ShouBo/web/src/views/Search/data.js

export const Visit = [
  {
    id: 1,
    h3: "Accessibility",
    p: "Facilitiesfor the HandicappedWheelchairs are available forvisitors with special needs.Professional consultants andguidesare on hand to help.In addition to professional commentatorsin the exhibition halls, 15advanced self-servicescreens andsix special ones for people inwheelchairs havebeen installedin the exhibitareas.Visitors can read and download data,orcarry out interactive operations via thesescreens. Atotal of18card-operated telephones, including six for those inwheelchairs,have alsobeeninst…",
    path: "#/Layout/Visit/5",
  },
  {
    id: 2,
    h3: "Audio Guide & Tour",
    p: "Audio GuideThe museum offers free audio guide. Visitors can get the devices from the audio guidecabinets with 200 RMB refundable deposit. The cabinets can befound at severallocationsin the museum, such as the east of the main entrance.The service isavailable in Chineseand English. For further questions, please visit the information desk for help.Free Commentary ServiceCommentators provide free services on each open day Tuesday to Sunday. Please checkthe specific time and exhibition location in t…",
    path: "#/Layout/Visit/4",
  },
  {
    id: 3,
    h3: "Reservation",
    p: "How to Make a Reservation?Telephone reservation individual visitors: +86 10 63393339Telephone reservation group visitors: +86 10 63370458From 9:00 to 17:00 every day.Either system will issue a confirmation number. Visitors will berequiredtoshow the number or valid ID in order to receive freeentrancetickets ontheday of their visit.Ways of ReservationThere are 3,600 daily personal booking places, available through website 3000 places and telephone 600 places. The websitehttp:en.capitalmuseum.org.c…",
    path: "#/Layout/Visit/2",
  },
  {
    id: 4,
    h3: "Café & Shop",
    p: "CafeteriaThe cafeteria is located on the northeast corner of the roundexhibition room at basement level. Covering about 200 squaremeters,it offers coffee, soft drinks and low alcohol beverages. Shop Located in the southwest of the museum's basement and with a floor space of about 550 square meters, the souvenir shop offers a wide variety of souvenirs including special souvenirs from the museum, books, and audio-visual products. Also on sale here are various arts and crafts with local ch…",
    path: "#/Layout/Visit/6",
  },
  {
    id: 5,
    h3: "Visitor Guidelines",
    p: "01 All exhibitions in the museum are free. 05Inebriated and improperly-dressed persons will be refused entry. 02 The museum opens from Tuesday to Sunday,9:00 - 17:00no admission after16:00,but is closed on Mondaysexcept for holidays. 06Inflammable and explosive materials, knives subject to control and dangerous articles cannot be brought into the museum. 03Please make ticket reservations at least one daybefore thedesired visit and obtain your …",
    path: "#/Layout/Visit/7",
  },
];
export const Exhibitions = [
  {
    id: 58,
    cover: "/data/Exhibitions/Current/2.jpg",
    h3: "Splendid Central Axis of Beijing",
    p: "Starting from the planning and construction of the Central Axis of the Capital Dadu of the Yuan Dynasty and with the ongoing inheritance and carrying forward of past achievements over the later dynasties, the Central Axis of Beijing has finally been made such a magnificent presence as it stands now, with originality and creativeness to be found everywhere along the Axis.",
    path: "#/Layout/ExhibitionsInfo?id=58&k=1",
  },
  {
    id: 2,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=2&k=3",
  },
  {
    id: 3,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=3&k=3",
  },
  {
    id: 4,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=4&k=3",
  },
  {
    id: 5,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=5&k=3",
  },
  {
    id: 6,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=6&k=3",
  },
  {
    id: 7,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=7&k=3",
  },
  {
    id: 8,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=8&k=3",
  },
  {
    id: 9,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=9&k=3",
  },
  {
    id: 10,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=10&k=3",
  },
  {
    id: 11,
    cover: "/data/Exhibitions/Permanent/10.jpg",
    h3: "Eternal Witness of Civilization: History of Beijing",
    p: "Over 700,000 years ago, ancient humans thrived in Beijing. 3,000 years ago, Beijing was appointed as a fiefdom for the Yan and Ji states. Since the Qin and Han dynasties, it rose amidst chaos to become a significant northern stronghold. During the Liao and Jin dynasties, it developed into the political center of northern China. In the Yuan, Ming, and Qing dynasties, it became the capital of a unified country. After the establishment of the People's Republic of China, Beijing has continuously renewed itself while preserving its historical heritage. In the new era, it has fully implemented its strategic positioning as a national political center, cultural center, international exchange center, and scientific innovation center. Here, we witness the Chinese nation's journey from history to the future, from tradition to modernity, and the trend of development that unites diversity into unity.",
    path: "#/Layout/ExhibitionsInfo?id=11&k=3",
  },
  {
    id: 59,
    cover: "/data/Exhibitions/Past/40.jpg",
    h3: "Three Thousand Boundless Universes in Paintings - Portraits of Taoist and Buddhist Figures Collected in the Capital Museum",
    p: "The portraits of Taoist and Buddhist figures have always embodied the creativity and vitality from all levels of society, especially the folk society. To explore and demonstrate the ideological connotation and cultural essence contained in this genre of excellent Chinese traditional culture in a profound manner, the Capital Museum has selected more than 110 pieces of paintings of Taoist and Buddhist figures from the collection from the Ming and Qing dynasties, and presents a variety of styles and types of religious paintings, such as those made by imperial decree and donated by folk societies that expressed the sentiments of literati, in a combination of physical exhibition and digital display. The exhibition will allow visitors to experience the superb painting skills of the ancients Chinese and their delicate spiritual aspirations.",
    path: "#/Layout/ExhibitionsInfo?id=59&k=3",
  },
  {
    id: 1,
    cover: "/data/Exhibitions/Past/38.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.',
    path: "#/Layout/ExhibitionsInfo?id=1&k=3",
  },
  {
    id: 48,
    cover: "/data/Exhibitions/Past/39.jpg",
    h3: "New Landscapes and Profound Changes - Exhibition of Paintings since the Founding of People’s Republic of China",
    p: "Witnessed profound and transformative change in China, there is nothing more worth recording than the birth of the Communist Party of China and the magnificent achievements made by Chinese people under the leadership of the Communist Party through self-reliance and hard work.",
    path: "#/Layout/ExhibitionsInfo?id=48&k=3",
  },
  {
    id: 11,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=11&k=3",
  },
  {
    id: 12,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=12&k=3",
  },
  {
    id: 13,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=13&k=3",
  },
  {
    id: 14,
    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.',
    path: "#/Layout/ExhibitionsInfo?id=14&k=3",
  },
  {
    id: 15,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=15&k=3",
  },
  {
    id: 16,
    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.',
    path: "#/Layout/ExhibitionsInfo?id=16&k=3",
  },
  {
    id: 17,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=17&k=3",
  },
  {
    id: 18,
    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."',
    path: "#/Layout/ExhibitionsInfo?id=18&k=3",
  },
  {
    id: 19,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=19&k=3",
  },
  {
    id: 20,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=20&k=3",
  },
  {
    id: 21,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=21&k=3",
  },
  {
    id: 22,
    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.',
    path: "#/Layout/ExhibitionsInfo?id=22&k=3",
  },
  {
    id: 23,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=23&k=3",
  },
  {
    id: 24,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=24&k=3",
  },
  {
    id: 25,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=25&k=3",
  },
  {
    id: 26,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=26&k=3",
  },
  {
    id: 27,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=27&k=3",
  },
  {
    id: 28,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=28&k=3",
  },
  {
    id: 29,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=29&k=3",
  },
  {
    id: 30,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=30&k=3",
  },
  {
    id: 31,
    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.',
    path: "#/Layout/ExhibitionsInfo?id=31&k=3",
  },
  {
    id: 32,
    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).",
    path: "#/Layout/ExhibitionsInfo?id=32&k=3",
  },
  {
    id: 33,
    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."`,
    path: "#/Layout/ExhibitionsInfo?id=33&k=3",
  },
  {
    id: 34,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=34&k=3",
  },
  {
    id: 35,
    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.',
    path: "#/Layout/ExhibitionsInfo?id=35&k=3",
  },
  {
    id: 36,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=36&k=3",
  },
  {
    id: 37,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=37&k=3",
  },
  {
    id: 38,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=38&k=3",
  },
  {
    id: 39,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=39&k=3",
  },
  {
    id: 40,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=40&k=3",
  },
  {
    id: 41,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=41&k=3",
  },
  {
    id: 42,
    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”.",
    path: "#/Layout/ExhibitionsInfo?id=42&k=3",
  },
  {
    id: 43,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=43&k=3",
  },
  {
    id: 44,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=44&k=3",
  },
  {
    id: 45,
    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.",
    path: "#/Layout/ExhibitionsInfo?id=45&k=3",
  },
  {
    id: 46,
    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.',
    path: "#/Layout/ExhibitionsInfo?id=46&k=3",
  },
  {
    id: 47,
    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.',
    path: "#/Layout/ExhibitionsInfo?id=47&k=3",
  },
];
export const Collections = [
  {
    url: "Bronzes",
    cover: "/data/Collections/Bronzes/1.png",
    id: 1,
    h3: '<code aria-audio-id="1"></code>Bronze He 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",
    cover: "/data/Collections/Bronzes/2.png",
    id: 2,
    h3: '<code aria-audio-id="2"></code>Bronze Ding 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",
    cover: "/data/Collections/Bronzes/3.png",
    id: 3,
    h3: '<code aria-audio-id="3"></code>Bronze Ding 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",
    cover: "/data/Collections/Bronzes/4.png",
    id: 4,
    h3: '<code aria-audio-id="5"></code>Bronze Li 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",
    cover: "/data/Collections/Bronzes/5.png",
    id: 5,
    h3: '<code aria-audio-id="6"></code>Bronze Gui 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 Gui. 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",
    cover: "/data/Collections/Bronzes/6.png",
    id: 6,
    h3: '<code aria-audio-id="4"></code>Bronze Lei 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",
    cover: "/data/Collections/Bronzes/7.png",
    id: 7,
    h3: '<code aria-audio-id="7"></code>Bronze Lei 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",
    cover: "/data/Collections/Bronzes/8.png",
    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",
    cover: "/data/Collections/Bronzes/9.png",
    id: 9,
    h3: '<code aria-audio-id="11"></code>Bronze Dou, 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",
    cover: "/data/Collections/Bronzes/10.png",
    id: 10,
    h3: '<code aria-audio-id="10"></code>Bronze Gui 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",
    cover: "/data/Collections/Bronzes/11.png",
    id: 11,
    h3: '<code aria-audio-id="9"></code>Bronze Gui 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",
    cover: "/data/Collections/Bronzes/12.png",
    id: 12,
    h3: '<code aria-audio-id="13"></code>Bronze Jue 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",
    cover: "/data/Collections/Bronzes/13.png",
    id: 13,
    h3: '<code aria-audio-id="11"></code>Bronze Dou, 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",
    cover: "/data/Collections/Bronzes/14.png",
    id: 14,
    h3: '<code aria-audio-id="12"></code>Bronze Zhou 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",
    cover: "/data/Collections/Bronzes/15.png",
    id: 15,
    h3: '<code aria-audio-id="15"></code>Bronze Yue-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",
    cover: "/data/Collections/Bronzes/16.png",
    id: 16,
    h3: '<code aria-audio-id="16"></code>Bronze You 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",
    cover: "/data/Collections/Bronzes/17.png",
    id: 17,
    h3: '<code aria-audio-id="14"></code>Bronze You 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",
    cover: "/data/Collections/Bronzes/18.png",
    id: 18,
    h3: '<code aria-audio-id="18"></code>Bronze Zun 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",
    cover: "/data/Collections/Bronzes/19.png",
    id: 19,
    h3: '<code aria-audio-id="19"></code>Bronze Square Ding 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",
    cover: "/data/Collections/Bronzes/20.png",
    smImg: "20",
    id: 20,
    h3: '<code aria-audio-id="17"></code>Bronze Gui 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",
    cover: "/data/Collections/Bronzes/21.png",
    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",
    cover: "/data/Collections/Bronzes/22.png",
    id: 22,
    h3: '<code aria-audio-id="20"></code>Bronze Lei 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",
    cover: "/data/Collections/Bronzes/23.png",
    id: 23,
    h3: '<code aria-audio-id="21"></code>Bronze Gui 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",
    cover: "/data/Collections/Bronzes/24.png",
    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",
    cover: "/data/Collections/Bronzes/25.png",
    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",
    cover: "/data/Collections/Bronzes/26.png",
    id: 26,
    h3: '<code aria-audio-id="24"></code>Bronze Basin Xi 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",
    cover: "/data/Collections/Bronzes/27.png",
    id: 27,
    h3: '<code aria-audio-id="22"></code>Bronze Pitch Pot Tou Hu 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",
    cover: "/data/Collections/Bronzes/28.png",
    id: 28,
    h3: '<code aria-audio-id="23"></code>Bronze Pot Hu 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",
    cover: "/data/Collections/Bronzes/29.png",
    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",
    cover: "/data/Collections/Bronzes/30.png",
    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",
    cover: "/data/Collections/Bronzes/31.png",
    id: 31,
    h3: '<code aria-audio-id="25"></code>Bronze Jian 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",
    cover: "/data/Collections/Bronzes/32.png",
    id: 32,
    h3: 'Square Ding 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>`,
  },
  {
    url: "Ceramics",
    cover: "/data/Collections/Ceramics/1.png",
    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",
    cover: "/data/Collections/Ceramics/2.png",
    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",
    cover: "/data/Collections/Ceramics/3.png",
    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",
    cover: "/data/Collections/Ceramics/4.png",
    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",
    cover: "/data/Collections/Ceramics/5.png",
    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",
    cover: "/data/Collections/Ceramics/6.png",
    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",
    cover: "/data/Collections/Ceramics/7.png",
    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",
    cover: "/data/Collections/Ceramics/8.png",
    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> `,
  },
  {
    id: 1,
    url: "Buddhist",
    cover: "/data/Collections/Buddhist/1.png",
    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",
    cover: "/data/Collections/Buddhist/2.png",
    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",
    cover: "/data/Collections/Buddhist/3.png",
    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",
    cover: "/data/Collections/Buddhist/4.png",
    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",
    cover: "/data/Collections/Buddhist/5.png",
