of Activities - 'Into the Hall of Mental Cultivation' Instructor Training Course in Winter Vacation",
        time: 'February 7-12, 2017',
        loc: 'Colorful Room, B1',
        ren: '15 people (aged 9-14)',
        txt: `<p>Do you know how the emperor spent his days in the Hall of Mental Cultivation? Do you know where did the famous "holding court from behind a screen" happen? Do you know the origin of the name "Room of Three Rare Treasures"? It is the first time in hundreds of years that the precious relics from the Hall have been moved out from the Forbidden City. Now at the exhibition hall in the Capital Museum, you can not only see these exhibits closely, but also understand the imperial living details and sense the imperial atmosphere. </p> <p>Let's bring our curiosity into the Museum this winter vacation!</p> <p>【Activity Date】<br />February 7-12, 2017</p> <p>【Audience】<br />AM: 15 children aged 9-11<br />PM: 15 children aged 12-14</p> <p>【Venue】<br />"Into the Hall of Mental Cultivation" exhibition room and training classroom</p> <p>【Application Opens】<br />January 17 - February 3</p> <p>【Meeting Point】<br />AM: 9:00 to enter through the east gate on the ground floor and assemble at the door of the Colorful Room<br />PM: 13:00 to enter through the east gate on the ground floor and assemble at the door of the Colorful Room</p>`,
        tip: "<p>1. This activity is a continuous course. If it is difficult for you to continuously attend and complete the course, please cancel the appointment in advance. Otherwise, it will occupy limited places, and will influence any future application for our activities.<br />2. Parents to participate in the activity must sign in on the spot with children's ID card.<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. The Social Education Department of the Capital Museum is responsible for interpretation for this activity, thanks for your cooperation.</p>",
        tipTime: 'Registration Date: February, 2017'

      },

    },
    {
      id: 35,
      h3: 'Exhibition that never ends - A Digital Reading City',
      p: '​What is an ancient city? Where are the historical cities? When was the earliest city in Beijing built? Through the fascinating interactive games and rich multimedia content, the mysteries of the city will be uncovered with great fun and inspire our interest and love for Beijing City.',
      h4: 'Venue: Room O (Waterscape Garden), B1<br />Limit: 150 people (aged 13-15)<br />Date: February 2, 2017',
      info: {
        title: 'Exhibition that never ends - A Digital Reading City',
        time: 'February 2, 2017',
        loc: 'Room O (Waterscape Garden), B1',
        ren: '150 people (aged 13-15)',
        txt: `<p>What is an ancient city? Where are the historical cities? When was the earliest city in Beijing built? Through the fascinating interactive games and rich multimedia content, the mysteries of the city will be uncovered with great fun and inspire our interest and love for Beijing City.</p> <p>For those who visited the exhibition "Reading the City - Searching for Historical Cities in Beijing" last year, do you want to learn more? For people who did not visit, do you feel you missed out?</p> <p>Here comes good news. The Capital Museum, on the basis of the exhibition last year, has designed a new exhibition that never ends - a digital exhibition!</p> <p>Besides watching and playing, you can also communicate with us on the spot. We will collect valuable comments from readers on the first phase of the Digital City Reading, and every student who participates in the event will be our exclusive "designer" for Digital City Reading!</p> <p>What are you waiting for? Come and experience it, let's hear your voice! Let's work together to create the next exhibition that never ends!</p> <p>Activity time: February 2, 9:00 AM to enter<br />Capacity: Teenagers aged 13-15, 150 for each occasion.<br />Venue: Function Hall, Capital Museum</p>`,
        tip: "<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. Parents to participate in the activity must sign in on the spot with children's ID card.<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>",
        tipTime: 'Registration Date: February, 2017'

      },

    },
    {
      id: 36,
      h3: 'Auspicious Rooster and Shuttlecock',
      p: 'The rooster, the messenger of the sun, crows at dawn and eats pests, so it is described as auspicious and free from evil. And the feather of the rooster also plays an important role in our daily lives.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 persons (aged 11 to 13)<br />Date: January 31, February 5, 17 and March 5, 2017',
      info: {
        imgShow: 0,
        title: 'Auspicious Rooster and Shuttlecock',
        time: 'January 31, February 5, 17 and March 5, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 persons (aged 11 to 13)',
        txt: `<p>The rooster, the messenger of the sun, crows at dawn and eats pests, so it is described as auspicious and free from evil. And the feather of the rooster also plays an important role in our daily lives: it can be made into pillows, shuttlecocks and mats. In the Chinese zodiac exhibition of the rooster, the story of the rooster will be told, and students will learn how to make shuttlecocks from rooster feathers. Sound interesting? Then come and join us.</p>`,
        tip: 'Please arrive at Colorful Workshop 10 minutes in advance and prepare ID card for getting tickets if they are not booked in advance. Enter at the north gate.',
        tipTime: 'Registration Date: January, 2017'

      },

    },
    {
      id: 37,
      h3: 'Life in the Old Days - Propitious Family',
      p: 'Eaves tiles, the god of doors and other relics that carry good meanings express the ardent hopes of life of the ancient people. Come and search for scattered auspicious patterns everywhere and learn the features of traditional Chinese decorative arts.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 people (aged 7-12)<br />Date: January 25, 26 & 27, 2017',
      info: {
        title: 'Life in the Old Days - Propitious Family',
        time: 'January 25, 26 & 27, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 people (aged 7-12)',
        txt: `<p>Eaves tiles, the god of doors and other relics that carry good meanings express the ardent hopes of life of the ancient people. Come and search for scattered auspicious patterns everywhere and learn the features of traditional Chinese decorative arts.</p> <p>Activity time: January 25, 26 and 27, 10:00 AM<br />Capacity: Teenagers aged 7-12, 20 for each occasion.<br />Meeting Place: Colorful Room, Ground Floor, Capital Museum</p>`,
        tip: "<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. Parents to participate in the activity must sign in on the spot with children's ID card.<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>",
        tipTime: 'Registration Date: January, 2017'

      },

    },
    {
      id: 38,
      h3: 'Auspicious Rooster and Handicrafts',
      p: 'Although plain in appearance, the rooster is often described as auspicious and free of evil. These characteristics can be found in the rooster culture that has lasted for thousands of years, with its relation to totems such the phoenix and sun bird.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 persons (aged 11 to 13)<br />Date: January 15, January 24, February 2, March 26, 2017',
      info: {
        imgShow: 0,
        title: 'Auspicious Rooster and Handicrafts',
        time: 'January 15, January 24, February 2, March 26, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 persons (aged 11 to 13)',
        txt: `<p>Although plain in appearance, the rooster is often described as auspicious and free of evil. These characteristics can be found in the rooster culture that has lasted for thousands of years, with its relation to totems such the phoenix and sun bird. And in the Chinese zodiac exhibition of the rooster, you will obtain knowledge about the rooster and related handicrafts.</p>`,
        tip: 'Please arrive at the Colorful Workshop 10 minutes in advance and prepare ID card for getting tickets if they are not booked in advance. Enter at the north gate.',
        tipTime: 'Registration Date: January, 2017'

      },

    },
    {
      id: 39,
      h3: 'Handicrafts - Auspicious Rooster in Crowing',
      p: 'A rooster crows at dawn and eats pests, so it is often described as auspicious and free from evil, which can be widely seen in Chinese art works.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 persons ( aged 8 to 10)<br />Date: January 8, January 20 and March 18, 2017',
      info: {
        imgShow: 0,
        title: 'Handicrafts - Auspicious Rooster in Crowing',
        time: 'January 8, January 20 and March 18, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 persons ( aged 8 to 10)',
        txt: `<p>A rooster crows at dawn and eats pests, so it is often described as auspicious and free from evil, which can be widely seen in Chinese art works. And in the Chinese zodiac exhibition of the rooster, you will obtain not only the knowledge about rooster, the messenger of the sun, but also how to make related handicrafts.</p>`,
        tip: 'Please arrive at the Colorful Workshop 10 minutes in advance and prepare ID card for getting tickets if they are not booked in advance. Enter at the north gate.',
        tipTime: 'Registration Date: January, 2017'

      },

    },
  ],
  Adults: [
    {
      id: 40,
      h3: 'Clean and Elegant – Five Famous Kilns in Song Dynasty',
      p: 'The Song Dynasty was the first prosperous period for Chinese porcelain.',
      h4: 'Venue: Multifunction Room, F4, Shijingshan District Cultural Center, Beijing<br />Limit: 50 people<br />Date: 19:00 - 20:30, April 30, 2021',
      info: {
        title: 'Clean and Elegant – Five Famous Kilns in Song Dynasty',
        time: '19:00 - 20:30, April 30, 2021',
        loc: 'Multifunction Room, F4, Shijingshan District Cultural Center, Beijing',
        ren: '50 people',
        txt: `<p class='xx'>Lecture III Clean and Elegant – Five Famous Kilns in Song Dynasty</p> <p>Overview: The Song Dynasty was the first prosperous period for Chinese porcelain. Ru Kiln, Royal Kiln, Ge Kiln, Ding Kiln, and Jun Kiln, known as the five famous kilns, produced porcelain with monochrome decoration and plain monochrome glazes. Elegant shapes and clean glaze reflected the aesthetic interests of the upper class in the Song Dynasty.</p> <p>If you are an enthusiast for history and cultural heritage, hurry up for application. For more wonderful lectures, please follow the official WeChat account of the Capital Museum and pay attention to the updates in the"Lectures" menu.</p>`,
        tip: '',
        tipTime: 'Registration Date: 19:00 - 20:30, April 30, 2021'

      },

    },
    {
      id: 41,
      h3: 'Celadon in Southern China and White Porcelain in Northern China – Yue Kiln and Xing Kiln in the Tang Dynasty',
      p: 'Mature celadon was first produced in the Han Dynasty and developed in the Three Kingdoms Period, the Jin Dynasty and the North and South Dynasties, and reached the peak of ancient celadon firing in the Yue Kiln in the Tang Dynasty.',
      h4: 'Venue: Multifunction Room, F4, Shijingshan District Cultural Center, Beijing<br />Limit: 50 people<br />Date: 19:00 - 20:30, April 23, 2021',
      info: {
        title: 'Celadon in Southern China and White Porcelain in Northern China – Yue Kiln and Xing Kiln in the Tang Dynasty',
        time: '19:00 - 20:30, April 23, 2021',
        loc: 'Multifunction Room, F4, Shijingshan District Cultural Center, Beijing',
        ren: '50 people',
        txt: `<p class='xx'>Lecture II Celadon in Southern China and White Porcelain in Northern China – Yue Kiln and Xing Kiln in the Tang Dynasty</p> <p>Overview: Mature celadon was first produced in the Han Dynasty and developed in the Three Kingdoms Period, the Jin Dynasty and the North and South Dynasties, and reached the peak of ancient celadon firing in the Yue Kiln in the Tang Dynasty. White porcelain was created in the Sui Dynasty and culminated in the Xing Kiln during the Tang Dynasty. Therefore, a porcelain industry pattern developed featuring"celadon in southern China and white porcelain in northern China."</p>`,
        tip: '',
        tipTime: 'Registration Date: 19:00 - 20:30, April 23, 2021'

      },

    },
    {
      id: 42,
      h3: 'Emergence of Ancient Chinese Porcelain and Development of Primitive Celadon',
      p: 'Primitive celadon was the earliest porcelain in China and even the world.',
      h4: 'Venue: Multifunction Room, F4, Shijingshan District Cultural Center, Beijing<br />Limit: 50 people<br />Date: 19:00-20:30, April 16, 2021',
      info: {
        top: `<p>This month we bring you a series of talks on porcelain. Porcelain was not only a glorious factor of the history of China, but also enjoys a great reputation and represents the image of China at home and abroad, with irreplaceable historical and cultural value. Porcelain features a unique artistic style and immense scientific research value, whether it is primitive celadon, celadon in southern China, white porcelain in northern China, porcelain from the five famous kilns of the Song dynasty, or blue and white porcelain.</p> <p>This month, Pei Yajing of the Capital Museum will offer three lectures, taking us on a journey to unlock the cultural codes belonging to the Chinese identity. The three lectures are the "Emergence of Ancient Chinese Porcelain and Development of Primitive Celadon,""Celadon in Southern China and White Porcelain in Northern China – Yue Kiln and Xing Kiln in Tang Dynasty" and"Clean and Elegant – Five Famous Kilns in Song Dynasty."</p>`,
        title: 'Emergence of Ancient Chinese Porcelain and Development of Primitive Celadon',
        time: '19:00-20:30, April 16, 2021',
        loc: 'Multifunction Room, F4, Shijingshan District Cultural Center, Beijing',
        ren: '50 people',
        txt: `<p class='xx'>Lecture I Emergence of Ancient Chinese Porcelain and Development of Primitive Celadon</p> <p>Overview: Primitive celadon was the earliest porcelain in China and even the world. During the pre-Qin period, primitive celadon went through a process of emergence, development and decline. During the Han Dynasty, mature celadon appeared, and after the Three Kingdoms Period, the Jin Dynasty and the North and South Dynasties, a unique artistic style in terms of glaze color, shape and decoration was developed in celadon.</p>`,
        tip: '',
        tipTime: 'Registration Date: 19:00-20:30, April 16, 2021'

      },

    },
    {
      id: 43,
      h3: 'Experiencing Chain Stitch Embroidery',
      p: 'The activity"Experiencing Chain Stitch Embroidery," designed for adults and located at the Intangible Cultural Heritage Experience Space, will allow participants to observe the exhibits"straw plaited box with brocade trimmings and silk embroideries" and"coffin cover with brocade trimmings and silk embroideries."',
      h4: 'Venue: Intangible Cultural Heritage Experience Space (formerly the Pottery Workshop), B1<br />Limit: 10 people<br />Date: May 18, 2021 18:00 - 19:30',
      info: {
        title: 'Experiencing Chain Stitch Embroidery',
        time: 'May 18, 2021 18:00 - 19:30',
        loc: 'Intangible Cultural Heritage Experience Space (formerly the Pottery Workshop), B1',
        ren: '10 people',
        txt: `<p class='xx'>Series of Educational Activities Related to Exhibition"Pursuing Eternity: Conservation of Museum Collections in China"</p> <p class='xx'>01. Experiencing Chain Stitch Embroidery </p> <p>In conjunction with the exhibition"Pursuing Eternity: Conservation of Museum Collections in China," the Capital Museum is launching a series of educational activities. The activity"Experiencing Chain Stitch Embroidery," designed for adults and located at the Intangible Cultural Heritage Experience Space (formerly the Pottery Workshop), will allow participants to observe the exhibits"straw plaited box with brocade trimmings and silk embroideries" and"coffin cover with brocade trimmings and silk embroideries," and learn about the Han Dynasty embroidery and the techniques of chain stitch embroidery. After that, the audience will learn some basic skills and make a handkerchief decorated with Han-dynasty patterns.</p> <p class='xx'>Lecturer: Fu Meng</p> <p>·Deputy researcher of Department for the Conservation Technology and Traditional Skills of the Capital Museum;</p> <p>·Responsible for the conservation and restoration of textiles;</p> <p>·Involved in the restoration work for first-class cultural properties, including the embroidered monk's hat with flame patterns, the crimson dragon robe with embroidered seed pearls, and the patchwork brocade monk's robe with embroidered golden threads and flowers.</p>`,
        tip: '',
        tipTime: 'Registration Date: May 18, 2021 18:00 - 19:30'

      },

    },
    {
      id: 44,
      h3: "Great Spirit of a Master of Beijing Opera: In Commemoration of the 120th Anniversary of Ma Lianliang's Birth",
      p: "Ma Lianliang made historic contributions to Peking opera's development, shaping many classic opera figures with his crisp and clear voice and natural and unrestrained looks.",
      h4: 'Venue: B1, Room M, Capital Museum<br />Limit:<br />Date: Dec. 22, 2020-May 23, 2021',
      info: {
        title: "Great Spirit of a Master of Beijing Opera: In Commemoration of the 120th Anniversary of Ma Lianliang's Birth",
        time: 'Dec. 22, 2020-May 23, 2021',
        loc: 'B1, Room M, Capital Museum',
        ren: '',
        txt: `<p class='xx'>Recruitment of "Best Amateur Performers" of "Ma School" Opera</p> <p>Peking opera combines many artistic elements, and is comprised of a variety of different schools. Ma Lianliang made historic contributions to the art form's development, shaping many classic opera figures with his crisp and clear voice and natural and unrestrained looks. During his life, Ma endeavored to constantly improve his artistic performances, learning from his peers and drawing from his stage practices and own life experiences to create a unique style. The exhibition "Great Spirit of a Master of Beijing Opera: In Commemoration of the 120th Anniversary of Ma Lianliang's Birth" is now open at the Capital Museum. The event looks set to be a grand meeting for amateur Peking opera performers. Why not pay a visit!</p> <p>Ma Lianliang's representative operas contain the essence of his art and have become his calling cards. The characters he played have left deep impressions on all those who watched him, while his operas are admired by scholars and laymen alike. Dressed in elaborate theatrical costumes, he strove to perfect each and every performance, bringing much delight to audiences.</p> <p>Excerpts from Ma Lianliang's color films: "Dragon and Phoenix Bringing Prosperity," "Revolt of the Fishing Folks" and "Gatherings of Heroes".</p> <p class='xx'>Here's how you can take part:</p> <p>The Capital Museum is holding an event to find the "Best Amateur Performers" of "Ma School" Peking opera.<br />Whether you are an admirer, an amateur performer, or fan of Peking opera, as long as you have the confidence to perform and show off your excellent voice, you can record yourself singing one of Ma Lianliang's operatic parts and send it to us.</p> <p class='xx'>Event Details:</p> <p>I. Collect audio recordings of "Ma School" opera parts.</p> <p>II. Experts select the "Best Amateur Performers."</p> <p>III. The "Best Amateur Performers" are invited for a photoshoot at the exhibition hall dressed in full opera costume in commemoration of Ma Lianliang.</p> <p class='xx'>Timeline:</p> <p>Part I. Recruitment is open from the date of the announcement until Feb. 28, the 120th anniversary of Ma Lianliang's birth.</p> <p>Part II. March 1-April 10— Expert selection and applicant audition.</p> <p>Part III. April 11 until the end of the exhibition— The "Best Amateur Performers" are invited for a photoshoot at the exhibition hall dressed in full opera costume in commemoration of Ma Lianliang.</p> <p class='xx'>Audio Requirements: MP3 format</p> <p>Both solo and duets will be accepted (selection for duet will be based on "laosheng" roles).</p> <p class='xx'>Application Email: haibao_dc@capitalmuseum.org.cn</p> <p>Interested in giving it a try? Don't hesitate and apply today!</p>`,
        tip: '',
        tipTime: 'Registration Date: Dec. 22, 2020-May 23, 2021'

      },

    },
    {
      id: 45,
      h3: 'Historic Buildings Along the Central Axis of Beijing',
      p: 'This lecture will have four parts introducing historic buildings along the Central Axis of Beijing from south to north and their cultural characteristics.',
      h4: 'Venue: B1, Multifunctional Room, Capital Museum<br />Limit: 120 people<br />Date: October 31, 2020 18:00-19:30',
      info: {
        title: 'Historic Buildings Along the Central Axis of Beijing',
        time: 'October 31, 2020 18:00-19:30',
        loc: 'B1, Multifunctional Room, Capital Museum',
        ren: '120 people',
        txt: `<p class='xx'>Upcoming Lecture | Lecture Series on Exhibition "Reading the City"</p> <p class='xx'>Season I: Exploring the Central Axis of Beijing</p> <p class='xx'>Lecture VII: Historic Buildings Along the Central Axis of Beijing</p> <p>This lecture will have four parts introducing historic buildings along the Central Axis of Beijing from south to north and their cultural characteristics. 1. From the eternal stability to the times of the zenith sun (Yongdingmen Gate, Tianqiao Street, Imperial Road, Zhengyangmen Gate); 2. People as the masters of the country (Tian'anmen, Monument to the People's Heroes, National Museum of China and the Great Hall of the People); 3. The imperial palace of the Ming and Qing dynasties (The Forbidden City); 4. The sound of harmonious and livable (Jingshan Mountain, Wanning Bridge, Drum Tower and Bell Tower).</p> <p class='xx'>Lecturer: Li Jianping</p> <p>Li Jianping is former deputy director and researcher of the Beijing Municipal Philosophy and Social Science Planning Office, and currently chair of the Beijing History Research Association. He specializes in study of Beijing's history and culture and is acknowledged as an expert on the Central Axis of Beijing. He was invited to participate in the CCTV television series"Lecture Room" and"Journey of Civilization" to present such lectures as"Charming Beijing, Rhythmic Central Axis","Mysteries of the Central Axis of Beijing" and"Mysteries of the Forbidden City". He has published more than 100 articles on Beijing's history and culture, including his outstanding works <span>The Charm of Central Axis of Beijing, Beijing Cultural Heritage, and Imperial City–Walking into City of Beijing</span>, etc. He is an Excellent Member and Distinguished Professor of the Beijing Science Popularization Report Team, spending a good part of the year giving lectures on Beijing's history and culture at higher education institutions and municipal party schools in Beijing.</p> <p>This lecture brings to an end the Season I of Lecture Series on Exhibition"Reading the City". Let's Look forward to the Season II.</p>`,
        tip: '',
        tipTime: 'Registration Date: October 31, 2020 18:00-19:30'

      },

    },
    {
      id: 46,
      h3: 'Connotation Exploration, Revitalization and Utilization of Zhengyang Culture',
      p: 'Zhengyangmen Gate, better known today by its colloquial name Qianmen Gate, was originally named Lizhengmen Gate and is considered the National Gate of the ancient capital of three dynasties.',
      h4: 'Venue: B1, Multifunction Room, Capital Museum<br />Limit: 120 people<br />Date: October 25, 2020 18:00-19:30',
      info: {
        title: 'Connotation Exploration, Revitalization and Utilization of Zhengyang Culture',
        time: 'October 25, 2020 18:00-19:30',
        loc: 'B1, Multifunction Room, Capital Museum',
        ren: '120 people',
        txt: `<p class='xx'>Upcoming Lecture | Lecture Series on Exhibition"Reading the City" </p> <p class='xx'>Season I: Exploring the Central Axis of Beijing </p> <p class='xx'>Lecture VI: Connotation Exploration, Revitalization and Utilization of Zhengyang Culture</p> <p>Zhengyangmen Gate (meaning"gate of the zenith sun"), better known today by its colloquial name Qianmen Gate, was originally named Lizhengmen Gate (implying the intention to civilize the people) and is considered the National Gate of the ancient capital of three dynasties. Although having been relocated, renamed, destroyed by fire and rebuilt numerous times, it still maintains its historical significance and is taken as a metaphorical doorway into Beijing of the past. </p> <p>Located on the Central Axis of Beijing, Zhengyangmen Gate's unique geographical location means that it functions as the center of politics, culture and international exchange, as well as a symbol of the changing times of a big power's capital. This lecture will, through methods that draw from both ancient and modern understandings of the architecture, describe the efforts made by the Zhengyangmen Administration Office in recent years to utilize historical resources to preserve, revitalize and utilize this very special piece of China's cultural heritage.</p> <p class='xx'>Lecturer: Guan Zhanxiu</p> <p>Guan Zhanxiu is the director of Beijing Zhengyangmen Administration Office, director of Beijing-Tianjin-Hebei Museum Coordinative Development & Promotion Office, deputy secretary general of the Marketing and Public Relations Committee of the China Museums Association, and one of the Four Batches of Talents of Beijing's publicity and culture system. </p> <p>He has planned and presided over more than 20 projects concerning cultural tourism brand construction and creative development, and over 10 museum exhibition and promotion projects. He specializes in museum research and social education and focuses on promoting the Beijing-Tianjin-Hebei coordinative development and cultural construction.</p>`,
        tip: '',
        tipTime: 'Registration Date: October 25, 2020 18:00-19:30'

      },

    },
    {
      id: 47,
      h3: 'Lecture on Exploring the Central Axis of Beijing',
      p: 'Praised as the spirit of Beijing, the Central Axis of Beijing is the best embodiment of traditional Chinese culture and represents the most impressive achievement in planning and construction by ancient Chinese civilization.',
      h4: 'Venue: B1, Multifunction Room, Capital Museum<br />Limit: 120 people<br />Date: September 12 18:00-19:30',
      info: {
        title: 'Lecture on Exploring the Central Axis of Beijing',
        time: 'September 12 18:00-19:30',
        loc: 'B1, Multifunction Room, Capital Museum',
        ren: '120 people',
        txt: `<p class='xx'>Lectures on Reading the City Exhibition Series<br />Season I: Exploring the Central Axis of Beijing</p> <p>Praised as the spirit of Beijing, the Central Axis of Beijing is the best embodiment of traditional Chinese culture and represents the most impressive achievement in planning and construction by ancient Chinese civilization. Capital Museum's"Reading the City–Exploring the Central Axis of Beijing" exhibition has appealed to a large audience. If you have not seen this exhibition, or if you have seen it but still have some questions about the Central Axis of Beijing, now is the time to find the answers. </p> <p class='xx'>Reading the City Exhibition Room</p> <p>On the evening of September 12, 2020, the"Reading the City" lectures will unfold at Capital Museum. Many distinguished experts have been invited and they will offer explanations about the Central Axis from various perspectives, including its history, the application for the World Heritage listing, significant cultural heritages, temples, buildings and etc. Most importantly, you will have the chance to exchange your thoughts with those experts face to face. This series of lectures includes three seasons. The first is entitled"Exploring the Central Axis of Beijing." Season II and III will respectively be about"Exploring Beijing's City Walls and Moats in History" and"Discovering the Charm of Beijing's Quadrangles".</p> <p class='xx'>Lectures</p> <p class='xx'>Lecture I The Central Axis of Beijing: Historical Connotations, Traditions and Cultural Essence</p> <p class='xx'>Lecturer: Liu Qingzhu</p> <p>Liu Qingzhu is a member of the Chinese Academy of Social Sciences (CASS), director of the CASS Research Center of Ancient Civilizations Expert Committee, member of the Experts Advisory Committee of National Philosophy and Social Sciences Research, member of the German Archaeological Institute of Communication Sciences, and permanent member of the Asian Association of World Historians. He owns the title"National Outstanding Specialist" and enjoys a Special Allowance of the Government paid by the State Council. He is the former director of the Institute of History and director of the Institute of Archeology, CCASS.</p> <p>His fieldwork includes the surveying, excavation and research of the Xianyang site – capital city of the Qin Dynasty; the eleven mausoleums of the Western Han Dynasty; the eighteen mausoleums of the emperors of the Tang Dynasty; the Liyang site, an important city of the Qin and Han dynasties; the Duling site, the mausoleum of the Emperor Xuan of the Western Han Dynasty; the Chang'an site, capital city of the Han Dynasty; and the Epang Palace site of the Qin Dynasty. He participated in the review and appraisal of the application for the World Heritage listing of the"Silk Roads: the Routes Network of Chang'an-Tianshan Corridor" and the"China Grand Canal." </p> <p>His research interests include the archeology of ancient capital cities in China, the archeology of royal mausoleums and the archeology of the Han and Tang dynasties.</p> <p>He has published more than 300 papers and more than 20 monographs (including four archaeological reports). His most renowned monographs include Weiyang Palace in the Chang'an City of the Han Dynasty, Mausoleum Yard of the Duling Mausoleum of the Western Han Dynasty, Archeology of China: Qin and Han Dynasties and Shu Roads. He has won the Outstanding Scientific Research Award, the CASS Third Xia Nai Archaeological Research Award, the Guo Moruo Chinese History Award and the Chinese Government Publication Award.</p> <p class='xx'>About the Lecture</p> <p>The Central Axis of Beijing served as the"root" and"spirit" of the ancient city, once the capital of Jin (Zhongdu), Yuan (Dadu), Ming (Beijing) and Qing (Beijing) dynasties. In ancient times, the capital functioned as the center for political management, cultural and ritual activities, economic management and military command. It"represented the nation's politics and culture" (Wang Guowei: Institutions of the Yin and Zhou Dynasties).</p> <p>The first central axes of capitals in the history of China were formed more than 2,000 years ago, when the Qin and Han empires founded ancient China as a unified and multi-ethnic nation, and was eventually completed at the Luoyang City of the Northern Wei Dynasty. The concept was thereafter carried on to Beijing of the Ming and Qing dynasties. Central axes of capitals in the history of China reflect the political characteristic of ancient China.</p>`,
        tip: '',
        tipTime: 'Registration Date: September 12 18:00-19:30'

      },

    },
    {
      id: 48,
      h3: 'Love in Quadrangle Courtyards, Romance in Folklore Exhibition',
      p: 'The seventh night of the seventh month of the Chinese lunar calendar, when the Cowherd and the Weaver Girl are said to reunite, is commonly known as Double Seventh Festival.',
      h4: 'Venue: Information Counter of the Ceremony Hall of the Capital Museum<br />Limit: 30 couples (aged 20-60), 60 people in total<br />Date: August 25, 2020 18: 00-21: 00',
      info: {
        title: 'Love in Quadrangle Courtyards, Romance in Folklore Exhibition',
        time: 'August 25, 2020 18: 00-21: 00',
        loc: 'Information Counter of the Ceremony Hall of the Capital Museum',
        ren: '30 couples (aged 20-60), 60 people in total',
        txt: `<p class='xx'>Double Seventh Festival</p> <p>The seventh night of the seventh month of the Chinese lunar calendar, when the Cowherd and the Weaver Girl are said to reunite, is commonly known as Double Seventh Festival (known as the Chinese Valentine's Day). In ancient times, young girls would beg the Weaver Girl for added dexterity in their needlework on this day, hence its other name, the Begging Festival (Qiqiao Festival). Thanks to the celestial couple's moving story, the festival now acts as a symbol of love and is considered China's most romantic traditional festival.</p> <p>Double Seventh Festival falls on August 25th in the year 2020, during which a special evening event will be staged at the Capital Museum where couples can celebrate the festival with their special date. </p> <p class='xx'>Evening Event on the Double Seventh Festival at Capital Museum</p> <p>The Capital Museum is taking reservations for up to 200 people for the evening event, which is free of charge. Attendees will receive a commemorative ticket specially designed for the festival at the entrance. Additionally, instructors will offer free services at the exhibition hall titled"Traditions of the Capital: An Exhibition of Old Beijing Folklore," to provide attendees with a heightened romantic cultural experience.</p> <p class='xx'>Special events on Double Seventh Festival</p> <p class='xx'>Love in Quadrangle Courtyards on Double Seventh Festival</p> <p class='xx'>Floral-pendant gates and matrimonial room at Capital Museum's exhibition room</p> <p>This special event will be co-hosted by the Capital Museum, the Beijing Publishing House, the China Machine Press, and the Capital Museum Cultural Development Co., Ltd. Love. One element of the event will highlight traditional Chinese courtyard culture, emphasizing tenderness between lovers and kin and symbolizing harmony in both family and marriage. Thirty couples will be invited to the event and together will build a model in the shape of a floral-pendant gate, reciting family stories before browsing the corresponding folklore exhibition room and selecting the architecture that best represents the model that they build. Couples will also learn about different folklore stories and be invited to exchange opinions and emotions, all the while having the chance to win exquisite prizes.</p> <p class='xx'>Modeling of floral-pendant gate</p> <p>At the event, Beijing Publishing House will offer participants complimentary books, which include <span>Beijing Quadrangle Courtyards, Delicacies from Old Beijing, Calico Cat on the Roof, Life In Hutong, Native Speaks to Children about Beijing</span>, and other fascinating tales that have manifested from the culture and folklore of old Beijing. Beijing Publishing House will also showcase and sell other titles at the event. Together, let's spend a culture-imbued night to celebrate the Double Seventh Festival!</p>`,
        tip: 'Electronic sign-in and collection of commemorative cards will take place at the Information Counter of the Ceremony Hall of the Capital Museum.',
        tipTime: 'Registration Date: August 25, 2020 18: 00-21: 00'

      },

    },
    {
      id: 49,
      h3: 'Two Mainstays of the Western Hills-Yongding River Cultural Belt',
      p: 'The Western Hills-Yongding River culture is a unique local culture created by the people of Western Beijing.',
      h4: 'Venue: B1, Multifunction Hall, Capital Museum<br />Limit: 200 people<br />Date: October 19, 2019',
      info: {
        title: 'Electronic sign-in and collection of commemorative cards will take place at the Information Counter of the Ceremony Hall of the Capital Museum.',
        time: 'October 19, 2019',
        loc: 'B1, Multifunction Hall, Capital Museum',
        ren: '200 people',
        txt: `<p>The Western Hills-Yongding River culture is a unique local culture created by the people of Western Beijing. It represents their spiritual and intellectual life, such as that of their mental outlook, ways of thinking and values. More importantly, it is the source of civilization in Beijing, the root of its history and the soul of its culture.</p> <p>Western Hills-Yongding River cultural belt includes: </p> <p>The imperial culture represented by the"Three Hills and Five Gardens", which are the Summer Palace of the Longevity Hill, Jingyi Garden of the Fragrant Hill，Jingming Garden and Changchun Garden of the Jade Spring Hill, and the Old Summer Palace (Yuanmingyuan). </p> <p>The educational culture represented by Tsinghua University and Yenching University; the temple culture represented by Dajue Temple, Wofo Temple and Tanzhe Temple; the archaeological culture represented by the Western Zhou Yan State Site at the Liuli River, the Longgu Hill Ape Man Site at Zhoukoudian; and the traditional folk culture represented by the Miaofeng Mountain. </p> <p>In addition, there is also the mausoleum culture, revolutionary culture, celebrity culture as well as the landscape and ecological culture.</p> <p>Among them, the imperial culture and educational culture are the mainstays of the Western Hills-Yongding River cultural belt.</p> <p>The Capital Museum has specially invited Zhao Lianwen as the keynote speaker.</p> <p>Zhao is the Doctor of History in Peking University, researcher and master supervisor of the Beijing Union University. His main area of research is Beijing's Cultural History. He has published more than 90 articles and several works, including The History of the Beijing Academy, Collection of Books of Chinese Academies, Exploration of Chinese History, Study of Ancient Chinese Schools and Academies as well as Engraving Books, etc. Moreover, he is the leader of major projects supported by the Beijing Social Science Fund. This includes projects such as the"Study of Beijing Academies in Ming and Qing Dynasties" and"Historical Changes of Three Hills and Five Gardens in the Period of the Republic of China". He also leads the project supported by the National Social Science Fund on the"Interactive Relations between scholar-bureaucrat and academies in the Ming and Qing Dynasties".</p> <p>He will offer visitors a thorough explanation of the unique connotations and significance of the two mainstays and give a glimpse into the cultural glamor of the Western Hills–Yongding River cultural belt.</p>`,
        tip: 'Press and hold to reveal the mini program to register for the event.',
        tipTime: 'Registration Date: October 19, 2019 9:30-11:30'