    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",
    cover: "/data/Collections/Buddhist/6.png",
    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",
    cover: "/data/Collections/Buddhist/7.png",
    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",
    cover: "/data/Collections/Buddhist/8.png",
    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",
    cover: "/data/Collections/Buddhist/9.png",
    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> `,
  },
  {
    id: 1,
    url: "Jadewares",
    cover: "/data/Collections/Jadewares/1.png",
    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",
    cover: "/data/Collections/Jadewares/2.png",
    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",
    cover: "/data/Collections/Jadewares/3.png",
    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",
    cover: "/data/Collections/Jadewares/4.png",
    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",
    cover: "/data/Collections/Jadewares/5.png",
    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",
    cover: "/data/Collections/Jadewares/6.png",
    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",
    cover: "/data/Collections/Jadewares/7.png",
    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",
    cover: "/data/Collections/Jadewares/8.png",
    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> `,
  },
  {
    id: 1,
    url: "Calligraphies",
    cover: "/data/Collections/Calligraphies/1.png",
    h3: "Transcript of the Classic of Filial Piety",
    p: "Written approximately in the 3rd century B.C., the Classic of Filial Piety has 18 chapters in total. The transcript, a fragment and the second half of the Classic of Filial Piety, 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",
    cover: "/data/Collections/Calligraphies/2.png",
    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",
    cover: "/data/Collections/Calligraphies/3.png",
    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",
    cover: "/data/Collections/Calligraphies/4.png",
    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",
    cover: "/data/Collections/Calligraphies/5.png",
    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",
    cover: "/data/Collections/Calligraphies/6.png",
    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",
    cover: "/data/Collections/Calligraphies/7.png",
    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",
    cover: "/data/Collections/Calligraphies/8.png",
    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",
    cover: "/data/Collections/Calligraphies/9.png",
    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",
    cover: "/data/Collections/Calligraphies/10.png",
    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",
    cover: "/data/Collections/Calligraphies/11.png",
    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",
    cover: "/data/Collections/Calligraphies/12.png",
    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",
    cover: "/data/Collections/Calligraphies/13.png",
    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> `,
  },
  {
    id: 17,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/17.png",
    h3: 'Album Leaf of A Long Inscription on A Stone Wall by Xie Bin (Qing Dynasty)',
    p: 'Xie Bin (1601-1681) a native of Shangyu (now in Zhejiang Province). After, he migrates to Qiantang (now Hangzhou City) with his father. ',
    info: `<p>Ink and Color on paper. Width×Length: 30.5 cm×34.7 cm </p>
    <p>Xie Bin (1601-1681) a native of Shangyu (now in Zhejiang Province). After, he migrates to Qiantang (now Hangzhou City) with his father. Xie was particularly good at both landscapes and figures, and flowers. Xie Bin studied under Zeng Jing when he was young; his paintings are always innovative and expressive. Xie bin, Shen Shao, Xu Yi, Zhang Yuan and others are called Bochen School（a school of figure painting in the Ming Dynasty named after Zeng Jing）. His landscape paintings are highly influenced by the four masters of the Yuan Dynasty. Xie especially preferred Wu Zhen, whose brushwork is reckless, profound, and free, with significant momentum and dense ink, either in simple and light or bold and unrestrained brushstrokes.</p>
    <p>This painting is elegantly painted. An old man is holding a brush to write on the wall. A boy is holding an inkstone; one lady is holding a fan, and another is holding a book. They all look at the old man. Painter’s inscription on the upper right. The painting has many inscriptions on the back side by Wu Qi, Jiang Geng, Wang Sihuai, Fa Ruozhen, Jiang Anjie, Jiang Shijie, Gong Xian, Ni Huiding, Zhou Zaijun, Shen Huafan, Wang Guwei, Lin Lu, Wu Nongxiang, Weng Fanggang and others. This album is a masterpiece of Xie Bin’s work.</p>`
  },
  {
    id: 23,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/23.png",
    h3: "Scroll of Running Script of Rhapsody on Dengtuzi's Lechery by Dong Qichang",
    p: "This scroll is an excerpt from Song Yu’s Rhapsody on Dengtuzi's Lechery of the Warring States period, from “having travelled far and wide at a young age” to “not need to wear makeup”. ",
    info: `<p>Ink on gold-flecked paper. Running script. Width×Length: 301.8 cm×36.6 cm.</p>
    <p>This scroll is an excerpt from Song Yu’s Rhapsody on Dengtuzi's Lechery of the Warring States period, from “having travelled far and wide at a young age” to “not need to wear makeup”. The entire scroll is written in running script, with three Chinese characters per line, and the calligraphy is attributed to Yan Zhenqing, Li Yong, and Mi Fu. The brushwork is elegant and delicate, reaching a dynamic balance in each character. The whole piece is magnificent and natural, considered Dong Qichang's masterpiece in his later years.</p>
    <p>Dong Qichang (1555-1636), who styled himself Xuanzai, with alternative names of Sibai and Xiangguang Jushi, was a native of Huating (now Songjiang, Shanghai). He was a minister, famous calligrapher and painter in the late Ming Dynasty. Qichang became a jinshi (imperial scholar) in the seventeenth year of the Wanli reign. He was appointed as the editor of the Hanlin Academy (similar to the secretary of the central government’s general office) and the Minister of Rites in Nanjing in charge of culture, education, and foreign affairs. He passed away in the ninth year of Chongzhen’s reign and was given the posthumous title of “Wenmin (literally means “agile in literature)”. Dong Qichang was good at painting landscapes, following the styles of Dong Yuan, Ju Ran, Huang Gongwang and Ni Zan. His brushwork is delicate and elegant, with a tranquil and spacious temperament; the ink is clear, light, lively, simple and warm, expressing subtle elegance and vividness. He used Zen Buddhism as a metaphor for painting, advocated the theory of “North and South Schools” and was an outstanding representative of the “Huating School”. Incorporating the essence of Yan Zhenqin and Zhao Mengfu, his painting theories significantly impacted the paintings of the late Ming and early Qing dynasties. Dong‘s calligraphy incorporated the essence of all schools in the Jin and Tang dynasties, and he could also write poetry and literature.  He has many surviving works of calligraphy and painting. He wrote An Essay on Painting a Meditation Room, Rongtai Collection, and Xiehongtang Post - a collection of inscriptions on stone tablets.</p>`
  },
  {
    id: 24,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/24.png",
    h3: 'Scroll of Regular Script Entitled Inscription on Yanran Mountain by Dong Qichang (Ming Dynasty)',
    p: 'This volume was written in regular script with 3 larger characters per line. It was a piece of work written by Dong Qichang in the process of imitating Mi Fu’s small regular post “Inscription on Yanran Mountain” by enlarging the original work of Mi Fu in small regular script. ',
    info: `<p>Regular script on silk. Width×Length: 805 cm×38.3 cm.</p>
    <p>This volume was written in regular script with 3 larger characters per line. It was a piece of work written by Dong Qichang in the process of imitating Mi Fu’s small regular post “Inscription on Yanran Mountain” by enlarging the original work of Mi Fu in small regular script. Made in the thirty-nine years of the Wanli Reign of the Ming Dynasty (1611 AD), it embodies the calligraphic achievements of Dong Qichang in this period. According to existing data, there are three versions of Dong Qichang’s “Inscription on Yanran Mountain” scrolls. In addition to the Capital Museum collection, two running script scrolls are collected in the Shanghai Museum and the Liaoning Provincial Museum.</p>
    <p>Among them, the Shanghai Museum Collection (Shanghai 1-1426) has the smallest size, 26.6 cm in length and 261.1 cm in width. The Liaoning Museum Collection (Liao 1-214) has the largest size, 52.7 cm in length and 736 cm in width. The scroll collected by the Capital Museum is a creative work of postscript, embodies not only the nature of “separation or combination” with the original post script, but also the successful exploration of Dong Qichang’s “small character enlargement” and the attempt to change the regular script the original scroll to running script. As a piece of work that embodies the unique style of Dong, it expresses the ‘plain but vivid’ aesthetic characteristics of Dong Qichang’s calligraphy. This volume was once in the collection of Gao Shiqi and was recorded in the Precious Collection of the Stone Canal（Shiqu Baoji）/ Stone Moat（Shiqu Baoji）/ Precious Collection of the Stone Moat (Shiqu Baoji) .</p>`
  },
  {
    id: 25,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/25.png",
    h3: 'Album of Medicine Buddha Sutra Embroidered by Housemaid Chen from Xu Family of the Ming Dynasty',
    p: 'This is a album folded album with wooden wrappers. The cover is inscribed with “Sutra of the Vows of the Healing Buddha Bhaisajya Guru”/ Sutra of the Medicine Buddha.',
    info: `<p>Embroidered characters in regular script on silk. Width×Length: 28.8 cm×30 cm.</p>
    <p>This is a album folded album with wooden wrappers. The cover is inscribed with “Sutra of the Vows of the Healing Buddha Bhaisajya Guru”/ Sutra of the Medicine Buddha. The book's inside is plain, with folding peonies and dark jacquard wrought on the background, embroidered with green threads. On the first fold draws a dragon with gilt lines . The second fold is embroidered with Sutra Illustration Paintings (Jingbian Illustrations), followed by the sutra texts. There are carved clouds and dragons. The last two pages have the embroidered inscription of “Seventh Day of the Fifth Month of Lunar Calender of the Thirty-three Year of the Wanli reign (1605), Maid Servant Chen embroidered”, and the image of Skanda. The last page has the clouds and dragons depicted in gold for the line is not embroidered.</p>
    <p>The Sutra of the Vows of the Healing Buddha Bhaisajya Guru is also known as Sutra of the Medicine Buddha. There are three translations, namely: (1) Sutra of the Vows of the Healing Buddha Bhaisajya Guru, one volume, translated by Tipitakacariya Xuanzang, the monk of the Tang Dynasty; (2) The Buddha Speaks: Sutra of the Vows of the Healing Buddha, one volume, translated by Tipitakacariya Dharmagupta of the Sui Dynasty; (3) Sutra of the Vows of the Healing Buddha and Seven Past Buddhas, two volumes, translated by Tipitakacariya Yijing of the Tang Dynasty. The sutra describes the merits of the Healing Buddha, on the invitation of Bodhisattva Manjushri, to tell the great virtues of Healing Buddha, the Supreme Hierarch of the Eastern Pure Vaidūrya World, as well as the twelve great vows of him in the land of Vrji (an ancient state in India) under the tree with leaves rustling melodiously for the Mahasanghikas, bodhisattvas, kings, ministers, etc. This volume of the Healing Buddha Sutra uses the translation of Xuanzang.</p>`
  },
  {
    id: 26,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/26.png",
    h3: 'Cursive Script on Scroll by Wang Duo (Qing Dynasty)',
    p: 'This scroll is written in running script. The signed year of 1651 indicated that Wang Duo wrote this work in his later years during a meeting with friends. ',
    info: `<p>Cursive and running script on thin silk. Width×Length: 52 cm×203 cm.</p>
    <p>This scroll is written in running script. The signed year of 1651 indicated that Wang Duo wrote this work in his later years during a meeting with friends. This scroll is characterized by heavy ink, a relaxed style, and a strong and majestic style in which the strokes are echoed in a series of distinctive lines.</p>
    <p>Wang Duo (1592-1652) was born in Mengjin, now Mengjin County, Henan province. He was a calligrapher and painter in the late Ming and early Qing dynasties, and his calligraphy was on par with that of Dong Qichang. In 1622 (the sixth year of Chongzhen, Ming dynasty), Wang became a jinshi (imperial scholar) and ranked up to the Minister of Rites and the Great Secretariat of the Eastern Hall when Ming was the ruling regime of China. In the Qing Dynasty, Wang was the Minister of Rites, the 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 at 61 and was buried by the river Luohe. </p>`
  },
  {
    id: 27,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/27.png",
    h3: 'A Scroll with Poem Written in Cursive Script by Zhu Da (Qing Dynasty)',
    p: 'This scroll is written in cursive script. Although most of the characters are in cursive style, they are written with the brushwork of the seal script rather than the turning and echoing of cursive brushwork.',
    info: `<p>Cursive script on paper. Width×Length: 47.2 cm×123.9 cm.</p>
    <p>This scroll is written in cursive script. Although most of the characters are in cursive style, they are written with the brushwork of the seal script rather than the turning and echoing of cursive brushwork, and each character is not connected to the other. The unique layout scroll embodies the typical style of the calligrapher. </p>
    <p>The calligrapher of this scroll, Zhu Da (1626-circa 1705), also known as Bada Shanren, was a native of Nanchang, Jiangxi Province. He was the ninth grandson of Zhu Quan, the seventeenth son of Zhu Yuanzhang, the founder of the Ming Dynasty, who became a monk after the fall of the Ming Dynasty. Later, he converted to Taoism and lived in Qing Yunpu Taoist Temple in Nanchang. He is good at painting and calligraphy, especially adapting to painting birds，flowers and landscapes with exaggerated and peculiar images refined and sober brushwork, creating a majestic and timeless style. His landscapes inherit the style of Dong Qichang, with simple brushwork, an idyllic sense, and a sparse rhythm. He was also skilled in calligraphy and poetry writing, earning a reputation as a renowned painter during the late Ming and early Qing dynasties and a respected master of Chinese painting.</p>`
  },
  {
    id: 28,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/28.png",
    h3: 'The Sutra on Impermanence in Regular Script on Scroll (Song Dynasty)',
    p: 'This scroll is written in small regular script with the full text of Sutra on Impermanence. This is a Buddhist classic translated by the Tipitakacariya Yi Jing of the Tang Dynasty.',
    info: `<p>Regular script on paper. Width×Length: 132.5 cm×25.8 cm.</p>
    <p>This scroll is written in small regular script with the full text of Sutra on Impermanence. This is a Buddhist classic translated by the Tipitakacariya Yi Jing of the Tang Dynasty. The small regular script used for writing this sutra has the appearance of a regular mature script while retaining some of the characteristics of the calligraphy of the Sui and Tang dynasties in the closing strokes of the individual horizontal and downward strokes, making the writing more flexible. The inscription at the end states that the sutra was written and distributed by a “benefactor” with a wish, so it is presumed that the writer was a professional scribe, which is an indication of the kind of sutra-writing calligraphy that was popular in the Song dynasty.</p>`
  },
  {
    id: 29,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/29.png",
    h3: 'A Scroll of Poems in Cursive Script by Wang Chong (Ming Dynasty)',
    p: 'This scroll is written in cursive script with five poems written by the calligrapher, in the order of “Temple in the Mountain”, “Bamboo Lumbering”, “Return to the Mountain in Sickness when Friends Brings Comfort with Cups Filled with Wine”, “Summer Days” and “Rain”.',
    info: `<p>Cursive script on paper. Width×Length: 354 cm×30 cm.</p>
    <p>This scroll is written in cursive script with five poems written by the calligrapher, in the order of “Temple in the Mountain”, “Bamboo Lumbering”, “Return to the Mountain in Sickness when Friends Brings Comfort with Cups Filled with Wine”, “Summer Days” and “Rain”. The calligraphy is elegant and graceful, with a sparse frame and a strong and even brush, seeming to have tendons and bones inside and sharpness outside. The Chinese characters are not connected, but a smooth and strong momentum was created.</p>