      },

    },
    {
      id: 50,
      h3: "Bring back the 'City Memories' along the Central Axis of Beijing on the Double Ninth Festival and the National Day Holiday",
      p: "The 70th Anniversary of the Founding of the People's Republic of China coincides with the Double Ninth Festival this year.",
      h4: 'Venue: Colorful Workshop, Capital Museum<br />Limit: 30 people<br />Date: October 7, 2019, 10:00~11:00',
      info: {
        title: "Bring back the 'City Memories' along the Central Axis of Beijing on the Double Ninth Festival and the National Day Holiday",
        time: 'October 7, 2019, 10:00~11:00',
        loc: 'Colorful Workshop, Capital Museum',
        ren: '30 people',
        txt: `<p>The 70th Anniversary of the Founding of the People's Republic of China coincides with the Double Ninth Festival this year. Therefore, the Capital Museum specially plans a series of activities - "City Memories" along the Central Axis of Beijing - to let visitors better understand the significance of the Central Axis of Beijing and recall its past.<br />Guests can also learn more about Beijing, express their love for their motherland, celebrate the National Day and spend the Double Ninth Festival together.</p> <p>Attachment to the Central Axis</p> <p>During the National Day holidays, the Capital Museum will host the event "Fun Central Axis" for children and teenagers. There will be interactive talks, games, hands-on art and crafts, and a host of other activities to help visitors learn independently. Fun and engaging activities will be integrated into the learning process, departing from the traditional top-down model in education. Consequently, the event will offer participants' a deep understanding of the Central Axis of Beijing, help them develop their appreciation of history, provide a glimpse of the future through reviewing history, and arouse their love for the great motherland.</p> <p>Targets and Time</p> <p>Children aged 7~9, 10:00~11:00, October 3</p> <p>Children aged 7~9, 14:00~15:00, October 3</p> <p>Children aged 9~12, 10:00~11:00, October 4</p> <p>Children aged 9~12, 14:00~15:00, October 4</p> <p>Children aged 12~15, 10:00~11:00, October 6</p> <p>Children aged 12~15, 14:00~15:00, October 6</p> <p>Capacity</p> <p>30 people for each event</p> <p>Recalling the Memories of the Central Axis on the Double Ninth Festival</p> <p>The Double Ninth Festival, also called the "Shaiqiu Festival" and "Elder Festival", is one of the four traditional Chinese sacrificial festivals. The other three are the Chinese New Year's Eve, Tomb-Sweeping Day and Zhongyuan Festival. The Double Ninth Festival falls on the Ninth day of every September in the Chinese lunar calendar. "九 (Nine)", having the same pronunciation as"久 (permanence and longevity)" in Chinese, embodies the Chinese peoples' wish for the good health and longevity of the elderly.</p> <p>On the Double Ninth Festival, the Capital Museum will invite middle-aged and elderly visitors to come together and recall the past relating to the Central Axis of Beijing through handicraft, questionnaire surveys and interactive discussions. They will also have an opportunity to experience training aids developed by the "Reading City" project team. An activity called "Wishes" will take place at the end of the event. In this activity, participants can express their feelings or wishes about the Central Axis of Beijing for teenagers, who are the core audience of the "Reading City" project, and arouse their love for motherland.</p> <p>Targets and Time</p> <p>Audience over 60</p> <p>On the Double Ninth Festival of 2019, let's visit the Capital Museum to recall the"city memories"about the Central Axis of Beijing.</p>`,
        tip: '<p>Elderly visitors should ensure that they are in good health before participating.<br />Please bring your prescription glasses, if needed, as there will be some reading involved at the event.</p>',
        tipTime: 'Registration Date: October 7, 2019, 10:00~11:00'

      },

    },
    {
      id: 51,
      h3: 'Hand in Hand · Happiness and Harmony | Set a Date at the Capital Museum on the Double Seventh Festival',
      p: 'The Double Seventh Festival, also called The Begging Festival, falls on August 7 this year.',
      h4: 'Venue: The Capital Museum<br />Limit: 100 adult couples<br />Date: August 7, 2019, 18:00-19:30',
      info: {
        title: 'Hand in Hand · Happiness and Harmony | Set a Date at the Capital Museum on the Double Seventh Festival',
        time: 'August 7, 2019, 18:00-19:30',
        loc: 'The Capital Museum',
        ren: '100 adult couples',
        txt: `<p>The Double Seventh Festival, also called The Begging Festival, falls on August 7 this year. According to the legend, this day is also the Chinese Valentine's Day when the"Cowboy" and the"Spinning Maid" reunite annually. As the day draws near, the Capital Museum has carefully planned a variety of activities, so that you may spend a unique Double Seventh Festival with your loved one.</p> <p>Opening Hours Extended</p> <p>On August 7, the Capital Museum will not close before 8:00 PM, so as to extend the visiting time in the Museum.</p> <p>Special Event for You and Your Companion</p> <p>Listening to Folk Customs of the Festival; Appreciating Cultural Relics that Symbolize Love</p> <p>On August 7, there will be instructors at the three exhibitions,"Past Stories of Beijing – Folk Customs of the Old Beijing","Selected Artworks of Ancient Ceramics", and"Selected Artworks of Ancient Jade Relics", to introduce the folk customs of the Festival in Beijing and present selected ceramics and jade relics that symbolize love.</p> <p>Creating Colorful Sand Paintings</p> <p>Lovers and couples may participate in a special dating activity. Drawing on the love elements in the collection"White Jade Round Box with Lovebirds-shaped Handle" for inspiration, participants can jointly make creative colorful sand paintings.</p> <p>White Jade Round Box with Lovebirds-shaped Handle, Song Dynasty (960~1279)</p> <p>The round box, made of white jade, is smooth and exquisite, with yellow crevices in some parts, caused by erosion. At the top of the box is a pair of lovebirds, with their mouths and chests connected. the head crest, eyes and feathers of the birds are carved with parallel fine intaglio lines. The box is skillfully designed to present two pairs of lovebirds when opened. The relic was still shiny when it was first unearthed. The jade box is an example of a superior and exquisite work of Song Dynasty jade.</p> <p>Visitors with reservations should enter through the north gate of the Capital Museum at 17:30, collect their tickets at the Ticket Office, assemble at the Information Counter at 17:45 and enter the exhibition hall with instructors.</p> <p>Purchasing Exquisite Cultural and Creative Accessories at Discount Prices</p> <p>On August 7, stores selling cultural and creative goods at the Capital Museum (except for goods sold in vending machines) will offer a 33% discount. This offer is only valid on August 7. In addition, the"Beauty-like Jade" series of exclusive accessories will be launched. This series of accessories, both in gold or silver, are embellished with magnificent jewels and gems. It is time to give your companion a romantic gift on Chinese Valentine's Day.</p> <p>"Beauty-like Jade" – Archaic Jade of the Capital Museum–"Folding Flowers" series of accessories are inspired by the Museum's"Greenish White Jade Pendant with the Pattern of Folding Flowers" artefact, which brims with the rustic charm of wooded mountains enjoyed by the nomadic people in the North. Its design of a flower and nine petals is simple yet charmingly romantic and implies auspiciousness.</p> <p>"Beauty-like Jade" – Archaic Jade of the Capital Museum –"Harmonious Lovebirds" series of accessories are inspired by the Museum's"White Jade Round Box with Lovebirds-shaped Handle" artefact. Pairs of lovebirds mounted on the accessories stand for conjugal affection and everlasting love.</p> <p>Sharing a Sweet Set Meal on Chinese Valentine's Day</p> <p>On August 7, the coffee shop and the buffet restaurant on the ground floor will provide a Special Sweet Set Meal (￥99 per set, which includes a Cafe Americano and tasty cakes for two, 100 sets available only on the day). Celebrate the special day with your loved one and spend an unusual Double Seventh Festival at the Capital Museum!</p> <p>The Capital Museum, with its delightful atmosphere, warm and homely environment and colorful activities, is definitely a great place for a date on the Double Seventh Festival!</p>`,
        tip: 'Press and hold to launch the mini program for reservation and more information of the activity.',
        tipTime: 'Registration Date: August 7, 2019, 18:00-19:30'

      },

    },
    {
      id: 52,
      h3: 'Implements of Ingenuity – An Exhibition of Modern Chinese Ceramic Art',
      p: 'Beauty and charm have always occupied an important position in the development of ceramic art.',
      h4: 'Venue: Colorful Workshop, Capital Museum<br />Limit: 15 people (aged over 12)<br />Date: August 2, 2019 14：00-15：30',
      info: {
        title: 'Implements of Ingenuity – An Exhibition of Modern Chinese Ceramic Art',
        time: 'August 2, 2019 14：00-15：30',
        loc: 'Colorful Workshop, Capital Museum',
        ren: '15 people (aged over 12)',
        txt: `<p>Beauty and charm have always occupied an important position in the development of ceramic art. Themes in ceramic art, whether it is the plum or bamboo growing high up in the cold mountains, the magnificent and towering pine and cypress, the luxuriant flowering crabapple with a singing warbler perched on it, or the peach blossom outside the bamboo groves on a moonlit night by the spring river, they all embody the poetic and aesthetic pursuit of a better life. Patterns of embroidery, always neat and pretty, with fresh and elegant colors and different styles of stitching, also expresses people's ideas, mentality and aesthetic taste.</p> <p>The Capital Museum will display the acclaimed "Bottle with the Painting of Scenery after the Rain" at the exhibition "Implements of Ingenuity – An Exhibition of Modern Chinese Ceramic Art". </p> <p>It will incorporate the traditional Chinese embroidery technique of weaving-embroidery with the art of ceramic-making to give visitors a unique experience, where they can feel the beauty and charm of ceramic masterpieces through embroidery.</p> <p>So far, three such events have been staged, which have been warmly welcomed and which have received favorable comments. Now, the fourth event will be staged. Hurry up and apply for it!</p> <p>Admission Notice of Lecture and Activity</p> <p>1. Audiences attending the lecture and activity should enter through the north gate of the Capital Museum and proceed to the security check. Flammable and explosive articles, controlled equipment and other dangerous articles are strictly prohibited in the Museum.</p> <p>2. Please scan the QR code with the WeChat account used to register attendance to the lecture and activity located at the ticket office of the Ceremony Hall. This will allow visitors to sign in electronically. </p> <p>3. Please present the successful sign-in information to the staff (If electronic sign-in fails, please present screenshots showing the successful application of the lecture and activity) as well as valid documents (ID card, student ID card for middle and primary schools, disability certificate, senior citizen ID, military officer certificate, etc.) to collect tickets for the lecture and activity. The ticket can only be used to enter the Museum once and is valid only on the day it is issued. </p> <p>4. Registered visitors should enter the Museum with their tickets 30 minutes before the start of the lecture and activity, and sit at the reserved spots arranged by on-site staff. If visitors are more than 15 minutes late, their reservation will be canceled and entry will not be possible on that day. </p> <p>5. During the lecture and activity, please comply with the instructions given by on-site staff. Do not eat, drink, or loiter around. Kindly turn cell phones to the silent mode to maintain silence in the venue; and audio recordings, video recordings and photography are strictly prohibited without permission. </p> <p>6. Please help preserve the communal facilities and exhibits in the Museum, keep the environment clean and maintain public order. Smoking and open flames are strictly prohibited in the Museum.</p>`,
        tip: `<p>If you want to check on the status of your reservation, please scan to reveal the mini program and tap "My Order".<br />Please make your reservation before August 1, 14:00. Please make sure you attend the event once you make your reservation.<br />Should you be unable to attend it, please cancel your appointment in "My Order". Absence without advance notification will affect the success of one's application for our future activities.</p>`,
        tipTime: 'Registration Date: August 2, 2019 14：00-15：30'

      },

    },
    {
      id: 53,
      h3: 'Evolution of Landscape Paintings in the Ming and Qing Dynasties',
      p: 'In the Ming and Qing dynasties, as figure and bird-and-flower paintings declined, landscape painting reached its peak.',
      h4: 'Venue: B1, Multifunction Hall of the Capital Museum<br />Limit: 200 people<br />Date: November 9, 2019 14:00-16:00',
      info: {
        title: 'Evolution of Landscape Paintings in the Ming and Qing Dynasties',
        time: 'November 9, 2019 14:00-16:00',
        loc: 'B1, Multifunction Hall of the Capital Museum',
        ren: '200 people',
        txt: `<p>In the Ming and Qing dynasties, as figure and bird-and-flower paintings declined, landscape painting reached its peak. Through facsimile and imitating ancient styles, reform and innovation, landscape painting underwent a transition from a literati to a genre focus, passing through periods of prosperity and decline, assuming different features.</p> <p>This is a great opportunity to enjoy landscape paintings of the Ming and Qing dynasties with you visitors.</p> <p>Zhu Wanzhang is a research librarian of the National Museum of China, and a member of the Theoretical Committee of China Artists Association. He specializes in the appreciation and collection of calligraphy and paintings, art history research and art review. He has written over 20 books, including <span>Appreciation of Calligraphy and Research of Paintings and Art History, Summer Passing and Refined Pastimes: Focus on the History of Appreciation and Collection of Calligraphy and Paintings, Appraisal and Detection of Forgeries of Ancient Chinese Calligraphy and Paintings, Collection of Painting Appraisal Essays, A World of Paintings, A New Account of the Painting World, Collection of Essays on the Appreciation of Calligraphy and Paintings, Discussions on Calligraphy and Paintings in the Ming and Qing Dynasties, Letters on the Collection and Appreciation of Calligraphy and Paintings, Collection and Appraisal of Calligraphy and Paintings since the Song and Yuan Dynasties, etc. Besides, he is also adept at painting, himself. Works showing his art include Paintings of Calabashes, Art Learning: Zhu Wanzhang and His Art World, Besides Study: Recent Painting Works of Zhu Wanzhang,</span> etc.</p> <p>Based on the famous landscape paintings this author has viewed, this lecture seeks to analyze the evolution of landscape paintings in different phases of the Ming and Qing dynasties.</p>`,
        tip: 'Long press to scan the QR code for application.',
        tipTime: 'Registration Date: November 9, 2019 14:00-16:00'

      },

    },
    {
      id: 54,
      h3: 'Knowledge from the Masters Facilitating the Application of the Central Axis of Beijing to World Heritage',
      p: 'On the Central Axis of Beijing, there are magnificent imperial buildings, simple and unsophisticated residences, redolent with age-old city memories.',
      h4: 'Venue: Multifunction Hall, Capital Museum<br />Limit: 200 people<br />Date: November 1, 2019, 10:00-12:00',
      info: {
        title: 'Knowledge from the Masters Facilitating the Application of the Central Axis of Beijing to World Heritage',
        time: 'November 1, 2019, 10:00-12:00',
        loc: 'Multifunction Hall, Capital Museum',
        ren: '200 people',
        txt: `<p>In coordination with the 2019 CI (Conservation International) Seminar on the Application for World Heritage listing of the Central Axis of Beijing, the public lecture "Masters' Discussions on World Cultural Heritage" will be delivered at the Multifunction Hall of the Capital Museum on November 1. The event is sponsored by the Beijing Municipal Bureau of Cultural Relics and co-organized by the Library and Information Center of the Bureau and the Capital Museum. Particularly, we invited famous scholars at home and abroad to deliver speeches.</p> <p>The event aims to inform the public of the historical and cultural connotations of the Central Axis of Beijing, introduce the significance of its inclusion in the List of World Heritage sites and relevant knowledge of world cultural heritage. The public lecture will be presided over by Yu Ping, Counsellor of the People's Government of Beijing Municipality and Deputy Director General of Beijing Municipal Bureau of Cultural Relics.</p> <p>Event Agenda</p> <p>10:00 Ceremony at which Beijing Municipal Bureau of Cultural Relics will present the book Co-checked Copy of the Regime of Large Wooden Structures [Building Methods] to Tsinghua University and Beijing University, etc.</p> <p>10:30 First lecture"Restoration of World Cultural Heritage sites – Taking Notre Dame of Paris and the like as examples"</p> <p>14:30 Second lecture:"Historical and Cultural Connotations of the Central Axis of Beijing"</p> <p>Lecture 1: Restoration of World Cultural Heritage–Taking Notre Dame of Paris and the like as examples</p> <p>Keynote Speaker: Kono Toshiyuki</p> <p>Present president of International Council on Monuments and Sites (ICOMOS), President of International Specialized Committee of ICLAFI (ICOMOS International Scientific Committee on Legal, Administrative and Financial Issues), Project Leader of ICOMOS Initiative on"Reconstruction" and the Tenured Professor of Law, Kyushu University, Japan.</p> <p>2012 Leader of the authenticity project "Nara+20 Years" </p> <p>2015 Secretary General of the Organizing Committee for the Annual General Assembly of ICOMOS</p> <p>September 2017 Member of the Advisory Committee for the UNESCO Technical Meeting on the Future of the Bamiyan Buddha. </p> <p>He has long been committed to the promotion of Sino-Japan academic exchanges. He has actively introduced China's efforts and achievements in cultural heritage conservation to the international academic community.</p> <p>Lecture 2: Historical and Cultural Connotations of the Central Axis of Beijing</p> <p>Beijing has two central axes. One, located at Binhe Road outside Guang'anmen Gate, was the central axis of the Mid-Capital of the Jin dynasty, which was inherited from the central axis of Bianjing, capital of the Song dynasty; the other, as the central axis of the Old City of Beijing, was inherited from the central axis in the Yuan, Ming and Qing dynasties, the Republic of China and new China. The central axis of the Old City of Beijing, with highly profound links to history and culture, serves not only the spirit of Beijing but is also a dynamic cultural heritage, which has been submitted for World Heritage site listing. In this lecture, the audience may understand the central axis of Beijing from the four aspects of harmony, advancing with the times, inclusiveness and colorfulness.</p> <p>Keynote Speaker: Li Jianping</p> <p>He is the Chairman of Beijing History Research Association and Director of Academic Committee of Beijing Studies Research Base of Beijing Union University. He has long been committed to research into Beijing's history and culture. His research field includes Beijing Imperial City, city walls and gates, streets, alleys and hutongs, quadrangle dwellings, gardens, etc. He has published over 100 academic articles, including"Streets and Alleys and Historical Events of Beijing","Beijing Urban Landscape and Cultural Heritage","City Walls and Gates of Beijing", etc. His academic masterpieces include Beijing Cultural Heritage, Charm of the Central Axis of Beijing, The Imperial City–Walking into the heart of old Beijing, etc. His speeches"Charming Beijing, Rhythmic Central Axis" in the"Lecture Room" program series of CCTV found great favor with the audience.</p> <p>On the Central Axis of Beijing, there are magnificent imperial buildings, simple and unsophisticated residences, redolent with age-old city memories. It is not only the central landmark of Beijing, but also expresses the splendor of Chinese civilization.</p> <p>Wishing the Central Axis of Beijing early success in applying for the World Heritage listing</p>`,
        tip: 'Long press to scan the QR code for application.',
        tipTime: 'Registration Date: November 1, 2019, 10:00-12:00'

      },

    },
    {
      id: 55,
      h3: 'Poems, Calligraphy and Paintings related to Landscapes: Endless Views from the Study',
      p: 'In the life of ancient scholars, the study is an indispensable space for writing brushes, ink sticks, paper, ink stones, calligraphy, paintings, etc.',
      h4: 'Venue: Multifunction Hall of the Capital Museum<br />Limit: 200 people<br />Date: October 27, 2019, 14:00-16:00',
      info: {
        title: 'Poems, Calligraphy and Paintings related to Landscapes: Endless Views from the Study',
        time: 'October 27, 2019, 14:00-16:00',
        loc: 'Multifunction Hall of the Capital Museum',
        ren: '200 people',
        txt: `<p>In the life of ancient scholars, the study is an indispensable space for writing brushes, ink sticks, paper, ink stones, calligraphy, paintings, etc. It was where artists began their official careers, where they read and worked, and where they created paintings.</p> <p>With brushes, ink and pigment, they created uncountable poems, calligraphy and paintings. Within these genre, landscape paintings by scholars in the Song and Yuan dynasties marked a climax in Chinese art history, a splendid world of poems, calligraphy and paintings.</p> <p>On October 27, Professor of School of Humanities of Central Academy of Fine Arts, Shao Yan, will offer visitors an excellent art lecture.</p> <p>Shao Yan received a doctoral degree from the Central Academy of Fine Arts in 2004. She took up the post of senior visiting scholar of the Metropolitan Museum of Art in New York. Her teaching and research field is Chinese art history, especially the development and appraisal techniques of traditional calligraphy and paintings. </p> <p>Starting from several landscape paintings displayed at the exhibition "The Art of Chinese Landscape Paintings from 12th to the 20th centuries" at the Capital Museum, the lecture introduces the main landscape painting styles in the Song and Yuan dynasties, and also to present the art scene formed by interaction between paintings, calligraphy and poems.</p>`,
        tip: 'Long press to scan the QR code for application.',
        tipTime: 'Registration Date: October 27, 2019, 14:00-16:00'

      },

    },
    {
      id: 56,
      h3: 'Famous Historical Gardens on the Central Axis of Beijing',
      p: 'Beijing, a famous historic and cultural city, was founded more than 3,000 years ago and has been the capital of China for over 860 years.',
      h4: 'Venue: Multifunction Hall, Capital Museum<br />Limit: 200 people<br />Date: October 27, 2019, 9:30-10:30',
      info: {
        title: 'Famous Historical Gardens on the Central Axis of Beijing',
        time: 'October 27, 2019, 9:30-10:30',
        loc: 'Multifunction Hall, Capital Museum',
        ren: '200 people',
        txt: `<p>Series of public lectures on the theme of "Gardeners Talk About the Beauty of Gardens" on October 27, presenting the charm of various gardens.</p> <p>Beijing, a famous historic and cultural city, was founded more than 3,000 years ago and has been the capital of China for over 860 years. Upon the founding of the Yuan Empire, its capital was planned with King Wah Island of Beihai Park at its center, laying a foundation for the modern city pattern of Beijing. This formed a spatial order and pattern that took the central axis as an important datum line of the city layout, and is a witness to the time-honored Chinese civilization. Along the central axis are such ancient gardens as the Temple of Heaven, Beihai Park, Zhongshan Park and Jingshan Park that accentuate the charm of the ancient city and record its development and changes. </p> <p>Keynote Speaker: Zhang Yahong, Member of the standing committee of CPC and Deputy Director of Beijing, Municipal Management Center of Parks, Curator of The Museum of Chinese Gardens and Landscape Architecture</p> <p>Focusing on four famous historical gardens (Temple of Heaven, Beihai Park, Zhongshan Park and Jingshan Park) along the Central Axis of Beijing, she will explain the different cultural connotations of those gardens in simple ways and recount the cultural values behind various types of gardens, architecture, landscape and plants. Furthermore, according to the"On Gardens–Cultural Relics in Beijing's Famous Classical Gardens", she will point out the importance of those gardens along the central axis, offering a profound and comprehensive understanding of those familiar and unfamiliar gardens.</p>`,
        tip: 'Long press to identify the mini program for application and more information of the event.',
        tipTime: 'Registration Date: October 27, 2019, 9:30-10:30'

      },

    },
    {
      id: 57,
      h3: 'Exploring the Mother River of Beijing–Talks on the Culture of Yongding River',
      p: 'Rivers are a source of human civilizations. A great city always has a great river.',
      h4: 'Venue: B1, Multifunction Hall, Capital Museum<br />Limit: 200 people<br />Date: October 26, 2019, 9:30-11:00',
      info: {
        title: 'Exploring the Mother River of Beijing – Talks on the Culture of Yongding River',
        time: 'October 26, 2019, 9:30-11:00',
        loc: 'B1, Multifunction Hall, Capital Museum',
        ren: '200 people',
        txt: `<p>Rivers are a source of human civilizations. A great city always has a great river. For example: London and the Thames, Paris and the Seine, Vienna and the Danube, and Baghdad and the Tigris. River, all have nourished urban civilizations, and also decided the development trends and changes of cities.</p> <p>A river has been part of Beijing city for 3,000 years. The Yongding River has nurtured a rich and specific culture in the long course of history, dedicating herself to the construction and development of Beijing in various historical periods.</p> <p>Today, taking the Western Hills–Yongding River cultural belt as the theme, a documentary film Yongding River, a picture book Yongding River and a culture exhibition"Mountains and Rivers · Motherland: A Cultural Exhibition of Beijing Western Hills-Yongding River Region" has emerged at the right time, expounding on the origins of both the waterway and the city.</p> <p>On October 26, the event"Exploring the mother river of Beijing – talks on the culture of Yongding river" jointly organized by the Beijing Publishing House, the Publicity Department of Beijing Mentougou District Committee of CPC and the Capital Museum will be staged, offering the audience an opportunity to understand and seek the origin of the mother river.</p> <p>Four special guests will be invited to attend the event.</p> <p>Ma Zhanjun, Standing Deputy Director of Publicity Department of Beijing Mentougou District Committee of CPC. Wang Chunhua, chief director of the full-length human geographical documentary film <span>Yongding River,</span> and editor-in-chief of the book <span>Yongding River.</span> You Shuying, council member of Beijing Yongding River Research Association, member of Beijing History and Geography and Folk Custom Society, and author of the book History of <span>Yongding River.</span></p> <p>This event will be presided over by Chang Chang, vice president and reading promoter of Jingbanruoqing Company.</p> <p>In this event, the special guests will give speeches about the planning of the "Mountains and Rivers · Motherland–A Cultural Exhibition of Beijing Western Hills-Yongding River Region", the shooting of the documentary film, the planning and composition of the picture book and the history and culture of the Yongding River. In this way, they will seek the origin of the water of life of Beijing and find the source of Beijing urban culture together with the audience, aiming to give participants an understanding of the need to preserve the river through reviewing and looking forward to the future. Chairman Yuan Hai and General Manager Liu Qian of the Jingbanruoqing Company will also attend the event. </p> <p>The author and special guests will also sign copies of the book Yongding River for the audience at the bookstore of the Capital Museum.</p>`,
        tip: 'Long press to scan the QR code for application.',
        tipTime: 'Registration Date: October 26, 2019, 9:30-11:00'

      },

    },
    {
      id: 58,
      h3: 'Splendor of Spring in Gardens',
      p: `During the Exhibition of Cultural Relics in Beijing's famous classical gardens, Beijing Municipal Administration Center of Parks, taking the theme of "Gardeners Talking About the Beauty of Gardens," will deliver to the public a series of expert lectures, through which you will enjoy the splendor of the gardens.`,
      h4: 'Venue: Multifunction Hall, B1<br />Limit: 200 persons<br />Date: June 15, 2019 9:30-10:30',
      info: {
        title: 'Splendor of Spring in Gardens',
        time: 'June 15, 2019 9:30-10:30',
        loc: 'Multifunction Hall, B1',
        ren: '200 persons',
        txt: `<p>During the Exhibition of Cultural Relics in Beijing's famous classical gardens, Beijing Municipal Administration Center of Parks, taking the theme of "Gardeners Talking About the Beauty of Gardens," will deliver to the public a series of expert lectures, through which you will enjoy the splendor of the gardens.</p> <p>Chinese classical garden art consists of elements such as hill-building, water-managing, rock-piling, plant-planting, pavilions, terraces, towers, halls, balconies, and boathouses. Loaded with rich cultural details and the wisdom of ancient gardening, it has always been our ideal spiritual homeland.</p>`,
        tip: '<p>1. Audio recording, video recording, and photography are strictly prohibited without permission.<br />2. The lecture capacity is 200 people. The spaces are limited. If you are unable to attend, please cancel your appointment at least one day before the application closes.<br />3. Sign-in will start 15 minutes prior to the lecture. Audience with an appointment is expected to arrive on time for sign-in. If you are more than 15 minutes late, entry will not be granted on that day.<br />4. Make sure to bring your cell phone used for application to sign in as sign-in is conducted electronically this time. If you are unable to carry out electronic sign-in, please save and present screenshots showing successful application.<br />5. Please turn off the ringtone of your cell phone to keep the venue quiet.</p>',
        tipTime: 'Registration Date: June 15, 2019 9:30-10:30'

      },

    },
    {
      id: 59,
      h3: 'Capture the Spirits of Nature on Tibet Plateau with your Camera',
      p: 'For a thousand years, the Qinghai Road has connected east and west Asia, as well as south and north Asia. It wrote a long love story on the Silk Road.',
      h4: 'Venue: Multifunction Hall, B1<br />Limit:<br />Date: May 12, 2019, 14:00',
      info: {
        imgShow: 0,
        title: 'Capture the Spirits of Nature on Tibet Plateau with your Camera',
        time: 'May 12, 2019, 14:00',
        loc: 'Multifunction Hall, B1',
        ren: '',
        txt: `<p>Han Government and Qiangzhong Road, Tuyuhun Kingdom<br />Tibetan Regime Marching to the East, Ethnic Fusion<br />For a thousand years, the Qinghai Road<br />has connected east and west Asia,<br />as well as south and north Asia.<br />It wrote a long love story on the Silk Road.</p> <p>The Museum especially invites Gu Ying, a photographer of wild animals and a documentary director, to the lecture.</p> <p>She gathers photography lovers to walk through the polar regions and blizzards, to explore the depopulated zone, and to the third pole of the world, the Tibet Plateau. There, they "pry into" the wild animals on the mysterious plateau with their cameras.</p>`,
        tip: '<p>Please send the finished questionnaire to our email (sbsyzyz@163.com) and put "Lecture recruitment + your name" in the subject line. The application closes on May 19, 2019.<br />The official recruitment information of volunteer photographers will be released on the official website, Weibo, WeChat, and other media platforms.</p>',
        tipTime: 'Registration Date: May 12, 2019, 14:00'

      },

    },
    {
      id: 60,
      h3: "A Master Lecture on 'Embroidery Skills in Textile Archaeology'",
      p: "Wang Yarong is a distinguished research fellow at the Chinese Academy of Social Sciences' Institute of Archaeology, the academic leader of Textile Archaeology, and the president of the Textile and Cultural Relics Committee of the China Cultural Relics Association.",
      h4: 'Venue: Multifunction Room, B1<br />Limit: 100 persons<br />Date: January 11, 2019',
      info: {
        title: "A Master Lecture on 'Embroidery Skills in Textile Archaeology'",
        time: 'January 11, 2019',
        loc: 'Multifunction Room, B1',
        ren: '100 persons',
        txt: `<p>Wang Yarong is a distinguished research fellow at the Chinese Academy of Social Sciences' Institute of Archaeology, the academic leader of Textile Archaeology, and the president of the Textile and Cultural Relics Committee of the China Cultural Relics Association. Wang has also served as a distinguished professor, master's tutor and doctoral tutor in the Graduate School of the Chinese Academy of Social Sciences, Beijing Institute of Fashion Technology and Tainan National University of the Arts.</p> <p>She presided over and participated in the cleaning, protecting and studying of textile relics unearthed in more than twenty archaeological sites such as the Changsha Mawangdui Han Dynasty Tomb in Hunan, the Jiangling Mashan No.1 Chu Tomb in Hubei, the Underground Palace of the Famen Temple in Shaanxi's Fufeng, the Xinjiang Niya Nobles Cemetery, the Beijing Laoshan Han Tomb, the Jing'an Lizhouao Eastern Zhou Dynasty Tomb in Jiangxi, and the Haihun Marquis Tomb in Jiangxi.</p> <p>She has published more than twenty papers and monographs. From 1974 -1988, she served as an assistant to Shen Congwen, a famous Chinese writer and historian of cultural relics. With her help, Shen completed the arrangement, illustration and publishing of "The Study of Ancient Chinese Clothing and Ornaments." </p>`,
        tip: 'If you are unable to attend the event due to personal reasons, please cancel your reservation on Wechat before the cut-off date of the application. Your absence without an advance notification will be recorded and will affect any future applications. Thank you for your cooperation. If you are unable to attend the event due to personal reasons, please cancel your reservation on Wechat before the cut-off date of the application. Your absence without an advance notification will be recorded and will affect any future applications. Thank you for your cooperation.',
        tipTime: 'Registration Date: January 11, 2019'

      },

    },
    {
      id: 61,
      h3: 'Lecture: A Country on Horseback and the Agricultural Countries',
      p: 'Steppe peoples lived along rivers with the company of horses and carriages. Their states moved with their homes. Their brave and battle-hardened cavalries posed a threat to the Central Plains dynasties. But some of them suddenly faded away in their heyday due to their inability to withstand natural disasters',
      h4: 'Venue: The Multimedia Audio-Visual Room at the first floor of the Oval Hall<br />Limit: 90 people<br />Date: November 16, 2018',
      info: {
        title: 'Lecture: A Country on Horseback and the Agricultural Countries',
        time: 'November 16, 2018',
        loc: 'The Multimedia Audio-Visual Room at the first floor of the Oval Hall',
        ren: '90 people',
        txt: `<p>Combination of a Country on Horseback and Agricultural Countries, What Impact does the Khitan People Bring? </p> <p>Steppe peoples lived along rivers with the company of horses and carriages. Their states moved with their homes. Their brave and battle-hardened cavalries posed a threat to the Central Plains dynasties. But some of them suddenly faded away in their heyday due to their inability to withstand natural disasters</p> <p>However, there are always exceptions to history. After occupying the Sixteen Prefectures, the Khitan People integrated the advantages of "the state on horseback" and the stability of agricultural countries to enhance their resistance to natural disasters. Hence, the Khitan people ruled the land for over 300 years and significantly influenced the world. </p> <p>Curious about what impact they had? Come to the Capital Museum this Friday! Hang Kan, a professor from the School of Archaeology and Museology of Peking University, will help you know more about the exhibition.</p>`,
        tip: 'Visitors who cannot attend please cancel your reservation before the closing date for entries via WeChat, or absence will be recorded and affect future reservations.',
        tipTime: 'Registration Date: November 16, 2018'

      },

    },
    {
      id: 62,
      h3: 'Lecture: Shenyang Imperial Palace and Its Qing Treasures',
      p: 'The exhibition on daily necessities of Qing Dynasty from Shengjing with the theme on Shenyang Imperial Palace.',
      h4: 'Venue: The Multimedia Audio-Visual Room on the first floor of the Oval Hall<br />Limit: 90 people<br />Date: October 23, 2018',
      info: {
        title: 'Lecture: Shenyang Imperial Palace and Its Qing Treasures',
        time: 'October 23, 2018',
        loc: 'The Multimedia Audio-Visual Room on the first floor of the Oval Hall',
        ren: '90 people',
        txt: `<p>The exhibition on daily necessities of Qing Dynasty from Shengjing with the theme on Shenyang Imperial Palace.</p> <p>Shenyang Imperial Palace, built in the tenth year of Tianming of Late Jin (1625) by Nurhaci and Hong Taiji, was the original home of the Qing Dynasty and the Eight Banners. Witnessing the history for over 390 years, Shenyang Imperial Palace is the only remaining imperial palace complex in China except for the Palace Museum in Beijing. </p> <p>Do you know how such a vital cultural heritage was built? Do you know what treasures it holds? Do you know the stories of the treasures? </p> <p>Please Come to Capital Museum on October 23. Li Li, the deputy curator of Shengyang Palace Museum will tell you all. </p> <p>Lecture: </p>`,
        tip: 'Visitors who cannot attend please cancel reservation before the closing date for entries via WeChat, or absence will be recorded and affect future reservations.',
        tipTime: 'Registration Date: October 23, 2018'