    <p>The calligrapher Wang Chong (1494-1533) was a native of Wu County (Suzhou, Jiangsu Province). He was a county scholar and was admitted to the Imperial Academy. He was an erudite and versatile scholar, an engraver of seals, and good at painting landscapes, birds, and flowers. He had a high reputation for his poetry and writing and was especially famous for his calligraphy. He was good at small regular script and particularly in cursive script. He was a famous calligrapher in the Ming Dynasty, and his works, such as “The Collection of Yayi Shanren” have been handed down to the world.</p>`
  },
  {
    id: 30,
    cover: "/data/Collections/Calligraphies/30.png",
    url: 'Calligraphies',
    h3: 'Rubbings of Thirteen Confucian Classics Made by Order of Emperor Qianlong (Qing Dynasty)',
    p: 'The thirteen Confucian classics are the thirteen classical works of Confucianism, all of which contain 630,000 characters, including The Book of Changes, The Book of History, The Book of Songs, The Ritual of Zhou, The Book of Etiquette.',
    info: `<p>Ink on Paper. There are 206 volumes in total, divided into several sets, each with a different number of volumes.</p>
    <p>The thirteen Confucian classics are the thirteen classical works of Confucianism, all of which contain 630,000 characters, including The Book of Changes, The Book of History, The Book of Songs, The Ritual of Zhou, The Book of Etiquette, The Book of Rites, The Zuo Commentary, The Gongyang Commentary, The Guliang Commentary, The Analects, Er Ya, The Classic of Filial Piety and The Book of Mencius. In the 56th year of the Qianlong reign (1791), Emperor Qianlong ordered Jiang Heng, a student of the Imperial College from Jintan (Jiangsu Province), to write the “Thirteen Classics” in his handwriting for twelve years as the original text with the aim “to examine the similarities and differences in the scriptures and biographies of the sages, and to bring them into unified one, so that all the scholars of the country will have something to learn and observe”. They were later inscribed on stone and displayed at the imperial College for permanent use. It was called the “Qianlong’s Imperial Inscription of Thirteen Classics on Stone”, or the “Qianlong’s Stone Classics” for short. After three years of engraving, the stone version was completed in the fifty-ninth year of the Qianlong reign (1794), making it the last, the most complete, and largest of the Confucian classical inscriptions of all times. At present, the original stone inscription is preserved in Beijing, but the scriptures have long been badly damaged. Since later generations have repeatedly altered a few of the inscription's characters, there are several rubbing versions of Qianlong's Stone Classics. The most popular version was restored in the eighth years of Jiaqing Reign(1803) and revised in the eleven to thirteen years of Guangxu reign (1885-1887).</p>
    `
  },
  {
    id: 31,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/31.png",
    h3: 'Rubbing of Qianfu Temple Dobao Pagoda Tablet by Yan Zhenqing (Song Dynasty)',
    p: 'This rubbing has 21 pages of inscriptions with wooden wrappers, one inside and one outside signed label, and five postscript pages.',
    info: `<p>Ink on Paper. Each page is 28.8 cm in length and 15.7 cm in width.</p>
    <p>This rubbing has 21 pages of inscriptions with wooden wrappers, one inside and one outside signed label, and five postscript pages. As a boutique rubbing made in the Northern Song Dynasty, it is recorded in Zhang Yansheng’s Collection of Fine Monuments and Posters, Ma Ziyun and Shi Anchang’s Monuments and Posters Identification and other books.</p>
    <p>This stele is called The Induction Monument of the Duobao Pagoda of the Qianfu Temple in Xijing, Tang Dynasty (AD 752). The text script was written by Cen Xun, a famous scholar, titled by Xu Hao, a calligrapher. The handwritten inscription is attributed to Yan Zhenqing, a renowned calligrapher, while Shi Hua, an accomplished stele carver, performed the carving work. With around 2.85m in height and 1.02m in width, the original stone is now preserved in the second room of Steles Forest (Xi'an Beilin Museum) in Xi’an, Shaanxi Province. The inscription consists of thirty-four lines, with sixty-six characters in a full line, and it mainly records the original reason for the creation of the pagoda and its construction by the Zen master Chu Jin of Longxing Temple in Xi'an. The overall appearance is graceful, powerful, refreshing, and simple. The strokes are rich and beautiful, varied, and steady; the horizontal and vertical strokes are filled with strong contrasts between thin and thick strokes. The strokes vary in thickness, creating strong contrasts. There are frequently sharp beginnings and endings of strokes and abrupt transitions. The structure is tightly knit, compact, well-balanced, smooth and proportional. Thanks to the superb craftsmanship of the stone tablet, the inscriptions are relatively well preserved.</p>`
  },
  {
    id: 32,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/32.png",
    h3: 'Rubbing of Postscript to Thirteen Lines of Nymph of the Luo River  by Liu Gongquan (Song Dynasty)',
    p: 'The album has a wooden cover with brocaded wrap, with one leaf of content, one inner and one outer signed notes, and two paragraphs of postscripts.',
    info: `<p>Ink on Paper. Each page is 27.6 cm in length and 14.5 cm in width.</p>
    <p>The album has a wooden cover with brocaded wrap, with one leaf of content, one inner and one outer signed notes, and two paragraphs of postscripts. It is a book of rubbings from the Song Dynasty. The content contains the text of Ode to the Goddess of the Luo River from “嬉左(means ‘playful and left’)” to “迅飞(literally means ‘swift and flying,)”, followed by Liu Gongquan’s colophon that reads “Zijing is good at writing this ode, there are several copies on earth, but this one is not. On the 24th day of January of Lunar Year of Liyuan, by Liu Gongquan”. On the back of the rubbing is a paragraph of colophon written by Liang Yan and Zhang Xiao (in 1941), respectively.album</p>
    <p>Thirteen Lines of  Nymph of the Luo River is the masterpiece of Wang Xianzhi of the Eastern Jin Dynasty in small regular script. The original version was written on sisal paper but was already damaged and lost between the Tang and Song dynasties. There were two copies during the Song and Yuan dynasties: one was on sisal paper (the version of the Jin Dynasty), which was acquired by the calligrapher Zhao Mengfu in the early Yuan dynasty and designated as the authentic handwriting of Wang Xianzhi. The other one was written on a stiff yellow paper in the Tang Dynasty, attached with the inscriptions of Liu Gongquan and others, which Zhao Mengfu designated as a copy of the Tang Dynasty. However, later generations suspect that Liu Gongquan copied it.  These two versions were engraved in stone in the Song Dynasty and were reprinted during the Ming and Qing dynasties.</p>`
  },
  {
    id: 33,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/33.png",
    h3: 'Rubbing of The Monument for Huangfu Dan by Ouyang Xun (Song Dynasty)',
    p: 'The album has a brocade cover with writings of “ Stele for Huangfu Dan (Sui Dynasty)” on it.  There are 17 folds of album leaves. ',
    info: `<p>Ink on Paper. Each page is 30 cm in length and 16.1 cm in width.</p>
    <p>The album has a brocade cover with writings of “ Stele for Huangfu Dan (Sui Dynasty)” on it.  There are 17 folds of album leaves. In front of the album, there is postscript of Liu Zeyuan from the Republic of China period (1916), a paragraph of Pan Zengy’s postscript in the Daoguang period of the Qing Dynasty (1834), and an colophon of Li Guosong and Zhang Yunguan in the Republic of China period (1916). This album once was one of the Kuai Liqing family’s collection, recorded in Zhang yansheng’s Collection of Fine Monuments and Posters, which the character of “务(pronounce ‘wu’, literally means ‘affair’)” in the twenty-second line of “参综机务 (literally means ‘participate in the affair’)” was intact, making it a treasure from the Northern Song Dynasty.</p>
    <p>The content of this stele is provided by Yu Zhining the Prime Minister and written by Ouyang Xun the great calligrapher in the Tang Dynasty, with no date of writing. The stele was originally located in front of the tomb in the Mingdu Town of Xianning, Shaanxi Province, but was later moved to the Temple of Literature in Chang’an, and is now in the Shaanxi Provincial Museum. The inscription is written in regular script for 28 lines with 59 characters in each line. The Top of the stele is written in seal script, “Monument of the Late Huangfu Dan - A righteous man of Sui Dynasty”. It is said that this stele was erected in the Sui dynasty by Molin Kuaishi- Collection of Postscript, so it must have been written by Ouyang Xun (557-641) in his early years, while it is also said that this stele was engraved in the Tang Dynasty (627-650 AD). The stele was broken into two pieces in the Ming Dynasty. The calligraphy of this stele follows the style of the Northern Qi Dynasty, with strong strokes and rigorous techniques, and is considered to be a masterpiece in the learning of regular script of the Tang Dynasty.</p>
    `
  },
  {
    id: 34,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/34.png",
    h3: 'Rubbing of Stele of General Li Sixun of the Tang Dynasty (Song Dynasty)',
    p: 'With wooden cover wrapped in leather, the album has 21 pages in total. The stele inscription is followed by a postscript by Guo Shangxian in small regular script during the Jiaqing reign of the Qing Dynasty (1824).',
    info: `<p>Ink on Paper. Each opening is 23.7 cm in length and 14 cm in width.</p>
    <p>With wooden cover wrapped in leather, the album has 21 pages in total. The stele inscription is followed by a postscript by Guo Shangxian in small regular script during the Jiaqing reign of the Qing Dynasty (1824), and several seals by a string of literati like Wang Hongxu, Miao Yuezao, Guo Shangxian, Wu Hufan, Xiao from Panyu, and others. Among them, the character “艺 (pronounce ‘Yi’, literally means ‘art’)” of “精虑众艺 (literally means ‘consideration of varied art forms’)” is intact, and is a rubbing from the Northern Song Dynasty. It has been recorded in Zhang Yansheng’s Collection of Fine Monuments and Posters.</p>
    <p>This monument is also called Divine Monument and Preface for Late General Li, the General Yunhui of the Tang Dynasty or Li Sixun Monument or Monument for Yunhui General. The content was provided and written by Li Yong (the government minister and calligrapher in the Tang Dynasty) in running script. Because the inscription contains the words “buried together on the 28th day of the 6th month by the lunar calendar in the eighth year”, Chen Si, a bibliophile and Zhao Mingcheng, an antiquarian in the South Song Dynasty believed the stele was made in the eighth year of Kaiyuan reign (720). However, according to the books of two famous scholars, Qian Daxin’s “Postscript on Metal or Stone by Qianyan Tang” and Wang Chang’s “Composed Collection of Postscript on Metal or Stone” of the Qing Dynasty, they thought it was established after the 24th year or the 27th year of Kaiyuan reign respectively. It is one of the tombstone monuments in the subordinate tomb groups for “Qiaoling”, the imperial mausoleum of the Emperor Rui Zong (Li Dan). The inscription describes the life and deeds of Li Sixun. The original monument is about 378cm in height and about 160cm in width. While the characters in the upper part remains clear, the lower part of the monument is indecipherable, making it unreadable. The title inscriptions on the stele head is in seal script, with 4 lines and 12 characters that reads “stele of the late General Li of Tang Dynasty”. The main text is written in regular script in 30 lines, with 70 characters in each line. The calligraphy of this stele is strong and robust, with strong momentum. The strokes of the brush are clear and strong, natural, exceptionally lean and powerful with extending closing strokes. With a long and smooth flow, the vivid characters fluctuate, resembling the style of the Tang Dynasty. The scale of this stele is very large, powerful and beautiful, and it is an elaborate work by Li Yong. It has been praised by calligraphers throughout the ages.</p>
    `
  },
  {
    id: 35,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/35.png",
    h3: 'Rubbing of Xiu Taigong Temple Stele of Eastern Wei Dynasty (534-550)-(Ming Dynasty)',
    p: 'With wooden cover wrapped in leather, the album has 16 folds. On the cover, there is a signed note that reads “A monument established in the Wei Dynasty for Lv Wang, the founder of the State Qi (1046 BC—221 BC). ',
    info: `<p>Ink on Paper. 24.8 cm in length and 14 cm in width.</p>
    <p>With wooden cover wrapped in leather, the album has 16 folds. On the cover, there is a signed note that reads “A monument established in the Wei Dynasty for Lv Wang, the founder of the State Qi (1046 BC—221 BC). The lower part of the stele is not mutilated in full”, and the title page is inscribed “The stele of Lv Wang, the founder of the State Qi aet up in Jin Dynasty., written by Mu Zirong in the eighth year of Wuding reign of the Eastern Wei Dynasty. A complete version of rubbing is from the Ming Dynasty by Mr. Yunbo and signed by Zi Yi”. Once in the collection of Lu Hui and Chen Wenbo, followed by two lines of postscripts by Lu Hui, the second line has the character “冢(pronounce ‘zhong’)” intact, and the third line has the character “服 (pronounce ‘fu’)” intact. It is a rubbing from Ming Dynasty with heavy ink. The content of the signature inside and outside this rubbing is inaccurate, and is confused with the content of the stele, which is a regular inscription stele erected when the descendants of Lv Wang repaired the Temple in the Eastern Wei Dynasty. The other one is a clerical script stele erected when the descendants of Lv Wang built the Temple in the Western Jin Dynasty. It is recorded in Zhang Yansheng’s Collection of Fine Monuments and Posters.</p>
    <p>It is also called “Temple Stele of Xiu Taigong” or the “Mu Zirong Monument”. The inscription is in regular script, with 23 lines, each line with 42 characters, and five vertical lines of words at the back. It was written by Mu Zirong (a calligrapher in the Northern and Southern Dynasties[420 AD - 589 AD]) and erected on the 11th day of the 4th month by lunar calendar in the 8th year of Wuding reign of the Eastern Wei Dynasty (550). The inscriptions of the stele record important historical information, and the calligraphy is ancient and robust, showing a style that evolved from the Han clerical script to the regular script, and is representative of Wei and Jin calligraphy.</p>`
  },
  {
    id: 36,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/36.png",
    h3: 'Rubbing of Stone Inscription in Mount Tai from Qin Dynasty (Ming Dynasty)',
    p: 'This piece is organized in the form of an album with a camphor wood cover. The main text has 29 characters in three folds. ',
    info: `<p>Ink on Paper. 28 cm in length and 15 cm in width.</p>
    <p>This piece is organized in the form of an album with a camphor wood cover. The main text has 29 characters in three folds. There is a preface on a fold precedes the main content made by Wei Yu Zhong Guangsheng, and Chen Wenbo (Hanzao) respectively and a fold for the colophons by a group of scholars such as Wei Zhaowen, Zhong Guangsheng, Wu Putang, Cheng Yidao, and Guo Zongxi respectively on the back of the album, and an interpretation of the stele inscription by Chen Wenbo.</p>
    <p>The original text was engraved in the stone at the top of Mount Tai in Tai’an City, Shandong Province. By the early Ming Dynasty, only one piece of the content was left with 29 characters of the edict written by Li Si (the prime minister of Qi Dynasty). Destroyed in a fire at the top of Mount Tai 1740 AD, the stone was completely ruined. In 1815 AD, Jiang Bosheng found the ruins of the stone and relocated to Dai Temple on the foot of Mount Tai with only ten characters left. It remains in Dai Temple till now. The writing style of the text is small seal script, which is the standard script after the national reunification of the Qin Dynasty. Its structure is more simplified and neat than that of the inscriptions on drum-shaped stone blocks of the Warring States Period (475-221 B.C.), and is rectangular in shape. With round and smooth brushstrokes, sparse and even layout, it gives people a dignified and stable feeling. Zhang Huaijin, the calligrapher of the Tang Dynasty praised Li Si’s small seal script as “drawing sharply like iron and stone, characters vivid as if flying” and “rich in bones and evenly balanced, the contrast of square and round to the extreme”.</p>
    `
  },
  {
    id: 37,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/37.png",
    h3: 'Rubbing of Qunyutang Script (fragmented) (Song Dynasty)',
    p: 'With a wooden cover, the album has 3.5 folds. The content is the excerpt of The Thousand-Character Writing by the Buddhist monk Zhi Yong from the character “囊箱(pronounce ‘niang xiang’, literally means ‘luggage package/box’)”to the end of the part. ',
    info: `<p>Ink on Paper. Each page is 27 cm in length and 17 cm in width.</p>
    <p>With a wooden cover, the album has 3.5 folds. The content is the excerpt of The Thousand-Character Writing by the Buddhist monk Zhi Yong from the character “囊箱(pronounce ‘niang xiang’, literally means ‘luggage package/box’)”to the end of the part. The total 42 lines of the text is written in regular script and cursive script, with 21 lines in each style respectively. On the master copy, there is a seal inscription reads “verified, collected and inscribed by Zhang from Gushi County”. In front of the album, there is an preface by Zhang Xiaobin (1882-1968, a politician and antique collector) on half of the fold, and on the back of the album, inscription of the same people in two folds. The mounting frame of the first fold is inscribed by Weng Fanggang’ (a calligrapher in the Qing Dynasty). Inside the album, there are several seals of Wu Rongguang (1773 - 1843, a collector of ancient scripts and paintings) of the Qing Dynasty. It is recorded in Zhang Yansheng’s Collection of Fine Monuments and Posters.</p>
    <p>This album (Song Dynasty) is the extant fragment of the rubbing of Qunyutang Post in the Song Dynasty of the original stele of the text collected in the Southern Song Dynasty. It was originally called Yuegutang Post. Han Tuozhou (? ~ 1207, the prime minister) of the Southern Song Dynasty ordered his private assistant Xiang Shui to edit and inscribed the text in his family collection on the stone. Xiang was good at appreciation of arts and inscribing characters, so the copy of the caving was of great quality. In the third year of Kaixi reign (1207), Han was assassinated by his political opponents, resulting in the stele being collected by the imperial storehouse. It was changed to its present name during Jiading period (1208 ~ 1224). According to the Storage Bibliography of Zhongxing Pavilion and Narration on Stone Carving Store of the Song Dynasty and other books, the post has a total of 10 volumes, among them “the first volume contains the imperial writings of the emperor and empress after the founding of Southern Song Dynasty; the second volume contains collection of writings of renowned masters from Jin and Sui dynasties; the third volume contains collection of writings of renowned masters from the Tang Dynasty; the fourth volume dedicates to writings of Huai Su (known as “the Sage of Cursive Script” in the Tang Dynasty), the fifth, sixth and ninth volumes collect writings of renowned masters from South Song Dynasty, the seventh and eighth volumes collect writings of Huang Tingjian and Mi Fu (famous calligraphers in the North Song Dynasty) respectively while the last volume collects posts from Cai Xiang and Shi Manqing (famous litterateurs and calligraphers in the North Song Dynasty). The original stele of this post was lost early, resulting in rare rubbings in circulation. By the Ming Dynasty, the full text was completely lost, making the remnants of the volume rare and valuable. Though few characters remain, this script provides important information for the study of ancient Chinese calligraphy.</p>
    `
  },
  {
    id: 38,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/38.png",
    h3: 'Rubbing of Concubine Dong’s Epitaph of the Sui Dynasty (Qing Dynasty)',
    p: 'The epitaph rubbing is a whole sheet of paper in regular script, with a total of 441 characters inscribed with a total of six seals. ',
    info: `<p>On Paper. 51 cm in length and 51.4 cm in width.</p>
    <p>The epitaph rubbing is a whole sheet of paper in regular script, with a total of 441 characters inscribed with a total of six seals. The rubbing was placed in a wooden case with the wooden cover engraved with eight columns of Zhang Tingji’s (1768-1848, a famous calligrapher in the Qing Dynasty) inscriptions. The original writing of Zhang was collected in Xu Weiren’s (1788-1855, a well-known bibliophile in the Qing Dynasty) book in the Shanghai Library, which was wrote on the request of Xu Weiren to Zhang Tingji for a poem after the rubbing was completed.</p>
    <p>The original tombstone was unearthed in Xingping County, Shaanxi Province during the Jiaqing period of the Qing Dynasty (1796 - 1820) when the official Lu Junqing from Shanghai ruled the area. It was later owned by Xu Weiren (Zisan) from Shanghai. Xu cherished it so much to take it from Shaanxi to to Shanghai and gave it a name “Sui Xuan” and made a wide range of rubbings. It is said that the ink is thicker with thin characters. In the third year of Xianfeng reign (1853 AD), during the peasant uprising of Shanghai Xiaodaohui Association, the original stele was destroyed. The Epitaph of Concubine Dong is one of the best of the epitaphs of the Sui Dynasty, and is considered to be the first of its kind in small regular script. The layout of the calligraphy is straightforward, and the characters are neat and rigorous, with strong and subtle strokes. From the appearance of the script, the writing method is pure and unified without any flavor of the clerical script, so it is very different from the small regular script of the Jin Dynasty and the epitaphs of the the Northern and Southern Dynasties（420-589）. But some of the outer square and inner round, beautiful and firm strokes can be seen in the writing, giving people a clear and strong feeling of ancient meaning.</p>
    `
  },
  {
    id: 39,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/39.png",
    h3: 'Rubbing of Diao Zun’s Epitaph from the Wei Dynasty (Qing Dynasty)',
    p: 'It is an album with wooden cover and a total of 9.5 open pages of inscriptions. Inside the album are signed notes of scholars and artists like Wang Chonglie (1870 - 1919, professional in study of Confucian classics, epigraphy and critical interpretation of ancient texts)',
    info: `<p>Ink on Paper. 22 cm in length, 11.4 cm in width.</p>
    <p>It is an album with wooden cover and a total of 9.5 open pages of inscriptions. Inside the album are signed notes of scholars and artists like Wang Chonglie (1870 - 1919, professional in study of Confucian classics, epigraphy and critical interpretation of ancient texts), Wu Changshuo (1844 - 1927, a famous master of art in the late Qing Dynasty), Chu Deyi (1871 - 1942, a famous seal engraver and archaeologist) and other people that reads “Epitaph of Diao Huigong - prefecture governor of Luozhou”. On the back of the album were the inscriptions of Huang Yi (1744-1802, a well-known calligrapher and seal engraver) on three open pages. It was once collected by famous scholars Wu Yi and Tao Zuguang. In the writing, the character of “雍(pronounce ‘yong’, literally means ‘harmony’)” in the sixth line was damaged on the upper left part while the right half remain intact, indicating the rubbing to be the earlier version. </p>
    <p>With a full title of “Epitaph of Diao Huigong - Prefecture Governor of Luozhou”, the content is written in regular script, with twenty-eight lines and thirty-two characters in each line, originally engraved in the second year of Xiping reign of the Northern Wei Dynasty (517 AD). It was unearthed in Nanpi County, Hebei Province, during the Yongzheng period of the Qing Dynasty (1722 - 1735), but one of its corners was missing, so it is also commonly known as the “missing corner stele”. When the stele was unearthed, it was already indecipherable, with more than 150 characters missing and more than 20 characters in the middle being hard to recognize. In the twenty-seventh year of the Qianlong reign (1762), Liu Kelun from Leling saw it at a friend’s place, and used a wooden board to fill in the missing part and engraved inscriptions on it. But it was destroyed soon afterwards and then fixed and completed with stone. It was later collected by the Ye family from Yanshan, the Gao family from Nanpi and Zhang Zhidong (1837 - 1909, an important official of Westernization Group in the late Qing Dynasty) and other people. It is now collected in the Shandong Provincial Museum. Diao Zun was from an aristocratic family in Bohai, and this epitaph records his family background and political achievements. The calligraphy of it is so strong and mellow that the calligrapher Bao Shichen (1775 - 1855) of the Qing Dynasty commented: “epitaph of Diao Zun features intense density and momentum. I especially like the way it is drawn in a row, and the way it is formed. With ups and downs of the characters, it provides hidden surprises. The subtle and intriguing fun would not be known to those who have not asked for it”. It is one of the most important masterpieces of epitaph in the Northern Wei Dynasty.</p>
    `
  },
  {
    id: 40,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/40.png",
    h3: 'Rubbing of Zhang Menglong Stele from the Northern Wei Dynasty (Ming Dynasty)',
    p: 'With a brocade cover, the album has 21 folds, with 945 characters remaining. The first fold is a ink and colored painting of visiting the stele conducted by Liuguo Pavilion by Xu Xi (mainly active during the Republic of China Period, a fine connoisseur, good at painting landscapes)',
    info: `<p>Ink on Paper. 26.5 cm in length, 11.5 cm in width.</p>
    <p>With a brocade cover, the album has 21 folds, with 945 characters remaining. The first fold is a ink and colored painting of visiting the stele conducted by Liuguo Pavilion by Xu Xi (mainly active during the Republic of China Period, a fine connoisseur, good at painting landscapes) and an inscription by Zhao Ruqian (1515 - 1589, a famous scholar and official in the Ming Dynasty). The last four folds on the back of the album are interpretation of the inscription recorded by the scholar Zheng Youyu in 1947; and fold of the inscription by the master of Chinese culture Wu Beijiang in 1947, which describes the relevant events of Zhang Menglong and the examination of certain variant characters of the Six Dynasties (220 - 581 AD). It has been collected by Zhang Boying (1871-1949，a famous calligrapher) and Zheng Youyu (mainly active in the late Qing Dynasty and the Republic of China Period).</p>
    <p>The full title of the stele is “Stele of the Prefecture Chief Zhang of the Lu County”. The stele was erected in the first lunar month of the third year of the Zhengguang reign of the Northern Wei Dynasty (522) at the Confucius Temple in Qufu, Shandong Province with no information of the calligrapher. The stele has twenty-four lines with forty-six characters in each line on the front and ten lines of the name of the official who erected the stele on the back. The stele head reads, “Stele of the Prefecture Chief Zhang of the Lu County” in three lines and twelve characters. The inscriptions are written with a combination of square and round strokes, with long and square characters. Although the horizontal strokes are even and the vertical strokes are straight, there is no lack of variation, naturalness, beauty, strength and handsomeness. His calligraphy has been described by the ancients as “the right way to learn the style of two masters Ouyang Xun and Yu Shinan from the Tang Dynasty” and has been hailed as “the No.1 Stele of the Wei Dynasty”.</p>
    `
  },
  {
    id: 41,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/41.png",
    h3: 'Rubbing of Lanting Xu (Preface to the Orchid Pavilion) (Song Dynasty)',
    p: 'The album has a brocade cover. The text of the rubbing was copied in three folds in running script with a total of twenty-eight lines. Each line has eleven, twelve or thirteen characters.',
    info: `<p>Ink on Paper. 23.3cm in length, 11cm in width.</p>
    <p>The album has a brocade cover. The text of the rubbing was copied in three folds in running script with a total of twenty-eight lines. Each line has eleven, twelve or thirteen characters. In the last five pages, there are inscriptions written by some scholars such as Gao Shiqi, Shao Songnian and Sun Jifu. According to Shao Songnian’s (1848-1924) inscription, it is the authentic work of calligraphy hand-copied by the master Ouyang Xun</p>
    <p>The original text of Lanting Xu was composed and written by Wang Xizhi (303 - 361 AD, Known as the Sage of Chinese calligraphy), originally written in the orchid pavilion in Shanyin, Kuaiji, Zhejiang Province. The original text used two sheets of paper and was written in the early spring of the ninth year of Yonghe reign of the Jin Dynasty (353 AD). It had a total of three hundred and twenty-four characters and was mounted as a scroll. So the copies in the future are also made in scrolls. The earliest stone inscription was said to be made during the Kaihuang reign of the Sui Dynasty(581 - 600 AD) and there were replicas of replica in circulation but no rubbings directly copied from the original stele during the Sui Dynasty. Furthermore, another valuable version of stele was exactly made according to the characters hand-copied by Ouyang Xun from the Tang Dynasty and was later called the Ding Wu version. Rumor has it that there are different rubbings made based on the writings of many famous calligraphers like Zhi Yong, Ouyang Xun, Yu Shinan, Chu Suiliang, Xue Shaopeng and Feng Chengsu, but with little credibility. Among them, the most recognized version was made by Ouyang Xun.</p>`
  },
  {
    id: 42,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/42.png",
    h3: 'Rubbing of The Thousand-Character Writing by Monk Zhi Yong (Southern Song Dynasty)',
    p: 'It is a brocade-covered album with twenty-five folds of the text in both regular script and cursive script. Later, some of its owners added folds of colophons and interpretations at the end of the album',
    info: `<p>It is a brocade-covered album with twenty-five folds of the text in both regular script and cursive script. Later, some of its owners added folds of colophons and interpretations at the end of the album: Wen Peng added one page, Liang Guozhi added half page, Weng Fanggang added 4.5 pages and Wu Zhirang added half page. On the cover, there is He Zhuo’s signed note from the Qing Dynasty that reads “The Thousand-Character Written by Monk Zhi Yong”. Among them, the second character “贞(pronounce ‘zhen’, literally means ‘faithfulness’)” on the second horizontal line missed the final stroke of "" , and the final stroke of the second character “敬(pronounce ‘jing’, literally means ‘esteem’)” on the twenty-fourth horizontal line is not carved out, indicating that it is made in the earlier Southern Song Dynasty. It was once owned by a string of collectors such as Wen Peng, Bo Shaoting, He Zhuo, Chen Laizhang and so on.</p>
    <p>The original stele was engraved by the official Xue Sichang in the third year of the Daguan period of the Northern Song Dynasty (1109) based on the authentic work of Zhi Yong’s calligraphy collected by the Cui family in Chang’an, also known as the “Guanzhong Version” or “Shaanxi version”, and is divided into two pages, with six vertical lines at the front and two lines at the back, each line has ten characters. A title of five characters that reads “The Thousand-Character Writing by Zhi Yong ” in seal script is listed horizontally on the top. On the bottom, it is engraved with Xue Sichang’s postscript, and the words read “issued by Li Shouyong and Shouming”. The original stele is located in Chang’an and is now in the Shaanxi Provincial Museum. Zhi Yong’s calligraphy shows a careful and meticulous style. His characters of cursive script are written separately with sophisticated brushstrokes. There is still a hind of ancientness in the freehand style, expressing a warm and strong sense. It is an example of the rule of law of the two styles of calligraphy of regular script and cursive script by Wang Xizhi and Wang Xianzhi, and is a typical model for future generations of calligraphers.</p>
    `
  },
  {
    id: 43,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/43.png",
    h3: 'Rubbing of Yi Ying Stele (Ming Dynasty)',
    p: 'With a wooden cover, it is mounted as an album with 20 leaves of inscriptions and 513 characters. ',
    info: `<p>With a wooden cover, it is mounted as an album with 20 leaves of inscriptions and 513 characters. At the end of the album, its owners wrote down pages of postscripts that Wang Yusi in 1684, Zhou Zaijun, Ye Chu’an and Weng Tonghe in 1896 respectively added one fold, while  Sheng Yu in 1896 and Wang Yirong respectively added a half fold. This album was owned by Xu Fu (1836-1907, also named Shouheng, a native of Jiading, Shanghai. He was once the Minister of Rites) in the late Qing Dynasty. The cover is signed by Xu Fu after rebind in 1896 with a red seal. Many parts of texts in the album verified by Xu are stamped with his seal. According to Sheng Yu’s postscripts, an antique dealer got it from Qushuiting, Ji’nan City and then Xu Fu obtained at the price of “kilos of gold”, which is a clear proof of the high value considered by people. The album was also once recorded in Zhang Yansheng’s Collection of Fine Monuments and Posters.</p>