      },

    },
    {
      id: 63,
      h3: 'Lecture on the Gold and Silver Wares of Liao and Exhibition on the Five Capital Cities of Liao',
      p: 'To support the “Five Capital Cities of Liao -- the Exhibition of Archaeological Discovery in Inner Mongolia and 1,080th Anniversary of the establishment of Nanjing,” the Capital Museum offers you a new lecture.',
      h4: 'Venue: The Glorious Beijing Video Hall at the first floor of the Oval Hall<br />Limit: 90 people<br />Date: September 26, 2018',
      info: {
        title: 'Lecture on the Gold and Silver Wares of Liao and Exhibition on the Five Capital Cities of Liao',
        time: 'September 26, 2018',
        loc: 'The Glorious Beijing Video Hall at the first floor of the Oval Hall',
        ren: '90 people',
        txt: `<p>To support the "Five Capital Cities of Liao -- the Exhibition of Archaeological Discovery in Inner Mongolia and 1,080th Anniversary of the establishment of Nanjing," the Capital Museum offers you a new lecture. Sign up now! </p> <p>Lecture:</p> <p>Research on the Gold and Silver Wares of Liao</p> <p>Abstract:</p> <p>With the unearthed gold and silver wares in the tombs of Yelü Yü and the princess of Chen and the cellar in You'ai as its clue, the lecture shows the origins and development trajectories of the shapes, crafts and decorative patterns of the gold and silver wares in the early, middle and late periods of Liao. Also, the lecture discusses the factors behind the gold and silver wares of Liao, such as culture, and examines how the peculiar style of the gold and silver wares of Liao comes from the integration of the cultures of the Central Plain, Western Asia and Khitan.  </p> <p>Lecturer: </p> <p>Gai Zhiyong, Manchu, born on May 8, 1969, is a researcher at the Inner Mongolia Institute of Relics and Archaeology, vice chairman of the China Institute of the History of Liao and Jin, and vice chairman of the Archaeological Institute of Inner Mongolia. Having been engaged in field archaeology, including excavation and research, for a long time he has led many large-scale archaeological excavation projects. Among the projects, the excavation projects of "the tomb of Yelü Lüyü," "the Liao tomb with painted murals in Baoshan" and "the tomb of the highest-ranking imperial concubine of Emperor Shengzong of Liao" belong to the "top 10 national archaeological discoveries" of that year. He has written five books, including Opening the Door of an Underground Palace of Liao, Researching on Liao Dynasty's Engraving Characters on Stone in Inner Mongolia, and Tomb of Yelü Lüyü, and has published more than 30 essays on national and provincial key journals.</p> `,
        tip: 'Visitors who cannot attend please cancel your reservation before the closing date for entries via WeChat, or absence will be recorded and affect future reservation.',
        tipTime: 'Registration Date: September 26, 2018'

      },

    },
    {
      id: 64,
      h3: 'Lecture: Humanism of Italian Renaissance',
      p: 'Humanism of Italian Renaissance',
      h4: 'Venue: Multifunction Room, B1<br />Limit: 200 people<br />Date: May 19, 2018',
      info: {
        title: 'Lecture: Humanism of Italian Renaissance',
        time: 'May 19, 2018',
        loc: 'Multifunction Room, B1',
        ren: '200 people',
        txt: `<p class='xx'>Topic</p> <p class='xx'>Humanism of Italian Renaissance</p> <p>Lecturer</p> <p>Zhu Xiaoyuan</p> <p>Distinguished Professor of Humanism of Peking University, Honorary Professor of the University of Oregon, Vice President of Chinese Association of the Medieval World History Studies.</p> <p>Abstract</p> <p>"I have placed you at the very center of the world, so that from that vantage point you may with greater ease glance round about you on all that the world contains. We have made you a creature neither of Heaven nor of Earth, neither mortal nor immortal, in order that you may, as the free and proud shaper of your own being, fashion yourself in the form you may prefer." These words, from Oration on the Dignity of Man (1486) by Pico della Mirandola, a great ideologist of the Italian Renaissance, are still ring in my ears. This lecture aims to explain the human community, which is exactly a "form you may prefer."From humanism to people first and then to the human community, it offers a new perspective on the rise of modern countries.</p> <p>Lecture Activities of the Capital Museum</p> <p>Please pay a close attention to the official website and Wechat of the Capital Museum.</p> <p>Thank you for your support!</p>`,
        tip: '<p>1. The sign-in table is located at the doorway of the Multifunction Room. Sign-in starts one hour before the lecture begins. Audience members with a reservation should queue before the table. <br />2. Please turn off your mobile phone ringtone before the lecture to ensure quiet in the hall.<br /> 3. If unable to attend for personal reasons, please cancel your reservation on Wechat (Activities—Recent Activities—Lectures) before the registration period ends. Absence without advance notification will be filed and affect any future applications. Thank you for your cooperation!</p>',
        tipTime: 'Registration Date: May 19, 2018'

      },

    },
    {
      id: 65,
      h3: 'Lecture: Exploration of Ancient Civilizations and Mysterious Areas on the Plateau',
      p: 'Exploration of Ancient Civilizations and Mysterious Areas on the Plateau',
      h4: 'Venue: Multifunction Room, B1<br />Limit: 200 people<br />Date: April 21, 2018',
      info: {
        title: 'Lecture: Exploration of Ancient Civilizations and Mysterious Areas on the Plateau',
        time: 'April 21, 2018',
        loc: 'Multifunction Room, B1',
        ren: '200 people',
        txt: `<p class='xx'>Topic</p> <p class='xx'>Exploration of Ancient Civilizations and Mysterious Areas on the Plateau</p> <p>Lecturer</p> <p>Tong Tao</p> <p>Tong Tao, associate researcher of the Institute of Archaeology of the Chinese Academy of Social Sciences. He graduated from the Department of Archaeology of the School of History & Culture (Sichuan University) and received a PhD in Archaeology from the University of Tübingen in Germany. His primary work in recent years has involved archaeological excavation and research on the Qinghai-Tibet Plateau. He presided over the excavation of the Gurugyam and Chuvthag cemeteries in Ngari Prefecture. The excavation in 2014 was listed in the "The 10 New National Archaeological Discoveries in 2011" of the State Administration of Cultural Heritage and the "Six New Archaeological Discoveries" of the Chinese Academy of Social Sciences. His major works include The Silk Roads of the Northern Tibetan Plateau during the Early Middle Ages (from the Han to Tang Dynasty) as Reconstructed from Archaeological and Written Sources, Oxford: British Archaeological Reports, 2013; Silk Roads of Western Tibet, Discussion on the Shape & Structure, Age and Owner of the Necropolis No.1 in Dulan County Reshui Township, Himalayan Gold Masks Seen in the Eurasian Perspective, etc.</p> <p><img src='/data/LearnEngage/ou/4.jpg'></p> <p>Introduction</p> <p>In recent years, the Institute of Archaeology of the Chinese Academy of Social Sciences, in collaboration with the Tibet Autonomous Regional Institute of Relics Preservation, has carried out archaeological work in Ngari Prefecture in Western Tibet, with extremely important achievements in revealing unknown ancient cultures in the mysterious plateau area.</p> <p>The excavation work mainly focused on the two cemeteries - Gurugyam and Chuvthag – on the upper reaches of the Sutlej River. This is a relatively concentrated area of ancient relics in Western Tibet, and was the ruling center during a period of the Guge Kingdom. Archaeological findings demonstrate that the two cemeteries cover a large area, and have intensively-distributed tombs producing a variety of unearthed artifacts with extremely rich cultural connotations, which fill gaps in archaeological work in Western Tibet and deepen our understanding of the ancient culture of the "pre-Tubo period" in Western Tibet. The unearthed silk fabrics, gold masks, teas, lacquerware and woodware, ironware, passementerie, and so on, demonstrate this area was in an area of convergence between neighboring civilizations in the Han and Jin dynasties, and that the Himalayas were not an insurmountable natural barrier, since the Silk Road in Xinjiang extended to the area and had a comprehensive and profound influence on ancient social life in Ngari region.</p> <p>Lecture Activities of the Capital Museum</p> <p>Please pay a close attention to the official website and Wechat of the Capital Museum.</p> <p>Thank you for your support!</p> `,
        tip: '<p>1. The sign-in table is located at the doorway of the Multifunction Room. Sign-in starts one hour before the lecture begins, and audience members with a reservation should queue before the table. <br />2. Please turn off your mobile phone ringtone before the lecture begins so as to ensure quiet in the hall.<br />3. If unable to attend for personal reasons, please cancel your reservation on Wechat (Activities—Recent Activities—Lectures) at least 24 hours before the lecture. Absence without advance notification will be filed and affect any future applications. Thank you for your cooperation!</p>',
        tipTime: 'Registration Date: April 21, 2018'

      },

    },
    {
      id: 66,
      h3: 'Lecture: Tibetan Historical Contribution to the Formation of a Pluralistic and Integrated Country',
      p: 'The objective of the exhibition "The Culture of Sky Road -- Exhibition of Tibetan History and Culture": Starting from cultural exchanges, it describes the cultural identity and interdependence that Tibet has gradually generated in regard to the Chinese hinterland in the process of historic and cultural development, moving on to consider the political national identity.',
      h4: 'Venue: Multifunction Room, B1<br />Limit: 200 people<br />Date: April 1, 2018',
      info: {
        title: 'Lecture: Tibetan Historical Contribution to the Formation of a Pluralistic and Integrated Country',
        time: 'April 1, 2018',
        loc: 'Multifunction Room, B1',
        ren: '200 people',
        txt: `<p>Lecturer</p> <p>Zhang Yun</p> <p>Zhang Yun is the director of the Institute of History in the China Tibetology Research Center, a doctoral history researcher. His primary research interest relates to ancient Tibetan history and culture, with a special emphasis on the Tubo Period from the Tang to the Yuan Dynasty in the hinterland. He is a member of the Academic Committee of the China Tibetology Research Center, a doctoral supervisor of Shaanxi Normal University's Center for the Study of Ethnic Minorities in Northwest China , a member of the "Innovative Base for Language, Literature and Culture, Philosophy of History and Geography and Social Sciences of the Ethnic Minorities in China" Academic Committee of Minzu University of China, a Distinguished Professor of the Research and Innovation Platform for Tibetan areas in South Asia and China of Sichuan University, visiting professor of several universities, such as the Tibet University, the Xizang Minzu University and the Qinghai Nationalities University, a specially-appointed researcher of the Tibet Museum. He enjoys a special government allowance from the State Council.</p> <p>Youth Projects  of the National Social Science Fund over which he presided or participated in: "Research on Relations Between the Tubo Civilization and Persian Civilization in the Tang Dynasty" (1997~1999); general topics of the China Tibetology Research Center: "Research on the System for Ruling Tibet by the Central Government in the Yuan Dynasty"; writing the Tibetan part of the Yuan Dynasty in the Middle Ages - Yuan Dynasty (edited by Chen Dezhi) in Volume 8 of the General History of China (edited by Bai Shouyi), a "State Key Project in Philosophy and Social Science during the 'Sixth Five-Year Plan'"; several scientific research tasks such as the Studies on the History of Relations Between the Central Government and Tibet since the Yuan Dynasty, which was a "State Key Project in Philosophy and Social Science during 'the Seventh Five-Year Plan'".</p> <p>Introduction</p> <p>The objective of the exhibition "The Culture of Sky Road -- Exhibition of Tibetan History and Culture": Starting from cultural exchanges, it describes the cultural identity and interdependence that Tibet has gradually generated in regard to the Chinese hinterland in the process of historic and cultural development, moving on to consider the political national identity. The Tibetan nationality has made great historical contributions to the formation of a pluralistic and integrated Chinese nation and a unified multi-ethnic country. In this lecture, Prof. Zhang offers a detailed explanation of "Tibet in a pluralistic and integrated nation" from an historical perspective.</p> `,
        tip: '<p>1. The sign-in table is located at the doorway of the Multifunction Room. Sign-in starts one hour before the lecture begins, and audience members with a reservation should form a queue before the table. <br />2. Please turn off your mobile phone ringtone before the lecture begins to ensure quiet in the hall.<br />3. If unable to attend for personal reasons, please cancel your reservation on Wechat (Capital Museum Activities—Recent Activities—Lectures) at least 48 hours before the lecture. Absence without advance notification will be filed and affect any future applications. Thank you for your cooperation!</p>',
        tipTime: 'Registration Date: April 1, 2018'

      },

    },
    {
      id: 67,
      h3: 'Pouch in the Quadrangle Courtyards',
      p: 'Apart from keeping fish, fish tanks can also be used to plant lotus. Speaking of lotus, pouch (often made in the shape of lotus) was served as a token of love from a woman to man for ancient lovers.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 people<br />Date: October 7, 2017',
      info: {
        top: '<p class="centen">"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>',
        title: 'Pouch in the Quadrangle Courtyards',
        time: 'October 7, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 people',
        txt: `<p>"Canopy, fish tank, pomegranate trees, milord, fat dog, fat girl." This is the proverb of the Qing Dynasty to describe the life inside the courtyard, reflecting the quality of life for Beijingers. Of course, apart from keeping fish, fish tanks can also be used to plant lotus. Speaking of lotus, pouch (often made in the shape of lotus) was served as a token of love from a woman to man for ancient lovers. </p>`,
        tip: 'p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'

      },

    },
    {
      id: 68,
      h3: 'Embroidery in Quadrangle Courtyard',
      p: `Boudoir is a special space in courtyards lived in by unwed woman. We know that they sleep here, practice needlework, read and learn etiquette here. But do you know what else they did in the boudoir? Let's learn more in the "Reading the City" Hall.`,
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 people<br />Date: October 6, 2017',
      info: {
        top: '<p class="centen">"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>',
        title: 'Embroidery in Quadrangle Courtyard',
        time: 'October 6, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 people',
        txt: `<p>Boudoir is a special space in courtyards lived in by unwed woman. We know that they sleep here, practice needlework, read and learn etiquette here. But do you know what else they did in the boudoir? Let's learn more in the "Reading the City" Hall.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'

      },

    },
    {
      id: 69,
      h3: 'Gorgeous Bunny',
      p: "There are many small animals in the courtyards, including fluffy bunnies – a children's favorite. What do you think will happen when traditional New Year pictures of rabbits are combined with colored pencils?",
      h4: 'Venue: Colorful Room, B1<br />Limit: 25 people<br />Date: October 4, 2017',
      info: {
        top: '<p class="centen">"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>',
        title: 'Gorgeous Bunny',
        time: 'October 4, 2017',
        loc: 'Colorful Room, B1',
        ren: '25 people',
        txt: `<p>There are many small animals in the courtyards, including fluffy bunnies – a children's favorite. What do you think will happen when traditional New Year pictures of rabbits are combined with colored pencils? </p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'

      },

    },
    {
      id: 70,
      h3: 'Hairpin Making Experience Activity',
      p: 'The hairpin is a kind of ornament long used to fix and decorate the hair. Nowadays, the shape and connotation of the hairpin are gradually differentiated and enriched, becoming not only an ornament, but also a token of love, and an objection of beauty to appreciate.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 15 people<br />Date: August 26-27, 2017',
      info: {
        title: 'Hairpin Making Experience Activity',
        time: 'August 26-27, 2017',
        loc: 'Colorful Room, B1',
        ren: '15 people',
        txt: `<p>The hairpin is a kind of ornament long used to fix and decorate the hair. Nowadays, the shape and connotation of the hairpin are gradually differentiated and enriched, becoming not only an ornament, but also a token of love, and an objection of beauty to appreciate. The Tanabata Festival, one of Chinese traditional festivals, falls on Aug. 28 this year. As it is approaching, we have some special love stories about ancient hair ornaments for you. Besides, we offer you an opportunity to make one by yourself.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: August, 2017'

      },

    },
    {
      id: 71,
      h3: 'Humanistic Pursuit in Courtyard',
      p: 'In this activity, the structure, features and artistic characteristics of courtyards will be introduced to students, and they will learn how to set up a model festooned gate.',
      h4: 'Venue: Multifunction Room, Capital Museum<br />Limit:<br />Date: March 10, 2017',
      info: {
        top: "<p>Lecturer: Tan Liefei</p> <p>Tan Liefei is the vice president of the Beijing Institute of history, deputy director and academic committee director of Beijing Geographic Information Office, and deputy editor of magazine Annals of Beijing. He has been doing researches on the urban planning and construction, economy, culture, historical gardens and labor movement in the capital city.</p>",
        title: 'Humanistic Pursuit in Courtyard',
        time: 'March 10, 2017',
        loc: 'Multifunction Room, Capital Museum',
        ren: '',
        txt: `<p class='xx'>Brief Introduction to Courtyards</p> <p>Although used for residential buildings, courtyards are carriers of Chinese traditional culture, which can be proved by the following:</p> <p>First, the constructive conception of courtyard represents "harmony between man and nature," with architecture built in accordance with nature and combined with people's thoughts and feelings.</p> <p>Second, the features of the courtyard indicate harmonious interpersonal relationships, presenting social customs such as respect to hierarchy, virtue and seniority.</p> <p>And finally, the courtyard is an artistic work expressing people's best wishes for life.</p> <p>In this activity, the structure, features and artistic characteristics of courtyards will be introduced to students, and they will learn how to set up a model festooned gate.</p> `,
        tip: 'Please arrive at Multi-fuction Hall 10 minutes in advance and prepare ID card for getting tickets if they are not booked in advance.',
        tipTime: 'Registration Date: March, 2017'

      },

    },
    {
      id: 72,
      h3: 'Introduction of the Skills of Picture Re-mounting',
      p: 'Picture re-mounting is a very complicated technical job, and the Craftsmen of the Center for Rehabilitation and Conservation of Relics will show you a new technology - biological enzymes.',
      h4: 'Venue: Ceremony Hall, Capital Museum<br />Limit: 15 people<br />Date: January 11, 2017',
      info: {
        title: 'Introduction of the Skills of Picture Re-mounting',
        time: 'January 11, 2017',
        loc: 'Ceremony Hall, Capital Museum',
        ren: '15 people',
        txt: `<p>Are you interested in the programs of exploring and exposing secrets? If so, come to the Capital Museum. We will uncover one of the many secrets of the Museum. Picture re-mounting is a very complicated technical job, and the Craftsmen of the Center for Rehabilitation and Conservation of Relics will show you a new technology - biological enzymes.</p> <p>Activity Time: January 11, 2017 at 14:30<br />Venue: Round Counter, Ceremony Hall, Capital Museum<br />Capacity: 15 people</p>`,
        tip: "<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. Parents to participate in the activity must sign in on the spot with children's ID card.<br />3. If you arrive 15 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>",
        tipTime: 'Registration Date: January, 2017'

      },

    },
  ],
  Families: [
    {
      id: 73,
      h3: 'Consulting History When Observing Reality – Wisdom as the Mirror',
      p: 'While learning about the history and culture of bronze mirrors in ancient China and the process of making them, you will also be given the chance to make a"bronze mirror" with your own hands at the Intangible Cultural Heritage Experience Area.',
      h4: 'Venue: Intangible Cultural Heritage Experience Area<br />Limit: 8 families<br />Date: 14:30-16:00, June 12, 2021',
      info: {
        title: 'Consulting History When Observing Reality – Wisdom as the Mirror',
        time: '14:30-16:00, June 12, 2021',
        loc: 'Intangible Cultural Heritage Experience Area',
        ren: '8 families',
        txt: `<p class='xx'>Consulting History When Observing Reality – Wisdom as the Mirror</p> <p>"Consulting History When Observing Reality – Wisdom as the Mirror" is a parent-child activity designed in conjunction with the exhibition"Pursuing Eternity: Conservation of Museum Collections in China." While learning about the history and culture of bronze mirrors in ancient China and the process of making them, you will also be given the chance to make a"bronze mirror" with your own hands at the Intangible Cultural Heritage Experience Area (formerly the Pottery Workshop).</p>`,
        tip: '',
        tipTime: 'Registration Date: June 12, 2021'
      }

    },
    {
      id: 74,
      h3: 'Love Beijing Set Your Dream Free',
      p: "Children's Day is coming! The Capital Museum has meticulously prepared a big gift for you, so come and get it!",
      h4: 'Venue: Ceremony Hall<br />Limit: 400 children aged 7-13<br />Date: June 1, 2019 18:00-19:30',
      info: {
        title: 'Love Beijing Set Your Dream Free',
        time: 'June 1, 2019 18:00-19:30',
        loc: 'Ceremony Hall',
        ren: '400 children aged 7-13',
        txt: `<p>Children's Day is coming! The Capital Museum has meticulously prepared a big gift for you, so come and get it!</p> <p>Special event on Children's Day at Capital Museum<br />Love Beijing Set Your Dream Free</p> <p class='xx'>Introduction to the Event</p> <p>In order to celebrate the 70th anniversary of our great country, understand the course of its struggle, and encourage children and adolescents to develop a sense of national pride and cohesion, the Museum will carry out a high-spirited and energetic reading activity called "Reading City" on June 6. Our little professional actors will present to you classic poems such as The Great Together, To Wang Lun, and Quiet Night Thought. In addition, some audience members with an appointment will be invited to sing My Motherland and Let Us Paddle a Boat and recite I am Proud of Being a Chinese and On the Young China.</p> `,
        tip: '<p>1. If you are unable to attend on that day, please cancel your appointment in WeChat. Absence without notification in advance will be recorded and may influence your future application for our activities.<br />2. Due to the nature of this event, please enter the museum before 17:50, after which entry will not be possible on that day.</p>',
        tipTime: 'Registration Date: June 1, 2019 18:00-19:30'

      },

    },
    {
      id: 75,
      h3: '​Do You Know the Capital of Five Ancient Dynasties -- Beijing?',
      p: 'This Saturday, Meng Jianhua will wait for you at the Beijing General History Hall of the Museum and talk about the grand Beijing, the capital of five ancient dynasties.',
      h4: 'Venue: Audio Guide Service Counter at the lobby of the first floor<br />Limit: 15 families<br />Date: December 1, 2018',
      info: {
        title: 'Do You Know the Capital of Five Ancient Dynasties -- Beijing?',
        time: 'December 1, 2018',
        loc: 'Audio Guide Service Counter at the lobby of the first floor',
        ren: '15 families',
        txt: `<p>Meng Jianhua</p> <p>A Beijinger born and raised in Beijing</p> <p>A Beijinger who grew up in the New China</p> <p>A Beijinger who loves sharing the old stories of Beijing</p> <p>A Beijinger who loves Beijing as much as you do</p> <p>Two years ago, Meng applied for a position in the sixth batch of volunteers for the Capital Museum. </p> <p>One year ago, Meng became a guide at the Beijing General History Hall of the Museum.</p> <p>In his advanced age though he is, Meng is a new volunteer dubbed the "Excellent Volunteer at Capital Museum of 2017" thanks to his vivid, funny and patient guidance as well as his affable personality. </p> <p>This Saturday, he will wait for you at the Beijing General History Hall of the Museum and talk about the grand Beijing, the capital of five ancient dynasties. </p> <p>Theme: <br />Grand Beijing: The Capital of Five Ancient Dynasties </p> `,
        tip: 'Please arrive at the venue 15 minutes in advance. Sign in at the Audio Guide Service Counter at the lobby of the first floor. Parents should submit ID cards to get audio guide facilities; please return audio guide facilities and collect ID cards before 18:30 after the activity.',
        tipTime: 'Registration Date: December 1, 2018'

      },

    },
    {
      id: 76,
      h3: 'Mortar and Pestle, Come to Capital Museum to Make a Gift for Yourself',
      p: 'You will learn about the culture of mortar and pestle and make fine gifts with your parents.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 children<br />Date: July 1, 2018',
      info: {
        title: 'Mortar and Pestle, Come to Capital Museum to Make a Gift for Yourself',
        time: 'July 1, 2018',
        loc: 'Colorful Room, B1',
        ren: '20 children',
        txt: `<p>Dear kids, do you know you can make your own gifts with a simple instrument? </p> <p>The Capital Museum has prepared not only some secret stories of mortar and pestle but also the craftsmanship of a perfume satchel. Don't hesitate to sign up!</p> <p>You will learn about the culture of mortar and pestle and make fine gifts with your parents. We are looking forward to your participation! </p> <p>Date and Time:</p> <p>The first activity: 10:00-12:00 July 1, 2018 </p> <p>The second activity: 14:00-16:00 July 1, 2018 </p> <p>(The two activities are the same.)</p> <p>Activity for:</p> <p>Children aged 7-9; each activity can accommodate 20 children</p> <p>(The activity is for families, and each child shall be accompanied by a parent.) </p> <p>Duration:</p> <p>Two hours</p> `,
        tip: '<p>(1) Registered participants who cannot attend shall cancel their reservation via WeChat (Capital Museum Activities - Recent Activities - Activities) 24 hours before the activity. <br />(2) Those who are 15 minutes late shall be disqualified. <br />(3) If you are absent on that day without informing in advance, it will affect the registration of future activities. Thanks for your cooperation! <br />(4) The right of final interpretation is owned by the Publicity and Education Department of the Capital Museum.</p>',
        tipTime: 'Registration Date: July 1, 2018'

      },

    },
    {
      id: 77,
      h3: 'Woodworking and Craftsmanship – A Talk between Exhibition "Reading the City" and Cultural Heritages',
      p: 'A special outdoor activity, “Woodworking and Craftsmanship -- A Talk between Exhibition “Reading the City” and Cultural Heritages,” will show you the glamor of Chinese traditional wooden crafts, the charm of intangible cultural heritage and the craftsmanship of woodworking.',
      h4: 'Venue: Wenwangge Museum of Wooden Crafts<br />Limit: 60 families<br />Date: June 9, 2018',
      info: {
        title: 'Woodworking and Craftsmanship – A Talk between Exhibition "Reading the City" and Cultural Heritages',
        time: 'June 9, 2018',
        loc: 'Wenwangge Museum of Wooden Crafts',
        ren: '60 families',
        txt: `<p>Do you remember the exquisite old wooden exhibits showed on the exhibition "Reading the City — Discovering the Charm of Beijing Quadrangles"? Are you curious about Chinese traditional woodworking skills? Do you want to know more about Chinese wood culture and art? </p> <p>Targeting China's 2018 "Culture and Natural Heritage Day," various wonderful activities planned by the Capital Museum will kick off soon. A special outdoor activity, "Woodworking and Craftsmanship -- A Talk between Exhibition "Reading the City" and Cultural Heritages," will show you the glamor of Chinese traditional wooden crafts, the charm of intangible cultural heritage and the craftsmanship of woodworking. You will read the cities via the activity! </p> <p>The activities include: </p> <p>1. Abundant knowledge about wood culture: </p> <p>Participants will visit exhibitions which showcase fantastic exhibits, including buildings, irrigation tools and daily necessities. The fine old wooden exhibits will present you the admirable wisdom of the ancients. </p> <p>2. Surprise guests:</p> <p>We specially invite surprise guests to illustrate the knowledge of the intangible cultural heritage and the woodworking. You will learn a lot! </p> <p>3. Woodworking DIY and the experience of being a craftsman: </p> <p>You will the use primitive tools to make your own wooden work which will store your unique memory. </p> <p>4. Parent-children interaction: </p> <p>Parents and children make a wooden craft together, which develops hands-on ability as well as enhances family bonds!</p> <p>That's enough for the introduction. If you want to find out more, come and join us! </p> <p>On June 9, join us to understand craftsmanship and have a taste of the charming Chinese culture. Be there or be square! </p> <p>Meeting Place: </p> <p>Participants please come to Wenwangge Museum of Wooden Crafts, sign in at the front gate and enter with your screenshot showing successful reservation. </p> <p>Transportation: </p> <p>Address: Wenwangge Museum of Wooden Crafts, No. 147, South Development Zone, Dongxiaying Village, Taihu Town, Tongzhou District, Beijing</p> <p>Public transport:</p> <p>Take Bus 18, get off at Xixiayingcun East Station and walk for 1.3km. There is no through bus to the museum. </p> <p>Driving: </p> <p>The museum is located 150m to the east of the intersection of Tangdazhuang Road and Zhangtai Road. You can search "Beijing Wooden Craft and Art Museum" on Baidu Map and follow the navigation. </p> `,
        tip: '<p>1. Registered participants who cannot attend shall cancel reservation via WeChat (Capital Museum Activities - Recent Activities - Activities) 24 hours before the activity. <br />2. Those who are 15 minutes late shall be disqualified.<br /> 3. If you are absent on that day without informing in advance, it will affect your registration for future activities. Thanks for your cooperation.<br />4. The right of final interpretation is owned by the Publicity and Education Department of the Capital Museum.</p>',
        tipTime: 'Registration Date: June 9, 2018'

      },

    },
    {
      id: 78,
      h3: 'What Is It Like to Grow up in a Beijing Courtyard?',
      p: 'In the life of the courtyard, there are so many things to say that almost everyone who has lived in it can share a series of unforgettable memories.',
      h4: 'Venue: Exhibition Hall of Reading the City and the Colorful Room, B1<br />Limit: 25 families<br />Date: April 1, 2018',
      info: {
        title: 'What Is It Like to Grow up in a Beijing Courtyard?',
        time: 'April 1, 2018',
        loc: 'Exhibition Hall of Reading the City and the Colorful Room, B1',
        ren: '25 families',
        txt: `<p>In the life of the courtyard, there are so many things to say that almost everyone who has lived in it can share a series of unforgettable memories. In particular, we invited an old Beijinger, Grandpa Wang Wuyu, former deputy president of the Capital Museum, to bring you the story of his long life in the courtyard.</p> <p>Let's come and listen to Mr. Wang's stories! </p> <p>There is an interesting "Tangpozi (a heating instrument)" hidden in the Bookshop which has a special connection with Mr. Wang's stories. </p> <p>Lecturer: <br />Wang Wuyu</p> <p>Former Deputy President of the Capital Museum (Researcher)</p> <p>Duration: <br />90 minutes</p> <p>Meeting place:<br />Please gather at the Colorful Room 10 minutes before the activity. Participants shall enter the Museum with the screenshot showing successful reservation via the group entrance at the east door of the ground floor. </p> `,
        tip: '<p>1. Registered participants who cannot take part shall cancel reservation via WeChat (Capital Museum Activities - Recent Activities - Activities) 24 hours before the activity. <br />2. Those who arrive 15 minutes late will forfeit their admission.<br />3. If you are absent on that day without informing in advance, it will affect your registration for future activities. Thanks for your cooperation. <br />4. The right of final interpretation is owned by the Publicity and Education Department of Capital Museum.</p>',
        tipTime: 'Registration Date: April 1, 2018'

      },

    },
    {
      id: 79,
      h3: 'Living in Plenty After Hard Work for a Whole Year',
      p: 'A common saying is: "may you always get fish (yu)", whereby "yu" is a homophone for "may you always get a surplus (yu)" in Chinese, which is one of the most typical blessings in Chinese traditional fortune-culture. It wishes for people to have a well-off life, with superfluous wealth and food.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 groups of parent-child families (aged 6-10)<br />Date: January 1, 2018',
      info: {
        title: 'Living in Plenty After Hard Work for a Whole Year',
        time: 'January 1, 2018',
        loc: 'Colorful Room, B1',
        ren: '20 groups of parent-child families (aged 6-10)',
        txt: `<p>A common saying is: "may you always get fish (yu)", whereby "yu" is a homophone for "may you always get a surplus (yu)" in Chinese, which is one of the most typical blessings in Chinese traditional fortune-culture. It wishes for people to have a well-off life, with superfluous wealth and food. Besides, velvet flowers (rong hua) are a homophone for a "lustrous complexion" (rong hua), which stands for riches and honor, and is an auspicious blessing. Thus, Chinese would decorate their house with velvet flowers during the Dagon Boat Festival, Mid-Autumn Festival and Spring Festivals. Combining the two elements of "fish" and "flowers" in the Capital Museum we will provide a strong festival atmosphere.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: January, 2018'

      },

    },
    {
      id: 80,
      h3: 'The Single Dogs',
      p: "Here comes a warm and happy festival during the cold winter. Drop your busy work and come in a good mood. Come here and celebrate New Year's Day with your family.",
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 groups of parent-child families (aged 8-12)<br />Date: January 1, 2018',
      info: {
        title: 'The Single Dogs',
        time: 'January 1, 2018',
        loc: 'Colorful Room, B1',
        ren: '20 groups of parent-child families (aged 8-12)',
        txt: `<p>Here comes a warm and happy festival during the cold winter. Drop your busy work and come in a good mood. Come here and celebrate New Year's Day with your family. Let Capital Museum start your new year with wishes and dreams for you. Take paper cuttings to bring you good fortune back home and enjoy the upcoming happiness. </p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: January, 2018'

      },

    },
    {
      id: 81,
      h3: 'Wish You Are Here on Christmas Day',
      p: 'Little guys, it is Christmas Day again. Do you want to have a special Christmas Day? Do you want to learn about the origin and customs of Christmas? Do you want to decorate Christmas trees with other partners? Sign up now! We are waiting for you in the Capital Museum!',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 groups of parent-child families (aged 6-12)<br />Date: December 23 and 24, 2017',
      info: {
        title: 'Wish You Are Here on Christmas Day',
        time: 'December 23 and 24, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 groups of parent-child families (aged 6-12)',
        txt: `<p>Little guys, it is Christmas Day again. Do you want to have a special Christmas Day? Do you want to learn about the origin and customs of Christmas? Do you want to decorate Christmas trees with other partners? Sign up now! We are waiting for you in the Capital Museum!</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: December, 2017'

      },

    },
    {
      id: 82,
      h3: 'Gluing a Golden Rooster',
      p: 'Chinese have held an ardent love for rooster since the ancient times. Not only did they endow the rooster as a resolute, courageous, right-mined and noble character, they also brought it into the Chinese Zodiac. This year is the 34th Year of the Rooster. Let us glue a macho and big rooster!',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 groups of parent-child families (aged 6-14)<br />Date: December 17, 30 and 31, 2017',
      info: {
        title: 'Gluing a Golden Rooster',
        time: 'December 17, 30 and 31, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 groups of parent-child families (aged 6-14)',
        txt: `<p>Chinese have held an ardent love for rooster since the ancient times. Not only did they endow the rooster as a resolute, courageous, right-mined and noble character, they also brought it into the Chinese Zodiac. This year is the 34th Year of the Rooster. Let us glue a macho and big rooster!</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: December, 2017'

      },

    },
    {
      id: 83,
      h3: 'Roosters in Quadrangle Courtyards',
      p: 'At the mention of courtyards, the first thing people think of is flying pigeons in the sky. However, there is another kind of poultry that is also kept in courtyards - roosters.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 groups of parent-child families (aged 6-10)<br />Date: October 8, 2017',
      info: {
        top: `<p class='centen'>"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>`,
        title: 'Roosters in Quadrangle Courtyards',
        time: 'October 8, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 groups of parent-child families (aged 6-10)',
        txt: `<p>At the mention of courtyards, the first thing people think of is flying pigeons in the sky. However, there is another kind of poultry that is also kept in courtyards - roosters. They herald the break of the day every morning, showing their punctuality; hens show their kindness by taking care of chicks. These qualities are also valued by Beijingers. Since ancient times, chickens are animals that represent positive energy and good luck. Today let's use a tempera painting palette to make a fancy big rooster!</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'

      },

    },
    {
      id: 84,
      h3: "Antique 'Drum' and 'Box'",
      p: `"Little boy, sitting on the pier, crying and crying for a wife..." This is a nursery rhyme widely sung, but do you know what is pier? What kind of cultural connotation does it have? Let's get to know pier in the "Reading the City" Hall in the Capital Museum, and make a pier by ourselves.`,
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 groups of parent-child families (aged 8-12)<br />Date: October 5, 2017',
      info: {
        top: `<p class='centen'>"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>`,
        title: "Antique 'Drum' and 'Box'",
        time: 'October 5, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 groups of parent-child families (aged 8-12)',
        txt: `<p>"Little boy, sitting on the pier, crying and crying for a wife..." This is a nursery rhyme widely sung, but do you know what is pier? What kind of cultural connotation does it have? Let's get to know pier in the "Reading the City" Hall in the Capital Museum, and make a pier by ourselves.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'

      },

    },
    {
      id: 85,
      h3: 'Gorgeous Bunny',
      p: "There are many small animals in the courtyards, including fluffy bunnies – a children's favorite. What do you think will happen when traditional New Year pictures of rabbits are combined with colored pencils?",
      h4: 'Venue: Colorful Room, B1<br />Limit: 25 people<br />Date: October 4, 2017',
      info: {
        top: `<p class='centen'>"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>`,
        title: 'Gorgeous Bunny',
        time: 'October 4, 2017',
        loc: 'Colorful Room, B1',
        ren: '25 people',
        txt: `<p>There are many small animals in the courtyards, including fluffy bunnies – a children's favorite. What do you think will happen when traditional New Year pictures of rabbits are combined with colored pencils? </p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'
      },