    <p>The full name of this stele is “History Stele at the Temple of Confucius on the Request of Yi Ying- the Prime Minister of Lu State”. It has no title and is written in clerical script with 18 lines and 40 characters in each line. It was erected in 153AD inside the Temple of Confucius in Qufu, Shandong Province. The stele records the event that the Minister of Education Wu Xiong and the Minister of Construction Zhao Jie followed the advice proposed by the former Prime Minister Yi Ying to set up a high-paying official position for Temple of Confucius in charge of sacrificial rites. This stele has a square and neat structure with even and a rigorous method of writing. The characters are written by both square and round strokes, showing an unique sense of elegance from its simplicity. It is a typical work of the mature period of clerical script in the Han Dynasty with an even and straight style.</p>
    `
  },
  {
    id: 44,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/44.png",
    h3: 'Scroll of Preface to the Collection of Landscape Poems at Rucijiangshan Pavilion by the Masters of Yuan and Ming Dynasties',
    p: 'The scroll is titled with Zheng Yi’s (Director of the Board of Rites in the Ming Dynasty) writing “Rucijiangshan Pavilion” in seal script.',
    info: `<p>Ink on Silk. The quotation is 107.5 cm in length and 23.7 cm in width. The main body of the painting is 416.5 cm in length and 24.8 cm in width.</p>
    <p>The scroll is titled with Zheng Yi’s (Director of the Board of Rites in the Ming Dynasty) writing “Rucijiangshan Pavilion” in seal script. It records a gathering in Rucijiangshan Pavilion in the sixth year of Zhizheng reign (1346), in which the “preface” is written by Zhang Yu (a poet mainly active in the late Yuan Dynasty and the early Ming Dynasty), describing the participants and the situation at that time. Other participants, Zhu Yi, Shen Zhen, Lu Jinzhi, Hu Kui, Xu Bozhen, and Yu Xing, have their own poems and essays recorded in the scroll. In later days, more scholars like Song Sui, Zhang Yu, Jin Cheng, Xia Yuanhui and Zhang Bi added their comments on it. At the end of the scroll there is a paragraph of colophon written by Xu Bangda in 2003.</p>
    <p>All those masters who wrote down their postscripts were well-known literati and calligraphers living between the late Yuan Dynasty and early Ming Dynasty, including Zhang Yu, Shen Zhen, Lu Jinzhi, Hu Kui, Zhang Yu, Song Sui, Zhang Bi, Zheng Yi (eight people mentioned here have their life stories been verified and confirmed), while for Zhu Yi, Xu Bozhen, Yu Xing and Jin Chengsheng, their personal history remained unknown. According to Xia Yuanhui’s postscript, the Rucijiangshan Pavilion was located in Tiansheng Temple at Wushan Mountain, but this site completely vanished before the mid-Ming Dynasty. The pavilion and this scroll of poem collection was recorded in the “Seven Revised Manuscript” by Lang Ying during the years of Emperor Hongzhi (1488 - 1505) and Emperor Jiajing (1522 - 1566) in the Ming Dynasty and An Easy Tour to Hushan Mountain by Zhai Hao during the years of Emperor Qianlong (1736 - 1795) in the Qing Dynasty. Mr. Shan Guoqiang of the National Palace Museum in Beijing wrote an article titled On the Value of the Scroll of Preface to the Collection of Landscape Poems at Rucijiangshan Pavilion by the Masters of Yuan and Ming Dynasties, which provides an objective review of its value as a historical documentation as well as an artwork of Chinese calligraphy. He also untangles the sequence of all the postscripts by paragraphs for convenient reference. According to Mr. Xu Bangda’s postscript in the summer of 2003, he confirmed that this scroll is definitely authentic.</p>
    `
  },
  {
    id: 46,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/46.png",
    h3: 'Running Script of Yuan Gu Script by Zhao Mengfu (Yuan Dynasty)',
    p: 'It was once mentioned that there are seven extant pieces of Zhao Mengfu’s handwritten scripts. Among them, five were collected by a Qing Dynasty poet named Song Luo, one was collected by Wang Shizhen from Ming Dynasty',
    info: `<p>Ink on paper. 32 cm in length and 62.5 cm in width.</p>
    <p>It was once mentioned that there are seven extant pieces of Zhao Mengfu’s handwritten scripts. Among them, five were collected by a Qing Dynasty poet named Song Luo, one was collected by Wang Shizhen from Ming Dynasty, and the last piece was collected by a man named Chen Zhensun, a Southern Song Dynasty bibliophile and bibliographer. Later, five of them were combined and collected by Miao family who was good at art appreciation, making the collection more credible.</p>
    `
  },
  {
    id: 47,
    url: 'Calligraphies',
    cover: "/data/Collections/Calligraphies/47.png",
    h3: 'The Wonderful Dharma Lotus Flower Sutra, Volume Five by Zhao Mengfu (Yuan Dynasty)',
    p: 'This scroll is named The Mahayana Sutra-The Lotus of The True Law, Volume 5 written in small regular script, with a total of 521 lines and 22 characters in a full line',
    info: `<p>Ink on Paper. 26.7 cm in length and 730 cm in width.</p>
    <p>This scroll is named The Mahayana Sutra-The Lotus of The True Law, Volume 5 written in small regular script, with a total of 521 lines and 22 characters in a full line, from “The Fourteenth Noble Act of Heaven” to “The Seventeenth Noble Act of Separate Virtues,” with a total of four parts and about 11,500 characters. The entire volume contains seven sheets of paper. The main text is partially lined with columns. Although written in small regular script, it has the obvious characteristic of running script with natural variations of ink color. The calligraphic style is broad and graceful with elegant structures. With a calm and simple expression, and a rigorous writing style, it is the typical work that shows Zhao Mengfu’s style of small regular script.</p>
    <p>The writer of this scroll, Zhao Mengfu (1254-1322), a native of Huzhou (now Wuxing, Zhejiang Province), was one of the most excellent calligrapher in the Yuan Dynasty. He was the eleventh grandson of Zhao Kuangyin, the founder of the North Song Dynasty. In 1286, he served in the government of the Yuan Dynasty. Zhao Mengfu’s art is of great significance in the history of Chinese calligraphy. His calligraphic style is so beautiful and elegant, with strict and neat structure and skillful brushwork, that it has been called “Zhao Style” by later generations and left an important influence in the development of calligraphy during the Ming and Qing dynasties.</p>
    `
  },
  {
    id: 1,
    url: "Paintings",
    cover: "/data/Collections/Paintings/1.png",
    h3: "The Seclusion of Mount Chong",
    p: "Wang Duo (1592-1652) was born in Mengjin, now Mengjin County, Henan. He became a jinshi (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",
    cover: "/data/Collections/Paintings/2.png",
    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",
    cover: "/data/Collections/Paintings/3.png",
    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",
    cover: "/data/Collections/Paintings/4.png",
    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",
    cover: "/data/Collections/Paintings/5.png",
    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",
    cover: "/data/Collections/Paintings/6.png",
    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",
    cover: "/data/Collections/Paintings/7.png",
    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",
    cover: "/data/Collections/Paintings/8.png",
    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",
    cover: "/data/Collections/Paintings/9.png",
    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",
    cover: "/data/Collections/Paintings/10.png",
    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",
    cover: "/data/Collections/Paintings/11.png",
    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",
    cover: "/data/Collections/Paintings/12.png",
    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",
    cover: "/data/Collections/Paintings/13.png",
    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",
    cover: "/data/Collections/Paintings/14.png",
    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> `,
  },
  {
    id: 15,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/15.png",
    h3: 'A Scroll of Riverside in Late Autumn Imitating Wen Tong by Wang Hui (Qing Dynasty)',
    p: 'Adopting the composition of scenery of both sides of the same river, this painting depicts a miniaturized view of the riverside in the late autumn. ',
    info: `<p>Ink on silk. Width×Length: 69cm×130.3cm</p>
    <p>Adopting the composition of scenery of both sides of the same river, this painting depicts a miniaturized view of the riverside in the late autumn. There is a sloping bank in the lower left corner on the close-up scenery with several thatched huts on the bank and a literati holding a book. There are several tall bamboos and giant trees around the huts. Withered leaves show that it is the late autumn. In the near view, a small bridge leads to the other side of the river. In the distant view, rolling hills face each other across the river with faintly scattered villages at the foot of the hills. The mountains and water stretch farther away, and the scene gradually disappears. A large river area is outlined in very light ink with fine and even ripples. Two tiny fishing boats float in the river, highlighting late autumn's transparent and open atmosphere. Wang used the technique of pima cun (hemp-fiber texturing) to paint the slope shore and the rocks at the foot of the slope are depicted with xiaofu cun (axe-chopped texturing) and dingtou cun (nail-shaped texturing) techniques. It highlights the contrast between the softness of the soil and the hardness of the rocks, showing the painter’s ease of use of the ancient landscape painting techniques since the Song and Yuan dynasties and the high expressive ability of brush and ink. There are two buffalos in the courtyard of the thatched huts, which are described in a subtle way to reflect the comprehensiveness of the painter’s technique.</p>
    <p>Inscription: Riverside Watertown in Late Autumn by Wen Tong, 22th of the Lunar Calender of 1688, Wang Hui from Haiyu Town, imitating at Suilan Pavilion.</p>
    <p>The creator of this painting, Wang Hui (1632-1717), who styled himself as “Shigu” (literally means “rock valley”) and “Qinghui Laoren” (literally means “an old man of clearness and purity)”, was born in Changshu of Suzhou City in Jiangnan Province (now Changshu, Jiangsu Province) and a reputed painter of the Qing Dynasty. Wang Hui was hailed as one of the Four Wangs, four Chinese landscape painters in the 17th century, all called Wang (surname), namely Wang Jian, Wang Shimin, Wang Yuanqi and Wang Hui. As the founder of Yushan School, he advocated “using brush and ink style of the Yuan Dynasty, the layout of the Song Dynasty, and rhythm of the Tang Dynasty in landscape paintings”. </p>
    `
  },
  {
    id: 16,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/16.png",
    h3: 'Bamboo and Stone on Scroll by Yao Shou (Ming Dynasty)',
    p: 'This painting of bamboo and rocks is beautifully stylized with ink brush strokes. A simple composition incorporates poetry, calligraphy, and painting, making it extremely literati-like. ',
    info: `<p>Ink on paper. Width×Length: 34.2 cm×113.0 cm</p>
    <p>This painting of bamboo and rocks is beautifully stylized with ink brush strokes. A simple composition incorporates poetry, calligraphy, and painting, making it extremely literati-like. The rocks and mountains are outlined with ink strokes and rendered with the contrast between light and shadow, while the bamboo leaves and branches are painted with freehand brushwork, full of the spirit of freehand-ness in Chinese traditional literati painting.</p>
    <p>The painter, Yao Shou (1422-1495) , who styled himself as “Gongshou”, also known as Gu An Zi, and was a native of Jiaxing, Zhejiang Province. In the eighth year of Tianshun reign of Yuan Dynasty (1464), he became a Jinshi (imperial scholar) and was awarded the position of supervisory censor. He was good at painting and calligraphy and liked to depict small scenes of water, and paint bamboo and rocks at times.</p>`
  },
  {
    id: 17,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/17.png",
    h3: 'A Fan Leaf of A Fisherman by Cui Zizhong (Ming Dynasty)',
    p: 'Cui Zizhong (1594-1644) was a painter of Ming Dynasty, a local Beihai (now Laiyang city, Shandong Province). ',
    info: `<p>Ink on paper. Diameter× Length: 17.5 cm×53.5 cm.</p>
    <p>Cui Zizhong (1594-1644) was a painter of Ming Dynasty, a local Beihai (now Laiyang city, Shandong Province). He studied with Dong Qichang. Cui was good at painting figures, noble ladies, and Buddhist subjects, also explored the landscape, flower, and bird paintings. Taking the methods of the Tang and Song dynasties, his works expressed a rather ancient meaning. Cui as famous as Chen Hongshou were known as the “South Chen and North Cui.”</p>
    <p>Painted on a gold coating fan leaf, Cui depicted three fishermen fishing together on the shore. They are standing by the rocks of the sloping shore on the left side of the painting—a man standing with a straw hat on his head and a bamboo pole in his hand. With the help of the other two, they are working together to control the large fishing net. The three men looked serious and were intently focused on the situation in the river. A cluster of tree branches dangles by the rocks on the sloping bank, and in the center of the picture is the shimmering river. The artist paints on a fan leaf. Figures, fishing equipment and scenes are finely delineated into a small space. The characters’ postures, attitudes and images are vivid and subtle. A Fan Leaf of a Fisherman is the masterpiece of Cui Zizhong.</p>`
  },
  {
    id: 18,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/18.png",
    h3: 'Ink Plum Blossom Painting on Scroll by Hu Zongyun (Ming Dynasty)',
    p: 'Hu Zongyun was a native of Yuzhang village in Yongjia and a decedent of Hu Xiang. He was good at painting and calligraphy.',
    info: `<p>Ink on paper. Width×Length: 123.4 cm×27.5 cm</p>
    <p>Hu Zongyun was a native of Yuzhang village in Yongjia and a decedent of Hu Xiang. He was good at painting and calligraphy. In the early era of Yongle’s reign (Ming Dynasty), Hu Zongyun was recruited (called Lizheng) by the Buzhengsi (Chief Secretary) as a Zhongshusheren（senior secretary officer）, recommended by Huanghuai who was also a senior secretary officer and became a Jinshi (imperial scholar) in the last era of Hongwu reign.</p>
    <p>Ink Plum Blossoms have a main branch and several extending twigs, which are curved, spreading and flowing. Scroll imitates Wang Mian’s style with simple brushwork：a well-stacked layout and expressive emotion. Many plum blossoms with densely growing branches and stamens present a vigorous scene. The artist outlines branches, flowers and buds. The painting is clear, elegant, vivid, and realistic, with exquisite and sharp brushwork.</p>`
  },
  {
    id: 19,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/19.png",
    h3: 'Scroll of Landscape Imitating Ni Zan’s Work by Shen Zhou (Ming Dynasty)',
    p: 'Shen uses the classic and simple composition called “scenery of both sides of the same river” with a calligraphic style. As the scroll unfolds, nearshore and distant mountains are presented. ',
    info: `<p>Ink on paper.  Width×Length: 204 cm×33.2 cm</p>
    <p>Shen uses the classic and simple composition called “scenery of both sides of the same river” with a calligraphic style. As the scroll unfolds, nearshore and distant mountains are presented. This painting left a large blank space as water, creating an aesthetic mood of spaciousness and remoteness. With pure freehand brushstrokes, the painter creates the landscape of the mountains and rivers of the traditional literati painters, which is typical of the literati style in traditional Chinese painting history that emphasizes the mood and temperament of brush and ink. According to Shen Zhou’s inscription, he modeled style of Ni Zan who is one of the “Four Masters of the Yuan Dynasty”. However, while taking Ni Zan’s sparse and simple painting and flat-distance composition, Shen Zhou combined his stylistic characteristics with some variations.</p>
    <p>Shen Zhou uses strength, vigor, and rounded brushwork lines without many edges. The entire scroll is connected to the landscape in a continuous manner. His painting is far-reaching in aesthetic conception without any deserted, lonely, and desolate, although he pursues Ni Zan’s “sparse and simple” style. She Zhou brought literati-style paintings of the Ming Dynasty to a new climax while inheriting the Yuan Dynasty literati-style. The last two lines of the inscribed poem, “Do not say that there is no refreshing air in the western mountains, but I bow my head in the eastern wilderness,” contain a famous allusion, which is “refreshing air in the western mountains” is taken from Shishuo Xinyu (A New Account of Tales of the World) and refers specifically to the leisurely mood of those who seclusion and do not care about mundane affairs. “Dongye” (eastern wilderness) is the virtue name of Meng Jiao, a poet of the Tang Dynasty, who was famous for his wandering between mountains and rivers for poems. The painting and the poem complement each other, showing the artist’s leisurely and celebration of the reclusive life.</p>`
  },
  {
    id: 20,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/20.png",
    h3: 'Album of Landscape by Yun Shouping (Qing Dynasty)',
    p: 'This 12-leaf album contains (in order of content) the following works: Waterside Pavilion Surrounded by Lotus in Imitation of Zhao Danian, Autumn Water with waterfowl in Imitation of Zhang Sengyao.',
    info: `<p>Ink and Color on paper. Width×Length: 34.3 cm×28.7 cm.</p>
    <p>This 12-leaf album contains (in order of content) the following works: Waterside Pavilion Surrounded by Lotus in Imitation of Zhao Danian, Autumn Water with waterfowl in Imitation of Zhang Sengyao, the Spring Mountains with Warm Greenery, Smoke Floating in the Distant Mountains in Imitation of Ju Ran, Drizzling Rain on the Xiaoxiang in Imitation of Mi Fu, Autumn Scenery of the West Lake-A Copy of Wu Zhen, Sparse Bamboo Groves and Standing Stones-A Copy of Ke Jiusi, A Copy of Wang Meng’s Painting, A Pavilion on An Immortal Mountain-imitating Zhao Boju’s painting with Li Gonglin’s line drawing method, called Baimiao (plain drawing technique without any color), Spring Flying over A Stonewall-imitating Tang Yin’s painting with Fang Congyi’s style. The paintings imitate ancient landscapes and artists’ compositions, such as Autumn Water with waterfowl and Autumn Scenery of the West Lake. </p>
    <p>In Autumn Water with Waterfowl, the artist painted a snag, several waterfowl with different poses, and patches of paddy fields dancing with the wind waves in the near scene. In the distant scene, flocks of honking geese fly over the clusters of treetops in the evening glow. In the painting, the artist writes, “Desolate and cold, a realm of unknowable, ask the cloud on the sky if it is similar”, indicating that he wants to express a painting realm similar to ‘Desolate cold in wildness’. The content of the painting is concise with delicate and glossy brushwork, and the elegant colouring presents Yun Shouping’s distinctive style, the same as the painting of Autumn Scenery of the West Lake. The other collections in this album are all imitations of ancient works, reflecting the prevalence of imitation and copying of former masters in the artist’s era.</p>
    <p>The author of this album is Yun Shouping (1633-1690), a famous calligrapher and painter of the late Ming and early Qing dynasties. He is also the founder of the Changzhou School of Painting and one of the Six Masters of the Qing Dynasty.</p>`
  },
  {
    id: 21,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/21.png",
    h3: 'Scroll of Autumn Waves in Wuxia Gorge by Yuan Yao (Qing Dynasty)',
    p: 'This painting depicts the scenery of the Wuxia with Gongbi(careful realist technique) ink brushwork. The mountains are majestic and have supernatural craftsmanship. ',
    info: `<p>Ink on silk. Width×Length: 97.3 cm×163.5 cm.</p>
    <p>This painting depicts the scenery of the Wuxia with Gongbi(careful realist technique) ink brushwork. The mountains are majestic and have supernatural craftsmanship. The river in the gorge flows rapidly, waves crashing against the shore while the boatmen fight the waves and skillfully navigate their vessels upstream. In the mountains, there are winding paths and dangerous plank roads. The brushwork is refined and detailed, depicting the mountains, trees, water, boats, and people in great detail. The mountains and rocks are painted with Guilian cun (mottled texturing) technique. The richly layered ink reflects the beauty of the flexible application of “Five-color ink” principle. This painting is one of the artist’s masterpieces with exquisite delineation and comprehensive techniques. Yuan Yao has adopted an overhead perspective to express the far-reaching scenery. However, ample blank space is intentionally left in the upper left corner, making the gorge's far-reaching view seem almost unconventional.</p>
    <p>This type of composition, half densely depicted and half blank space left, is more common in Yuan Jiang’s middle-aged works. In Yuan Yao and Yuan Jiang’s painting, the sense of contrast between sparseness and density and the rhythm of intensity and relaxation in composition create a distinct and strong. Regarding the choice of subject matter, both prefer to choose familiar places with historical allusions for their works. In such works, both enormously exaggerate in brushwork, composition, and coloring. Yao and Jiang use their signature artistic language in basic brushwork to portray the characters delicately and precisely and highlight narrative scenes thematically, thus forming the unique landscape and individualized atmosphere of their works that are strange and magnificent.</p>
    <p>The artist of the painting Yuan Yao (birth and death unknown, nephew of Yuan Jiang), is a painter of the Qing Dynasty and a native of Jiangdu (today’s Yangzhou, Jiangsu Province). Yao painted landscapes, pavilions, and boundary painting (jiehua) style. His painting style is similar to Yuan Jiang, which is neat and gorgeous. Some of his masterpieces are better than Yuan Jiang.</p>`
  },
  {
    id: 22,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/22.png",
    h3: 'Plum Blossom on Scroll by Wang Shishen (Qing Dynasty)',
    p: 'This painting depicts the white plum, with the stem of the plum tree depicted in light ink. Thick ink was used to draw moss dots horizontally, which added a unique charm. ',
    info: `<p>Ink and Color on paper. Width×Length: 61.5 cm×174.5 cm.</p>
    <p>This painting depicts the white plum, with the stem of the plum tree depicted in light ink. Thick ink was used to draw moss dots horizontally, which added a unique charm. The white powder is dotted with a plum blossom that is jade and ice-like. The branches are obliquely spreading with a strange posture, adding interest to the painting.</p>
    <p>The artist of this painting Wang Shishen (1686-1759, Han Chinese), was a famous painter and calligrapher in the Qing Dynasty who styled himself “Jinren” or “Xi Dong Wai Shi”. He was a native of Huining, Anhui Province, and lived in Yangzhou. Shishen was good at Bafen script, Clerical script, and painting plum blossoms with a rich, clear spirit, light and exciting ink application. He was blind in one eye in his twilight years, but he could still create calligraphy and painting for others. He engraved a seal: “Still have one eye to see plum blossoms”. Later, Shishen was blind in both eyes but persisted in calligraphy, with a signature that reads “see with the mind”. He was the author of the Chao Lin Collection and one of the “Eight Eccentrics of Yangzhou” (the name for a group of eight Chinese painters known in the Qing Dynasty for rejecting the orthodox ideas about painting in favour of a style deemed expressive and individualist) together with Luo Pin, Li Fangying, Li Shan, Jin Nong, Huang Shen, Gao Xiang and Zheng Xie.</p>`
  },
  {
    id: 45,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/45.png",
    h3: 'Fan Leaf of a Gibbon by Wang Yimin (Song Dynasty)',
    p: 'Wang Yimin, whose life history is unknown, was born in the Northern Song Dynasty. He was a monk at first and was a native of Yongkang (now the east area of Gouxian County, Sichuan Province). ',
    info: `<p>Ink on silk. 26.3 cm in length and 26.3 cm in width.</p>
    <p>Wang Yimin, whose life history is unknown, was born in the Northern Song Dynasty. He was a monk at first and was a native of Yongkang (now the east area of Gouxian County, Sichuan Province). He was a poet and a good painter with profound vigor. He studied landscape painting from Li Sixun (653 - 716 AD, the honored calligrapher and painter in the Tang Dynasty), portrait from Gu Kaizhi (348 - 409 AD, the leading painter and prominent theorist of painting in the East Jin Dynasty), and Buddhism painting from Li Gonglin (1049 - 1106 AD, the well-known versatile painter in the North Song Dynasty). He was good at painting birds and flowers, pines and bamboo, cattle and horses, with many variations and defined ink and brushstrokes. He was also skillful in calligraphy and learned a lot about cursive script from the works of Huang Tingjian.</p>
    <p>This piece of work is an ink painting on silk. The picture depicts a gibbon climbing on a branch and leaping from tree to tree. The gibbon is twisting its head, with one arm holding a branch, and the other one stretching outward, showing us an agile and flexible body. There is a large old tree in the main part of the painting, with a crooked trunk and visible roots. Next to the trunk, there are dense pine branches and overgrown weeds. In the lower right corner of the fan, the word “Yimin” can be seen in a concealed place next to the tree. There is a tile end-shaped seal in the center of the upper part of the painting.</p>
    <p>This work was once collected by the poet Di Pingzi living in the modern age, who later gave it as a gift to Count Aldrovandi, the Italian representative of the League of Nations’ investigation group for the “September 18th” Incident triggered by Japanese army in 1931, and he used to be a minister counselor in South American countries.</p>
    `
  },
  {
    id: 48,
    url: 'Paintings',
    cover: "/data/Collections/Paintings/48.png",
    h3: 'Scroll of Landscape with Banana Tree by Qi Baishi (Republic of China Period)',
    p: 'Qi Baishi (1864-1957) was a native from Xiangtan, Hunan Province. He excelled in painting flowers, birds, insects and fish, as well as landscapes and figures with his unique styles.',
    info: `<p>Ink on paper. 133.5 cm in length and 66 cm in width.</p>
    <p>Qi Baishi (1864-1957) was a native from Xiangtan, Hunan Province. He excelled in painting flowers, birds, insects and fish, as well as landscapes and figures with his unique styles. He was also good at calligraphy, seal engraving, poetry and literary creation.</p>
    <p>The layout of this painting is full and complete, and the ink is quite vivid and memorable. In the near, middle and distant scenes, he depicts the banana trees, the study and the remote mountains by the perfect use of close, medium and distant shot. The banana trees are densely covered with banana leaves sketched by light ink, and the study hidden in the banana bushes is presented with heavy ink. The light strokes of the banana leaves and the heavy strokes of the roof of the study form a contrasting effect of white setting off the black and light setting off the thickness. Two majestic peaks stand behind the house, echoing each other. Although the shapes are strange and seemingly exaggerated, they do not appear to be abrupt, but rather blend well with the main subject of the picture--the banana and the study house, maintaining harmony and unity of the whole painting. Between the two peaks, a few strokes of light ink and thin lines are used to create an amazing scenery that clouds and mist drift through the mountains like a fairyland. The poem, calligraphy, painting and seal are all presented in the picture, making it a fine work of art among Qi Baishi’s landscape paintings.</p>
    `
  },
  {
    id: 1,
    url: "Gold",
    cover: "/data/Collections/Gold/1.png",
    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",
    cover: "/data/Collections/Gold/2.png",
    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",
    cover: "/data/Collections/Gold/3.png",
    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",
    cover: "/data/Collections/Gold/4.png",
    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",
    cover: "/data/Collections/Gold/5.png",
    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",
    cover: "/data/Collections/Gold/6.png",
    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",
    cover: "/data/Collections/Gold/7.png",
    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",
    cover: "/data/Collections/Gold/8.png",
    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",
    cover: "/data/Collections/Gold/9.png",
    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",
    cover: "/data/Collections/Gold/10.png",
    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> `,
  },
  {
    id: 1,
    url: "Coins",
    cover: "/data/Collections/Coins/1.png",
    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",
    cover: "/data/Collections/Coins/2.png",
    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",
    cover: "/data/Collections/Coins/3.png",
    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",
    cover: "/data/Collections/Coins/4.png",
    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",
    cover: "/data/Collections/Coins/5.png",
    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",
    cover: "/data/Collections/Coins/6.png",
    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",
    cover: "/data/Collections/Coins/7.png",
    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",
    cover: "/data/Collections/Coins/8.png",
    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",
    cover: "/data/Collections/Coins/9.png",
    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",
    cover: "/data/Collections/Coins/10.png",
    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",
    cover: "/data/Collections/Coins/11.png",
    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",
    cover: "/data/Collections/Coins/12.png",
    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> `,
  },
  {
    id: 1,
    url: "Brocades",
    cover: "/data/Collections/Brocades/1.png",
    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",
    cover: "/data/Collections/Brocades/2.png",
    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",
    cover: "/data/Collections/Brocades/3.png",
    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",
    cover: "/data/Collections/Brocades/4.png",
    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",
    cover: "/data/Collections/Brocades/5.png",
    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",
    cover: "/data/Collections/Brocades/6.png",
    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",
    cover: "/data/Collections/Brocades/7.png",
    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",
    cover: "/data/Collections/Brocades/8.png",
    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> `,
  },
  {
    id: 1,
    url: "Cultural",
    cover: "/data/Collections/Cultural/1.png",
    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",
    cover: "/data/Collections/Cultural/2.png",
    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",
    cover: "/data/Collections/Cultural/3.png",
    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",
    cover: "/data/Collections/Cultural/4.png",
    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",
    cover: "/data/Collections/Cultural/5.png",
    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",
    cover: "/data/Collections/Cultural/6.png",
    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",
    cover: "/data/Collections/Cultural/7.png",
    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",
    cover: "/data/Collections/Cultural/8.png",
    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> `,
  },
  {
    id: 1,
    url: "Miscellaneous",
    cover: "/data/Collections/Miscellaneous/1.png",
    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",
    cover: "/data/Collections/Miscellaneous/2.png",
    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",
    cover: "/data/Collections/Miscellaneous/3.png",
    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 = [
  {
    cover: "/data/LearnEngage/sm/100.png",
    path: "#/Layout/LearnEngageInfo?id=100&k=Students&m=1",
    id: 100,
    h3: "Celebration of Spring--Taking advantage of the east wind to fly paper kites",
    p: "Children would fly kites in the Spring, as described in the poem ‘Cun Ju’ (Residence in a Village) , ‘The grass grows long and the warblers fly in February, and the willows are prospering in the Spring. Children come home early from school and take advantage of the east wind to fly paper kites’.",
  },
  {
    cover: "/data/LearnEngage/sm/101.png",
    path: "#/Layout/LearnEngageInfo?id=101&k=Students&m=1",
    id: 101,
    h3: "Making a ‘sundial’",
    p: "“Emergence in reading, one doesn’t aware the passing of spring; an inch of time is worth an inch of gold”This classic poem is written by the poet Wang Zhenbai of the Tang Dynasty and has been used to remind people to cherish time for thousands of years.",
  },
  {
    cover: "/data/LearnEngage/sm/102.png",
    path: "#/Layout/LearnEngageInfo?id=102&k=Students&m=1",
    id: 102,
    h3: "The Charming City Zhongdu of the Jin Dynasty",
    p: "In 1153 AD, King Wanyaniang moved the capital of the Jin Dynasty to Yanjing and renamed it Zhongdu. After moving the capital to Yanjing, the way of life of the nomadic Jurchen people in the north influenced each other with the people from Central China, and the traces of ethnic integration can be found everywhere in the customs and aesthetics of clothing, food, housing and transportation.",
  },
  {
    cover: "/data/LearnEngage/sm/103.png",