    },
    {
      id: 86,
      h3: 'Auspicious Moon Rabbit',
      p: "The full moon symbolizes the reunion of families, and is used by people to express their homesickness and longing for meeting with their families. How do children in the courtyards spend the Mid-Autumn Festival? Let's feel it!",
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 groups of parent-child families (aged 8-12)<br />Date: October 4, 2017',
      info: {
        top: `<p class='centen'>"Reading the City - Discovering the Charm of Beijing Quadrangles" -  Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>`,
        title: 'Auspicious Moon Rabbit',
        time: 'October 4, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 groups of parent-child families (aged 8-12)',
        txt: `<p>"There was no rouge on the face, but only a thin red line drawn on the mouth, oiled; two slender white ears were lightly painted with light red; thus, the bunny's face takes on a handsome look..."  A few words from Lao She are enough to depict the image of the rabbit. Legends such as Chang E flying to the moon, Wu Gang chopping down the cassia tree, Jade Rabbit grinding medicine are long standing; while customs in the Mid-Autumn Festival such as offering sacrifices to the moon, enjoying the glorious moon, worshiping the moon, having moon cakes, admiring osmanthus flowers and drinking osmanthus wine have been inherited from our ancestors. The full moon symbolizes the reunion of families, and is used by people to express their homesickness and longing for meeting with their families. How do children in the courtyards spend the Mid-Autumn Festival? Let's feel it! </p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'

      },

    },
    {
      id: 87,
      h3: 'Unveil the Gatehouse',
      p: "Beijing's gatehouse, with a diverse appearance and a long history, shows the identity of its owner just as today's business card.",
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 groups of parent-child families (aged 6-10)<br />Date: October 3, 2017',
      info: {
        top: `<p class='centen'>"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>`,
        title: 'Unveil the Gatehouse',
        time: 'October 3, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 groups of parent-child families (aged 6-10)',
        txt: `<p>Beijing's gatehouse, with a diverse appearance and a long history, shows the identity of its owner just as today's business card. You don't even have to go inside the courtyard. Instead, you can know the social status of its owner judging from the gatehouse. </p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'

      },

    },
    {
      id: 88,
      h3: 'Stories of Time',
      p: 'Blue sky, gray tiles, deep hutongs, hovering pigeons, neighborhood greetings... are all the deepest childhood memories of children growing up in the courtyards of Beijing.',
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 groups of parent-child families (aged 7-12)<br />Date: October 2, 2017',
      info: {
        top: `<p class='centen'>"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>`,
        title: 'Stories of Time',
        time: 'October 2, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 groups of parent-child families (aged 7-12)',
        txt: `<p>Blue sky, gray tiles, deep hutongs, hovering pigeons, neighborhood greetings... are all the deepest childhood memories of children growing up in the courtyards of Beijing. Those children, who are now parents, will want to tell their children what life was like back then in the courtyards, the games they used to play, the rules and etiquette they learned, and the philosophy of life they realized. Let's review those stories, rules and games together!</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: October, 2017'

      },

    },
    {
      id: 89,
      h3: 'Flowers in Quadrangle Courtyards',
      p: "Throughout the four seasons, the view in a quadrangle courtyard is always fascinating, decorated with different flowers in season. Let's enjoy together!",
      h4: 'Venue: Colorful Room, B1<br />Limit: 20 pairs of parent-child families (aged 10-15)<br />Date: October 1, 2017',
      info: {
        top: `<p class='centen'>"Reading the City - Discovering the Charm of Beijing Quadrangles" - Series of Special Educational Activities in the National Day & Mid-Autumn Festival</p>`,
        title: 'Flowers in Quadrangle Courtyards',
        time: 'October 1, 2017',
        loc: 'Colorful Room, B1',
        ren: '20 pairs of parent-child families (aged 10-15)',
        txt: `<p >Throughout the four seasons, the view in a quadrangle courtyard is always fascinating, decorated with different flowers in season. Let's enjoy together!  </p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: September, 2017'

      },

    },
    {
      id: 90,
      h3: 'The Beauty of Emblazonry',
      p: '',
      h4: 'Venue: Colorful Room, B1<br />Limit: 10 groups of parent-child families (aged 6-8, AM and 9-12, PM)<br />Date: August 20, 2017',
      info: {
        title: 'The Beauty of Emblazonry',
        time: 'August 20, 2017',
        loc: 'Colorful Room, B1',
        ren: '10 groups of parent-child families (aged 6-8, AM and 9-12, PM)',
        txt: `<p>Emblazonry is one of the ways people express their opinions. Patterns on colored pottery, bronze, jade, porcelain and other artifacts are actually articles without words. Some emblazonry, due to auspicious connotations, are still used nowadays, while some of them still withhold the mystery of their meaning. Let’s appreciate the beauty of historical civilization through emblazonry at the Hall of Wonderful China.  </p> <p>Age and Turnout: AM: 6-8 years old children and their parents, 10 groups; PM: 9-12 years old children and their parents, 10 groups.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: August, 2017'

      },

    },
    {
      id: 91,
      h3: 'Take Children to Read the City - A Series of Activities related to Quadrangle Courtyard for Preschool Children',
      p: "Have you lived in a quadrangle courtyard? Do you still remember how the courtyard looks? Maybe your children haven't seen a quadrangle courtyard before, because it is hard to feel how it would be to live in one. Take them to our activity and hear those stories of quadrangle courtyards.",
      h4: 'Venue: Colorful Room, B1<br />Limit: 15 groups of parent-child families (aged 4-6)<br />Date: July 15 and 22, 2017',
      info: {
        top: "<p>Have you lived in a quadrangle courtyard? Do you still remember how the courtyard looks? Maybe your children haven't seen a quadrangle<br />courtyard before, because it is hard to feel how it would be to live in one. Take them to our activity and hear those stories of quadrangle courtyards. </p>",
        title: 'Take Children to Read the City - A Series of Activities related to Quadrangle Courtyard for Preschool Children',
        time: 'July 15 and 22, 2017',
        loc: 'Colorful Room, B1',
        ren: '15 groups of parent-child families (aged 4-6)',
        txt: `<p>The themes of the series of activities are "Children in the Courtyard" and "Secrets of the Courtyard".</p><p>Please gather at the Colorful Room on the ground floor of the Capital Museum 10 minutes before the activity starts. Parent should apply for the ticket in advance with ID card, and take children to enter through the north gate.</p>`,
        tip: '<p>1. If unable to attend for personal reasons, please cancel your application on Wechat, so as not take up the limited places unnecessarily.<br />2. If more than 15 minutes late, entry will not be possible on that day.<br />3. Absence without advance notification will affect any future applications, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: July, 2017'

      },

    },
    {
      id: 92,
      h3: 'Profound Parent-child Love in Beijing Courtyards',
      p: 'Hutong courtyards, for natives of Beijing, hold dear their memory of life. Generations of Beijingers have formed a kind of culture featuring a loving father, filial children, friendly elder brothers and polite younger brothers, when they made the courtyards their home.',
      h4: 'Venue: Ceremony Hall, Capital Museum<br />Limit: 50 parent-boy families and 50 parent-girl families for each event (only one parent)<br />Date: May 30 & June 1, 2017',
      info: {
        title: 'Profound Parent-child Love in Beijing Courtyards',
        time: 'May 30 & June 1, 2017',
        loc: 'Ceremony Hall, Capital Museum',
        ren: '50 parent-boy families and 50 parent-girl families for each event (only one parent)',
        txt: `<p>Hutong courtyards, for natives of Beijing, hold dear their memory of life. Generations of Beijingers have formed a kind of culture featuring a loving father, filial children, friendly elder brothers and polite younger brothers, when they made the courtyards their home. During the Dragon Boat Festival and the Children's Day this year, the Capital Museum has prepared a different experience for you. Amiable presenters, professional folk-custom teachers, skillful inheritors of intangible cultural heritage, abundant interactive experiences are all right here waiting for you!</p> <p>【Activity Time and Audience】<br />May 30, 2017, 9:30 am (parent-child family, child being 12-15 years old)<br />June 1, 2017, 9:30 am (parent-child family, child being 6-15 years old)<br />Venue: Ceremony Hall, Capital Museum <br />50 parent-boy families and 50 parent-girl families for each event (only one parent)</p> <p>【Meeting Point】<br />Please enter from the north gate of the museum with your appointment interface on WeChat and sign in at the activity registration counter at the Ceremony Hall on the 1st floor 20 minutes before the event starts.  </p> <p>Feedback: You are welcome to give us comments and feedback on the event, which will be used to improve the quality of our future activities. Thanks for your support! </p> <p>E-mail: bjshyzm@163.com </p> <p>Other activities with the theme "Reading city - Discover the beauty of Beijing courtyard” are coming soon.</p>`,
        tip: '<p>1. If unable to attend due to personal reasons, please cancel your application on WeChat, as places are limited.<br />2. We offer all the materials needed for the event.<br />3. If you arrive 30 minutes late, entry will be forfeited.<br />4. Absence without notification in advance will affect future applications for our activities, thanks for your cooperation!</p>',
        tipTime: 'Registration Date: May & June, 2017'