    path: "#/Layout/LearnEngageInfo?id=103&k=Students&m=1",
    id: 103,
    h3: "The eight great scenes of Yanjing in paintings",
    p: "The history of ‘Eight Great Scenes of Yanjing’ can be traced back to the Jin Dynasty.  Later, inscribed by Emperor Qianlong himself , the reputation of these scenery became famous all around the country.",
  },
  {
    cover: "/data/LearnEngage/sm/105.png",
    path: "#/Layout/LearnEngageInfo?id=105&k=Students&m=1",
    id: 105,
    h3: "Modern Paintings of Ancient Jade",
    p: "Jade ware of Liao and Jin dynasties have made unprecedented achievements based on the inheritance of jade ware of Tang and Song dynasties. The Jin people were good at learning, absorbing the essence of traditional jade culture of the Chinese people and blending it with their own culture, adding a colorful touch to the history of ancient Chinese jade culture.",
  },
  {
    cover: "/data/LearnEngage/sm/106.png",
    path: "#/Layout/LearnEngageInfo?id=106&k=Students&m=1",
    id: 106,
    h3: "Inheritance of cloisonné technique",
    p: "‘Among all the advanced craftsmanship in the world, cloisonné technique stands out as the best’. Cloisonné, also known as copper enamel, is simple, elegant and exquisite in nature. It was listed in the national intangible cultural heritage list in 2006.",
  },
  // ---------

  {
    cover: "/data/LearnEngage/sm/1.png",
    path: "#/Layout/LearnEngageInfo?id=1&k=Students&m=1",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/2.png",
    path: "#/Layout/LearnEngageInfo?id=2&k=Students&m=1",
    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.',
  },
  {
    cover: "/data/LearnEngage/sm/3.png",
    path: "#/Layout/LearnEngageInfo?id=3&k=Students&m=1",
    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.',
  },
  {
    cover: "/data/LearnEngage/sm/4.png",
    path: "#/Layout/LearnEngageInfo?id=4&k=Students&m=2",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/5.png",
    path: "#/Layout/LearnEngageInfo?id=5&k=Students&m=2",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/6.png",
    path: "#/Layout/LearnEngageInfo?id=6&k=Students&m=2",
    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.',
  },
  {
    cover: "/data/LearnEngage/sm/7.png",
    path: "#/Layout/LearnEngageInfo?id=7&k=Students&m=2",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/8.png",
    path: "#/Layout/LearnEngageInfo?id=8&k=Students&m=2",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/9.png",
    path: "#/Layout/LearnEngageInfo?id=9&k=Students&m=2",
    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".',
  },
  {
    cover: "/data/LearnEngage/sm/10.png",
    path: "#/Layout/LearnEngageInfo?id=10&k=Students&m=2",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/11.png",
    path: "#/Layout/LearnEngageInfo?id=11&k=Students&m=2",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/12.png",
    path: "#/Layout/LearnEngageInfo?id=12&k=Students&m=2",
    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.`,
  },
  {
    cover: "/data/LearnEngage/sm/13.png",
    path: "#/Layout/LearnEngageInfo?id=13&k=Students&m=3",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/14.png",
    path: "#/Layout/LearnEngageInfo?id=14&k=Students&m=3",
    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.',
  },
  {
    cover: "/data/LearnEngage/sm/15.png",
    path: "#/Layout/LearnEngageInfo?id=15&k=Students&m=3",
    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?",
  },
  {
    cover: "/data/LearnEngage/sm/16.png",
    path: "#/Layout/LearnEngageInfo?id=16&k=Students&m=3",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/17.png",
    path: "#/Layout/LearnEngageInfo?id=17&k=Students&m=3",
    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?",
  },
  {
    cover: "/data/LearnEngage/sm/18.png",
    path: "#/Layout/LearnEngageInfo?id=18&k=Students&m=3",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/19.png",
    path: "#/Layout/LearnEngageInfo?id=19&k=Students&m=3",
    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.",
  },
  {
    cover: "/data/LearnEngage/sm/20.png",
    path: "#/Layout/LearnEngageInfo?id=20&k=Students&m=3",
    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.',
  },
  {
    cover: "/data/LearnEngage/sm/21.png",
    path: "#/Layout/LearnEngageInfo?id=21&k=Students&m=3",
    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.`,
  },
  {
    cover: "/data/LearnEngage/sm/22.png",
    path: "#/Layout/LearnEngageInfo?id=22&k=Students&m=4",
    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.',
  },
  {
    cover: "/data/LearnEngage/sm/23.png",
    path: "#/Layout/LearnEngageInfo?id=23&k=Students&m=4",
    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!",
  },
  {
    cover: "/data/LearnEngage/sm/24.png",
    path: "#/Layout/LearnEngageInfo?id=24&k=Students&m=4",
    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.',
  },
  {
    cover: "/data/LearnEngage/sm/25.png",
    path: "#/Layout/LearnEngageInfo?id=25&k=Students&m=4",
    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.",
  },
  {
    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".',
    cover: "/data/LearnEngage/sm/26.png",
    path: "#/Layout/LearnEngageInfo?id=26&k=Students&m=4",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/27.png",
    path: "#/Layout/LearnEngageInfo?id=27&k=Students&m=4",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/28.png",
    path: "#/Layout/LearnEngageInfo?id=28&k=Students&m=4",
  },
  {
    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.',
    cover: "/data/LearnEngage/sm/29.png",
    path: "#/Layout/LearnEngageInfo?id=29&k=Students&m=4",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/30.png",
    path: "#/Layout/LearnEngageInfo?id=30&k=Students&m=4",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/31.png",
    path: "#/Layout/LearnEngageInfo?id=31&k=Students&m=5",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/32.png",
    path: "#/Layout/LearnEngageInfo?id=32&k=Students&m=5",
  },
  {
    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.',
    cover: "/data/LearnEngage/sm/33.png",
    path: "#/Layout/LearnEngageInfo?id=33&k=Students&m=5",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/34.png",
    path: "#/Layout/LearnEngageInfo?id=34&k=Students&m=5",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/35.png",
    path: "#/Layout/LearnEngageInfo?id=35&k=Students&m=5",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/36.png",
    path: "#/Layout/LearnEngageInfo?id=36&k=Students&m=5",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/37.png",
    path: "#/Layout/LearnEngageInfo?id=37&k=Students&m=5",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/38.png",
    path: "#/Layout/LearnEngageInfo?id=38&k=Students&m=5",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/39.png",
    path: "#/Layout/LearnEngageInfo?id=39&k=Students&m=5",
  },

  //--------------
  
  {
    id: 96,
    h3: "A riot of colors on Porcelain",
    p: `Special Event for the International Working Women’s Day (March 8)
    Porcelain is the treasure of Chinese culture and one of the symbols of China. `,
    cover: "/data/LearnEngage/sm/96.png",
    path: "#/Layout/LearnEngageInfo?id=96&k=Adults&m=1",
  },
  {
    id: 98,
    h3: "Doctors’Day Special Session",
    p: `International Doctors’ Day is celebrated on March 30 every year.`,
    cover: "/data/LearnEngage/sm/98.png",
    path: "#/Layout/LearnEngageInfo?id=98&k=Adults&m=1",
  },
  {
    id: 99,
    h3: "The Art of Brocade Culture in the Perspective of Chinese National Community",
    p: `The lecture will explain the origin of ‘China’ through the interpretation of the inscription of the national treasure ‘Zun Vessel Inscribed by He’, explain the name of ‘Jin’ (brocade in Chinese) from the The Book of Songs, and talk about the history of the Chinese community in the folk tales about the Chinese group and the five peoples. `,
    cover: "/data/LearnEngage/sm/99.png",
    path: "#/Layout/LearnEngageInfo?id=99&k=Adults&m=1",
  },
  {
    id: 40,
    h3: "Clean and Elegant – Five Famous Kilns in Song Dynasty",
    p: "The Song Dynasty was the first prosperous period for Chinese porcelain.",
    cover: "/data/LearnEngage/sm/40.png",
    path: "#/Layout/LearnEngageInfo?id=40&k=Adults&m=1",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/41.png",
    path: "#/Layout/LearnEngageInfo?id=41&k=Adults&m=1",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/42.png",
    path: "#/Layout/LearnEngageInfo?id=42&k=Adults&m=1",
  },
  {
    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."',
    cover: "/data/LearnEngage/sm/43.png",
    path: "#/Layout/LearnEngageInfo?id=43&k=Adults&m=1",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/44.png",
    path: "#/Layout/LearnEngageInfo?id=44&k=Adults&m=1",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/45.png",
    path: "#/Layout/LearnEngageInfo?id=45&k=Adults&m=1",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/46.png",
    path: "#/Layout/LearnEngageInfo?id=46&k=Adults&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/47.png",
    path: "#/Layout/LearnEngageInfo?id=47&k=Adults&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/48.png",
    path: "#/Layout/LearnEngageInfo?id=48&k=Adults&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/49.png",
    path: "#/Layout/LearnEngageInfo?id=49&k=Adults&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/50.png",
    path: "#/Layout/LearnEngageInfo?id=50&k=Adults&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/51.png",
    path: "#/Layout/LearnEngageInfo?id=51&k=Adults&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/52.png",
    path: "#/Layout/LearnEngageInfo?id=52&k=Adults&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/53.png",
    path: "#/Layout/LearnEngageInfo?id=53&k=Adults&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/54.png",
    path: "#/Layout/LearnEngageInfo?id=54&k=Adults&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/55.png",
    path: "#/Layout/LearnEngageInfo?id=55&k=Adults&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/56.png",
    path: "#/Layout/LearnEngageInfo?id=56&k=Adults&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/57.png",
    path: "#/Layout/LearnEngageInfo?id=57&k=Adults&m=3",
  },
  {
    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.`,
    cover: "/data/LearnEngage/sm/58.png",
    path: "#/Layout/LearnEngageInfo?id=58&k=Adults&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/59.png",
    path: "#/Layout/LearnEngageInfo?id=59&k=Adults&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/60.png",
    path: "#/Layout/LearnEngageInfo?id=60&k=Adults&m=3",
  },
  {
    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",
    cover: "/data/LearnEngage/sm/61.png",
    path: "#/Layout/LearnEngageInfo?id=61&k=Adults&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/62.png",
    path: "#/Layout/LearnEngageInfo?id=62&k=Adults&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/63.png",
    path: "#/Layout/LearnEngageInfo?id=63&k=Adults&m=3",
  },
  {
    id: 64,
    h3: "Lecture: Humanism of Italian Renaissance",
    p: "Humanism of Italian Renaissance",
    cover: "/data/LearnEngage/sm/64.png",
    path: "#/Layout/LearnEngageInfo?id=64&k=Adults&m=4",
  },
  {
    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",
    cover: "/data/LearnEngage/sm/65.png",
    path: "#/Layout/LearnEngageInfo?id=65&k=Adults&m=4",
  },
  {
    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.',
    cover: "/data/LearnEngage/sm/66.png",
    path: "#/Layout/LearnEngageInfo?id=66&k=Adults&m=4",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/67.png",
    path: "#/Layout/LearnEngageInfo?id=67&k=Adults&m=4",
  },
  {
    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.`,
    cover: "/data/LearnEngage/sm/68.png",
    path: "#/Layout/LearnEngageInfo?id=68&k=Adults&m=4",
  },
  {
    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?",
    cover: "/data/LearnEngage/sm/69.png",
    path: "#/Layout/LearnEngageInfo?id=69&k=Adults&m=4",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/70.png",
    path: "#/Layout/LearnEngageInfo?id=70&k=Adults&m=4",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/71.png",
    path: "#/Layout/LearnEngageInfo?id=71&k=Adults&m=4",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/72.png",
    path: "#/Layout/LearnEngageInfo?id=72&k=Adults&m=4",
  },
  {
    id: 107,
    h3: "Lecture Announcement | Crafting the Future with Artistry — Preservation, Inheritance, and Innovative Development of Beijing's Eight Marvels",
    "p": `The "Eight Marvels of Yanjing" originated as eight exceptional crafts developed by artisans of the Qing Dynasty's Imperial Household Department after the dynasty's end.`,
    cover: "/data/LearnEngage/sm/107.png",
    path: "#/Layout/LearnEngageInfo?id=107&k=Adults&m=5",
  },
  {
    id: 108,
    h3: "Lecture Announcement | Mr. Lao She and Beijing Local Opera",
    "p": `To commemorate the 125th anniversary of Mr. Lao She's birth, the Lao She Memorial Hall will launch a series of lectures in 2024 (5 in total). These lectures will explore Mr. Lao She's creations and contributions from various perspectives.`,
    cover: "/data/LearnEngage/sm/108.png",
    path: "#/Layout/LearnEngageInfo?id=108&k=Adults&m=5",
  },

  // --------------------------
  // 2-10添加的learn 亲子活动 2个模块
  {
    id: 95,
    h3: "Stories of Rabbit",
    p: "There are many vivid images of rabbits in traditional Chinese culture, and there are numerous cultural relics that contain the element of “rabbit”. This event will feature a selection of cultural relics with “rabbit” elements from the Capital Museum, telling the story of the rabbit in traditional Chinese culture.",
    cover: "/data/LearnEngage/sm/95.png",
    path: "#/Layout/LearnEngageInfo?id=95&k=Families&m=1",
  },
  {
    id: 97,
    h3: "Cute Bronze Beasts",
    p: "Bronze ware has a long history in China, with the bronze ornaments of the Shang and Zhou periods are especially exquisite and mysterious, presenting unparalleled skills and charm. ",
    cover: "/data/LearnEngage/sm/97.png",
    path: "#/Layout/LearnEngageInfo?id=97&k=Families&m=1",
  },
  {
    id: 104,
    h3: "Splendid Capital--I am a little architect",
    p: "“Canopy fish, tank, pomegranate tree, a literati, a dog and a plumpy girl”, the life of a family in the Beijing courtyard of the old times is vividly presented before your eyes. ",
    cover: "/data/LearnEngage/sm/104.png",
    path: "#/Layout/LearnEngageInfo?id=104&k=Families&m=1",
  },
  {
    id: 93,
    h3: "Flower of art blooming on your fingertips",
    p: "The velvet flower (pronounced as ‘Rong Hua’ in Chinese) implies “prosperity” (also pronounced as ‘Rong Hua’ in Chinese ), which means good luck and wealth and enjoys a long history. According to historical records, the craftsmanship of making velvet flowers was very exquisite during the Tang Dynasty, and various kinds of them were presented as tributes to the imperial family, so they were called the “flowers of the imperil palace”. In the Qing Dynasty, people wore velvet flowers at the Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and wedding celebrations, so they were also called “flowers of happiness”. Nowadays, they are not only used as head ornaments, but also made into corsages, rings and decorations. In order to provide a better experience of the cultural charm of intangible cultural heritage for you, we plan to hold a “velvet flower” DIY activity, so bring your family and join us!",
    cover: "/data/LearnEngage/sm/93.png",
    path: "#/Layout/LearnEngageInfo?id=93&k=Families&m=1",
  },
  {
    id: 94,
    h3: "Colorful Porcelain",
    p: "As the treasure of Chinese culture and one of the calling cards of China, porcelain is famous around the global with its exquisite and colorful ornaments. In this event, we will appreciate the beauty of porcelain by selecting floral motifs from porcelain ornaments, and there will be a wonderful interactive session where the audience can draw the “blue and white flat pot with phoenix head” with their own hands to learn the exquisite skills and experience the wisdom of the Chinese ancestors.",
    cover: "/data/LearnEngage/sm/94.png",
    path: "#/Layout/LearnEngageInfo?id=94&k=Families&m=1",
  },

  {
    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.',
    cover: "/data/LearnEngage/sm/73.png",
    path: "#/Layout/LearnEngageInfo?id=73&k=Families&m=1",
  },
  {
    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!",
    cover: "/data/LearnEngage/sm/74.png",
    path: "#/Layout/LearnEngageInfo?id=74&k=Families&m=1",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/75.png",
    path: "#/Layout/LearnEngageInfo?id=75&k=Families&m=1",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/76.png",
    path: "#/Layout/LearnEngageInfo?id=76&k=Families&m=1",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/77.png",
    path: "#/Layout/LearnEngageInfo?id=77&k=Families&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/78.png",
    path: "#/Layout/LearnEngageInfo?id=78&k=Families&m=2",
  },
  {