      },

    },
  ]
}

export const Publications = {
  Magazines: {
    2021: [
      {
        id: 1,
        imgUrl: "/data/Publications/Magazines/2021_5.jpg",
        p: "Study on the Children Audience in Museums",
        txt: `<p><span>Special Issue</span></p> <p><span>Study on the Children Audience in Museums</span></p> <p>• Reflection and Improvement on Museum's Educational Activities for Family Visitors<br /><i>Deng Zhuo / Liu Nan / Shu Chen / Yang Mengxia / Yu Xuemei / Tang Zhiting</i></p> <p>• Research on Member's Cognition and Evaluation for the Education Projects of Children's Museum<br /><i>Shang Xiuqin / Lin Junqiao / Zhao Yaqin</i></p> <p>• Improving Visit Satisfaction of Nanjing Museum through Parent-Child Dialogue Research<br /><i>Wang Weiyu / Zheng Jing / Gao Mengchen</i></p> <p>• Applying DIY Evaluation in Art Museum Education: A Case Study of GDMoA Educational Program Conceiving My Art Museum, The First Lesson For Primary Students<br /><i>Liu Duanling / Ye Xiaoqing / Ning Niya</i></p> <p>• Advantages of the Pre-visit, During-the-visit and Post-visit Stages Learning Model in Science Museums: A Comparative Qualitative Study Based on Two Learning Modes and Their Effects<br /><i>Xie Juan / Ji Jiao / Shang Xiuqin</i></p> <p><span>Theoretical Research</span></p> <p>• Literature Review on Museum Educational Games in China<br /><i>Huang Tingting</i></p> <p>• Brief Discussion on Children's Controversial Theme Exhibitions in Museums<br /><i>Yuan Zhen</i></p> <p>• The Concept, Present Situation and Development Trend of Museum Foundation<br /><i>Zhang Binsheng / Xu Yan / Han Haili / Wang Xiaoming</i></p> <p>• Study on Museum Brand Protection<br /><i>Liu Songlin</i></p> <p>• Bronze-sealed Mud Boxes Unearthed from the Tombs of Chu Kings of Western Han Dynasty in Xuzhou and Their Function<br /><i>Zhou Bo</i></p> <p>• Research on the Epitaph of Xing Liang in Tang Dynasty in Yangzhou<br /><i>Wei Xu / Liu Gang / Qin Zonglin</i></p> <p>• Study on Worship and Origin of Sariras Excavated from the Underground Palace of the Northern Song Dynasty in Da Bao' en Temple, Nanjing<br /><i>Kan Yinghao / Wang Lele / Zhou Baohua / Ma Qinglin</i></p> <p><span>Museum Practice</span></p> <p>• Analysis of Audience Demand for the National Museum of China Guidance System<br /><i>Zhao Jing / Zhao Liang</i></p> <p>• Practice and Thinking of Museum Digital Communication in the New Era: Taking Henan Museum as an Example<br /><i>Zhang Deshui / He Chuankai</i></p> <p>• Reflections on the Overall Relocation of Museum Collections: Taking Hunan Museum as an Example<br /><i>Liao Dan</i></p> <p>• The Development Dilemma and Its Countermeasures of Time-honored Enterprise Museums: Taking Beijing-Tianjin-Hebei Region as an Example<br /><i>Liu Yunjie</i></p> <p>• The Conservation and Restoration Study on the Package of Brushes Painted with Gilded Cloud and Bat Pattern<br /><i>Zhang Jingjing</i></p>`
      },
      {
        id: 2,
        imgUrl: "/data/Publications/Magazines/2021_4.jpg",
        p: "The Development and Branches of Museology",
        txt: `<p><span>Special Issue</span></p> <p><span>The Development and Branches of Museology</span></p> <p>• The Invariability and Variation of Museum: a Salute to Sir Su Donghai<br /><i>Hang Kan</i></p> <p>• Review on Research Progresses of Chinese Museology in the 1980s<br /><i>Liu Di</i></p> <p>• Narrative in Exhibition: Methods and Perspective<br /><i>Xu Jie</i></p> <p>• The Future Museology: Museum as Public Intellectual and Emotional Influencer<br /><i>Wang Siyi</i></p> <p>• Interpreting and Reflecting the New Museology<br /><i>Yin Kai</i></p> <p>• The Introduction, Development and Future of New Museology<br /><i>Wang Siyu</i></p> <p>• What does Anthropology Do? Museum Studies under the Holistic Perspective<br /><i>Du Hui</i></p> <p>• The Primary Studies on Theory of Museum Education: Content, Development and Future<br /><i>Zhou Jingjing / Ma Mengyuan</i></p> <p>• Implementing the Role of "Curriculum" as the Main Channel in the Combinition of Museums and Elememtary & Secondary School Education in China<br /><i>Zheng Yi / Luo Yunqing</i></p> <p>• The Development of Museology in China under the Background of New Liberal Arts Construction<br /><i>Huang Yang</i></p> <p><span>Theoretical Research</span></p> <p>• Research on the Opening Management of Museums in the Republic of China (1912-1949): Investigation Centered on Visiting Rules<br /><i>Shi Yong</i></p> <p>• The Social Semiotic Analysis on Cyber-Ritual of Memorial Museums: Based on "The National Memorial" Website<br /><i>Zhang Junlong</i></p> <p>• Research on the Principles and Methods of Subject Indexing of Cultural Objects: Based on the Documents Field<br /><i>Shi Qianwen / Huang Mingyu</i></p> <p>• On the Chinese Cultural Elements in the Ukiyo-e of Tsuki Hyakushi<br /><i>Ding Chunyi</i></p> <p><span>Museum Practice</span></p> <p>• From "Cultural Relics Display" to "Historical Narrative": Curatorial Design Concept Analysis in the Case of Museum of Zhang Zhidong in Wuhan<br /><i>Li Degeng</i></p> <p>• Reflections on "Internet Plus Exhibition Cultural Activities": Based on the First Cooperation Between Chongqing China Three Gorges Museum and Meituan<br /><i>Fu Wanping</i></p> <p>• Challenges and Suggestions for the Museum Education Programs in Schools: Taking the Palace Museum as an Example<br /><i>Deng Chenyu</i></p> <p>• Mount, Display and Preservation System of a Broken and Incomplete Bronze Ware: A Case Study on a Bronze Pot with Over-top Handle Unearthed from Wenchang Pagoda, Hepu<br /><i>Liu Yanqi</i></p> <p>• The Application of 3D Printing Technology in the Replication of Metal Relics: Taking the Imitation of Gold-plated Bronze Guanyin Statue and Double Dragon Heads Three Wheels Plate in the National Museum of China as Examples<br /><i>Zhang Pengyu</i></p> <p>• Research on the Manufacturing Process of Red Lacquer Carving Embroidery Ball Type Qingcheng Lantern<br /><i>Zhang Tong / Kang Baoqiang / Wang Na / Zhang Yun</i></p>`
      },
      {
        id: 3,
        imgUrl: "/data/Publications/Magazines/2021_3.jpg",
        p: "Exhibition of Revolutionary Relics and Education",
        txt: `<p><span>Special Issue</span></p> <p><span>Exhibition of Revolutionary Relics and Education</span></p> <p>• Study on the Distribution of Xinhua Daily in Xi'an During the Anti-Japanese War<br /><i>Liu Yan</i></p> <p>• Thoughts on Propositional Design of Revolutionary Themed Exhibition: Taking the Special Exhibition for the 100th Anniversary of the Founding of the Communist Party of China as an Example<br /><i>Li He / Meng Zhe</i></p> <p>• Analysis on the Revolutionary Themed Education Activity Development Mode of Integrating Exhibition and Education into One in Museum: Taking the Hebei Museum Reading Star Dream Workshop Project as an Example <br /><i>Jia Yeqing</i></p> <p>• Innovate the Concept and Practice of Youth Patriotism Education: Taking the Memorial Hall of the First National Congress of the Communist Party of China as an Example<br /><i>Sun Zongshan</i></p> <p>• Practice and Exploration of Informatization of Revolutionary Memorial Site in the Context of Internet: Taking Memorial Museum of Comrade Liu Shaoqi as an Example<br /><i>Wu Libin</i></p> <p>• How to Tell the Revolutionary Story Well in the New Era<br /><i>Liu Yunze</i></p> <p><span>Theoretical Research</span></p> <p>• Research on the Porcelain Pillow with Paper-cut and Decal in Tang Dynasty<br /><i>Liu Dong</i></p> <p>• A Textual Research of Rebuilt Guandi Temple Stele of Qing Dynasty Unearthed from Beijige<br /><i>Zhang Yunyan</i></p> <p>• Textual Research on the Calligraphy Work Undersigned by Liu Yong in Capital Museum of China<br /><i>Song Wenxi / Li Ruitao</i></p> <p>• Study on Lehechong Contracts of Qing Dynasty Collected in Minzu Museum of Minzu University of China<br /><i>Bai Xu</i></p> <p>• Analysis on the Value of Glass Negatives about the Jia and Yi Tombs at Liulige of Huixian Collected in Henan Museum <br /><i>Cui Xiaolin</i></p> <p>• Literature Review and Implications: Definition of Chinese Museums' Curator<br /><i>Huang Yingying</i></p> <p>• Study on Function and Effect of Museum in City Construction and Development<br /><i>Yang Wenying</i></p> <p><span>Museum Practice</span></p> <p>• Site of Memory: A Museum Narrative and Performance Case Study of the Imperial War Museum in London<br /><i>Yang Jing / Gong Yue</i></p> <p>• Exhibition Exchange and Planning under the COVID-19 Pandemic: Sidelight of Asian Civilization Exhibition in Confucius Museum<br /><i>Yang Xiaoyu</i></p> <p>• Representation of Historical Documents in Exhibitions: Taking the Grand Banquet: The Exhibition of Southwest Bronzes as an Example<br /><i>Wang Qiyue </i></p> <p>• The Trends and Techniques of Developing Participatory Public Programs: Thoughts Based on the Relevant Practices of the Clark Art Institute<br /><i>Li Yingchong</i></p> <p>• Preliminary Study on the Recommended Routes of Museum Websites<br /><i>Huang Gongda </i></p> <p>• Application of RFID Technology in Outbound Exhibitions of Museums<br /><i>Chen Li </i></p> <p>• Reflections on Volunteers of Small- and Medium-sized Museums of China: Taking Shandong Province as an Example<br /><i>Ma Haizhen / Liu Xinguo</i></p>`
      },
      {
        id: 4,
        imgUrl: "/data/Publications/Magazines/2021_2.png",
        p: "New Media and Museum Cultural Communication",
        txt: `<p><span>Special Issue</span></p> <p><span>New Media and Museum Cultural Communication</span></p> <p>• Social Media Museum Communication Mode and Communication Ecology<br /><i>Song Xiangguang</i></p> <p>• An Analysis of the Current Situation and Trend of the Application of New Media in Museums<br /><i>Qi Qingguo</i></p> <p>• Reflection on the Subjectivity of Museums in the Times of New Media<br /><i>Xu Ling / Fan Jiefan </i></p> <p>• Systematical Construction Strategy for Museum Relational Communication in the Perspective of New Media<br /><i>Yang Jin </i></p> <p>• The Future of Museums, Reshaping New Paradigm: A Thought About the Theme of International Museum Day 2021<br /><i>Wang Siyi </i></p> <p>• A Preliminary Study on Online Intelligent Communication for Museums: Taking National Museum of China as an Example<br /><i>Yu Xiaojie / Ma Li</i></p> <p>• Exploring the New Business Format of Museum Cultural Communication in the Mode of IP Authorization: A Case of Suzhou Museum<br /><i>Jiang Han / Yu Yingying </i></p> <p>• Thinking About Dissemination of Cultural Heritage Value in the New Media Era: Taking the Practice of Wellspring Studio as an Example<br /><i>Wang Jiayue </i></p> <p><span>Theoretical Research</span></p> <p>• Emerging Technologies: Reshaping the Fundamental Functions of Museums <br /><i>Li Wuyan / Wang Xiaoming </i></p> <p>• Inspiration of Skill Application of Single-Type Object Exhibition Design<br /><i>Bo Haikun </i></p> <p>• Research on Phoenix-Tail Vase of Longquan Kiln During the Yuan and Ming Dynasties<br /><i>Zhou Xueyan </i></p> <p>• Ming and Qing Trade Porcelain in Shipwrecks Along the Southeastern Coast of China and  Southeast Asia<br /><i>Yang Tianyuan </i></p> <p><span>Museum Practice</span></p> <p>• Research on the Sustainable Development of the Astor Hotel in Tianjin as an Architectural Heritage<br /><i>Liu Zunzhi / Guo Ziye / Du Yiru / Yang Xuejian </i></p> <p>• The Collection and Utilization of Modern Removable Material Cultural Heritage of Ningbo Museum<br /><i>Zhang Sitong</i></p> <p>• On the Museum Protection and Utilization of Japanese Railway Industrial Heritage: Taking Kyoto Railway Museum as an Example<br /><i>Chen Zhe </i></p> <p>• The Protection and Utilization of the 20th Century Heritage: Taking Anhui Museum (Old Museum) as an Example<br /><i>Zhao Tiantian / Ding Fei </i></p> <p>• Analysis of Control Measures for Metro Vibration and Its Impact on Museum Buildin<br /><i>Ren Wei </i></p> <p>• Recovery Design and Establishment of Three-Dimensional Model on the Shipwreck of Huaguang Reef No.I<br /><i>Bao Chunlei </i></p> `
      },
      {
        id: 5,
        imgUrl: "/data/Publications/Magazines/2021_1.png",
        p: "<i>The Museum</i>",
        txt: `<p><span>Interview</span></p> <p>• Museum-School Integrations Let Museum Resources Light up the Future: The Interview with Luo Jing<br /><i>Luo Jing / Zhang Yana</i></p> <p>• Plant the Seeds for Children in Museum: The Interview with Chen Ruping<br /><i>Chen Ruping / Li Jiguang</i></p> <p><span>Theoretical Research</span></p> <p>• Research Report on the Status of Social Education Work of Chinese Museums (Public Ownership) During the 13th Five-Year Plan Period<br /><i>Huang Chen</i></p> <p>• The Problems and Countermeasures of the In-Depth Development of Museum Youth Education<br /><i>Zhao Jing</i></p> <p>• The Construction of the Museum's Education System Based on the Educational Concept of Fostering Virtue Through Education<br /><i>Dou Limin</i></p> <p>• Multiple Intelligences Museum Aesthetic Education from the Perspective of Practice Path<br /><i>Zhang Xiaopeng</i></p> <p>• Children's Cultural Education in Museums<br /><i>Guo Lan</i></p> <p>• Review and Reflection on Museum-School Cooperation: Ideas, Practices and Third-Party Institutions<br /><i>Guo Meixia</i></p> <p>• Survey and Thoughts on Museum-School Cooperation<br /><i>Luo Luo / Hu Fang / Song Xian</i></p> <p><span>Museum Practice</span></p> <p>• Construction of Museum-School Double-Subject Cooperation Mode under the Concept of Demassification: Taking Nanjing Museum as an Example<br /><i>Zheng Jing</i></p> <p>• On the Integration Strategy of Museum Education Resources for Primary and Middle School Students: A Case Study of Shandong Museum<br /><i>Jiang Huimei</i></p> <p>• Promoting the Development of Museum Education Through Training Professional Museum Teachers in Primary and Middle Schools: Taking the Practice of Museum Thematic Curriculum in Xi'an Qujiang No.2 Primary School as an Example<br /><i>Shen Shen</i></p> <p>• The Significance and Strategy of Embedded Project-Based Learning in Museum Education<br /><i>Liu Fangfang / Li Guang</i></p> <p>• 5R, a Bridge for Children to Learn in Museums: Interpretation of Exhibitions in Museums for Children from the Perspective of Emotional Interaction<br /><i>Du Ying</i></p> <p>• Research on the Creation of Museum Educational Readings from the Perspective of Regional Culture: Consider Natural History in the East Sea: Zhoushan Museum Cultural Relic Story Books as an Example<br /><i>Li Feiqun</i></p> <p>• Analysis of Museum Education Project Design Based on Expressive Art Therapy: Taking the Autism Children Project of Hebei Museum as an Example<br /><i>Wang Xiaoyang</i></p> <p>• Design Concept and Practice of the Theme Research Course of Cultural Relic Restoration and Protection in Henan Museum<br /><i>Hua Xia / Hu Xiaoyu / Zhang Yihan</i></p> <p>• Investigation and Reflection on Social Education for Teenagers of the World Heritage Site: Taking Liangzhu Civilization for Example<br /><i>Yu Qiuna</i></p> <p>• Investigation and Analysis on Audience Behavior from the Perspective of Museum Education: Taking Migratory Scholars and Brilliant Academic Achievements: Document Exhibition of The Ethnic Investigation Done by The National Southwestern Associated University as an Example<br /><i>Liu Yang</i></p> <p>• Research on the Application of Digital Game-Based Learning for Children in Chinese Museums: Taking Chinese Provincial Museums as Examples<br /><i>Wu Di / Xie Ying</i></p> `
      },
    ],
    2020: [
      {
        id: 6,
        imgUrl: "/data/Publications/Magazines/2020_6.png",
        p: "Study on the Ancient Material Culture",
        txt: `<p><span>Special Issue</span></p> <p><span>Study on the Ancient Material Culture</span></p> <p>• Regional Differences of Flat-stemmed Willow-leaf-shaped Bronze Daggers in Western and Eastern Zhou Dynasties<br /><i>Fang Qing / Jin Meng</i></p> <p>• Textual Research on the Shibaikai (史白开) Type of Bamboo Slips on the Wuyi Square Bamboo Slips: On the Characteristics of Signing Document in the Eastern Han Dynasty<br /><i>Li Kaikai</i></p> <p>• Research on the Shuanglu Chessboard Unearthed from Zhangsheng's Tomb of Sui Dynasty<br /><i>Cai Jie</i></p> <p>• Textural Research on Zou Luanfang's Epitaph of Tang Dynasty<br /><i>Lu Yahui</i></p> <p>• Exploration on Celadon with Moulded Design Excavated from the Dajie Kiln Site of Boshan in Shandong<br /><i>Yao Bin / Wang Bin</i></p> <p>• From Products Export to Technology Export: The Reform of the Export Mode of Longquan Kilns in Yuan and Ming Dynasties<br /><i>Shen Yueming</i></p> <p>• Appreciation about Thangka with Gurus of Sitting Face-to-face in the West of Tibet during Ming Dynasty and Thangka Paintings' History<br /><i>Huang Chunhe</i></p> <p>• Research on Stationery Accessories Unearthed from the Tomb of a Girl of  Hešeri Clan in Qing Dynasty<br /><i>Pei Yajing</i></p> <p><span>Theoretical Research</span></p> <p>• Recreation of Art: Reverse Thinking of Exhibition's Form Design<br /><i>Huang Xueyin</i></p> <p>• Analysis of New Trend and Direction of Exhibition on Archaeological Discovery<br /><i>Yu Hui</i></p> <p>• On the Female Practitioners of China Museum from 1949 to 1966<br /><i>Xu Ling</i></p> <p>• Museums and City Image: A Preliminary Discussion on the Symbolism and Functionality of Museum Architecture<br /><i>Kong Da</i></p> <p><span>Museum Practice</span></p> <p>• Multidimensional Perspectives on the Interpretation of Cultural Relics in Exhibitions: Taking the Qinghai in the Belt and Road as an Example<br /><i>Ni Chong</i></p> <p>• The University Museum Exhibition and Education Program Planning: A Case Study on Re-encountering Confucius Launched by Hong Kong Museum of Education of The Education University of Hong Kong as an Example<br /><i>Liu Li</i></p> <p>• Research on the Identification of the Technical Copies of Painting and Calligraphy<br /><i>Wang He</i></p> <p>• Acid-free Cultural Relic Storage Box for Thangka Kurukulla<br /><i>Zhang Jia</i></p> <p>• Analysis on Retreatability in the Restoration of Wall Paintings in Collections<br /><i>Liu Xuancheng</i></p> <p>• Selection and Evaluation of Several Fungicides for Archaeological Unearthed Lacquerware<br /><i>He Qiuju / Xu Xuan / Zhang Xuege / Li Jian / Zhao Guozhu</i></p> <p>• Conservation and Research of the Ancient Lifting Tower Clock in the Palace Museum<br /><i>Yang Xiaochen</i></p> `
      },
      {
        id: 7,
        imgUrl: "/data/Publications/Magazines/2020_5.jpg",
        p: "Gold, Silver and Currency System",
        txt: `<p><span>Interview</span><br />Based on the Cause of Chinese Archaeology, Promoting the Spread of Chinese Civilization</p> <p><span>Special Issue </span></p> <p><span>Gold, Silver and  Currency System</span></p> <p>• Brief Study on Gold Leaves Unearthed from NanhaiⅠ Shipwreck<br /><i>Li Yan</i></p> <p>• Tea-horse-trade and Related Silver Scyee in Southern Song Dynasty<br /><i>Liu Xiang</i></p> <p>• Interpretation of Ming Dynasty Princes' Silver Scyee<br /><i>Li Xiaoping</i></p> <p>• Jinhuayin Ingredient Analysis of Ming Dynasty: Taking the Collection of Shanghai  Museum as an Example<br /><i>Wu Danmin</i></p> <p>• The Similarities and Differences of Property and Tax System Between Song and Ming  Dynasties Based on Silver Scyee Inscriptions<br /><i>Chen Yang</i></p> <p>• The Big Foreign Gold Ingots Imported into China in the 1940s<br /><i>Jin Deping</i></p> <p><span>Theoretical Research</span></p> <p>• The Research on the Change of Parent Agency of Wen Yuan Ge in 1925<br /><i>Ning Xiao / Li Cong</i></p> <p>• Addendum to Historical Data on the Preparation for Henan Museum in the 1920s<br /><i>Niu Aihong</i></p> <p>• Research of University Museums in the Republic of China (1912-1949)<br /><i>Shi Yong</i></p> <p>• Improved Think Pattern of Museum Development in the New Era: Taking Shanxi  Museun as an Example<br /><i>Yang Jing</i></p> <p>• The Definition and Understanding of Museum "Field Trip"<br /><i>Zhou Jingjing / Guo Chuanhui</i></p> <p>• Analysis of IP and Brand Relationship in the Context of Museum Authorization<br /><i>Wang Yajun</i></p> <p><span>Museum Practice</span></p> <p>• The Formation of Collection in U.S. Museums: A Case Study of Chinese Painting and  Calligraphy Collection at the Metropolitan Museum of Art<br /><i>Lu Yangkun</i></p> <p>• Thoughts on Improving the Registration System of Non-State Owned Museums: Inspired by International Practices<br /><i>Li Wuyan</i></p> <p>• Exploration and Practice of Museum's Communication: Taking Reading Invitation & Archaeologists as an Example<br /><i>Li Ping</i></p> <p>• The Cross-border of Traditional Culture and Art Resources of Museum and Games  from the Mobile Game of Ink, Mountains and Mystery<br /><i>Liu Kanglin</i></p> <p>• Establishment and Consideration of the Independent Risk Control Mechanism in  Museums: A Case Study of National Museum of China<br /><i>Wu Linke</i></p> `
      },
      {
        id: 8,
        imgUrl: "/data/Publications/Magazines/2020_4.jpg",
        p: "Theories and Practices of Museum Exhibition and Display",
        txt: `<p><span>Special Issue</span></p> <p><span>Theories and Practices of Museum Exhibition and Display</span></p> <p>• Principles of Museum Exhibition and Display: Concentrated, Professional and Persistent<br /><i>Zhang Yana / Li Jiguang</i></p> <p>• The Revealed and the Concealed on Cultural Displays<br /><i>Wang Mingming</i></p> <p>• Products, Projects and Events: Three New Views about Temporary Exhibition-making<br /><i>Chen Tongle</i></p> <p>• The Job Responsibility and Role of Curator in the Context of Western Museums<br /><i>Guo Meixia</i></p> <p>• Breaking Boundaries: A Case Study of Experimental Exhibition-making at the Hangzhou Arts and Crafts Museum<br /><i>Xu Xiaoxiao</i></p> <p>• Emotion Interpretation and Performance of Museum Academic Calligraphy and Painting Exhibition<br /><i>Lan Wufang</i></p> <p>• The Research on Exhibiting Vulgar Culture<br /><i>Lu Xinxin</i></p> <p><span>Theoretical Research</span></p> <p>• Discussion on the Social Background of the Construction of the East Tower of Yongzuo Temple in Taiyuan<br /><i>Li Qingling</i></p> <p>• Research on Gold-Plated Bronze Statue of Water and Moon Kuan-yin Unearthed from Jinhua Wanfo Pagoda in Zhejiang Province: The Evolution of Water and Moon Kuan-yin Statue<br /><i>Zhang Meng</i></p> <p>• New Research on Song Fang Shenyan Epitaph<br /><i>Zhao Lei</i></p> <p>• A Review of the Study on the Owners of the Stone Relief Tombs in Yi'nan, Shandong Province<br /><i>Lang Xiandong</i></p> <p><span>Museum Practice</span></p> <p>• Analysis on Business Divide of Public-private-partnership of State-owned Museum: A Case Study on Museum of Taiwan Province and Korea<br /><i>Ding Yizhe</i></p> <p>• The Exploration of the Design of the Museum Learning Support System<br /><i>Xu Shujing / Li Zhihe</i></p> <p>• The Way to Realize the Development of Museum Curriculum Resources from the Perspective of Collaborations Between Museums and Schools<br /><i>Zhao Jing</i></p> <p>• Three Virtual Exhibitions of the British Museum Have a Creative Influence on Chinese Museums<br /><i>Wang Qi</i></p> <p>• The Implementation of Virtual Roaming Exhibition with Light Field Technology: A Case Study of Shanghai Museum<br /><i>Gao Yuejun</i></p> <p>• Upgrading and Reconstructing the Lighting Project, Show the Beauty of Ancient Architecture Museum: Taking Beijing Cultural Exchange Museum as an Example<br /><i>Yang Wei</i></p> <p>• The Corrosive Air Pollution of the Environment of Maritime Silk Road Museum of Guangdong<br /><i>Geng Miao</i></p> <p>• The Development Strategy of Museum Creation Industry in China: Based on the Competition Analysis of Cultural and Creative Works of the Palace Museums in Beijing and Taipei<br /><i>Li Wei</i></p> <p><span>Book Review</span></p> <p>• Review of Professor Wang Zijin's Illustrated History of Children in Qin and Han Dynasties<br /><i>Li Lanfang</i></p> `
      },
      {
        id: 9,
        imgUrl: "/data/Publications/Magazines/2020_3.jpg",
        p: "Archaeological Site Museum and Archaeological Site Park",
        txt: `<p><span>Special Issue</span></p> <p><span>Archaeological Site Museum and Archaeological Site Park</span></p> <p>• Site Museums in a Time of Heritage Parks<br /><i>Wang Renyu</i></p> <p>• Discussion on the Construction of Symbol in Archaeological Site Park<br /><i>Zheng Manli</i></p> <p>• Research on the Application of Oral History in Site Museums<br /><i>Chen Hailin</i></p> <p>• Reflections on the Park of the Archaeological Site and Construction of the Museum of the Yanshi Shang City Site<br /><i>Yuan Guangkuo / Guo Ziyue</i></p> <p>• Practice and Consideration on the Construction of Yangzhou Archaeological Site Park<br /><i>Yu Guojiang / Zhang Chun</i></p> <p>• A Visualized Analysis on the Academic Literature of the Site Museums<br /><i>Kong Lining / Pei Mengfei</i></p> <p><span>Theoretical Research</span></p> <p>• From the Scepter to the Bird Scepter: Evolution of the Symbolic Meaning of the “Rod” <br /><i>Xia Caiyi</i></p> <p>• Study on the Bronze Cauldrons of Kashgar Museum<br /><i>Wang Xiaohua</i></p> <p>• A Study on the Stone Weights Unearthed from the Tombs of the King of Chu in Shizishan<br /><i>He Guojuan / Liu Cong</i></p> <p>• Textural Research on Xue's Epitaph of Tang Dynasty<br /><i>Han Ge</i></p> <p>• Discussion on the Construction and Maintenance of Sheng De Shen Gong Monument Building of Chang Qing Tombs<br /><i>Zhao Xingkun</i></p> <p>• Knowledge of the Relationship Between Archaeology and Epigraphy in the First Half of the 20th Century<br /><i>Xiao Yu</i></p> <p>• Observe the Modernity of Modern Chinese Museums Through the Young Companion<br /><i>Li Nan</i></p> <p><span>Museum Practice</span></p> <p>• Exploration of the Development Path of University Museum: Taking the Academic Support and Higher Education as the Entry Point<br /><i>Ma Saiping / Chen Yan</i></p> <p>• The Study on the Construction of Museum Credibility<br /><i>Wang Zixuan</i></p> <p>• Analysis on the Optimization and Innovation of Introduced Exhibitions Themed on History and Culture: Taking the Selected Artifacts from the Maritime Silk Road Exhibition as an Example<br /><i>Zhang Yuanyuan</i></p> <p>• From the Different Artistic Expressions of the Same Image to Discuss the Traditional Culture's Development and Spread: Taking the Wood Carving Board of Cai Shi Ji Collected in Anhui Museum as an Example<br /><i>Zhou Yuan</i></p> <p>• Report on the Investigation of Ancient Kiln Sites in Lushan, Jiaxian, Ruzhou and Jiaozuo of Henan Province<br /><i>Zhu Hongqiu</i></p> `
      },
      {
        id: 10,
        imgUrl: "/data/Publications/Magazines/2020_2.jpg",
        p: "Museum and Public Event",
        txt: `<p><span>Special Issue </span></p> <p><span>Museum and Public Event</span></p> <p>• Museum and Public Event: Interview of Guan Qiang (Deputy Director of the National Cultural Heritage Administration) <br /><i>Museum Editorial Office</i></p> <p>• Museum and Public Event Theme Interview<br /><i>Chen Zhuo / Luo Xiangjun / Cai Qin/Song Xiangguang / Zhang Yuancheng / Xiao Haiming / Zhou Wei / Yang Rui</i></p> <p>• Museum's Functions for Collective Memory in the Context of COVID-19<br /><i>An Laishun</i></p> <p>• Collecting Today for Tomorrow: COVID-19, Museum Mission and Agents of Social Inclusion<br /><i>Pan Shouyong</i></p> <p>• The Service of Public Knowledge: Rethink on the Public Responsibility of Museum<br /><i>Xu Ling / Wang Chengyuan</i></p> <p>• Analyzing the Design Concept of the National Museum of African American History and Culture <br /><i>Hou Ningbin</i></p> <p>• Museums in the Digital Era: Rethinking under Social Public Events<br /><i>Bai Jie</i></p> <p><span>Theoretical Research</span></p> <p>• The Future of Tradition: Reflections on the Construction of Contemporary Intangible Cultural Heritage Museum<br /><i>Zhu Lili</i></p> <p>• Some Reflection on the Construction of Seaweed House Traditional Village Ecomuseum in Weihai<br /><i>Lyu Weitao</i></p> <p>• Female Cultural Heritage under the View of Anthropology: Memory in the Bronze Buckle of Shizhaishan Culture<br /><i>Shen Ning</i></p> <p>• The Piece-mould Casting Mode of Circular Form Bronzes in the Late Shang Dynasty and the Early Zhou Dynasty and the Reproduction of Great Yu Tripod<br /><i>Zhang Pengyu</i></p> <p>• Preliminary Scientific Analyses and Studies of Bronze Wares Unearthed from the Gejiagou Site, Xichuan County, Nanyang City  <br /><i>Zeng Qingshuo / Chen Dian / Cui Benxin / Luo Wugan</i></p> <p>• Another Study on the Black Impregnation Phenomena Called "Mercury Seeps”in Some Jades Unearthed from the Tombs of Chu Region Hunan in Warring States Period<br /><i>Zhao Ruiting / Yu Ping / Shao Fang / Li Yuling / Zhang Xuege</i></p> <p><span>Museum Practice</span></p> <p>• People, Things and Daily Life: The Thinking about the Exhibition and Inheritance of Traditional Craftsmanship<br /><i>Li Jiguang</i></p> <p>•"Internet+ Museum's Heritage Education": Illustrated by Technique Training in China National Silk Museum<br /><i>Yu Nannan</i></p> <p>• Thoughts on the Present Status and Development of Small and Medium Museums in China<br /><i>Wang Huanwen</i></p> <p>• An Approach to the Safeguarding of Intangible Cultural Heritage by Japanese Folk Museum<br /><i>Fang Yun</i></p> <p>• An Analysis about the Design Concept of the National Museum of African American History and Culture<br /><i>Qin Qing</i></p> `
      },
      {
        id: 11,
        imgUrl: "/data/Publications/Magazines/2020_1.jpg",
        p: "Museum Towards the Future",
        txt: `<p><span>Special Issue </span><br /><span>Museum Towards the Future</span></p> <p>• Uniqueness and Participation: The Study on the Local Museums Towards the Future<br /><i>Zhao Huijun </i></p> <p>• The Museum of the Future Addresses <br /><i>M. Elizabeth Weiser</i></p> <p>• The Diplomatic Potential of Museums <br /><i>Sascha Priewe</i></p> <p>• From Tradition to Modern Time: The Display and Interpretation of Religious Cultural Relics from Museum Perspective <br /><i>Chen Kuoning </i></p> <p>• Is the 'New' Museum Definition Broken?——Critical Reflections on the New Museum Definition Proposed on ICOM Kyoto 2019 <br /><i>Vincent Noce / Steven Engelsman </i><br /><i>Translated by Zhang Junlong </i></p> <p>• A Museological Future as a Cultural Hub: Interpretive Planning for Living Heritage<br /><i>Yun Shun Susie Chung</i></p> <p>• Museum Development in Different Contexts: From Western to China<br /><i>Wang Siyu</i></p> <p><span>Theoretical Research</span></p> <p>• The Fujian Brown-Black-Glazed Ceramics Found on Xin’an Shipwreck <br /><i>Li Rongqing</i></p> <p>• The Shapes, Reasons and Influences of the Exportation of Ming and Qing Dynasties Dehua Kiln Porcelain <br /><i>Huang Jing</i></p> <p>• Collections and Public Programs of China’s Early Museums: A Study on the Shanghai Museum (R.A.S.) <br /><i>Liu Shourou</i></p>  <p>• An Incomplete Manuscript of the Diary of Guo Bi and Its Editions <br /><i>Long Xiaofei</i></p> <p>• A Study Focusing on the Modern Wedding Etiquette List in the Republic of China Preserved in the China National Museum of Women and Children <br /><i>He Yuexin</i></p> <p>• The Research on Anhui Guild Hall in Beijing and the Stone Inscriptions of Zhu Xi’s Calligraphy <br /><i>Zhang Yunyan</i></p> <p><span>Museum Practice</span></p> <p>• How to Play the Features and Advantages of Natural History Museum Education for the Combination of Museum and School <br /><i>Liu Li / Li Xiaodan / Jiang Xue</i></p> <p>• Analysis of Planning and Implementation of Museum Exhibition in the Perspective of Education and Communication: In the Case of My Natural Treasure Box Exhibition <br /><i>Liu Zhe / Zhao Yan</i></p> <p>• The Application of Dramaturgy in Museum Communication <br /><i>Hu Ying </i></p> <p>• Conservation in the Design and Manufacture of Support in Exhibition: Systematic and Modular Design of Exhibition Equipment <br /><i>Liu Yanqi / Cao Hong / Wang Weihua / Lu Jing</i></p> <p>• A Brief Discussion on Protecting Rights of Museum Registered Trademarks <br /><i>Wang Yuefang</i></p> <p><span>Exhibition Review</span></p> <p>• The Reconstruction of Traumatic Memory in the Case of Nanjing Museum of the Site of Lijixiang Comfort Stations from the View of Museum Context<br /><i>Sun Hongfang</i></p> <p>• From Cradle to the Ocean: The Story of Shipwreck Cultural Relics from Dinghai Bay, Lianjiang, Fujian Exhibition<br /><i>Li Jian’an</i></p> `
      },
    ],
    2019: [
      {
        id: 12,
        imgUrl: "/data/Publications/Magazines/2019_6.jpg",
        p: "Research on Oracle Bones Scripture",
        txt: `<p><span>Special Issue</span></p> <p><span>Research on Oracle Bones Scripture</span></p> <p>• Five Cases of Oracle Bones Splicing<br /><i>Sun Yabing</i></p> <p>• The Splicing and Explanation of a Case of Oracle Plastron of Bin Group<br /><i>Zhang Juntao</i></p> <p>• Two Reading Notes of Oracle Bones<br /><i>Liu Fenghua</i></p> <p>• Review on Oracle-bone Scripture <br /><i>Gao Limei </i></p> <p>• The Folio of Rubbings from the Old Collection of Oracle Bones in Huiyuan in the National Library of China and other Folio of Rubbings relevant Oracle Bones    <br /><i>Zhao Aixue</i></p> <p>• Explanation of  and  on Oracle Bones of Chu Group from Yin Ruins<br /><i>Zhang Yi </i></p> <p>• The Natural Mother of Xiao Ji based on One Cun Zhongnan Oracle Bone Inscription<br /><i>Zuo Yong</i></p> <p><span>Theoretical Research</span></p> <p>• Research on Weights and Measures from Zhongshan State of the Warring States Period<br /><i>Xu Wenying</i></p> <p>• Analyze the Gzi Unearthed from Tikemaker Cemetery in Kuqa<br /><i>Dai Junyan, Ruan Qiurong</i></p> <p>• Textural Research on the Li Pi's Epitaph of Tang Dynasty   <br /><i>Lu Xiaofan </i></p> <p>• The Officials and Monks from Beshbaliq of the Mongol and Yuan Dynasties: On Uighurs’ Sinolization and their Contributions to Khanbaliq<br /><i>Lin Meicun</i></p> <p>• The Innovation of Ceramic Vessels for Wine and the Study on its Historical Reasons<br /><i>Zhang Mi</i></p> <p>• A Preliminary Study on the Clothing Patterns of Brahma and Indra in the Zhihua Temple    <br /><i>Yang Wei </i></p> <p>• Liu Zijiu's Career of Art and the Relationship with Jin Cheng and Hushe Painting Association    <br /><i>Zhao Yanling </i></p> <p><span>Museum Practice</span></p> <p>• Exploring American Museum Kindergarten and its Enlightenment to China: From the Perspective of Ecology of Education  <br /><i>Zhou Jingjing, Gao Zihan</i></p> <p>• Study of Public Archaeological Practice in National Treasure <br /><i>Ju Rongkun</i></p> <p>• The New Image: The History of Luoyang City Museum (1958-1966)   <br /><i>Liu Xiujuan</i></p> `
      },
      {
        id: 13,
        imgUrl: "/data/Publications/Magazines/2019_5.jpg",
        p: "Research on Stone Labels Unearthed in Cao-Wei Tomb, Luoyang",
        txt: `<p><span>Special Issue</span></p> <p><span>Research on Stone Labels Unearthed in Cao-Wei Tomb, Luoyang</span></p> <p>• Classification and Transcription of Stone Labels Unearthed in Cao-Wei Tomb, Luoyang<br /><i>Li Ling</i></p> <p>• Discussion on the Identity of Xizhucun Cao-Wei Tomb's owner and Treasures on Stone Labels Inscriptions on Belt and Road<br /><i>Cao Jinyan</i></p> <p>• The Name of Stone Labels Unearthed in Xizhucun Cao-Wei Tomb and Research on Tomb Owners Identity <br /><i>Zhao Chao</i></p> <p>• Study on the Owner of the Tomb in Xizhucun, Luoyang in the Wei State of the Three-kingdoms Period <br /><i>Liu Lianxiang</i></p> <p>• A Study of the Mirrors Recorded in the Inscription of Stone Labels Unearthed from a Wei Dynasty Tomb in Xizhucun, Luoyang<br /><i>Huo Hongwei</i></p> <p><span>Theoretical Research</span></p> <p>• Destinations of Art and Culture: Globalization of Chinese Collections in Overseas Museums <br /><i>Chen Shen</i></p> <p>• The Development of Cultural and Creative Products: A New Way to Interpret Exhibition in Museums <br /><i>Wu Ming</i></p> <p>• Exhibition Strategy of Urban Museum<br /><i>Li Mingbin, Wei Min</i></p> <p>• The Trend of Media and Its Significance in Practice for Museums <br /><i>Cao Bingwu</i></p> <p>• Reflection on the Construction of the East Branch of the Capital Museum<br /><i>Zhang Yu</i></p> <p>• Functional Requirements Design for Sustainable Development of Museums<br /><i>Shi Yao </i></p> <p><span>Museum Practice</span></p> <p>• Museum Storytelling and Construction of Community Spirit: A Case Study of the Chinatown Heritage Centre, Singapore <br /><i>Guan Xin</i></p> <p>• Symbol, Memory and Empathy: The Use of Wall of Faces in Museum Exhibition<br /><i>Qu Yutong</i></p> <p>• Seep and Back, The Museum Function as the Social Platform: The Case Study of Shijiahutong Museum <br /><i>Wang Siyu, Wang Hongguang</i></p> <p>• Discussion on the Application of Air Conditioning System in Museums from the Perspective of Functional Demand <br /><i>Qiu Chunmei</i></p> <p>• The Development Strategies in the Period of China's Free-admission to Museums: Taking Suzhou Museum as an Example<br /><i>Chen Ruijin</i></p> `
      },
      {
        id: 14,
        imgUrl: "/data/Publications/Magazines/2019_4.jpg",
        p: "Scientific Archaeology and the Protection of Cultural Relic",
        txt: `<p><span>Special Issue </span></p><p><span>Scientific Archaeology and the Protection of Cultural Relic </span></p><p>• Study on Raw Materials and Manufacture Technology of Zhejiang Longquan Black Body Celadon <br /><i>Duan Hongying, Zheng Jianming, Wang Guangyao, Xu Jun, Miao Jianmin </i></p> <p>• Study on the Conservation of Embroidered Plaques in The Palace Museum <br /><i>Chen Yang </i></p> <p>• Study on the Coagulation in the Shipwreck Archaeology  <br /><i>Ye Daoyang </i></p> <p>• The Stability Conservation on the Excavation Site of "Nanhai No.1" Shipwrecks of Song Dynasty  <br /><i>Zhang Xuanwei </i></p> <p>• Study on the Phytolith of the Jicun Dachengzi Site in Wuhu, Anhui Province  <br /><i>Qiu Zhenwei, Ye Runqing, Luo Hu, Zhang Xiaolei </i></p> <p><span>Theoretical Research </span></p><p>• International Expression and Chinese Thinking about Museum Definition  <br /><i>Li Yaoshen, Geng Kun, Li Chen </i></p> <p>• Ethnological Collection as Methodology: The Initial Discussion of the Significance of the Methodology in Interpreting the Values of Ethnological Collection  <br /><i>Zheng Qian </i></p> <p>• Smart Museum and AI Museum: A New Opportunity for Museum Development in the Era of Artificial Intelligence <br /><i>Li Jiao </i></p> <p>• Reconsidering the Capital Museum's Ban Gui of the Western Zhou Dynasty  <br /><i>Yu Lifan </i></p> <p>• A Brief Analysis of the Glazed Tile Stamps of Western Qing Tombs  <br /><i>Zhao Xingkun </i></p> <p>• Overview of Ancient Porcelain Kilns in Zhejiang Province  <br /><i>Shen Yueming </i></p> <p><span>Museum Practice </span></p><p>• Insight into the Mode of Translation in the Museum Exhibition <br /><i>Shao Xinxin </i></p> <p>• Discourse on "triple evidence" Used in the Exhibition: Take the Exhibition of "Censer, Incense Tools and Incense Culture" for Example  <br /><i>Meng Qian </i></p> <p>• Sniffing Chinese Perfume in Paris: On Exhibition Fragrances of China from the Shanghai Museum  <br /><i>Wu You </i></p> <p>• A Study on the Exhibition of the Eternal "Blanc-De-Chine" and the Innovation of Mobile Museum's  Exhibitions  <br /><i>Zhong Zhibo</i></p> <p>• On "Slow Rhythm" in Museums  <br /><i>Xu Rui, Li Minghui </i></p> <p>• The International Expenence and Reference to Accounting Standards for Cultural Heritage Assets  <br /><i>Li Li, Liao Yibo, Chen Min </i></p> `
      },
      {
        id: 15,
        imgUrl: "/data/Publications/Magazines/2019_3.jpg",
        p: "A Glimpse of Worldwide Children's Museum",
        txt: `<p><span>Special Issue </span></p><p><span>A Glimpse of Worldwide Children's Museum </span></p><p>• The Landscape of Children's Museums Around the World <br /><i>Leigh-Anne Stradeski </i></p><p>• Where Kids Come First: Children's Museum as Space Where Children and Families Can Play and Grow  <br /><i>Steven Mintz </i></p><p>• Children's Museums: A Structure for Family Learning  <br /><i>Ann Lewin-Benham </i></p><p>• Filling the Gaps: Recommendations for Serving Families with Young Children  <br /><i>Renee Henry </i></p><p>• Understanding the Audience: Museums as Socio-cultural Environments  <br /><i>Pamela Erskine-Loftus </i></p><p>• Tales from Europe: Why are We so Anxious about Children's Exhibition and Program Topics ? <br /><i>Claudia Haas </i></p><p>• Belonging in America: Social Justice Messages in Cultural Exhibits  <br /><i>Lizzy Martin, Andrew Ackerman </i></p><p>• Opening the Door: Tin Marín Children's Museum Tackles Social Justice Issues  <br /><i>Juan Carlos Novoa, Jerry Glashagel </i></p><p>• Using Research to Make Learning Through Play Visible  <br /><i>Susan Letourneau, Robin Meisner </i></p><p>• Making Engages People <br /><i>Lisa Brahms, Peter S. Wardrip </i></p><p>• Children Museum and Cultural Education  <br /><i>Annermies Broekgaarden </i></p><p>• The Ruth Youth Wing: A Door to the Israel Museum  <br /><i>Nurit Shilo-Cohen </i></p><p>• A Children's Museum in Manila, from 1993 to 2019  <br /><i>Nina Lim-Yuson</i></p><p>• Children's Museum, Connecting Hawaii with China  <br /><i>Loretta Luke Yajima </i></p><p><span>Theoretical Research </span></p><p>• Discussion on the Concept of Children and Children's Education  <br /><i>Wang Rui </i></p><p>• Design and Exploration of Exhibition Based on the Characteristics of Children's Development <br /><i>Song Xian, Luo Luo </i></p><p>• Children's Museum: From America to China  <br /><i>Zhang Ni </i></p><p><span>Museum Practice </span></p><p>• The Low-structured Activity Becomes Wonderful When It Absorbed the Museum Resources: A Preliminary Study on the Application of Museum's Educational Resources in Kindergarten's Low-structured Activities  <br /><i>Guan Jiawei, Chen Wenqi, Yuan Jiayun </i></p><p>• Discussion on How to Integrate the Emotional Interaction Elements into the Museum Education Activities: The Planning and Implementation of Educational Activities in Capital Museum as an Example  <br /><i>Du Ying </i></p><p>• Practice and Exploration of Children's Education in Revolutionary Memorial Museums: A Case on the Yangtze-crossing Campaign Memorial Museum  <br /><i>Zhu Jieyun </i></p><p>• The Museum Curriculum Get Credits in Famous Senior High School: Research of the Mode of Museum-School Cooperation Between Guangzhou Museum and Guangdong Experimental High School  <br /><i>Luo Xinglian </i></p><p>• How to Realize the Function of Aesthetic Education in University Museum Exhibition: Taking the Exhibition Space of School History Museum as an Example  <br /><i>Rong Ling </i></p><p>• Innovative Practice and Educational Effect of Children's Museum in China: A Follow-up Observation Study of Lao Niu Children's Discovery Museum  <br /><i>Gong Xin, Zhang Hui, Tsang Mun C. </i></p>`
      },
      {
        id: 16,
        imgUrl: "/data/Publications/Magazines/2019_2.jpg",
        p: "Research on Museum's Collections",
        txt: `<p><span>Special Issue</span></p><p><span>Research on Museum's Collections </span></p><p>• China and the World in Liangzhu Period<br /><i>Chen Minghui, Zhu Yefei </i></p><p>• Group of Ritual Jades and Liangzhu Cultural Pattern   <br /><i>Fang Xiangming</i></p><p>• Regional Differences and Changes of Head Direction Tradition in Taihu Neighborhood Prehistoric Tombs and Concurrently Discussion on Background of Liangzhu Old City's Rise<br /><i>Chen Minghui </i></p><p>• A Study on Liangzhu-style Jade Articles in Lingnan Area<br /><i>Cao Fangfang</i></p><p><span>Theoretical Research</span></p><p>• A General View of SWOT Analysis Method's Application in Chinese Museum <br /><i>Jiao Lidan</i></p><p>• A Study on Literary Museums<br /><i>Liu Di, Su Yong </i></p><p>• Museum Education Research: Selection of Appropriate Research Methods<br /><i>Ji Jiao  </i></p><p>• Interpretation of the Inscriptions on the Newly Published Bronze Vessels of Xu<br /><i>Huang Jinqian, He Jinbin</i></p><p>• On the Prototype of Bird-Shaped Zun from Jin State<br /><i>Wang Lin</i></p><p>• A Study on the Lu Chariot in the Case of Ming Dynasty<br /><i>Liu Shiyi </i></p><p>• On the Social Activities of the Adherents of the Qing Dynasty in Beijing During the Republic of China: From a Piece of Calligraphy Work by Fan Zengxiang in His Elderly Life<br /><i>Wang Xinying</i></p><p><span>Museum Practice</span></p><p>• The Visualization Practice of Museum Data: In the Case of Shanghai Museum <br /><i>Liu Jian</i></p><p>• From Field to Museum: A Preliminary Discussion about the Conception on Information-chain of Collections in Museum<br /><i>Cao Yuesen </i></p><p>• The Contemporary Reverie of Traditional Culture: An Experiment in the Exhibition Project about Dazu Rock Carving<br /><i>Qin Zhen, Wang Wenjuan</i></p><p>• Analysis of Visual Perceptual Forces in Exhibition Design <br /><i>Chu Chu</i></p><p>• On the Use of Private Collections in Museum Exhibitions  <br /><i>Pei Yu</i></p><p>• Focus on the Linkage Effect of Museum Scientific Research: A Case Study Based on the Research Practice of Anhui Museum<br /><i>Feng Chao</i></p><p><span>Exhibition Review</span></p><p>• Originating from the Classical, Rebuilding of the Present: Thoughts on the Exhibition Planning of Jiangnan Life Aesthetics <br /><i>Cai Qin</i></p>`
      },
      {
        id: 17,
        imgUrl: "/data/Publications/Magazines/2019_1.jpg",
        p: "A Study of Ancient Chinese Clothing",
        txt: `<p><span>Invited Remark</span></p><p>• The Youth and the New Era Chinese Museum<br /><i> Liu Yuzhu </i></p><p><span>Special Issue</span></p><p><span>A study of ancient Chinese clothing</span></p><p>• Archaeological Study of Han Dynasty Dance Clothes <br /><i>Wang Fang</i></p><p>• Archaeological Observation on the Basic Forms of Clothing in Han Dynasty<br /><i>Xu Rui</i></p><p>• Study of Clothing in Late-Tang and Five-Dynasty Paintings: New Styles Brought by Silk-Road<br /><i>Shi Zhaozhao</i></p><p>• History of Ju Yi: Insight into Development of Clothing System of Ladies with Royally Granted Titles<br /><i>Zhao Ruihe</i></p><p><span>Theoretical Research</span></p><p>• Research on Tibet Unearthed Dzi's Flower Erosion Techniques and Alteration by Burial<br /><i>Wu Xinhua, Ha Bibu, Luo Dan</i></p><p>• Generalization of Zhou Dynasties Ceremonial Bronze Studies after 20th Century<br /><i>Dong Rui</i></p><p>• Cultural Function and Features of Han Dynasty Stone Relief Prefatory Remarks<br /><i>Zhou Shen</i></p><p>• Two Notes on the Ding Kiln and Ding Porcelain<br /><i>Zhu Jianlu</i></p><p>• Workshop, Liquor Signboard, Memorial Tablet and Others: Application Examples of the Lotus Pattern with a Leaf at the Top and a Flower at the Base<br /><i>Wang Zhixia, Yang Jianjun</i></p><p>• Matsu Culture and the Maritime Silk-Road in the Picture: the Research of the Album of Goddess Matsu's Story in the National Museum of China<br /><i>Lv Weitao</i></p><p>• Research on the Relationship between Dafang Mountain Lianquan Temple and Puguang Temple <br /><i>Ma Lei</i></p><p><span>Museum Practice</span></p><p>• Exhibition Storytelling and Meaning of Object: from Theoretical Discussion to the Example of Hunanese——exhibition of Human History and Culture <br /><i>Wang Siyu</i></p><p>• Comparative Study of Interaction between Museum Education and School Education: Taking the JFK Presidential Library and Qian Xuesen Library as Examples <br /><i>Mao Yanwen</i></p><p>• To See the Cooperation between Schools and Museums from the Research-oriented Trips of Primary and Secondary School Students <br /><i>He Donglei</i></p><p>• An Analysis of Museum Documentaries Produced by BBC <br /><i>Feng Zheying</i></p><p>• Discussion on the Application of Museum Academic Research in Original Exhibition Planning <br /><i>Cai Jie</i></p><p>• Preservation and Inheritance of Tianjin's Modern Train Stations<br /><i>Liu Zunzhi, Liao Lin, Li Chuyu, Li Mengfan, Li Huihui</i></p>`
      },
    ],
    2018: [
      {
        id: 18,
        imgUrl: "/data/Publications/Magazines/2018_6.jpg",
        p: "Research on Museum's Collections",
        txt: `<p>• On the Western Taiyi Palace of Khanbaliq: Research on the Relics of the Houyingfang and Houtaoyuan in the Xicheng District, Beijing <br /><i>Lin Meicun </i></p><p>• Research on the Gold Armlets Unearthed from the Shang Dynasty Tombs of Liujiahe in Beijing <br /><i>Wang Xianguo</i></p><p>• On Blue-and-white Phoenix-head Flat Flasks of the Yuan Dynasty <br /><i>Pei Yajing</i></p><p>• Study of the Dansathil Style Statue of Virūpāksa of Capital Museum<br /><i>Huang Chunhe</i></p><p>• Research on the Handscroll of Dong Qichang’s Regular Script of Yan Ran Shan Stele’s Inscription <br /><i>Li Wenqi</i></p><p>• Study of the Porcelain Tabletop with the Drawing of the Imperial Kiln Factory of the Qing Dynasty <br /><i>Xing Peng</i></p><p><span>Theoretical Research</span></p><p>• Development, Supply, Deployment, Demand: Balancing the Museum Digital Skills Ecosystem<br /><i>Ross Parry, Translated by Zhu Mohan</i></p><p>• The War Services of Smithsonian Institution during the Pacific War<br /><i>Xie Yuting</i></p><p>• On the Public Space Creating of the Museum in the Case of the Palace Museum<br /><i>Liu Wentao</i></p><p>• Exploration and Reflection on the Integration of Museum Education Resources<br /><i>Chen Wei</i></p><p>• Study on the Youyan Zhuguan Seal<br /><i>Sun Xin</i></p><p>• A Study of the Year 1901 Receipt for Donating the Guo-zi-jian Diploma in the Memorial Museum Of 1911 Revolution Collection <br /><i>Zheng Chunlin</i></p><p><span>Museum Practice</span></p><p>• On the Innovation of the Audio Guide Service for Special Exhibitions at the Palace Museum<br /><i>Yan Hongbin</i></p><p>• The Narrative Characteristics of Museum Exhibitions with the Theme of Silk Road: Analysis on Three National Museum Exhibitions Awards of 2017<br /><i>Yang Jin</i></p><p>• A Brief Analysis of the Method of Integration between RFID Technology and the Collection Management Svstem <br /><i>Liu Chandon</i></p><p>• Making a Good Exhibition Planning of New Science and Technology Museums  Guided by Educational Objectives: Taking Beijing Auto Museum as an Example <br /><i>Feng Qiaojuan</i></p><p>• Study on Monitoring and Controlling of the Environment for Preservation of Cultural Relics in Changzhou Museum<br /><i>Han Chao, Ding Weixin,Wang Hua</i></p><p>• Application of Non-destructive Testing in the Protection of Sculptures of the Notre Dame Temple in Jinci Temple <br /><i>Li Qingling</i></p>`
      },
      {
        id: 19,
        imgUrl: "/data/Publications/Magazines/2018_5.jpg",
        p: "Study on Jade Ware of Yin Ruins",
        txt: `<p>• General Description on Yin Ruins Jade Objects Discovery and Research <br /><i>Ding Sicong, Tang Jigen</i></p><p>• General Research on Yin Ruins Jade Objects in Taiwan<br /><i>Qian Yihui, Zhu Xuefeng</i></p><p>• Jade Culture in Oracle Bone Scripts<br /><i>Xu Yihua</i></p><p>• Discovery and Research on the Jades from the Fu Hao Tomb<br /><i>Zhai Shaodong</i></p><p>• The Artistic Achievement of lades from Fu Hao Tomb<br /><i>Liu Yundong</i></p><p>• Research on Jade Figurines from Fu Hao Tomb and Related Problems<br /><i>Wang Ping</i></p><p><p>• Jade Objects from Previous Era Unearthed in Fu Hao Tombang<br /><i>Wang Qing</i></p> <span>Theoretical Research</span></p><p>• New Fertile Soil of Moral Education: Research and Development of Museum Moral Education Proiects<br /><i>Lyu Xinshan</i></p><p>• Creating Exhibition: Collaboration and Action Steps in the Planning, Development,and Design of Innovative Experiences<br /><i>Polly Mckenna-cress, Translated by Zhou Jingjing</i></p><p>• The ming the First Qin Emperor s Mausoleum Site Park<br /><i>Wang Renyu</i></p><p>• Pracitice and Thinking on Nation Archaeological Park in China<br /><i>Teng Lei</i></p><p>• Relationship between the Riverbank and the Returning Home in Rain<br /><i>Kathleen Yang</i></p><p><span>Museum Practice</span></p><p>• Restoration and Research on Bronze Dou Unearthed from Jiunyudun, Pizhou, Jiangsu<br /><i>Liu Yanqi, Sun Xiangyang</i></p><p>• The Exploration in Practice of the Integrative and Development of Cultural Creative Industries in Small and Medium Sized Museums: A Case Study of the Development of Cultural Creative Products in Langfang Museum<br /><i>Wang Lijuan</i></p><p>• A Brief Analysis of the Method of Integration between RFID Technology and the Collection Management Svstem<br /><i>Liu Chaodong</i></p><p>• Representational and Psvchological I)istance: Three Ouestions about the Application of Barrier Ropes in the Exhibition<br /><i>Yu Hui</i></p><p>• The Expression of Light Design in Exhibition: The Case of" Hall of Mental Cultivation in the Forbidden City " Exhibition<br /><i>Suojingling, Ni Chong</i></p><p><span>Exhibition Review</span></p><p>• Representing Tradition by Ethnic Attire: Notes from Curators<br /><i>Wu Jie, Luo Pan</i></p>`
      },
      {
        id: 20,
        imgUrl: "/data/Publications/Magazines/2018_4.png",
        p: "Capital Study and Museum",
        txt: `<p>• Accessibility for the Future: Thinking about the Hyperconnectivity of the Museums in China, Japan and Republic of Korea<br /><i>Zhang Jie</i></p><p>• Sharing and Integration of Museum Academic Resources: Taking the Education Products of the Seoul Museum of History as an Example<br /><i>Kim Jiyeon, Translated by Cui Ting</i></p><p>• The Foundation and Paths of the Deep Cooperation and Integrative Development between the Capital Museum of China and Beijing Study Research Base<br /><i>Zhang Bo, Zhang Baoxiu</i></p><p>• Museum Exhibition in the Era of Hyperconnectivity, Eliminating Borders and Working Together: Taking the Exhibition of “On Earth as It is in Heaven” as an Example<br /><i>Oh Jiyoung, Translated by Cui Ting</i></p><p>• Reading the City, Connecting You and Me: On the Development Concept of the “Reading the City” Project of the Capital Museum<br /><i>Wang Xinying</i></p><p><span>Theoretical Research</span></p><p>• Current Practices in Museum Education in the United States<br /><i>Helen Shannon, Translated by Wu Bin</i></p><p>• Knowledge Producer or Heritage Guardian: The Intension and Definition of Museum Collection<br /><i>Song Xiangguang</i></p><p>• Sense of Purpose: Rethinking Museum Value by The New Museology<br /><i>Yin Kai</i></p><p>• An Analysis of the Relationship between Museums and Public Space in Modern China: Taking Museums Built by Westerners in China as Examples<br /><i>Zhao Guoxiang</i></p><p>• A Study of Shan-shan Guilds and Lu-ze Guilds in LuoYang: With Reference to the Utilization of Historical Architecture Museum<br /><i>Yang Quan</i></p><p>• The Investigation of Lu Xun’s Letter Manuscripts to Luo Qingzhen Collected in Guangzhou Lu Xun Museum<br /><i>Liu Dan</i></p><p>• The Biography of Kang Youwei’s Collections on Italian Stone Sculptures and Their Artistic Characteristics<br /><i>Li Ningli, Wei Mingzhu</i></p><p><span>Museum Practice</span></p><p>• Discussion on Authenticity in Museums through Construction Process: The Case of Ningbo Museum of Education<br /><i>Mao Ruohan</i></p><p>• Difficulty and Solution of the Lack of Display Objects: Taking the Memorial Exhibition as an Example<br /><i>Tang Lipeng</i></p><p>• The Strengthening Roles of Oral History in Museum Exhibitions<br /><i>Hou Chunyan</i></p><p>• The Discussion of Application and Cognitive Effect of Visitors’Immersion Experience in Museums<br /><i>Wang Siyi</i></p><p>• The Study on the Exhibitions in Museums<br /><i>Tan Xiaorong</i></p>`
      },
      {
        id: 21,
        imgUrl: "/data/Publications/Magazines/2018_3.jpg",
        p: "The Centennial of Tianjin Museum",
        txt: `<p>• Expounding and Expanding the Nation's Splendid Culture: Retrospect of the Early History of Tianjin Museum<br /><i>Chen Zhuo</i></p><p>• The Study on the Board of Directors in Early History of Tianjin Museum<br /><i>Guo Hui</i></p><p>• The Foundation of Tianjin Institute<br /><i>Liu Xiang</i></p><p>• The Practice of Yan Zhiyi's Educational Thought of Popular Science Education in Museums: A Topic Begins with the "Whale Show" Held in Tientsin Museum in 1919<br /><i>Hou Xiaohui</i></p><p>• Lu Zuofu and Practice in Early Chinese Community Museums<br /><i>Zhang Wenli</i></p><p>• Tour for Collections<br /><i>Zhao Chungui</i></p><p><span>Theoretical Research</span></p><p>• Artists as Collaborators: An Exploration into Museum Public Art Programmes in the UK<br /><i>Lu Sipei</i></p><p>• Hyperconnected Museums: New Approaches, New Publics An Interview with Scholars at the University of Leicester<br /><i>Lu Sipei, Zhu Mohan</i></p><p>• Local Museum: Mission, Characteristic and Strategy<br /><i>Yan Jianqiang, Shao Chenhui</i></p><p><span>Museum Practice</span></p><p>• On the "Adults Only" Phenomenon in the Exhibitions of Chinese Museums<br /><i>Zhang Xiao</i></p><p>• A Tentative Study on the Dual Identity of Industrial Archive-files in the Industrial Museums: Kailuan Museum in Tangshan<br /><i>Lyu Jianchang</i></p><p>• On the Quality-work Strategy of Exhibitions in Museums: Awarded Exhibitions in Shaanxi History Museum<br /><i>Lyu Jun, Xia Qianhui, He Wenjuan</i></p><p>• On the Professionalization Development for Top Exhibitions in Museums<br /><i>Huang Xueyin</i></p><p>• Trial Discussion on the Training and Management of Domestic and Abroad Volunteers in Museum<br /><i>Lu Yongxiu</i></p><p>• Principles of Creating and Applying the Supplementary Exhibits in Museums<br /><i>Lu Jiansong</i></p><p>• Toward an Ancient-Modern Balanced Developing Approach for China's Museum Enterprise in the New Era<br /><i>Huang Chunyu</i></p><p>• Red Time: Exhibitions of Anhui Provincial Museum from 1953 to 1966<br /><i>Xu ling, Liu Xiujuan</i></p><p>• Practice and Research in the Opening Management of Corporate Museums<br /><i>Sun Zhigang</i></p>`
      },
      {
        id: 22,
        imgUrl: "/data/Publications/Magazines/2018_2.jpg",
        p: "Shipwreck and the Maritime Silk Road",
        txt: `<p>• Shipwreck: Time Capsules of Human History<br /><i>Song Jianzhong</i></p><p>• Research on Huaguang Reef Shipwreck Ⅰ and Overseas Trade on the Maritime Silk Road in the Song Dynasty<br /><i>Meng Yuanzhao</i></p><p>• Textual Research on "Nanhai Ⅰ" Shipwreck of Southern Song Dynasty<br /><i>Yang Rui</i></p><p>• Suizhong Sandaogang Shipwreck and the Yuan Dynasty Overseas Trade<br /><i>Sun Jian</i></p><p>• Nan'ao Ⅰ Shipwreck: Location, Connotation and Time<br /><i>Ding Jianxiang</i></p><p>• Shanhu Island Ⅰ Shipwreck<br /><i>Deng Qijiang, Wang Ji</i></p><p><span>Theoretical Research</span></p><p>• New Chenghuangmiao: Blooming of Regional Museums from 1920s to 1930s<br /><i>Wu Changwen</i></p><p>• Three Problems about the Research on the History of Museum in Early Modern China<br /><i>Li Fei</i></p><p>• Activating Museum Collections: From the Perspective of Museum Workflow<br /><i>Xu Jie, Hu Kaiyun, Mao Ruohan, Wang Yan, Jiang Fan</i></p><p>• A Comparative Analysis of the Existing Standards of the National Museums' Top Ten Display and Exhibitions Selection<br /><i>Lyu Jun, Ma Miao, Hao Jing</i></p><p>• A Survey Report of Collections Pests on Museums in Lingnan Area<br /><i>Ding Ning</i></p><p><span>Museum Practice</span></p><p>• Museum Guide with Chinese Ancient Poetry: Take Ming Dynasty Plum Bottle Guide in Museum as an Example<br /><i>Long Wenqin</i></p><p>• A Brief Discussion on the Publicity and Promotion of Museums' Temporary Exhibitions: Take the Exhibition"Ancient Egypt: The World of Pharaoh and God" as an Example<br /><i>Hu Cheng</i></p><p>• Study of Metal Artifacts Reparation Using Modern Technology and Traditional Technology: Taking Liao Dynasty Metal Mask in the Palace Museum as an Example<br /><i>Qu Liang, Gao Fei, Liu Jianyu, He Lin, Lei Yong, Shui Wuyang</i></p><p>• Exploration and Practical Usage of Artifacts Reparation and Restoration Ideas: Take Reparation of 8-Sentence as an Example<br /><i>Li Tao</i></p>`
      },
      {
        id: 23,
        imgUrl: "/data/Publications/Magazines/2018_1.jpg",
        p: "Museum, Revive Cultural Relics",
        txt: `<p>• New Era, Museum Making Cultural Relics Revive<br /><i>Gong Liang</i></p><p>• The Practice and Thinking about the Council System of Museum in China<br /><i>Luo Xiangjun</i></p><p>• The Study of Opening Storage Based on Improving the Utilization Rate<br /><i>Shan Shi, Huang Yang</i></p><p>• Interpretation of Relic and Communication of People in Historical and Cultural Exhibition<br /><i>Du Yongmei </i></p><p>• Media Platforms Assist Museums to Promote Public Cultural Services<br /><i>Zheng Yi</i></p><p>• Analysis on "Let the Cultural Relics Revive" from the Perspective of Communication: A Case Study of the Palace Museum<br /><i>Duan Ying</i></p><p>• Insight into Memorials from Notable Person, Masterpiece, and Object Aspects: A Case Study of Guo Moruo Memorial Hall<br /><i>Zhang Yong</i></p><p><span>Cultural Creative Product of Museum</span></p><p>• Preliminary Analysis of Country-Level Museum Trademark Registration<br /><i>Chen Shuqing</i></p><p>• Western Museums' Strategies and Enlightenment under Market Competition<br /><i>Shi Yao</i></p><p>• Characteristic Cultural Creative Product Based on Region Speciality: Take the Museum of Guangxi Zhuang Autonomous Region as an Example<br /><i>Wu Weifeng</i></p><p>• Discussion on Small and Medium Museums' Cultural Creative Product at the Present Stage<br /><i>Lin Guannan</i></p><p>• The Development and Transformation of Cultural and Creative Product Designat Suzhou Museum<br /><i>Jiang Han</i></p><p><span>Digitalization and Smart-Museum</span></p><p>• Innovation of Cultural Diffusion in Smart Relic-Museology Era<br /><i>Pan Li, Tang Ziqing, Chen Changsong</i></p><p>• Research on Development and Application of Museum Collection Digitalization Standards<br /><i>Liu Fang</i></p><p>• The Application of Four Dimensional Cloud Control Technology in Exhibition Landscape Production<br /><i>Mu Jianzhong</i></p><p><span>Museum Education</span></p><p>• Activation and Cultivation: Benefits of Cooperation between Museum and School for Cultural Relics and Teenagers<br /><i>Lu Aobo</i></p><p>• Discussion of the Effective Mode of Cooperation between Museum and School from Practice of Hangzhou Arts & Crafts Museum<br /><i>Wang Yingxiang, Zhang Lu, Shen Xinning</i></p><p>• Further Discussion on the Innovative Ideas of Museum Education and Practice under the Perspective of Mind Map: Take the Reading City of Capital Museum as an Example<br /><i>Yang Dandan</i></p>`
      },
    ],
    2017: [
      {
        id: 24,
        imgUrl: "/data/Publications/Magazines/2017_6.jpg",
        p: "The Definition and Future of Museum",
        txt: `<p>• Aims and Issues of the Museum Definition<br /><i>François Mairesse</i></p><p>• A New Museums Definition: Ethical Approaches and Roles of a Museum in a Changing Society and in a New Museological Context<br /><i>Martin R. Schärer</i></p><p>• Rethinking the Definition of Museum in the 21st Century in the Light of Their Social Functions<br /><i>Chen Kuo-ning</i></p><p>• Museum: Operational Concept of the Term<br /><i>Truevtseva O.N.</i></p><p>• Some Remarks toward the ICOM Museum Definition<br /><i>Jan Dolák</i></p><p>• Rethinking the Museum in the 21st Century: An Approach to a Contemporary Museum Definition<br /><i>Hildegard K. Vieregg</i></p><p>• Current Trend of Museum and Education in Malaysia<br /><i>Janet Tee Siew Mooi</i></p><p>• Tomorrow's Issues of Intangible Heritage in Museums in the Context of Global Mass Tourism<br /><i>Philippe Mairot</i></p><p><span>Theoretical Research</span></p><p>• The Two-way Communication Model of Museum: An Attempt to Strengthen the Learning Effect of Audience<br /><i>Wang Liduo</i></p><p>• Exhibition Research and Design from the Perspective of Education and Communication: On the Direction and Thinking of the Exhibition Design Innovation of Science and Technology Museum<br /><i>Zhu Youwen</i></p><p>• Zhang Yuecheng and Tonggutang: Research of Lu Xun's Seal Collection<br /><i>Zhang Juan</i></p><p>• Restoration and Research of the Fifty Yuan Copper Intaglio Plate Engraved with Gate of Qing ( Issued by Government Bank of the Great Qing)<br /><i>Wei Sangang</i></p><p><span>Museum Practice</span></p><p>• From Guimet and the MET to the National Museum of China: Different Explanations of Qin and Han Dynasties Cultural Relics<br /><i>Chen Yantang</i></p><p>• Reflection on the Globalization of Museums: Begining with Several Temporary Exhibitions of the World's Three Largest Museums<br /><i>Zhang Yan, Zhang Weixing</i></p><p>• Consolidation and Expansion of Museum Basic Mission under "Internet Plus" Context<br /><i>Huang Xueyin</i></p><p>• Exhibition Text Analysis and Narrative Strategy under the Theme of War: Illustrated by the Case of "Opium War" Exhibition<br /><i>Guan Xin</i></p><p>• Intersection and Focus: Museological Perspective on "the Silk Road" Special Series Exhibitions<br /><i>Ren Lin </i></p><p>• The Modification of Notable Government Officials in the Temple of Ancient Monarchs in Tongzhi Reign<br /><i>Yu Miao</i></p>`
      },
      {
        id: 25,
        imgUrl: "/data/Publications/Magazines/2017_5.jpg",
        p: "Museum's Acquisition, Display and Interpretation Under a Perspective of Anthropology",
        txt: `<p>• From Object-oriented to People-oriented: A Reflection on the Museum Idea<br /><i>Yin Kai</i></p><p>• To Whom does Museum Belong: Museums and Public Participation<br /><i>Shi Mingli</i></p><p>• Museums: How to Deal with Sensitive Topics?<br /><i>Ma Ping, Pan Shouyong</i></p><p>• The Contemporary Expression of Ethnographic Collections in Ethnographic Museums<br /><i>Wang Yahao</i></p><p>• Exhibition and Anthropological Interpretation of Cultural Heritage in the Minority Regions in the Digital Era : A Case Study of Xiu-ba Watchtowers Construction<br /><i>Yu Hwa, Chen Siliang</i></p><p>• An Anthropological Study on Ecomuseums and Heritage Tourism: Taking Zhenshan Buyi Ecomuseum in Guizhou as an Example<br /><i>Liu Junjun, Jin Lu</i></p><p>• Function Orientation and Development Policy in Guangxi Ethnographic Film Festival<br /><i>Liang Xiaoyan</i></p><p><span>Theoretical Research</span></p><p>• The Audience Research on Exhibition Topics: Purposes and Practices<br /><i>Chen Shen, Zhao Xingyu</i></p><p>• The Research on Funeral System in Qing Dynasty: The Transformation from Cremation to Inhumation<br /><i>Wu Hongbo</i></p><p>• Exploration to Fachuan Hall in Kaiyuan Temple at Zhengding<br /><i>Liu Youheng, Du Ning</i></p><p>• The Role of Bao Character Style for the Object Dating from Bronze Ding Cauldron on Made for Envoy Jin<br /><i>Zhang Quanli</i></p><p>• A Survey Study on the Construction of Museum Periodicals in Guangdong Area<br /><i>Wen Bing</i></p><p>• The Other Mirror Attunements Us: The Academic Value of Research on Education Activities of Museum<br /><i>Xu Ling</i></p><p>• The Guideline of Managing Museum Volunteers: Introduction to Recruiting and Managing Volunteers in Museums: A Handbook of Volunteer Management<br /><i>Liu Jianbo</i></p><p><span>Museum Practice</span></p><p>• Museum, How to Make Your Cultural Relics Alive? ／Wang JindingExplore the Development Path of Museum through Internet Plus: A Case Study of Nanjing Museum Administration<br /><i>Luo Xiaoli</i></p><p>• From Conception to Completion: The Organization and Installation of Age of Empires: Chinese Art of the Qin and Han Dynasties<br /><i>Zhixin Sun</i></p><p>• A Brief Discussion on the Planning of Temporary Archaeological Exhibition: Take the Exhibitions "The Archaeological Excavations at the Royal Cemetery of Haihunhou Kingdom in Han Dynasty" and "40th Anniversary of Excavating the Shang Tomb of Fu Hao" as Examples<br /><i>Yang Wenying</i></p><p>• On the Application of Light and Shadow Interaction: A Case Study of Guangdong Incorruptible Cultural Relics Virtual Exhibition<br /><i>Wu Zhou</i></p><p>• Two Examples of the Application of Modern Multimedia Technology in Chinese Traditional Restoration Work<br /><i>Li Tao</i></p><p><span>Exhibition Review</span></p><p>• Jiangnan in the Eyes of a Korean Scholar: A Record of Drifting Across the Sea Exhibition in Zhejiang Museum<br /><i>Wang Jiayue</i></p>`
      },
      {
        id: 26,
        imgUrl: "/data/Publications/Magazines/2017_4.jpg",
        p: "Preliminary Study on the Culture of Beijing-Tianjin-Hebei",
        txt: `<p>• The Characteristics and Influences of the Existing Heritage Components of the Grand Canal in Beijing Area<br /><i>Chen Teng, Wang Jing & Zhao Yun</i></p><p>• The Restoration and Utilization of the Great Wall<br /><i>Wang Fulong</i></p><p>• A Brief Discussion on the Integration and In-depth Development of the Great Wall Tourism Resources of the Beijing-Tianjin-Hebei-Shanxi Region<br /><i>Zhang Xianzhong</i></p><p>• Planning Study on the of the Tourism District Large Heritage Sites in the Culture Belt of Beijing Western Hills<br /><i>Liu Jiangang</i></p><p>• Research on the Construction and Structure of Garrison Cities in the District around Capital in Qing Dynasty<br /><i>Zhu Yongjie</i></p><p>• Intangible Heritage Protection in Beijing-Tianjin-Hebei Region: Inspiration from the Performance of Traditional Huahui Parade<br /><i>Li Caiping</i></p><p>• The Study of Fuel Used in Capital Area in Yuan Dynasty<br /><i>Ding Chao</i></p><p><span>Theoretical Research</span></p><p>• Local or National: The Research on the Transformation of Chorography Museum in the Early Period of New China<br /><i>Zhao Huijun</i></p><p>• Museum Learning Media: Analysis on the Means of Expressions of Children's Exhibitions<br /><i>Zhou Jingjing</i></p><p>• The Research on Remnant Inscription of "Shu Stone Scripture" Collected in Sichuan Museum<br /><i>Lei Ling</i></p><p>• Shi Dabin and Purple Clay Wares of Ming Dynasty<br /><i>Ye Qian, Hu Chuansong</i></p><p><span>Museum Practice</span></p><p>• A Preliminary Study about the Management of Volunteers in the Museum: The Practice of Sichuan Museum<br /><i>Zheng Xiaoping, Zhou Jinxuan</i></p><p>• The Reflection of Constructing an Engaging Museum: Taking Yunnan Nationalities Museum as an Example<br /><i>Huang Yingdan</i></p><p>• When Museums Encounter Luxury Goods: The Mode, Argument and Origin of Museum Brand Cooperation<br /><i>Qin Qing</i></p><p>• The Application of 3D Printing Technology in Artifact Restoration and Conservation<br /><i>Shi Ningchang, Qu Liang, Gao Fei & Shui Wuyang</i></p>`
      },
      {
        id: 27,
        imgUrl: "/data/Publications/Magazines/2017_3.jpg",
        p: "Museum Cognition and Communication",
        txt: `<p>• Interpretative Planning and Interpretative Planner: Cultural Interpretations and Visitor Experiences of Museum Exhibition<br /><i>Chen Shen, He Jianfei</i></p><p>• On the Essence and Development of the Relationship between Museum Communication and Audience Cognition<br /><i>Zhou Liying</i></p><p>• Museum Academic Communication: Theory and Practice in Shaanxi History Museum<br /><i>Yang Jin</i></p><p>• Content or Container? Museology as a Discipline<br /><i>Riemer R. Knoop, Translated by Jie Xu</i></p><p>• Construction of Spatial Narrative Exhibition<br /><i>Jie Xu</i></p><p>• The Review on Information Communication Model of Museums<br /><i>Huang Yang </i></p><p><span>Theoretical Research</span></p><p>• Dipamkara Buddha Stupa and Its Cultural Relics at Ciqu Village, Tongzhou District, Beijing<br /><i>Xing Peng</i></p><p>• The Problems Reflected in the Headlight or Backlight Decoration of Radial Line on the Buddhist Statues and Murals<br /><i>Ran Wanli</i></p><p>• Discussion on the Early Stage Bronzes in the Golden Tripod Records<br /><i>Zhu Guanghua</i></p><p>• The Discovery and Value of Inscription on the Gravestone of He Yi Family in the Southern Song Dynasty<br /><i>Ma Tao</i></p><p>• A Study on Hongwu Blue and White Lidded Pot with Flower Sprays<br /><i>Pei Yajing</i></p><p><span>Museum Practice</span></p><p>• The Attempting Discussion about the Council System of National Marine Museum<br /><i>Yuan Shengwen, Zhang Guowen, Chen Zuyuan & Wang Tingting</i></p><p>• A Study on Enlivening the Cultural Relics of the Counter-Japanese War<br /><i>Shen Tianying</i></p><p><span>Interview </span></p><p>• Bring the Sinking History into Life: An Interview with the Curatorial Team for the Exhibition "Searching for the Cruiser CHIH YUAN" in Arthur M. Sackler Museum of Art and Archaeology at Peking University<br /><i>Shang Chenwen</i></p><p>• Memory and Peace: An Interview with Zhu Chengshan, the Former Curator of The Memorial Hall of the Victims in Nanjing Massacre by Japanese Invaders<br /><i>Huang Tianyi</i></p>`
      },
      {
        id: 28,
        imgUrl: "/data/Publications/Magazines/2017_2.jpg",
        p: "Cultural Relic Protection and Technology",
        txt: `<p>• Study on the Three Jade Belt Hooks Excavated from Wanli Emperor's Tomb of Ding Mausoleum in the Ming Dynasty<br /><i>Zhao Ruiting, Yu Ping, Song Lei & Gao Shangwu</i></p><p>• Study on the Materials of the Paintings on the Head of Buddha Statue Excavated from Longxing Temple in Qingzhou, Shandong, China<br /><i>Li Qianqian, Zhou Linlin, Wei Shuya & Ma Qinglin</i></p><p>• Protection and Disease Characteristic of the Underwater Stone Carving Relics<br /><i>Bao Chunlei, Liu Aihong, Jia Shijie & Fu Yan</i></p><p><span>Theoretical Research</span></p><p>• The Overview on Studies of the History of Museums in the Initial Stage of the People's Republic of China in Recent Thirty Years<br /><i>Xu Ling</i></p><p>• Analysis of the Theme Evolution of Chinese Museum Education Research in Recent Thirty Years<br /><i>Liu Di, Liu Junjie, Zhou Mo & Zhang Faliang</i></p><p>• The Representation of Ethnic Minorities: Early Practice of Chinese Eco-museum Activities<br /><i>Yin Kai</i></p><p>• An Ideal Participatory Museum:Taking Wellcome Collection, London as an Enlightenment<br /><i>Qin Qing</i></p><p>• World History from the Perspective of Globalization:One Aspect of the AHWO<br /><i>Yan Zhi</i></p><p>• Creative Thinking in the Multidimensional Design of Exhibitions in Museums<br /><i>Lin Zhongyi</i></p><p>• The Sound Exhibition of Musical Relics<br /><i>Cao Jie</i></p><p><span>Museum Practice</span></p><p>• The Strategic Development for Small and Middle Sized Museums<br /><i>Guan Zhanxiu</i></p><p>• Inquiry and Research on the Setting of Museum Collection on the Website<br /><i>Yang Xiaoyan</i></p><p>Design and Implementation of the Palace Museum's Relic Restoration Management System<br /><i>Shi Xiumin & Jiang Buyun</i></p><p>• Photography Method and Technique of Ru Ware Porcelain in Digita l Era<br /><i>Li Fan</i></p><p><span>Exhibition Review</span></p><p>• Education is Life Itself:The Review on "Exploring Beijing's City Walls and Moats in History"<br /><i>Shang Chenwen</i></p><p>• From Design Idea to Curation Practice: The Review on the Exhibition "Encounter the Dreaming Land" in Auther M Sackler's Museum of Art and Archaeology at Peking University<br /><i>Wang Siyu</i></p>`
      },
      {
        id: 29,
        imgUrl: "/data/Publications/Magazines/2017_1.jpg",
        p: "<i>The Museum</i>",
        txt: `<p><span>Contents</span></p><p><span>Preface</span><br /><span>Foreword</span></p><p><i>Hans Martin Hintz</i><br /><i>Guan Qiang</i><br /><i>Hang Kan</i><br /><i>Lu Jian Song</i><br /><i>Zhang Wenli</i><br /><i>Liu Yi</i><br /><i>Yan Jianqiang</i><br /><i>Zhang Fan </i><br /><i>Huang Yang</i><br /><i>Hou Xudong</i><br /></p><p><span>Congratulations</span></p><p><span>Museum Practices</span></p><p>• Inheritance and Promotion of the Artisan Spirit<br /><i>Shan Jixiang</i></p><p>• Advantages and Disadvantages of Free and Open Chinese Museums<br /><i>Duan Yong</i></p><p>• The Sacred Mission of Contemporary Chinese Museums - Written on the Third Anniversary of General Secretary Xi Jinping's Inspection of the Capital Museum<br /><i>Bai Jie</i></p><p>• Potential of Museums - Thoughts from "The First Central China International Ceramic Biennale"<br /><i>Tian Kai</i></p><p>• From Digital Resources Construction to Public Digital Cultural Construction - The Practice and Reflection on the Construction of IT-based Cultural Relics Museums<br /><i>Qi Qingguo</i></p><p><span>Theoretical Research</span></p><p>• The Science of Cultural Relics and Its Relationship with Relevant Subjects<br /><i>Liu Yi</i></p><p>• The Influence of an Expanded Collection Field on Museum Culture and Exhibitions<br /><i>Yan Jianqiang, Shao Chenhui</i></p><p>• Discussion on the Protection of the Modern Architecture Heritage District in the Beijing-Tianjin-Hebei Metropolitan Area - Reflection on the Concept of "Main Architectural Heritage Line"<br /><i>Qin Hongling</i></p><p>• Reasons for Keeping the Glittering Casket and Giving Back the Pearls - Random Notes about a Lacquer Box<br /><i>Yang Zhishui</i></p><p>• Exploration, Research and Discoveries in regard to Ge Kiln porcelain in the Song and Yuan Dynasties<br /><i>Qin Dashu, Guo Sanjuan</i></p><p><span>Project Exploration</span></p><p>• Give Cultural Relics New Vitality - Integrated Development of Beijing, Tianjin and Hebei</p><p><span>Editor's Notes</span></p><p>• Echoes of History and Reality - Review of the Historical and Cultural Exhibition of Beijing, Tianjin and Hebei<br /><i>Chen Jing</i></p><p>• Seeking the Source - Integrated Development of Beijing, Tianjin and Hebei<br /><i>Chen Ke</i></p><p>• Discussion on Gyeonggi Culture and the History of Beijing, Tianjin and Hebei<br /><i>Tan Xiaoling</i></p><p>• Discussion on the Responsibility and Mission of Museums from the Perspective of Historical and Cultural Exhibitions of Beijing, Tianjin and Hebei<br /><i>Hua Han</i></p><p>• Time and Characterization: Lines and Points in The Exhibition -A Case Study of the Exhibition Outline of "Regional and Cultural Integration: Historical and Cultural Exhibitions of Beijing, Tianjin and Hebei Province"<br /><i>Wang Siyu</i></p>`
      },
    ]
  }
}

export const JoinSupport = {
  Volunteer: [
    {
      id: 1,
      h3: 'Volunteer Team Introduction',
      p: '',
      txt: `<p class='xx'>Ⅰ. Establishing Time</p><p>Since the 1990s, the Capital Museum has been recruiting volunteers, called “Friends of the Museum”, responsible for organizing the audience for visits and itinerant exhibitions.</p><p>In 2000, the Museum (the Temple of Confucius, the original place for the Capital Museum) became the pioneer to recruit primary and secondary students as instructors providing basic information about the Temple. </p><p>The volunteer team was officially established when the new museum building was completed in 2005.</p><p class='xx'>Ⅱ. Recruitment</p><p>1. The Museum has recruited seven batches of volunteers respectively in 2005, 2006, 2007, 2010, 2014, 2016 and 2017, handling over 5,000 applicants.</p><p>2. Current volunteer services at the Museum are comprised of exhibition explanation, education promotion, general exhibition hall services, photography and video recording.</p><p>3. This year, there are a total of 235 volunteers at the Museum, including 171 volunteers of explanation (40 in the Hall of General History, 37 in the Hall of Ceramics，37 in the Hall of Buddha, 29 in the Hall of Folk Customs, 16 in the Hall of Bronze Wares and 12 in the Hall of Jade Wares), 12 volunteers handing education promotion, eight volunteers for open services, 32 volunteers of honor and 12 volunteers of photography and video recording.</p><p>4. Among the volunteers, the youngest is 23 and the oldest is 84.</p><p class='xx'>Ⅲ. Total Service Time</p><p>From 2006 to 2017, volunteers of the Museum have worked for a total of 88,654 hours.</p>`
    },
    {
      id: 2,
      h3: 'Volunteer Apply',
      p: '',
      txt: `<br />The new Capital Museum is located on west Chang'an Avenue. If you are enthusiastic about public-interest activities, you will surely want to join us and contribute your efforts to the museum. Hoping to provide all volunteers with a platform to display their talents and serve the society, we hereby invite all who are public-minded and have a love for the development of museums to join our volunteers. Please take note of the following information:`,
      card: [
        {
          h2: 'Requirements',
          pp: `<p>1. To show a clear love for cultural relics and for a museum career; candidates with a relevant background, such as knowledge and experience in historical folklore, historical relic archeology, education, art history, graphic design or media production, are preferred;</p>2. Physically and mentally healthy, generous and easygoing; showing a strong sense of responsibility and team awareness, good language and communication skills, proficient in the use of Mandarin;<p></p>3. People aged between 18 and 62 who live, work or study in Beijing on a long-term basis;<p></p>4. Able to render services at the Museum when required, and ensure availability for at least 25 occasions (50 hours) in a year;<p></p><p>5. Abide by every regulation of the Museum.</p>`
        },
        {
          h2: 'Application ',
          pp: `<p>Please pay attention to the recruitment information that will be uploaded onto the website of the Capital Museum.</p>`
        },
        {
          h2: 'Telephone Consultation',
          pp: `<p>Call <span>+86 (10) 63363388</span> to <span>2324</span> for more information.</p><p>1. Consultation period: 9: 30-11: 00, 14: 00-16: 00 (every Tuesday to Friday).</p><p>2. We cannot answer questions other than those about recruitment. Applications cannot be made via the phone.</p>`
        },
        {
          h2: 'How to Obtain the Application Form',
          pp: `<p>Please <a href="/data/Application_Form.doc">click here</a> to download the volunteer application form.</p>`
        },
      ],
      bott: `<p>If you love the museum as much as we do;</p><p>If you are willing to share with an audience Beijing's long history and culture;</p><p>If you want to show your dedication and cares for public interest; </p><p>Join the Capital Museum volunteer team now!</p>`
    },
    {
      id: 3,
      h3: 'Volunteer Program',
      p: '',
      txt: `<br />Volunteer services at the Capital Museum comprise explanations of exhibitions, education promotion, general exhibition hall services, photography and video recording. Volunteers handling exhibition explanations are responsible for explaining exhibits to an audience and spreading an understanding and appreciation of historical culture; volunteers of educational promotion are required to carry out various interactive activities for a young audience in the educational activity areas; volunteers handling general exhibition hall services are required to maintain order in the exhibition halls and ensure the security of the people and the cultural relics; volunteers of photography and video recording are responsible for shooting photos and videos of the exhibits, cultural relics and other activities, and for assisting in the publicity work of the Museum. `
    },
    {
      id: 4,
      h3: 'Feedbacks',
      p: '',
      txt: ``
    },
  ],
  Give: [
    {
      id: 4,
      h3: 'Individuals',
      p: 'Since the establishment of Capital Museum, we have got sufficient supports from people from all walks of life. Due to the limited space, here we only give a few examples, and we show our respect to all units and individuals who have supported the development of Chinese museums and have given help and supports to Capital Museum.',
      txt: `<p>Since the establishment of Capital Museum, we have got sufficient supports from people from all walks of life. Here we only give a few examples, and we show our respect to all units and individuals who have supported the development of Chinese museums and have given help and supports to Capital Museum.</p><p>• Mr. Ma Chongren, son of Ma Lianliang, donated to Capital Museum the costumes of Mr. Ma Lianliang used during his lifetime, scripts and other precious opera relics.</p><p>• Mr. Suo Daming donated to Capital Museum the old Beijing's Courtyard (Siheyuan) gates, street signs, doorplates, glass refrigerator (of the late Qing Dynasty) and other large amount of relics recording the development history of old Beijing.</p><p>• Guo Musun donated the 16mm movie camera (USA) and the 16mm movie projector (USA) bought by his father Mr. Guo Chengen when he founded The Crafts and Refining Energy Company of China (the predecessor of China's chemical industry) in Shanghai.</p><p>• Jin Guangqun ( the famous editor of former Beijing Publishing House ), the pioneer of the compilation of tourist maps of China, donated tourist maps, 312 sets of books, including the tourist maps of Beijing's famous parks in different years.</p><p>• Li Binsheng, a well-known folk artistand cartoonist, donated a western bracket clock.</p>`
    },
    {
      id: 5,
      h3: 'Corporations & Institutions',
      p: "The century-old Beijing Match Factory donated to Capital Museum a large number of files and real objects which record the development of Beijing's light industry in modern history, including 518 sets of high standard real samples of matches, 40 volumes data, and 3 volumes of text materials of sparks, etc.",
      txt: "<p>The century-old Beijing Match Factory donated to Capital Museum a large number of files and real objects which record the development of Beijing's light industry in modern history, including 518 sets of high standard real samples of matches, 40 volumes data, and 3 volumes of text materials of sparks, etc.</p>"
    },
  ]
}

export const AboutOne = [
  {
    id: 1,
    h3: "International Museum Day 2021",
    txt: [
      { name: '■ Opening Ceremony', path: 1 },
      { name: '■ Forum "The Future of Museums: New Journey and New Actions"', path: 1.2 },
      {
        name: ` ■ Museum Youth Forum "The Future of Museums: The Mission and
      Responsibility of Young Museum Professionals"`, path: 1.3
      },
      { name: '■ "Museum Night" at Capital Museum of China', path: 1.4 },
    ],
    i: 'May 18, 2021',
  },
  {
    id: 2,
    h3: "Development of Contemporary Museum and Exhibition Interpretation<br /><span>International Symposium</span>",
    txt: [
      { name: '■ Introduction', path: 2 },
      { name: "■ Directors' Roundtable of Development of Contemporary Museums and Exhibition Interpretation", path: 2.2 },
      {
        name: "■ Development of a Contemporary Museum and Exhibition Interpretation", path: 2.3
      },
    ],
    i: 'October 27 - October 28, 2019',
  },
  {
    id: 3,
    h3: "A Bright New Year Opens for Capital Museum",
    txt: [],
    i: 'January 1, 2019',
  },
  {
    id: 4,
    h3: "2018 China-Japan-ROK International<br />Conference on Museums",
    txt: [
      { name: '■ Introduction', path: 3 },
      { name: '■ Speech of President Bai at the Conference', path: 3.2 },
      {
        name: "■ Statements of the Curators' Roundtable", path: 3.3
      },
    ],
    i: 'August 14, 2018- August 15, 2018',
  },
  {
    id: 5,
    h3: "Exhibition 'Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen' Opens in Mauritius",
    txt: [],
    i: 'February 10, 2018 - March 5, 2018',
  },
]