    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.',
    cover: "/data/LearnEngage/sm/79.png",
    path: "#/Layout/LearnEngageInfo?id=79&k=Families&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/80.png",
    path: "#/Layout/LearnEngageInfo?id=80&k=Families&m=2",
  },
  {
    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!",
    cover: "/data/LearnEngage/sm/81.png",
    path: "#/Layout/LearnEngageInfo?id=81&k=Families&m=2",
  },
  {
    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!",
    cover: "/data/LearnEngage/sm/82.png",
    path: "#/Layout/LearnEngageInfo?id=82&k=Families&m=2",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/83.png",
    path: "#/Layout/LearnEngageInfo?id=83&k=Families&m=2",
  },
  {
    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.`,
    cover: "/data/LearnEngage/sm/84.png",
    path: "#/Layout/LearnEngageInfo?id=84&k=Families&m=2",
  },
  {
    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?",
    cover: "/data/LearnEngage/sm/85.png",
    path: "#/Layout/LearnEngageInfo?id=85&k=Families&m=2",
  },
  {
    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!",
    cover: "/data/LearnEngage/sm/86.png",
    path: "#/Layout/LearnEngageInfo?id=86&k=Families&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/87.png",
    path: "#/Layout/LearnEngageInfo?id=87&k=Families&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/88.png",
    path: "#/Layout/LearnEngageInfo?id=88&k=Families&m=3",
  },
  {
    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!",
    cover: "/data/LearnEngage/sm/89.png",
    path: "#/Layout/LearnEngageInfo?id=89&k=Families&m=3",
  },
  {
    id: 90,
    h3: "The Beauty of Emblazonry",
    p: "",
    cover: "/data/LearnEngage/sm/90.png",
    path: "#/Layout/LearnEngageInfo?id=90&k=Families&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/91.png",
    path: "#/Layout/LearnEngageInfo?id=91&k=Families&m=3",
  },
  {
    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.",
    cover: "/data/LearnEngage/sm/92.png",
    path: "#/Layout/LearnEngageInfo?id=92&k=Families&m=3",
  },
];
export const Publications = [
  {
    id: "32_1",
    h3: "Introduction of Magazine",
    p: "The Museum is a national academic journal for museum studies supervised by the Chinese Academy of Sciences, hosted by the Science Press and sponsored by the Capital Museum Beijing, Tianjin Museum and the Hebei Museum. The bimonthly journal was launched in February, 2017.The Museum, taking the study of culture and museums, and the spread of culture as one of its responsibility in line with the national policy of “Integrated Development of Beijing, Tianjin and Hebei Province”, aims to provide a pl…",
    path: "#/Layout/Publications/1?p=0",
  },

  {
    id: "30_2",
    h3: "Notice to Contributors",
    p: "The Museum is a national academic journal on museums published at home and abroad. It features three sections - thematic exploration, theoretical research, and museum practice - mainly devoted to museum-related academic research results: gathering and preservation of collections, restoration and preservation of collections, collections research, exhibition and evaluation, museum education, propaganda and literary creation, museum management, openness and security, museum architecture, museum dig…",
    path: "#/Layout/Publications/1?p=1",
  },
  {
    id: "31_3",
    h3: "Contact Us",
    p: "Contact information of the journalTel: +86 10 64033878、64034135、63370450Fax: +86 10 64030141Email: bowuyuan@mail.sciencep.comReview Platform：http:ees.scichina.comuserlogin.actionAddress: No. 16, Donghuangchenggen North Street, Beijing.Postcode: 100717…",
    path: "#/Layout/Publications/1?p=2",
  },
  // -------------书籍
  {
    id: 37,
    cover: "/data/Publications/Magazines/37.jpg",
    h3: "Study of Museum History",
    p: "",
    path: "#/Layout/PublicationsInfo?id=37",
  },
  {
    id: 36,
    cover: "/data/Publications/Magazines/36.png",
    h3: "Application of Digital Technology in Museums",
    p: "",
    path: "#/Layout/PublicationsInfo?id=36",
  },
  {
    id: 35,
    cover: "/data/Publications/Magazines/35.jpg",
    h3: "Cultural Relics Conservation and Security",
    p: "",
    path: "#/Layout/PublicationsInfo?id=35",
  },
  {
    id: 34,
    cover: "/data/Publications/Magazines/34.jpg",
    h3: "Study on City of Museums",
    p: "",
    path: "#/Layout/PublicationsInfo?id=34",
  },
  {
    id: 33,
    cover: "/data/Publications/Magazines/33.jpg",
    h3: "Archaeology, Site and Museum",
    p: "",
    path: "#/Layout/PublicationsInfo?id=33",
  },
  {
    id: 32,
    cover: "/data/Publications/Magazines/32.jpg",
    h3: "Cultural Relics Witness History",
    p: "",
    path: "#/Layout/PublicationsInfo?id=32",
  },
  {
    id: 31,
    cover: "/data/Publications/Magazines/31.jpg",
    h3: "Research on Su Donghai’s Academic Thoughts of Museology",
    p: "",
    path: "#/Layout/PublicationsInfo?id=31",
  },
  {
    id: 30,
    cover: "/data/Publications/Magazines/30.jpg",
    h3: "Practice and Reflections of Young Museum Professionals",
    p: "",
    path: "#/Layout/PublicationsInfo?id=30",
  },
  {
    id: 1,
    cover: "/data/Publications/Magazines/2021_5.jpg",
    h3: "Study on the Children Audience in Museums",
    p: "",
    path: "#/Layout/PublicationsInfo?id=1",
  },
  {
    id: 2,
    cover: "/data/Publications/Magazines/2021_4.jpg",
    h3: "The Development and Branches of Museology",
    p: "",
    path: "#/Layout/PublicationsInfo?id=2",
  },
  {
    id: 3,
    cover: "/data/Publications/Magazines/2021_3.jpg",
    h3: "Exhibition of Revolutionary Relics and Education",
    p: "",
    path: "#/Layout/PublicationsInfo?id=3",
  },
  {
    id: 4,
    cover: "/data/Publications/Magazines/2021_2.png",
    h3: "New Media and Museum Cultural Communication",
    p: "",
    path: "#/Layout/PublicationsInfo?id=4",
  },
  {
    id: 5,
    cover: "/data/Publications/Magazines/2021_1.png",
    h3: "<i>The Museum</i>",
    p: "",
    path: "#/Layout/PublicationsInfo?id=5",
  },
  {
    id: 6,
    cover: "/data/Publications/Magazines/2020_6.png",
    h3: "Study on the Ancient Material Culture",
    p: "",
    path: "#/Layout/PublicationsInfo?id=6",
  },
  {
    id: 7,
    cover: "/data/Publications/Magazines/2020_5.jpg",
    h3: "Gold, Silver and Currency System",
    p: "",
    path: "#/Layout/PublicationsInfo?id=7",
  },
  {
    id: 8,
    cover: "/data/Publications/Magazines/2020_4.jpg",
    h3: "Theories and Practices of Museum Exhibition and Display",
    p: "",
    path: "#/Layout/PublicationsInfo?id=8",
  },
  {
    id: 9,
    cover: "/data/Publications/Magazines/2020_3.jpg",
    h3: "Archaeological Site Museum and Archaeological Site Park",
    p: "",
    path: "#/Layout/PublicationsInfo?id=9",
  },
  {
    id: 10,
    cover: "/data/Publications/Magazines/2020_2.jpg",
    h3: "Museum and Public Event",
    p: "",
    path: "#/Layout/PublicationsInfo?id=10",
  },
  {
    id: 11,
    cover: "/data/Publications/Magazines/2020_1.jpg",
    h3: "Museum Towards the Future",
    p: "",
    path: "#/Layout/PublicationsInfo?id=11",
  },
  {
    id: 12,
    cover: "/data/Publications/Magazines/2019_6.jpg",
    h3: "Research on Oracle Bones Scripture",
    p: "",
    path: "#/Layout/PublicationsInfo?id=12",
  },
  {
    id: 13,
    cover: "/data/Publications/Magazines/2019_5.jpg",
    h3: "Research on Stone Labels Unearthed in Cao-Wei Tomb, Luoyang",
    p: "",
    path: "#/Layout/PublicationsInfo?id=13",
  },
  {
    id: 14,
    cover: "/data/Publications/Magazines/2019_4.jpg",
    h3: "Scientific Archaeology and the Protection of Cultural Relic",
    p: "",
    path: "#/Layout/PublicationsInfo?id=14",
  },
  {
    id: 15,
    cover: "/data/Publications/Magazines/2019_3.jpg",
    h3: "A Glimpse of Worldwide Children's Museum",
    p: "",
    path: "#/Layout/PublicationsInfo?id=15",
  },
  {
    id: 16,
    cover: "/data/Publications/Magazines/2019_2.jpg",
    h3: "Research on Museum's Collections",
    p: "",
    path: "#/Layout/PublicationsInfo?id=16",
  },
  {
    id: 17,
    cover: "/data/Publications/Magazines/2019_1.jpg",
    h3: "A Study of Ancient Chinese Clothing",
    p: "",
    path: "#/Layout/PublicationsInfo?id=17",
  },
  {
    id: 18,
    cover: "/data/Publications/Magazines/2018_6.jpg",
    h3: "Research on Museum's Collections",
    p: "",
    path: "#/Layout/PublicationsInfo?id=18",
  },
  {
    id: 19,
    cover: "/data/Publications/Magazines/2018_5.jpg",
    h3: "Study on Jade Ware of Yin Ruins",
    p: "",
    path: "#/Layout/PublicationsInfo?id=19",
  },
  {
    id: 20,
    cover: "/data/Publications/Magazines/2018_4.png",
    h3: "Capital Study and Museum",
    p: "",
    path: "#/Layout/PublicationsInfo?id=20",
  },
  {
    id: 21,
    cover: "/data/Publications/Magazines/2018_3.jpg",
    h3: "The Centennial of Tianjin Museum",
    p: "",
    path: "#/Layout/PublicationsInfo?id=21",
  },
  {
    id: 22,
    cover: "/data/Publications/Magazines/2018_2.jpg",
    h3: "Shipwreck and the Maritime Silk Road",
    p: "",
    path: "#/Layout/PublicationsInfo?id=22",
  },
  {
    id: 23,
    cover: "/data/Publications/Magazines/2018_1.jpg",
    h3: "Museum, Revive Cultural Relics",
    p: "",
    path: "#/Layout/PublicationsInfo?id=23",
  },
  {
    id: 24,
    cover: "/data/Publications/Magazines/2017_6.jpg",
    h3: "The Definition and Future of Museum",
    p: "",
    path: "#/Layout/PublicationsInfo?id=24",
  },
  {
    id: 25,
    cover: "/data/Publications/Magazines/2017_5.jpg",
    h3: "Museum's Acquisition, Display and Interpretation Under a Perspective of Anthropology",
    p: "",
    path: "#/Layout/PublicationsInfo?id=25",
  },
  {
    id: 26,
    cover: "/data/Publications/Magazines/2017_4.jpg",
    h3: "Preliminary Study on the Culture of Beijing-Tianjin-Hebei",
    p: "",
    path: "#/Layout/PublicationsInfo?id=26",
  },
  {
    id: 27,
    cover: "/data/Publications/Magazines/2017_3.jpg",
    h3: "Museum Cognition and Communication",
    p: "",
    path: "#/Layout/PublicationsInfo?id=27",
  },
  {
    id: 28,
    cover: "/data/Publications/Magazines/2017_2.jpg",
    h3: "Cultural Relic Protection and Technology",
    p: "",
    path: "#/Layout/PublicationsInfo?id=28",
  },
  {
    id: 29,
    cover: "/data/Publications/Magazines/2017_1.jpg",
    h3: "<i>The Museum</i>",
    p: "",
    path: "#/Layout/PublicationsInfo?id=29",
  },
];
export const Join = [
  {
    id: 1,
    h3: "Volunteer Team Introduction",
    p: "Ⅰ. Establishing TimeSince the 1990s, the Capital Museum has been recruiting volunteers, called “Friends of the Museum”, responsible for organizing the audience for visits and itinerant exhibitions.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.The volunteer team was officially established when the new museum building was completed in 200…",
    cover: "/data/JoinSupport/v1.jpg",
    path: "#/Layout/JoinSupport/VolunteerInfo?id=1",
  },
  {
    id: 2,
    h3: "Volunteer Apply",
    p: "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:Requirements 1. To show a clear love for c…",
    cover: "/data/JoinSupport/v2.jpg",
    path: "#/Layout/JoinSupport/VolunteerInfo?id=2",
  },
  {
    id: 3,
    h3: "Volunteer Program",
    p: "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 han…",
    cover: "/data/JoinSupport/v3.jpg",
    path: "#/Layout/JoinSupport/VolunteerInfo?id=3",
  },
  {
    id: 4,
    h3: "Individuals",
    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.• 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.• Mr. Suo Daming donated to Capi…",
    cover: "/data/JoinSupport/wg1.jpg",
    path: "#/Layout/JoinSupport/GiveInfo?id=4",
  },
  {
    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.…",
    cover: "/data/JoinSupport/wg2.jpg",
    path: "#/Layout/JoinSupport/GiveInfo?id=5",
  },
];
export const About = [
  {
    id: 1,
    h3: "From the President",
    p: "The Capital Museum of Chinais a comprehensive museum affiliated with the municipal government of Beijing. It is committed to displaying Beijing's 500,000years of history of human settlement, 3,000 years of urban history and 800 years of history as the capital of China. What is more, the museumis responsible for the collection, collation, restoration, research and preservation of the historical and cultural heritage of the Beijing region. Furthermore, it stands asan important site ofcultural …",
    path: "#/Layout/About/President",
  },
  {
    id: 2,
    h3: "From the Director",
    p: "The Capital Museum of China is a comprehensive museum affiliated with the municipal government of Beijing. It is committed to displaying Beijing's 500,000 years of history of human settlement, 3,000 years of urban history and 800 years of history as the capital of China. What is more, the museum is responsible for the collection, collation, restoration, research and preservation of the historical and cultural heritage of the Beijing region. Furthermore, it stands as an important site of cult…",
    path: "#/Layout/About/Director",
  },
];
export const Events = [
  {
    id: 1,
    cover: "/data/About/Events/1Ac.jpg",
    h3: "International Museum Day 2021",
    p: "Forum Titled The Future of Museums: New Journey and New Actions Held at Capital Museum of ChinaA 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…",
    path: "#/Layout/EventsInfo/1.2",
  },
  {
    id: 2,
    cover: "/data/About/Events/2Ac.jpg",
    h3: "Development of Contemporary Museum and Exhibition InterpretationInternational Symposium",
    p: "Directors' Roundtable of Development of Contemporary Museums and Exhibition InterpretationIn 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.At the roundtable, Huang Xueyin, deputy director of the Capital Museum, introduced the background of the prepar…",
    path: "#/Layout/EventsInfo/2.2",
  },
  {
    id: 3,
    cover: "/data/About/Events/4Ac.jpg",
    h3: "2018 China-Japan-ROK International Conference on Museums",
    p: "Statements of the Curators' RoundtableI. We should treasure the friendship formed in the past 16 years, increase personnel exchanges, and maintain and develop our cooperative mechanism;▲Scene at the Curator's RoundtableII. We should intensify academic cooperation and make joint achievements to promote the integration of theoretical innovations and practices concerning Capital Studies and museology;▲HAN, Zhanming, curator of Capital Museum of China delivers his speechIII. In the next thre…",
    path: "#/Layout/EventsInfo/4.3",
  },
  {
    id: 4,
    cover: "/data/About/Events/4Ac.jpg",
    h3: "2018 China-Japan-ROK International Conference on Museums",
    p: "Civilizations of Capital Cities and Cultural Exchanges—Prospect and Outlook of Cooperation on Capital Studiesthat Transcends Dimensions of Time and SpaceBAI Jie, President of Capital Museum, ChinaAugust 15, 2018A 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 countr…",
    path: "#/Layout/EventsInfo/4.2",
  },
  {
    id: 5,
    cover: "/data/About/Events/2Ac.jpg",
    h3: "Development of Contemporary Museum and Exhibition InterpretationInternational Symposium",
    p: "Development of a Contemporary Museum and Exhibition InterpretationOn 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 vide…",
    path: "#/Layout/EventsInfo/2.2",
  },
  {
    id: 6,
    cover: "/data/About/Events/1Ac.jpg",
    h3: "International Museum Day 2021",
    p: "Capital Museum of China Holds 2nd Museum Youth Forum Themed The Future of Museums: The Mission and Responsibility of Young Museum ProfessionalsOn 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 B…",
    path: "#/Layout/EventsInfo/1.3",
  },
  {
    id: 7,
    cover: "/data/About/Events/1Ac.jpg",
    h3: "International Museum Day 2021",
    p: "Capital Museum of China Holds Museum Night EventMuseum 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 A…",
    path: "#/Layout/EventsInfo/1.4",
  },
];
export const Terms = [
  {
    cover: "/data/About/sea1.png",
    id: 1,
    h3: "Terms of Use",
    p: "Legal NoticeWelcome to www.capitalmuseum.org.cn hereinafter referred to as this website. You are expected to comply with following terms while using this website:Copyright of all contents on this website, including but not limited to the website design, texts, pictures, audio and video works, etc., belong to the Capital Museum and all the parties concerned. All media, websites, organizations or individuals are allowed to read these contents, but cannot use them in the ways including but not limi…",
    path: "#/Layout/Use",
  },
];
export const Employment = [
  {
    cover: "/data/About/sea1.png",
    id: 1,
    h3: "2017 Second-Half Public Recruitment Notice of the Capital Museum",
    p: "In accordance with the regulations covering open recruitment of public institutions issued by the Beijing Municipal Human Resources and Social Security Bureau and the Beijing Municipal Administration of Cultural Heritage, and considering the growing work demands of the Museum, 12 job vacancies have now become available. The details are as follows:ⅠRequirements:1. Chinese nationality; support the leadership of the Communist Party of China2. Have a passion for museum work; healthy, honest, law-abi…",
    path: "#/Layout/Employment",
  },
];