export const About = {
  Events: [
    {
      id: 1,
      h3: "International Museum Day 2021",
      txt: [
        { name: '■ Opening Ceremony', path: 1 },
        { name: '■ Forum "The Future of Museums: New Journey and New Actions"', path: 1.2 },
        {
          name: ` ■ Museum Youth Forum "The Future of Museums: The Mission and
        Responsibility of Young Museum Professionals"`, path: 1.3
        },
        { name: '■ "Museum Night" at Capital Museum of China', path: 1.4 },
      ],
      i: 'May 18, 2021',
      main: `<p class='xx'>Opening Ceremony for International Museum Day 2021 Held at Capital Museum of China</p><p>The opening ceremony for International Museum Day 2021 (IMD) was held at the Capital Museum of China in Beijing, on the morning of May 18. The event was hosted by the National Cultural Heritage Administration and the People's Government of Beijing Municipality; organized by the Chinese Museums Association (CMA) and the Beijing Municipal Administration of Cultural Heritage; and co-sponsored by the Beijing Museum Society, the Capital Museum of China, and other related museums in Beijing. </p><p>Among those in attendance were Hu Heping, secretary of the Leading Party Members' Group and minister of the Ministry of Culture and Tourism; Chen Jining, deputy secretary of the CPC Beijing Municipal Committee and mayor; Li Qun, deputy minister of Culture and Tourism Ministry and head of the National Cultural Heritage Administration; Wang Xudong, member of the Leading Party Members' Group of the Ministry of Culture and Tourism and curator of the Palace Museum; Yang Bin and Jin Wei, members of the Leading Party Members' Group of the CPC Beijing Municipal Committee and vice mayors; and Guan Qiang, member of the Leading Party Members' Group of the National Cultural Heritage Administration and deputy director.</p><img src='/data/About/Events/in/1.png'/><p>At the opening ceremony, Hu Heping and Chen Jining jointly opened the exhibition titled "Pursuing Eternity: Conservation of Museum Collections in China." Guan Qiang and Yang Bin signed the "Strategic Cooperation Agreement on Building Beijing into a City of Museum Between the National Cultural Heritage Administration and the People's Government of Beijing Municipality." A series of activities were also launched during the event, including the "Museum 5G New Life" activity by the National Cultural Heritage Administration and China Mobile; the TV program "A Collection of China's National Treasures" co-produced by the National Cultural Heritage Administration and the China Media Group (CMG); and the "Golden Microphone Award Winners Interacting at Museums." </p><img src='/data/About/Events/in/2.png'/><p>Li Qun said that China's museums have made remarkable achievements in pursuing their development with the support of the Party and the country and the active participation of all sectors of society.</p><img src='/data/About/Events/in/3.png'/><p>Firstly, the top-level design of museums is increasingly improving. The reforms on the protection of collections, the presentation and utilization, educational services, and institutional management are in full swing. "The Guiding Opinions on Promoting the Reform and Development of Museums" deliberated and adopted at the 9th Meeting of the Central Leading Group on Cultural Reform will be officially issued in the near future.</p><p>Secondly, the layout of China's museum infrastructure has been continuously optimized. Since the 13th Five-Year Plan, one museum has been created every two days on average in China. By the end of 2020, there were 5,788 registered museums throughout the country, including 1,224 first-grade, second-grade, and third-grade museums. A modern museum system with rich variety and diverse subject matter has basically been formed. </p><p>Thirdly, the social function of museums has been greatly improved. Within the context of the widespread impact of the pandemic on museums around the world, over 29,000 exhibitions and more than 225,000 educational activities were launched in China's museums in 2020, receiving 540 million visitors and millions of online audiences. Facing the new era, museums across the country should take on their historical mission to give full play to the functions in collecting, presenting, research, education, and communication to better meet the needs of the people for a better life. We should also implement the new development concept, innovate the system and mechanism of museums, and constantly promote the modernization of the governance system and governance capacity. We should build a new development pattern, focus on solving the problem of unbalanced and inadequate development, and speed up the establishment of a high-quality development system for museums. We should shoulder the new development mission, actively serve the construction of a cultural power, and constantly enhance the international influence of Chinese civilization.</p><img src='/data/About/Events/in/4.png'/><p>Yang Bin said that General Secretary Xi Jinping had made important instructions during his visit to the Capital Museum, which provided a fundamental guide for the high-quality development of museums. In recent years, under the guidance of the National Cultural Heritage Administration, Beijing's museums have made great progress. In the future, with the joint efforts of all the staff members of museums and the whole society, Beijing will gradually establish a museum system with a reasonable layout, optimized structure, distinctive feature, abundant vitality, and complete functions, making Beijing a world-famous "City of Museums." </p><p>Alberto Garlandini, president of the International Council of Museum (ICOM) sent a video congratulating those at the event. He reaffirmed the long-term and successful cooperation between the ICOM and the Chinese museum community and called on museums around the world to join hands to build a bridge between peoples and cultures of all countries and promote the development of cultural diversity.</p><p>Winners of the"2021 Most Innovative Museums" and the 18th "Top Ten National Museum Exhibitions (2020)" were announced at the opening ceremony. </p><img src='/data/About/Events/in/5.png'/><img src='/data/About/Events/in/6.png'/><p>On the afternoon of May 18, a themed forum around International Museum Day was held at the Capital Museum to discuss the development of museums in the new era. Later that evening, the Capital Museum held a "Museum Night" event with exhibitions, dramas, Peking opera, and dances for the public. Various museums in Beijing will hold a series of events, including distinctive exhibitions, academic seminars, education and communication workshops, and public experience and cultural heritage promotional activities to bring cultural heritage to life.</p><p>The theme of International Museum Day 2021 is "The Future of Museums: Recovery and Reimagine." Looking to the future, museums must create new ways of thinking, explore new models, and put forward new plans on how to deal with challenges faced by society, the economy, and the environment, and adjust and improve their own functional positioning and development direction.</p><p>In accordance with the unified deployment of the National Cultural Heritage Administration, and sticking to the theme of International Museum Day, thousands of activities of rich content and various forms have been held throughout the country to build a bridge between museums and the public. Many museums in Inner Mongolia, Liaoning, Jilin, Heilongjiang, Shanghai, Jiangsu, Zhejiang, Anhui, Fujian, Jiangxi, Shandong, Henan, Guangxi, Tibet, Shaanxi, Gansu, Xinjiang, and other provinces and cities held activities for International Museum Day. Hebei Museum, Liaoning Provincial Museum, Shanxi Museum, Henan Museum, Gansu Provincial Museum, Guizhou Provincial Museum, Zhengzhou Museum, and many other museums launched new exhibitions before and after May 18. Some museums in Heilongjiang, Jiangsu, Yunnan, Guangxi, and other places provided free guides and other services on May 18. In addition, museums all over the country organized various offline activities such as mobile exhibitions, cultural lectures, object authentication, cultural and creative product releases, interactive experiences, educational research, and so on, as well as online featured activities such as online exhibitions, live webcasts, and online contests to help boost cultural and museum knowledge. </p>`
    },
    {
      id: 1.2,
      h3: "International Museum Day 2021",
      txt: [
        { name: '■ Opening Ceremony', path: 1 },
        { name: '■ Forum "The Future of Museums: New Journey and New Actions"', path: 1.2 },
        {
          name: ` ■ Museum Youth Forum "The Future of Museums: The Mission and
        Responsibility of Young Museum Professionals"`, path: 1.3
        },
        { name: '■ "Museum Night" at Capital Museum of China', path: 1.4 },
      ],
      i: 'May 18, 2021',
      main: `<p class='xx'>Forum Titled "The Future of Museums: New Journey and New Actions" Held at Capital Museum of China</p><p>A forum as part of International Museum Day 2021 (IMD) was held at the Capital Museum of China in Beijing. Li Qun, deputy minister of Culture and Tourism Ministry and head of the National Cultural Heritage Administration, attended the forum and made a keynote speech. Wang Xudong, director of the Palace Museum, and Liu Shuguang, chairman of the Chinese Museums Association (CMA), also attended the forum. The forum was hosted by Guan Qiang, deputy director of the National Cultural Heritage Administration. Over 200 representatives, administrators, and experts from the National Cultural Heritage Administration, the CMA, Beijing Municipal Administration of Cultural Heritage, and cultural heritage departments across the country attended the forum.</p><img src='/data/About/Events/in/26.png'/<p>Li Qun pointed out in his keynote speech that China's museum industry made historic achievements during the 13th Five-Year Plan period. In 2020 especially, in the face of a series of major tests such as the fight against the Covid-19 pandemic, the fight to safeguard resumption of work and production, the war on poverty alleviation, and the battle against floods, and so on, museums across the country actively responded, took the initiative, and made remarkable achievements in fighting against the epidemic, comprehensively deepening reforms, and promoting high-quality development. Li explained that based on the new situation, museums should look toward the future, devote themselves to inheriting and carrying forward Chinese culture, serving economic and social development, meeting the needs of the people for a better life, and promoting exchanges and mutual learning among human civilizations. Museums should forge ahead on a new journey, take new steps, and make joint efforts to build China into a world power for museums.</p>><img src='/data/About/Events/in/27.png'/><p> With the theme of "The Future of Museums: New Journey and New Actions," the IMD forum invited senior experts and scholars working in the fields of museum administration, archaeological research, cultural education, architectural design, internet technology, and mass media to have in-depth discussions on the responsibilities and mission of museums in the current day. </p><p>In his speech entitled "Thematic Features — the Construction of Museums' unique features," Cui Kai, an academician and architect at the Chinese Academy of Engineering, proposed that the architectural design of museums should move past the old method of focusing only on a building's shape, and pay more attention to the appeal and cultural spirit of architectural spaces. Discussing the concept of a "borderless museum," Chen Ruijin, director of the Suzhou Museum, suggested that museums should actively break down barriers, make the most of their own resources to provide more diversified cultural services for the public. Li Ruiying, a broadcasting counselor at the China Media Group and chairman of the Broadcasting Hosts Committee of China Federation of Radio and Television Associations, analyzed the different and common characteristics of museums and mass media and explained the significance and bright prospects of their interactions and cooperation in the new era using vivid cases. Luo Wei, Huawei's chief scientist, used the breakthrough exhibition of "Pursuing Eternity: Conservation of Museum Collections in China" as an example to show how the viewing experience of the traditional physical exhibition of cultural heritage can be augmented using digital and cloud technologies, and demonstrated the deeply-integrated intelligent cultural tourism mode of "Culture + Art +Technology." Tai Xiangzhou, artist and Ph.D. student at the Academy of Arts & Design, Tsinghua University, discussed the charm of many traditional Chinese ink paintings found in museums and analyzed the significant influence of ancient paintings on contemporary Chinese artists. Qi Dongfang, professor and doctoral supervisor at the School of Archaeology and Museology, Peking University, stressed that museums should take the initiative to break industry stereotypes, extend the content supply of museums, and better lead and meet the spiritual and cultural needs of the public. Centering around the "integrity" and "innovation" in the development of museums in the new era, Han Zhanming, director of the Capital Museum of China, advocated for museums to restore their connection with the public using innovative models and reshape the public image of museums through their efforts in improving social construction and pursuing social development.</p><img src='/data/About/Events/in/28.png'/><img src='/data/About/Events/in/29.png'/><img src='/data/About/Events/in/30.png'/><img src='/data/About/Events/in/31.png'/><img src='/data/About/Events/in/32.png'/><img src='/data/About/Events/in/33.png'/><img src='/data/About/Events/in/34.png'/><p>Sponsored by the National Cultural Heritage Administration and the People's Government of Beijing Municipality, this forum was one of major events of IMD 2021. The forum looks to highlight the opportunities and challenges that face museums regarding their development in the new era and looks to utilize technologies such as 5G, digital, internet, and other scientific technologies for support. It also spotlights the innovative thinking and practices of museums through the cross-industry and interdisciplinary exchange of ideas. In doing so, these museums hope to capture the spirit of the times and contribute Chinese wisdom and strength to the construction of a community with a shared future for mankind.</p>`
    },
    {
      id: 1.3,
      h3: "International Museum Day 2021",
      txt: [
        { name: '■ Opening Ceremony', path: 1 },
        { name: '■ Forum "The Future of Museums: New Journey and New Actions"', path: 1.2 },
        {
          name: ` ■ Museum Youth Forum "The Future of Museums: The Mission and
        Responsibility of Young Museum Professionals"`, path: 1.3
        },
        { name: '■ "Museum Night" at Capital Museum of China', path: 1.4 },
      ],
      i: 'May 17, 2021',
      main: `<p class='xx'>Capital Museum of China Holds 2nd Museum Youth Forum Themed "The Future of Museums: The Mission and Responsibility of Young Museum Professionals"</p><p>On May 17, the second Museum Youth Forum was held at the Capital Museum of China in Beijing. The event was hosted by the National Cultural Heritage Administration and the People's Government of Beijing Municipality, organized by the Chinese Museums Association (CMA) and the Beijing Municipal Administration of Cultural Heritage; and co-sponsored by the Beijing Museum Society and the Capital Museum of China. Guan Qiang, deputy director of the National Cultural Heritage Administration, attended the forum and gave a speech. Around 200 related leading officials from the Department of Museums and Social Heritage (Science and Technology) under the National Cultural Heritage Administration, the Publicity Department of the CPC Beijing Municipal Committee, and the Beijing Municipal Administration of Cultural Heritage, and youth representatives from museums across the country attended the forum. </p><img src='/data/About/Events/in/35.png'/><p>Guan Qiang noted in his speech that young people are explorers of museums' innovation and development, inheritors of new forces in scientific research and skills, and speakers for museums in response to social concerns. Facing the future, young people should be firm in their ideas and convictions, think diligently and take solid action, and stick to the objective values of museums in a changing environment. Additionally, they should learn from other's strong points, forge ahead, and promote the high-quality development of museums in the process of reform and innovation as well as aim high and endeavor to realize the Chinese Dream of national rejuvenation and highlight the cultural power of museums for social development.</p><p>The theme of the forum is "The Future of Museum: The Mission and Responsibility of Young Museum Professionals." Centering around this theme, 13 young museum experts from museums, universities, and scientific research institutes from all over the country made wonderful speeches in line with their specific theory, practice, and museum specialties. Those included the protection of collections, exhibition planning, education and communication, archaeological research, and exchange and mutual learning. They passionately displayed their new ideas, concepts, practices, and achievements regarding the contemporary and outstanding insights into museums as young individuals.</p><img src='/data/About/Events/in/36.png'/><img src='/data/About/Events/in/37.png'/><img src='/data/About/Events/in/38.png'/><img src='/data/About/Events/in/39.png'/><img src='/data/About/Events/in/40.png'/><img src='/data/About/Events/in/41.png'/><img src='/data/About/Events/in/42.png'/><p>In order to give full play to the positive role of young people in museums and to promote the high-quality development of the museum industry, the museum youth forum, as one of the supporting activities of the International Museum Day on China's main venue and backed by the National Cultural Heritage Administration, has become an important platform for young people to demonstrate their innovative understandings of the industry and to practice their professional exchange skills since 2020.</p><img src='/data/About/Events/in/43.png'/>`
    },
    {
      id: 1.4,
      h3: "International Museum Day 2021",
      txt: [
        { name: '■ Opening Ceremony', path: 1 },
        { name: '■ Forum "The Future of Museums: New Journey and New Actions"', path: 1.2 },
        {
          name: ` ■ Museum Youth Forum "The Future of Museums: The Mission and
        Responsibility of Young Museum Professionals"`, path: 1.3
        },
        { name: '■ "Museum Night" at Capital Museum of China', path: 1.4 },
      ],
      i: 'May 18, 2021',
      main:`<p class='xx'>Capital Museum of China Holds "Museum Night" Event</p><img src='/data/About/Events/in/44.png'/><p>"Museum Night" is a special event at the Capital Museum of China in Beijing that launched on May 18, International Museum Day (IMD) 2021. The event is an attempt to revitalize the museum's exhibitions and to bring the audience into dialogue with history and civilization in the form of re-enactments. If you can spend the day at the museum quietly watching the exhibitions and reflecting on them, then at "Museum Night" you can stroll along the "Central Axis of Beijing" from the south to the north, from the past to the present. The site is currently in the bidding to be added to the World Heritage List. Visitors can walk along to the beat of drums and watch a Peking opera; or wander comfortably through the jingling sounds of the old Beijing hutongs and meet the characters from Lao She's classic plays. Visitors are invited to explore the traditional courtyard houses, and listen in on love stories and family trifles behind floral-pendant gates just as those in "Peking Man" by the renowned Chinese playwright Cao Yu. Visitors are also invited to experience the exciting May 4th Movement and may find museum staffs performing their idols. Visitors can join the volunteer team as well and take part in a discussion on how to serve the Winter Olympics. Meanwhile, visitors can get closer to the things they are familiar with through exhibitions and find understanding friends in the activities. Furthermore, the Capital Museum's "Read the City" project launched a new event titled "Read the City in Pleasant Space" based on an exhibition, which offers a pleasant learning center for children in the museum during the night.</p><img src='/data/About/Events/in/45.png'/><img src='/data/About/Events/in/46.png'/><img src='/data/About/Events/in/47.png'/><img src='/data/About/Events/in/48.png'/><img src='/data/About/Events/in/49.png'/><img src='/data/About/Events/in/50.png'/><img src='/data/About/Events/in/51.png'/><img src='/data/About/Events/in/52.png'/><img src='/data/About/Events/in/53.png'/><p>Bringing cultural heritage to life has always been a most considered issue of the museum professionals. During the 13th Five-Year Plan period, the Capital Museum of China has transformed its exhibitions into a renowned brand through three exhibition systems: interpretation of brilliant China, appreciation of smart Beijing and mutual learning among world civilizations. In the first year of the 14th Five-Year Plan, the museum will usher in more rich exhibition forms. "Museum Night" will bring visitors closer to the museum in an immersive and participatory way, allowing them to enjoy the museum's services for their own pleasure and education, and to enjoy a different kind of cultural journey. </p><img src='/data/About/Events/in/54.png'/>`
    },


    {
      id: 2,
      h3: "Development of Contemporary Museum and Exhibition Interpretation<br /><span>International Symposium</span>",
      txt: [
        { name: '■ Introduction', path: 2 },
        { name: "■ Directors' Roundtable of Development of Contemporary Museums and Exhibition Interpretation", path: 2.2 },
        {
          name: "■ Development of a Contemporary Museum and Exhibition Interpretation", path: 2.3
        },
      ],
      i: 'October 27 - October 28, 2019',
      main:`<p class='xx'>Museum Embraces Change and Museum Practitioners Pursue Innovation - Symposium on "Development of Contemporary Museum and Exhibition Interpretation" Being Held Successfully</p><p>On Oct. 27-28, 2019, a symposium on "Development of Contemporary Museum and Exhibition Interpretation", jointly hosted by the Capital Museum of China and the Royal Ontario Museum of Canada, and co-organized by Tianjin Museum, Hebei Museum and China Science Publishing and Media Co., Ltd. (CSOM), was successfully held at the Capital Museum. </p><p>Based on the two elements of "interpretation" and "development of contemporary museum", the symposium invited about 150 museum experts and scholars from home and abroad to engage in discussions on topics such as the preparation and construction, reconstruction and expansion of museums, and how to strengthen the interpretation of museum exhibitions through texts, style design and multimedia interaction. Through roundtable, keynote speeches, panel discussions and interactive exchanges, the symposium engaged in deep discussions on how the museums can best play its role and give full play to being a positive effect as a cultural linkage and cultural hub in the new historical era, providing new ideas and methods for sustainable museum development. </p>`
    },
    {
      id: 2.2,
      h3: "Development of Contemporary Museum and Exhibition Interpretation<br /><span>International Symposium</span>",
      txt: [
        { name: '■ Introduction', path: 2 },
        { name: "■ Directors' Roundtable of Development of Contemporary Museums and Exhibition Interpretation", path: 2.2 },
        {
          name: "■ Development of a Contemporary Museum and Exhibition Interpretation", path: 2.3
        },
      ],
      i: 'October 27 - October 28, 2019',
      main:`<p class='xx'>Directors' Roundtable of Development of Contemporary Museums and Exhibition Interpretation</p><p>In order to deepen mutual understanding between museum experts and scholars, and promote the successful organization of the symposium, on the afternoon of Oct. 27, the “Directors' Roundtable of Development of Contemporary Museums and Exhibition Interpretation” was held as the initial event.</p><p>At the roundtable, Huang Xueyin, deputy director of the Capital Museum, introduced the background of the preparation of the international symposium. And then each museum director respectively introduced their own museum’s background, work experiences and expectations for the symposium.</p><p>The Capital Museum of China and the Royal Ontario Museum of Canada exchanged visits in 2017 and 2018, and the two sides have signed a memorandum of strategic cooperation. Over the years of construction of the National Cultural Center, the Capital Museum of China has made bold attempts to achieve diversified presentations of exhibitions based on the experience of holding regional cooperation exhibitions, combining its own positioning and the development requirements of the time. Focusing on the three series of “Interpreting a Brilliant China, Showcasing Smart Beijing and Promoting Exchanges among World Civilizations”, the Capital Museum of China planned a series of relevant exhibitions with its own unique characteristics. Furthermore, the construction of the East Branch of the Capital Museum of China will soon start at the sub-center of Beijing. In the future, this will form a development model of “One Museum with Two Locations”, and provide the masses with more high-quality public cultural products. Based on the academic resources and power of the University of Toronto, the Royal Ontario Museum of Canada was the first to propose the concept of “Exhibition Interpretation”. It has a solid theoretical basis and rich practical experience in the field of planning, interpretation and dissemination of exhibitions, and also enjoys a good cooperative relationship with museums in China.</p><img src='/data/About/Events/in/55.png'/><p>The foreign guests invited to attend the roundtable were Josh Basseches, director and CEO of the Royal Ontario Museum of Canada, Shen Chen, vice president of the Royal Ontario Museum of Canada, Jennifer Czajkowski, deputy director and engagement coordinator of the Royal Ontario Museum of Canada, and Lars-Christian Koch, director of the Berlin State Museum’s collections at the Humboldt Forum: Ethnological Museum und Museum of Asian Art. The Chinese guests present at the roundtable were Bai Jie, secretary of the Party Committee of Capital Museum, Luo Xiangjun, director of Hebei Museum, Ma Xiaolin, director of Henan Museum, Wei Jun, professor of the Department of Cultural Heritage of Museology of Fudan University in Shanghai, Han Zhanming, director of the Capital Museum of China, Li Mingbin, president of Chengdu Museum of Sichuan Province, Qian Zhaoyue, vice president of the Suzhou Museum of Zhejiang Province, Jin Fei, director of Capital Museum of China, and two deputy directors, Huang, Xueyin and Yang Wenying.</p>`
    },
    {
      id: 2.3,
      h3: "Development of Contemporary Museum and Exhibition Interpretation<br /><span>International Symposium</span>",
      txt: [
        { name: '■ Introduction', path: 2 },
        { name: "■ Directors' Roundtable of Development of Contemporary Museums and Exhibition Interpretation", path: 2.2 },
        {
          name: "■ Development of a Contemporary Museum and Exhibition Interpretation", path: 2.3
        },
      ],
      i: 'October 27 - October 28, 2019',
      mainArr:[`<p class='xx'>Development of a Contemporary Museum and Exhibition Interpretation</p><p>On the morning of October 28, the "Development of a Contemporary Museum and Exhibition Interpretation" officially began. The opening ceremony was hosted by Han Zhanming, director of the Capital Museum of China. To begin with, Wang Cuijie, deputy director of Beijing Municipal Administration of Cultural Heritage, and Josh Basseches, director and CEO of the Royal Ontario Museum of Canada, gave welcome addresses. Later on, a speech video from An Laishun, vice chairman of the International Council of Museums (ICOM), vice director and secretary general of the Chinese Museums Association, was screened. Finally, Gong Liang, director of Nanjing Museum, and Josh Basseches, director and CEO of the Royal Ontario Museum of Canada, gave keynote speeches.</p><p class='xx'>Address </p><img src='/data/About/Events/in/56.png'/><p><i>Wang Cuijie </i></p><p><i>Deputy director of Beijing Municipal Administration of Cultural Heritage</i></p><p>Beijing Municipal Administration of Cultural Heritage, as the administrative department in charge of domestic institutes of cultural heritage and museology in Beijing, has always attached great importance to the development of museum undertakings. We are committed to telling Chinese stories and trying to further polish the golden card signifying Beijing's history and culture. All kinds of exhibitions held by the museums in Beijing, represented by the Capital Museum of China, have fully demonstrated the excellent culture with different characteristics long prevailing in Beijing. The exhibitions and contents of museums are being enriched and optimized through art loans, itinerant exhibitions and the sharing of cultural relics resources between various museums. Moreover, many more excellent exhibitions have constantly been launched, and are well received and praised by audiences. And through these enthusiastic visits, higher expectations for museums have been put forward, which are conducive to promote the upsurge of museum renovation, expansion and new construction. Thus, new requirements have emerged for innovative interpretation of the exhibition. </p><p>We hope the experts and scholars at home and abroad will take this symposium as a platform to widely exchange ideas on the methods of museum development under different national conditions and cultural backgrounds. We believe this symposium will further enhance the international vision as well as improve the professional quality of our museum staff in Beijing, and provide new impetus for museums to broaden their horizons, explore new methods and make new developments.</p><img src='/data/About/Events/in/57.png'/><p><i>Josh Basseches</i></p><p><i>Director and CEO of the Royal Ontario Museum</i></p><p>The Royal Ontario Museum of Canada is a museum encompassing a rich natural culture and art collections. And it is worth mentioning that it has a very rich collection of Chinese art and culture. The Royal Ontario Museum has long established cooperation with China, which has contributed to the bringing of Chinese exhibits to the North American audience.</p><p>With the support of the city of Toronto and the province of Ontario, the Royal Ontario Museum of Canada has begun to provide more services for Chinese groups, bringing an extraordinary museum experience to local and international visitors.</p><p>The Royal Ontario Museum brought the Dior exhibition to the China National Silk Museum. The museum of Xuzhou has just completed a special Egyptian exhibition based on the exhibits of Royal Ontario Museum. Next year, the exhibition of the blue whale, held by the Royal Ontario Museum, will also be officially displayed in the Guangdong Museum.</p><p>The Royal Ontario Museum has forged a profound friendship with China, which is seen as conducive to increased cooperation between the museum circles in China and Canada. Indeed, this kind of friendship and cooperation is deeply rooted in history.</p>`,
      
      `<p class='xx'>Keynote Speeches</p><img src='/data/About/Events/in2/1.png'/><p><i>Changing Museums and Their Cultural Interpretive Functions</i></p><p><i>An Laishun</i></p><p>Vice-Chairman of International Museum Association and Secretary-General of the Chinese Museums Association "Development of a Contemporary Museum and Interpretation of Exhibition " has become an essential topic for the development of museums today. Amid changes in the concepts of cultural heritages or museum collections, society has more and more expectations for museums in providing information value through their collections and exhibits. The specialization of a museum is a process combining both opportunities and challenges, where the construction of museums and the interpretation of exhibitions are attracting growing attention from all walks of life.</p><p>How to make museum exhibitions more comprehensible to the public? How can exhibits connect objects with stories as well as people? How to more closely align with the past and the present and even the future? All these are the topics museum scholars need to meditate on, discuss and exchange.</p><img src='/data/About/Events/in2/2.png'/><p><i>Museum Construction and Development: Enhancing the Characteristics, Space and Exhibition Essence</i></p><p><i>Gong Liang </i></p><p><i>Director of Nanjing Museum</i></p><p>China has ushered in a booming economic era, and also an era of high-quality development for museums. In construction and development of museums, we should aim at serving the public, clearly define the characteristics, enhance the environmental space, plan inspiring exhibitions, and satisfy the people’s yearning for a better life. The goal orientation of museums should be adapted to the adjusted definition of the International Council of Museums. Their construction and development must be based on an accurate and distinctive orientation reflecting their regional culture, differentiated development the unique characteristics of different countries, different regions and different stages of development, and also be forward-looking to a certain extent. Those features have to be determined by their collections and exhibitions organized based on them. In building or renovating a museum, the leadership must first understand "What do I really want?" They have to consider the essence of the museum architecture with regional civilization and cultural space, as well as the matching of museum features with its functions.</p><p>We will build high-quality museums in accordance with their individual developmental requirements, and the high requirements of the public. The main feature is the differentiated development goals, which are an important part of the overall high-level development of Chinese museums. The space environment lies in the developing requirements for great comfort, which is aimed at meeting the public's psychological needs for higher quality, and an important goal of cultural leisure. Exhibitions are the most important cultural product of museums, as well as the most important carrier and core content for serving the public.</p><p>Therefore, museum construction or renovation should occur with close adherence to the above-mentioned issues to solve problems and improve quality.</p><img src='/data/About/Events/in/57.png'/><p><i>Relevance and Engagement: Toward the 21st Century Museum</i></p><p><i>Josh Basseches </i></p><p><i>Director and CEO of the Royal Ontario Museum</i></p><p>Museums are trusted institutions with valuable assets and enormous potential. Yet a profound 21st Century paradigm shift is reshaping the world around us. In this dynamic environment, museums must also reshape themselves to sustain their relevance and thrive as we move deeper into the new century. </p><p>Looking to the future, museums’ long-standing strengths - their collections, destination buildings, original research findings, and scholarly authority - remain essential. However, alone they are no longer enough. They must become the foundation upon which new capabilities are built to respond effectively to the changing environment. Museums must play a central role in community and cultural life. We need to engage visitors in dynamic ways relevant to their own experiences. We need to seek out authentic voices and diverse points of view. We must create and present knowledge in new ways that cross traditional disciplinary boundaries, embracing change and pursuing innovation.</p><p>Engaging with these tenets from a North American perspective, in this talk, I will explore how the ROM is evolving with the changing landscape to become a distinctly 21st Century museum that transforms lives by helping people to understand the past, make sense of the present, and come together to shape a shared future.</p><p>The symposium set up three panel discussions, and respectively discussed issues related to the theme of "Contemporary Museum Development","Museum Exhibition Interpretation and Audience Studies" and "Museums and International Cooperation". Through the exchanges and sharing of respective experience and solid theories between colleagues of Chinese, North American and European museums, the direction of museum development in the new era becomes clearer.</p>`,
      
      `<p class='xx'>Panel Discussion I:  Contemporary Museum Development</p><p>In recent years, with the development of China's economy, museums of various provinces and cities have reached a new developmental peak. The reconstruction and expansion of museums and the construction of new ones are in full swing. This, however, reveals contradictions and problems of exhibition planning and site selection of new museums.</p><p>In this discussion, Chen Zhuo, director of Tianjin Museum, served as moderator. Guo Xiaoling, director of the Academic Committee of the Capital Museum of China, Yang Zhigang, director of Shanghai Museum, and Duan Yong, vice president of Shanghai University, each gave a keynote speech to share their experiences and understanding with museum experts and scholars in regard to the construction and the cultural connotation of the museum.</p><img src='/data/About/Events/in2/3.png'/><p><i>A Brief Discussion on "Contemporary Museum Development"</i></p><p><i>Guo Xiaoling </i></p><p><i>Director of the Academic Committee of Capital Museum</i></p><p>The contemporary age has witnessed the fastest development of museums, and it is certainly the most prosperous period in museum history. With museums blooming everywhere, their forms and functions have become diversified under various situations in different countries.</p><p>Among the developing countries, China is the nation with the fastest construction speed of museum. In the last four decades, the number of Chinese museums has expanded from about 300 in 1976 to more than 5,000 at present. Importantly, this achievement is closely related to the speed of national economic development during the 40 years since the reform and opening up.</p><p>The development of museums in contemporary developed countries is significant for developing countries as an indicator. According to statistics in 2012, among 300 million Americans, one museum serves an average audience of about 20,000 people. In 2011, there were 1,600 museums in the U.K., a statistical average of one per 30,000 head of population. In other developed countries, the proportion of museums to population is roughly the same. At present, there are around 5,000 museums and 1.4 billion people in China. The museum to population ratio is thus 1 to 260,000 on average. You can see that, there is still lots of room for quantitative improvement.</p><p>The museum boom worldwide has also raised some issues to be addressed and resolved. Such issues actually constitute the topics of this conference, including establishment of museum projects, museum positioning, and formulation of a reasonable layout of existing museums; site selection for newly-built or renovated museums, design and construction tendering, evaluation, supervision, acceptance, takeover, operation and maintenance, etc. No matter how the forms and functions of contemporary museums are extended, their essential attributes should remain unchanged. Specifically, museums are a public cultural facility with their own characteristics. Their main function is keeping and displaying the physical evidence about human history and natural history.</p><img src='/data/About/Events/in2/4.png'/><p><i>Building an Open Museum - Reflections on Building the East Branch of Shanghai Museum</i></p><p><i>Yang Zhigang</i></p><p><i>Director of Shanghai Museum</i></p><p>This speaker begins with the "opening" of cultural relics to the public by museums to explore the interactions between the latter and urban culture, and points out the great significance of "openness" shown in the contemporary development of museums for guiding and reshaping this aspect of modern life. Openness was also one of the key issues considered in building the East Museum of Shanghai Museum, which has been striving to meet the requirements of the potential audience for modern aesthetics, exhibition and lifestyle in terms of spatial layout and other aspects.</p><img src='/data/About/Events/in2/5.png'/><p><i>Contemporary Museums in the Context of Technological Revolution</i></p><p><i>Duan Yong</i></p><p><i>Vice President of Shanghai University</i></p><p>We believe that, in the past 20 years and even in the foreseeable future, the biggest trend of the development of the international museum industry should be the revolutionary or subversive changes created for museums by contemporary information technology.</p><p>At present, the great influence and challenges for museums brought about by information technology is unprecedented. It takes time and practice to fully understand extensive and deeper changes to museums from revolutionary and subversive new technologies. Time will tell, and this change is undoubtedly worthy of our attention, expectation and participation. The museum that can best cope with applied science and technology will "lead the trend", introducing and try out the new technology in a timely way. In the meanwhile, other museums can "catch up with but not have to lead the trend"; they should also try to apply advanced technology to help save costs.</p><p>It is worth mentioning that university museums also play a leading role in the dissemination and application of new technology in contemporary museums.</p><p>Lastly, it is important that the shape and relationship of the museum is governed by an understanding that "the method may change, but the principle remains constant". The purpose of museums should still be to protect and inherit the multicultural and colorful environment of human society. Accordingly, the attitude of museum practitioners should be "upholding the principle and embracing changes with a consistent approach."</p>`,
      
      `<p class='xx'>Panel Discussion II:  Museum Exhibition Interpretation and Audience Studies</p><p>Since ancient times, the global village has been constantly developing amid the collision, integration and exchange of various civilizations. The museum has played a very important role in the civilization exchanges between different countries, and different civilizations are transmitted to visitors all over the world by museum exhibitions.</p><p>Luo Xiangjun, director of Hebei Museum, was the moderator for this discussion. Ma Xiaolin, director of Henan Museum, Wei Jun, professor of the Department of Cultural Heritage of Museology of Fudan University, Cao Bingwu, researcher of China Academy of Cultural Heritage, Jennifer Czajkowski, deputy director of Engagement and Royal Ontario Museum of Canada, Qian Zhaoyue, deputy director of Suzhou Museum, Tan Xiaoling, director of National Cooperation and Ethnic and Archaeological Research Department of the Capital Museum of China, and Wang Siyu, post-doctorate of the School of Archaeology and Museology of Peking University, respectively gave a keynote speech providing insights on museum exhibition planning, ticketing, publicity and education and interpretation modes.</p><img src='/data/About/Events/in2/6.png'/><p><i>Exhibition Concept and Planning of the New Museum of Henan Museum</i></p><p><i>Ma Xiaolin </i></p><p><i>President of Henan Museum</i></p><p>"Exhibition" is the core of museum work and the basis for their public dialogue. The speech reviewed the permanent exhibitions held at Henan Museum over the past decades, and expounded on the transformation of the exhibition concept from the display of "objects" to their interpretation and subsequently to evolution in their display of culture and civilization, in an effort to explain how museums build a bridge between the audience and the collections through their exhibitions and gradually achieve a shift from being "collection centered" to "audience-centered". At the same time, the speech previewed the exhibition planning of the new museum of Henan Museum, and imagines how museums should function as "cultural hubs" to serve the public through exhibitions in the new era.</p><img src='/data/About/Events/in2/7.png'/><p><i>Audience Study on Paid Special Exhibitions of the Museums in Guangdong Province</i></p><p><i>Wei Jun </i></p><p><i>Professor of the Department of Cultural Heritage and Museology at Fudan University. Shanghai</i></p><p>Under the context of new challenges and new opportunities in development, improving brand marketing ability, self-sustaining function and innovative ability is an important way for museums to achieve high-quality development and better serve society. Giving life to cultural relics and making museum popular have gradually become a public expectation for Chinese museums. In order to meet the needs of society and the public for culture and a better life, Chinese museums are also engaged in active exploration of many aspects. Among them, under the premise of upholding public welfare, organizing paid special exhibitions is a practice for museums to crack the bottleneck in regard to cultural services, improving their sustainable development capabilities and addressing future challenges. In view of the nature of the special paid exhibitions, the targeted study on audience composition, publicity or theme will facilitate their effective development in the future. Drawing on the implementation, publicity and related audience survey data of recent special exhibitions held by museums in Guangdong Province, the speaker analyzes the operation and audience strategy of paid exhibitions with representative cases.</p><img src='/data/About/Events/in2/8.png'/><p><i>Mediatization Trend of Museums and Practical Significance</i></p><p><i>Cao Bingwu </i></p><p><i>Research Fellow of Chinese Academy of Cultural Heritage</i></p><p>Museums have taken on more and more duties and influence in regard to society; furthermore, functions are increasing, and the work focus is constantly shifting. This transformation can be summarized as our museum is increasingly acting as a medium that becomes ever more integrated and comprehensive. Collections, exhibits, exhibitions and exhibition halls are all not simply media, but also media of different levels at the same time. Museums present a lot of media characteristics. For example, the characteristic of authenticity of museum collections and exhibits lie not only in objects themselves, but also in the related information. At the same time, they are an expression of record in regard to the past and the present, systematic and representative. Such collections and exhibits altogether must constitute a system, which can represent every aspect of the environment and life.</p><p>In order to strengthen their characteristics as media, museums should follow the essence of the times instead of sacrificing their core values. We must find a theoretical framework and practical paradigm where the two complement each other. It is vital to promote recognition of the position of a museum and spare no effort to strengthen the information work on the collections and all business fields. We should also improve the quality of management, design and production of any exhibition, in order to create a more boutique exhibition approach that is worthy of being communicated. Generally speaking, museum can be considered as a cultural tool. The key point of any tool is its culture and how it works on objects. From nonexistence to assuming an existence in the museum, it is a process of decontextualization and recontextualization. It is a process of forming a museum that finally will be added to the results produced by cultural workers.</p><img src='/data/About/Events/in2/9.png'/><p><i>Shifting Approaches to Exhibition Interpretation and Community Engagement</i></p><p><i>Jennifer Czajkowski </i></p><p><i>Deputy Director of Royal Ontario Museum</i></p><p>In a quest to more meaningfully engage an ever-growing audience with art and culture, leading museums are transforming the way they develop and present exhibitions. No longer focusing solely on knowledge about objects in collections, museums are increasingly gathering equal amounts of knowledge about the behavior of the people they wish to welcome into their galleries. Ongoing research about the way people learn in informal learning environments, how they engage with objects of art and culture, and what they expect from a museum visit is leading these museums to amend long-held practices. The increased professionalization of the interpretive planning field is bringing valuable new expertise to the exhibition development process, alongside the traditional expertise of the curator and designer. The addition of this new interpretive voice requires museum staff to redefine their roles and learn new ways of sharing and working together. The growing inclusion of various forms of evaluation and community consultation conducted throughout exhibition development means exhibition teams are gaining useful insights that call for more agile approaches to project management. By incorporating these approaches into their exhibition development process, leading museums are increasing public participation and deepening the experiences of their visitors in regard to the collections.</p><img src='/data/About/Events/in2/10.png'/><p><i>On Curating of Suzhou Museum</i></p><p><i>Qian Zhaoyue </i></p><p><i>Vice President of Suzhou Museum</i></p><p>Since the establishment of its new facilities in 2006, Suzhou Museum has experienced four stages in curating: namely executing exhibitions, undertaking fine exhibitions, planning exhibition series, and curating brand exhibitions. Looking back over the past decade, we have some experience to share. First, exhibitions should be consistent with the regional civilization. The most important regional features should be ascertained to establish the museum’s spirit. Second, an independent curating team must be cultivated for the museum, so that the relationship between "protection of museum collections" and "hosting more attractive exhibitions" can be balanced. To be successful and well received, events should not be limited to the exhibition itself, but be supported with more complementary activities such as educational activities, publicity and marketing. Third, an academic orientation must be upheld. Museums must have their own cultural heights, and academic orientation must be upheld in planning ancient, modern and contemporary art exhibitions. Fourth, the value of the audience experience must be highlighted. Museums in the modern sense no longer focus on "objects". Instead, the "audience" and "collections" should be the simultaneous focus of attention. Adjusting the content and direction of the exhibitions for the next year according to the audience feedback of the previous period has been one of the characteristic practices of Suzhou Museum.</p><img src='/data/About/Events/in2/11.png'/><p><i>Golden Wind Embraces Dew of Jade: Audience centered "Exhibition" and "Interpretation"</i></p><p><i>Tan Xiaoling </i></p><p><i>Director of the National Cooperation and Ethnical Archaeology Research Department at Capital Museum</i></p><p>The times are changing rapidly, and focused museum exhibitions are increasingly being demanded by the audience. The audience’s response has also become the standard for defining quality exhibitions. In the context of "people-oriented" museum display, meeting the needs of the audience to achieve good social benefits is a clear focus for all museums, as well as an important part of performance evaluation for exhibitions. Under such a trend, knowledge of the audience has become a necessary condition for museums educational practices. The Capital Museum has consistently practiced the principle of "audience foremost" in launching exhibitions in recent years. Its writing of the exhibit content, creation of exhibition atmosphere, and design of cultural relic details for display have all been encapsulation of the ubiquitous ingenuity and unremitting diligence of its exhibition team.</p><img src='/data/About/Events/in2/12.png'/><p><i>From "Audience-Foremost" to Community Centered Exhibition System for City Museums</i></p><p><i>Wang Siyu </i></p><p><i>Doctoral Fellow of Peking University School of Archaeology and Museology</i></p><p>It can be seen from the development of international museums in the past two decades that both researchers and practitioners have gained a deeper understanding of, and placed greater emphasis on, the role of audience study. However, at the same time, this is often restricted to the technical level of audience segmentation and post-event evaluation, thus giving rise to the misconception of "audience supremacy" in a narrow sense. For urban museums with a clear goal orientation in particular, it is even more urgent to remove this misconception. To this end, understanding of the concept of "community" is even more important, because it helps city museums to develop exhibition concepts and technologies better geared to society, with greater compatibility and more provocative reflection. In order to expound on the issue, the speech begins with a review of audience study and community concept and draws on its theoretical analysis to further discuss and reflect methods for developing those exhibition ideas and technologies with some cases at home and abroad.</p>`,
      
      `<p class='xx'>Panel Discussion III:  Museums and International Cooperation</p><p>In order to enhance the international standard of museums, it is essential for them to deepen understanding of the need for cooperation, growing together in collaboration, and strengthening exchanges and cooperation with the museums around the world without exception.</p><p>In this discussion, Shen Chen, vice president of the Royal Ontario Museum of Canada, served as the moderator. Li Mingbin, director of Chengdu Museum, Lars-Christian Koch, director of the Berlin State Museum’s collections at the Humboldt Forum: Ethnological Museum und Museum of Asian Art of Germany, and Yang Dandan, director of the Department of Publicity, Education and Social Engagement of the Capital Museum of China gave keynote speeches. At the end, Shen Chen gave a keynote speech on behalf of Sascha Priewe, associate vice president of the Royal Ontario Museum of Canada. They each discussed the inevitability, importance and experience of international cooperation and communication in the museum field.</p><img src='/data/About/Events/in2/13.png'/><p><i>Inheritance, Mutual Learning and Sharing: The Exhibition Strategy of City Museums</i></p><p><i>Li Mingbin </i></p><p><i>Director of Chengdu Museum</i></p><p>City museums in the modern sense shoulder not only the task of systematically collecting, collating, researching and disseminating carriers of urban social memory, but also that of promoting mutual learning of civilizations and cultural exchanges. In addition, they serve to connect the past to the present and the future by sharing resources with the public. City museums should develop exhibition strategies in accordance with their role positioning and collection characteristics. Since the very beginning of construction, the new facility of Chengdu Museum has been building a system of exhibitions around its functional orientation as a city museum. It has finally established an exhibition system combining historical and cultural displays with special events. After its opening in 2016, Chengdu Museum dedicated itself to curating exploration, formulating an exhibition system of "historical inheritance", "mutual learning of civilization" and "cultural sharing". Meanwhile, under the development trend of museums in the new era, making clever use of collection resources, extensively communicating with the outside world, and establishing a curatorial mechanism featuring "crossover cooperation", to explore the curator system are also issues worthy of further discussion.</p><img src='/data/About/Events/in2/14.png'/><p><i>Museum and International Collaboration</i></p><p><i>Lars-Christian Koch </i></p><p>Director of the Ethnological Museum Berlin and Head of Collections at the Humboldt Forum Berlin Insistence on intensifying collaboration with the societies of origin in our museum work both an eminently reasonable demand and a requirement of the times. In the Humboldt Forum, many exhibition modules contain components that have been and continue to be developed with partners in the originating societies. Successful cooperation, however, is a long-term process, which almost always requires preparation over several years, but which also yields innovative results that are unique in Germany and possibly globally in the museum context. Cooperation is also particularly helpful in highlighting present-day relevance, significance and the problems of historical collections.</p><p>For this reason, numerous cooperative projects are already underway in the Humboldt Forum. These are very varied and involve different stakeholders from the originators, such as photographers, artists, architects, scientists and also cultural specialists who are difficult to categorize. In all collaborations, curators surrender some of their authority, thus contributing to the creation of a multiple perspective.</p><p>Museums had already taken on the task to draft a comprehensive plan to research the provenance of objects in their collections, transparently publishing available information and ensuring that the provenance and biographies of objects are made visible both in the exhibitions and elsewhere, for example in an open-access database reflecting the history of the museum collections. The cooperation with societies of origin, other regional experts as well as governments can greatly intensify these perspectives. Comprehensive digitization projects enable more transparent accessibility for the public as well as for the specialists.</p><img src='/data/About/Events/in2/15.png'/><p><i>Interpretation of "Popularized" Exhibition Presentation</i></p><p><i>Yang Dandan </i></p><p><i>Director of the Department of Publicity and Education and Volunteers of the Capital Museum</i></p><p>In the expression of "popularization" for museums, the word "popularization" can be interpreted from three aspects. In the first place, "popularization" resembles a path, which is conducive in connecting a museum and its visitors. In the second place, how to understand "popular"? It means providing visitors with specialized cultural content through professional fields and environments. In the third place, it stands for "change", in that museums are changing, staff are changing, and also the public is changing.</p><p>In the professional field of museums, "popularization" is a must. The exhibition of "Reading the City" at the Capital Museum is such an exploration. It tries to consider the understanding of visitors as much as possible from the language expression to exhibition patterns. In the expression of popularization for exhibitions, it is the precise nature of knowledge-seeking that is more important, which is established by the museum people in the process of inter-departmental integration and recognizing each aspect. Science, and a precise and serious learning attitude will be passed on to children visiting the exhibition.</p><p>The museum delivers not only knowledge, but also a reverence for museums, museum workers as well as history. "Reading the City" is not just for the pleasure of the production team, it is intended to inspire all visitors to gain some inspiration and encourage thinking through the process of cultural channels and dialogues with the ancients. It brings visitors’ thoughts, problems and ideas back to life, increases attachment to their hometown and increases the sense of pride of the motherland on the world stage.</p><p>In the course of the future development, cooperation and continuous innovation of museums, it is believed that we as museum people should have such a common desire, that is our museums can become involved in a larger and wider connection with society, encouraging the public to become regular patrons of museums, and form this into a lifelong habit, in which they can find what their future will look like.</p><img src='/data/About/Events/in2/16.png'/><p><i>The Diplomatic Potential of Museums</i></p><p><i>Sascha Priewe </i></p><p><i>Associate Vice President of Royal Ontario Museum</i></p><p>In a broadening diplomatic landscape that recognizes the diplomatic potential of an ever-greater array of institutions and individuals alongside the nation states, museums are increasingly being recognized as significant actors in cultural diplomacy: in the words of Andreas Görgen, Director General for Culture and Communication, German Foreign Office (2016), "Museums are at the vanguard of cultural work - they are the diplomats of the 21st Century…"</p><p>While many museums have long functioned as agents for international work, in this talk I will establish that museums have always been international and aim to chart how, in recent years, museum diplomacy has both broadened and deepened. I will aim to develop the notion of a museum diplomacy in its own right, one that is deeply rooted in the principles, values and interests of the museums themselves. To that end I will demonstrate how museums produce diplomatic outcomes and why achieving these ends is more important today than ever</p><p>Bai Jie, secretary of the Party Committee of Capital Museum, made a concluding speech.</p><img src='/data/About/Events/in2/17.png'/><p><i>Presentation and Significance of the Exhibition System of Capital Museum</i></p><p><i>Bai Jie </i></p><p><i>Secretary of the Party Committee of Capital Museum</i></p><p>The Capital Museum is a comprehensive museum in Beijing, the capital of China. It houses 120,000 items of collections witnessing the local history and ancient art of the city, with permanent displays of its history and culture as the primary focus. Its temporary exhibitions are an important platform for interaction with visitors, as well as a manifestation of its vitality. The Capital Museum has drawn on the influence of Beijing as the Chinese capital and its special status as a center of international communication for the country to actively explore multi-dimensional resource integration and diversified art presentation. It has formed a unique system of temporary exhibitions, focused on the three themes of "Interpreting the Brilliant China, Showcasing Smart Beijing, and Promoting Exchanges among World Civilizations", playing an active role in inheriting and promoting Chinese civilization, spreading the history and culture of Beijing and promoting exchanges among world civilizations. It has also drawn on public opinion and learned from the experience of its domestic and foreign peers to realize business improvement and form its characteristic brands.</p>`,
    ],
    },

    {
      id: 3,
      h3: "A Bright New Year Opens for Capital Museum",
      txt: [],
      i: 'January 1, 2019',
      main:`<p>On January 1, 2019, President Bai Jie, Director Han Zhanming and other leaders on duty of the Capital Museum, along with the on-duty 11th Squadron of the 3rd Division of the Chinese Armed Police Force's Beijing Municipal Corps attended a solemn flag-raising ceremony to usher in the new year.</p><video src="/data/About/Events/in/1.mp4" controls></video><img src='/data/About/Events/in/7.png'/><img src='/data/About/Events/in/8.png'/><p>Watched by the leaders and staff of the Museum, the flag-bearers marched out of the museum to raise the national flag in a sharp wind. After returning to the Ceremony Hall, the staff lined up and passionately sang the national anthem.  </p><img src='/data/About/Events/in/9.png'/><img src='/data/About/Events/in/10.png'/><img src='/data/About/Events/in/11.png'/><p>Director Han Zhanming extended his gratitude to the staff and 11th Squadron for their persistence and industrious work in providing high-quality services for visitors. He then wished everyone a happy new year.</p><img src='/data/About/Events/in/12.png'/><img src='/data/About/Events/in/13.png'/><p>Before the official opening of the museum in the new year, Director Han Zhanming walked outside the building to extend his best wishes for the coming year to people waiting to visit the museum and gave them copies of Brief History of Beijing as a gift. </p><img src='/data/About/Events/in/14.png'/><img src='/data/About/Events/in/15.png'/><p>On the first day of the new year, the Museum organized instructors to present visitors with a copy of Brief History of Beijing. Besides, the Museum also prepared puzzles, "IN Reading City" experiencing activity and an assembled toy for children at the kids activity center.</p><img src='/data/About/Events/in/16.png'/><img src='/data/About/Events/in/17.png'/><img src='/data/About/Events/in/18.png'/><img src='/data/About/Events/in/19.png'/><img src='/data/About/Events/in/20.png'/><img src='/data/About/Events/in/21.png'/><p>The leaders and staff of the Museum greeted friends from home and abroad with enthusiasm, demonstrating their willingness to sincerely devote themselves to present fascinating exhibitions and colorful events for visitors and their delight in celebrating the 70th anniversary of the founding of the People's Republic of China. </p><img src='/data/About/Events/in/22.png'/><img src='/data/About/Events/in/23.png'/><img src='/data/About/Events/in/24.png'/><img src='/data/About/Events/in/25.png'/><p>Photographers: Liang Gang, Li Xinyue<br />Volunteer Photographers: Luo Yanping, Hu Jianxin</p>`
    },
    {
      id: 4,
      h3: "2018 China-Japan-ROK International<br />Conference on Museums",
      txt: [
        { name: '■ Introduction', path: 4 },
        { name: '■ Speech of President Bai at the Conference', path: 4.2 },
        {
          name: "■ Statements of the Curators' Roundtable", path: 4.3
        },
      ],
      i: 'August 14, 2018- August 15, 2018',
      main:`<p class='xx'>Introduction</p><p>City museums are an important category of museums, reflecting the development history and current situation of the most important human settlements. The urban culture, art and custom displayed in museums in capital cities are of typical significance for a country. In August 2018, the Capital Museum, the Shenyang Palace Museum, the Edo-Tokyo Museum and the Seoul Museum of History held the "China-Japan-ROK International Conference on Museum Studies". </p><p>The joint collaboration, which has lasted for 16 years, has accrued great achievements in the exploration of development for museums of capital cities. Also, its vision is more in tune with the new trend of international museums, which can be seen in the theme of the conference this year - "‘Hyperconnections' of Museums under the Context of Capital Studies". </p><p>In 2002, the museums in the capitals cities of China, Japan and Republic of Korea jointly initiated an exchange mechanism for the museums in capital cities of the three countries. Through the annual international conference on museum studies, the museums of the three countries exchange ideas and open channels of cooperation. </p><p>In 2007, the Shenyang Palace Museum joined in the partnership to form the current interactive exchange mode among the four sister museums. In the 16 years, under the framework of the China-Japan-ROK International Conference on Museum Studies, the museums of the three countries have maintained communication and personnel exchanges not only in academia but also in exhibition planning. </p><p>In 2013, on the occasion of the 20th anniversary of the establishment of sister cities between Beijing and Seoul, the Capital Museum and the Seoul Museum of History held exchanged exhibitions, including the "3000 years of Beijing: a Journey of Acceptance and Tolerance", organized by the Capital Museum, and the"Seoul, A City of Streams: The Changing Fortunes of Cheonggyecheon", arranged by the Seoul Museum of History. The exhibitions facilitated cross-border exchanges of local knowledge, and promoted the mutual understanding of people from the two capitals. </p><p>From 2017 to 2018, the Capital Museum and the Edo-Tokyo Museum, through the"Edo and Beijing: Cities and Urban Life in the 18th Century", have deepened the cooperation mechanism. The Capital Museum opened its storage to its counterparts in Tokyo and assigned personnel to conduct academic exchanges in a bid to complete the planning work of the exhibition together. The inauguration of this exhibition in Beijing is one of the highlights of this conference. Uninterrupted over the last 16 years, museum staff of the three countries have maintained their exchanges and continued their sharing of museum management as well as making the conference an annual event. </p><p>From the early cooperation in the beginning of the 21st century to the deepened cooperation today, the museum staffs of the four countries shouldered the responsibility of bringing city museums to people's lives. The research, collection and display of museums can reflect every aspect of history. Therefore, the development of the museum requires museum staff to reach a higher level of reflection. Taking the theme of"Resource Sharing and Academic Cooperation—‘Hyper connections' of Museums in the Context of Capital Studies", this conference highlighted the characteristics of city museums and increased the current missions of museums in capital cities. </p><p>Moreover, by further exploring the theme of the International Museum Day - "Hyperconnected Museums: New Approaches, New Publics", "Museum Missions under the Context of Capital Studies" were included in the discussion, as a way to offer a reflection on realizing the integration of historical culture and capital functions in the new era by staff in the museums located in current capitals and historical capitals. </p><p>This international conference can be distinguished from the previous ones in two aspects: First, the conference was not only attended by museum staff, but also by linguists and experts of local studies. Meanwhile, the conference was supported by the Institute of Beijing Studies and the Beijing Language and Culture University. Second, it succeeded in inviting the National Museum Bangkok of Thailand as the representative of museum staff in Southeast Asia, thus extending the original cooperation mechanism to Southeast Asia. </p><p>As the host of this international conference, the Capital Museum advocated the establishment of a "Capital City Museum Union" to absorb the involvement of museums in capital cities in Asia and around the world in a bid to jointly explore better ways to realize the current functions of museums in capital cities, to encourage the construction of city museums for the development of capital cities, to shoulder the responsibility of building a community of shared future for mankind and to make city life better.</p><p>The conference has received nine excellent papers from the four museums and experts and scholars of the Beijing Union University. They discussed from the perspectives of their respective research fields and institute missions their understanding of the "hyperconnection" methods between museums and society in the context of"capital studies", including practice summary based on theoretical research and applied research on new things and new approaches. All these have manifested the scholastic style of diligent practice, independent thinking and pioneering novelty. Discussions from people of various cities, countries and specialties are of great importance for the future practice and development of museums.</p><p>We look forward to the further development of the China-Japan-ROK cooperation mechanism, to the practicing of "hyperconnected" museums in the context of capital studies, and to the display of civilizations of capital cities in the world to the international community.</p><p>Click to view the full text of <a href="#/Layout/EventsInfo/4.3">the Statements of the Curators' Roundtable</a></p><p>Click to view the full text of <a href="#/Layout/EventsInfo/4.2">the Speech delivered by Bai Jie, President of Capital Museum, on August 15, 2018</a></p>`
    },
    {
      id: 4.2,
      h3: "2018 China-Japan-ROK International<br />Conference on Museums",
      txt: [
        { name: '■ Introduction', path: 4 },
        { name: '■ Speech of President Bai at the Conference', path: 4.2 },
        {
          name: "■ Statements of the Curators' Roundtable", path: 4.3
        },
      ],
      i: 'August 14, 2018- August 15, 2018',
      main:`<p class='xx'>Civilizations of Capital Cities and Cultural Exchanges<br />—Prospect and Outlook of Cooperation on "Capital Studies" <br />that Transcends Dimensions of Time and Space</p><p>BAI Jie, President of Capital Museum, China</p><p>(August 15, 2018)</p><p>A country's capital usually serves as its symbol and central point of focus and plays an important role in communicating with the international community. Museums in capital cities serve as a collector and protector of the history of the city, and work to record and promote the country's spirit of humanity. Capital studies is an important academic discipline that helps facilitate the development of museums in capital cities. Previously, "Seoul studies" and "Beijing studies" have explored capital studies. Now, the involvement of museums in capitals not only accelerates the development of local studies and the establishment of an international discipline system, but also gives impetus to the development of international museums in the new era. Through further academic research on this subject, museums in capital cities can better assist the development of museums throughout the country.</p><img src='/data/About/Events/in/58.png'/><p>Chinese President Xi Jinping advocates for people all around the world to jointly build a community of shared future for mankind. China and all countries in the world are members of the global community, and museums are an important part of that. The "hyperconnections" of museums can be used to carry forward the spirit of equality, mutual trust, inclusiveness, mutual learning and win-win cooperation, increase exchanges between world civilizations and concertedly build a brighter future for mankind.</p><p class='xx'>I.Review of China-Japan-ROK Museum Cooperation</p><p>The cooperation and exchange among the museums of China, Japan and Republic of Korea has been carried out for over 16 years. In 2002, the Capital Museum, the Edo-Tokyo Museum, and the Seoul Museum of History jointly initiated a museum exchange mechanism in the capital cities of China, Japan and ROK. Through the annual international conference on museum studies, the three museums exchange ideas, intensify communication and open channels of cooperation. In 2007, the Shenyang Palace Museum joined in the partnership to form the current interactive exchange model among the four sister museums. Over the past 17 years, under the framework of the China-Japan-ROK International Conference on Museum Studies, personnel of the four museums have grown close and have developed in-depth cooperation concerning mutual learning of academic ideas, experience in museum management, joint curation and so on. The past few years of development have led to a profound friendship among museum personnel of the three countries.</p><img src='/data/About/Events/in/59.png'/><p>In 2013, on the 20th anniversary of the establishment of sister cities between Beijing and Seoul, the Capital Museum and the Seoul Museum of History held a peer-exchange exhibition. The "3000 years of Beijing: a Journey of Acceptance and Tolerance" - an exhibition of Beijing's urban history organized by the Capital Museum, was staged in the Seoul Museum of History. While "Seoul, A City of Streams: The Changing Fortunes of Cheonggyecheon," an exhibition with the theme of shifting river channels of Cheonggyecheon arranged by the Seoul Museum of History, was displayed in the Capital Museum in December, 2015.</p><p>Later on, the Capital Museum and the Edo-Tokyo Museum collectively held an exhibition representing urban life in Tokyo and Beijing. Through the delicate cultural relics collected by the two museums, the exhibition showed Edo in the Shogun era and Beijing in the era of the emperors Kangxi and Qianlong in different aspects, from city building to urban life. The exhibition was held in the Edo-Tokyo Museum in 2017 and officially opened at the Capital Museum yesterday. Through their joint curation partnership, both museums have deepened their cooperation mechanism. The Capital Museum opened its storages to its counterparts in Tokyo and assigned personnel to conduct academic exchanges in a bid to complete the planning work of the exhibition together.</p><img src='/data/About/Events/in/60.png'/><p>The annual China-Japan-ROK international conference has yielded great fruits, which can be seen in the gradually deepening subjects, the increasingly close relationship among personnel and more and more diverse cooperation patterns. The theme of the 14th conference in Tokyo in 2015 was "Urban Museums as Cultural Disseminators"; the theme of the 15th conference in Shenyang in 2015 was "The Effect of Culture Creativity and its Derivatives in the Development of Museums"; the theme of the 16th conference in Seoul in 2017 was "City History Museum and City Memory", with the Institute of Seoul Studies of the University of Seoul and the Institute of Beijing Studies of Beijing Union University participated in the conference as well. Through this, our academic discussions were enriched. This year, we chose "'Hyperconnections' of Museum under the Context of Capital Studies" as the theme, in response to the theme of the 2018 International Museum Day as well as to adapt to the trend of the times featuring platform establishment, resource integration, and sharing. In the context of "capital studies," we invited the Bangkok National Museum of Thailand to participate in the forum. Although they did not attend the event in Beijing, their involvement has expanded the international conference on museum studies in Asia that we have been working on for 17 years. Together, we carry forward the cooperation and communication among museums in capitals in the academic context of "capital studies." Besides, their involvement also has increased the scope and depth of our cooperation. Such achievements result from our shared social function orientation, social value pursuit, development request, and mission. In the future, we hope to continuously see more involvement of other capital museums and learn from each other and to keep strengthening and deepening communication and cooperation in various aspects.</p><p class='xx'>II."Capital" Function of Carrying Civilization and Progress</p><p>Tokyo, Seoul, Beijing and Shenyang are all time-honored ancient capitals and renowned cities with profound cultural accumulation; for Tokyo, Seoul and Beijing, these kinds of historical and cultural functions are increasingly integrated with their current functions as capitals in the process of development. Throughout history, capitals and cities have emerged and grown with each other in harmonious ways.</p><p>Museums in capital cities serve as the windows for displaying and providing capital functions - a kind of urban cultural disseminator that collects, displays, disseminates, and studies urban development and national progress. Through these functions, an important mission for urban museums is to understand and diffuse the historical culture of the cities where the museums are located. The Capital Museum has always been committed to serving the society, appreciating "Beijing Wisdom", exploring the brilliant Chinese culture and promoting exchanges of world civilizations together with the public. On February 25th, 2014, when Chinese President Xi Jinping paid an inspection visit to the Capital Museum, he emphasized that the reason why museums "hold historical exhibitions is to memorize and draw from the history, and enlighten future generations." Besides, he hoped that museum workers would "inform the public of historical wisdom." Urban civilizations carry a wealth of ancient wisdom, and the progress of capital cities represents the progress of the whole country. Consequently, we museum workers should develop in-depth cooperation with those who adhere to the civilization studies of capital cities, and jointly propose and promote the construction of an academic system driven by international cooperation to assist our research and enrich our minds. By doing this, we can diffuse and share the urban spirit and ancient wisdom on a more realistic and extensive level.</p><img src='/data/About/Events/in/61.png'/><p>The "Reading City" series of exhibitions designed and staged by the Capital Museum in recent years have allowed the museum to deeply explore and diffuse Beijing's urban culture. The series of exhibitions, focusing on the concept of social education in museums, is becoming a brand for the Capital Museum. So far, the series of exhibitions, including the first one "Seeking for the Historical Beijing City" and the second "Discovering the Charm of Beijing Quadrangles" have been staged as itinerant exhibitions in China. Through the series of exhibitions, the public can feel more connected to museums and Beijing, an ancient and modern city and people who live in Beijing can feel a sense of belonging, so that they can reflect on the present and the plans for the future. While diffusing the historical culture of Beijing, the exhibitions also dig into the historical culture of the cities where the exhibitions are held, so that the local audience can understand the civilization progress of different cities in China. During the Chinese Spring Festival this year, we also incorporated an interactive activity with the theme "Transnational Urban Culture" with the National Museum in Wrocław of Poland. Families of the two cities told stories of their cities at both museums, and the audience could watch the museum of the other side through the museum network platform. This project allowed the public of the two cities to gain better intercommunication and knowledge of one another.</p><p class='xx'>III.Exploration of Cooperation Model of Hyperconnected Museums under the Context of "Capital Studies"</p><p>The theme of the 2018 International Museum Day was identified as "Hyperconnected Museums: New Approaches, New Publics." The global network is increasingly complicated and diverse. In this hyperconnected world, there is a trend to realize win-win outcomes by using cross-border cooperation and resource sharing via information network technology as the driving force. "Capital studies," in such a background, is a discipline of urban studies with the research object of capitals. Museums in capital cities are the preserver and recorder of the history of capital cities, as well as the witness and participant of the current development of capital cities. Moreover, museums in capital cities are also an important support for "capital studies" and the places of origin for academic research in relevant fields. Capital studies is a valued subject in many overseas countries such as the United Kingdom, France, the United States, South Korea and Japan. Studies of capitals such as London, Paris, Washington D.C., Seoul and Tokyo have been constantly deepened. The Capital Museum attaches great importance to the academic development of "capital studies" and "Beijing studies" and their supportive function. Therefore, the museum has established long-term strategic partnerships with the Institute of Beijing Studies and the Beijing Union University. We hope to deepen urban museum workers' understanding of local urban studies, and meanwhile, we hope to promote the construction of larger platforms for academic cooperation and historical wisdom dissemination and collectively enrich and develop the construction of an academic system and the development of academic cooperation for international capital studies based on museums.</p><img src='/data/About/Events/in/62.png'/><p>Shortly before, the Capital Museum signed memorandums of friendly cooperation with the APSARA National Authority of Cambodia and the Bangkok National Museum of Thailand to transfer the international exchange mechanism for museums of Northeast Asia to Southeast Asia. The important achievement of the conference this year is our joint initiative to treasure friendship, deepen exchanges and carry forward our cooperation mechanism. As we strengthen our academic cooperation, in the next three years, the four museums based in East Asia, following the policy of building friendship and partnership with neighboring countries, will remain committed to encouraging liaison and communication between the capital cities and the museums in the historical capital cities, and will extend our existing cooperation mechanism and build cooperation platforms for the development of human culture.</p><p>At present, we should actively advocate museum researchers to cooperate with us in diffusing museum knowledge, planning and offering themed exhibitions to meet the needs of our citizens, and facilitate mutual learning based on resource collection and research results of the museums they serve. What we are pursuing is a comprehensive linkage pattern of museums, which, as we believe, will yield more fruits to serve the international community and expedite the development of museum undertakings.</p><img src='/data/About/Events/in/63.png'/><p>The "Internet Plus" era is full of opportunities and challenges. In such an era, museums should undertake more missions than before, and museums in capital cities and ancient capital cities should take the lead in discovering a "hyperconnected" approach of cooperation and development. We boast 16 years of experience, unswerving professional ethics, and value pursuit. Nevertheless, the most important thing that we have is our unremitting efforts. Let us continue to move forward one step after another and work together for a brighter future!</p>`
    },
    {
      id: 4.3,
      h3: "2018 China-Japan-ROK International<br />Conference on Museums",
      txt: [
        { name: '■ Introduction', path: 4 },
        { name: '■ Speech of President Bai at the Conference', path: 4.2 },
        {
          name: "■ Statements of the Curators' Roundtable", path: 4.3
        },
      ],
      i: 'August 14, 2018- August 15, 2018',
      main:`<p class='xx'>Statements of the Curators' Roundtable</p><p>I. We should treasure the friendship formed in the past 16 years, increase personnel exchanges, and maintain and develop our cooperative mechanism;</p><img src='/data/About/Events/in/64.png'/><p>II. We should intensify academic cooperation and make joint achievements to promote the integration of theoretical innovations and practices concerning "Capital Studies" and museology;</p><img src='/data/About/Events/in/65.png'/><p>III. In the next three years, the four museums will be fully supportive of the cooperative exhibitions between the Edo-Tokyo Museum and the Seoul Museum of History;</p><img src='/data/About/Events/in/66.png'/><p>IV. Over the next three years, the four museums will carry out joint curation in a bid to increase inter-city cultural exchanges, deepen mutual understanding and promote cooperation of sister cities;</p><img src='/data/About/Events/in/67.png'/><p>V. In the next three years, the four museums based in East Asia, under the policy of building friendship and partnership with its neighbors, will be committed to facilitating the communication and exchanges between museums in the capital cities and historical capital cities, extending the existing cooperative mechanism and building cooperation platforms for the development of human culture.</p>`
    },
    {
      id: 5,
      h3: "Exhibition 'Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen' Opens in Mauritius",
      txt: [],
      i: 'February 10, 2018 - March 5, 2018',
      main:`<p>The exhibition "Chinese Traditional Custom of the Birthday Celebration for the Senior Citizen," sponsored by the Embassy of People's Republic of China in the Republic of Mauritius, Ministry of Arts and Culture in the Republic of Mauritius and the Beijing Municipal Administration of Cultural Heritage, and hosted by the China Cultural Center in Mauritius and the Capital Museum, was unveiled on Feb. 10, 2018 at the Cultural Center. </p><video src="/data/About/Events/in/2.mp4" controls></video><img src='/data/About/Events/in/68.png'/><p>Then Mauritius President Ameenah Gurib-Fakim, Vice President Barlen Vyapoory, Chinese Ambassador to Mauritius Sun Gongyi, Mauritius Minister of Art and Culture Prithvirajsing Roopun, Mayor of Port Louis, the capital, Daniel Eric Clive Laurent, and President of the Capital Museum Bai Jie, all attended the opening ceremony, which was presided over by Song Yanqun, cultural counselor of the Chinese Embassy in Mauritius and director of the Chinese Culture Center in Mauritius.</p><img src='/data/About/Events/in/69.png'/><p>In a warm speech to the opening ceremony, then President Gurib-Fakim pointed out that the exhibition, as an important part of the celebration of the 50th anniversary of the independence of Mauritius, was held during the Spring Festival (Chinese Lunar New Year) - one of the statutory public holidays in Mauritius, which reflected the friendship and multi-cultural integration between two countries. Ambassador Sun Gongyi, in his speech, said that "offering birthday congratulations to the elderly" shows younger generations' respect for the elderly and conveys the Chinese culture of filial piety. In today's society, "filial piety" clearly demonstrated the Chinese people's consistent spiritual pursuit of harmony between each person and well suits the festive atmosphere of family reunion and joy and harmony during the Spring Festival.</p><img src='/data/About/Events/in/70.png'/><p>In his speech, President of the Capital Museum Bai Jie thanked the president of Mauritius for her attention and attendance at the opening ceremony of the exhibition. He extended his sincere congratulation to the Mauritius president and other local guests on the 50th anniversary of Mauritius's independence and congratulated Ambassador Sun on the 30th anniversary of the establishment of the China Cultural Center in Mauritius. He pointed out that Chinese President Xi Jinping is advocating that people all over the world should jointly build a community of shared future for mankind, in which both Chinese and Mauritian people were important members. "Museum people are the messengers between different cultures. We hope to build the community of shared future through museum exhibitions," he added.</p><img src='/data/About/Events/in/71.png'/><p>This exhibition is the third consecutive year the Capital Museum has held an exhibition in Mauritius, following the "Beijing New Year Customs" in 2016 and the "Beijing Wedding Customs" in 2017. The exhibition starts with the widely circulated "Twenty-Four Filial Piety" story in China and helps viewers understand Chinese traditional culture behind it. Each exhibition is equipped with interactive activities and ritual performances to showcase Chinese civilization lively and dynamically, as a way to tell good stories of China and explain historical wisdom.</p><img src='/data/About/Events/in/72.png'/><p>The opening day was welcomed by the ebullient audience. Mr. Lin, already a third-generation Mauritius Chinese citizen, said he felt even more gracious about the great motherland after his visit to the exhibition, which enhanced his cultural confidence as a Mauritian Chinese. The event was reported by many journalists from such local media as "Mauritian News," "Express," and "Challenge." Xinhua News Agency dispatched special reporters to the scene for an on-site interview. CCTV offered a live broadcast online at a non-reporter station, giving an estimated audience of more than 700,000 Chinese and foreign citizens a chance to see the exhibition.</p>`
    }  

  ]
}