Zhejiang Provincial Museum 浙江省博物馆

Ten thousand years ago, rice cultivation originated in Shangshan. Five thousand years ago, the light of civilisation shone in Liangzhu. Two thousand years ago, the ancient State of Yue strove arduously for prosperity and strength. One thousand years ago, the two Song dynasties thrived as the paradise of the southeast. One hundred years ago, the Red Boat of the Communist Party of China set sail from here for her revolutionary cause. This is the story of Zhejiang.

Zhijiang Branch 之江馆

The Zhijiang branch of the Zhejiang Provincial Museum in Hangzhou has quickly developed into a popular destination for museum lovers since its opening on 29 Aug 2023. It is part of the Zhijiang Cultural Center, the largest cultural complex in the province which also comprises the Zhejiang Library, Zhejiang Intangible Cultural Heritage Museum, Zhejiang Literature Museum, and Zhijiang Culture Public Service Center.

The new venue takes up a floor area of total 100,000 square meters, while the exhibition area reaches some 32,000 square meters. A wide range of artifacts, from celadon ware and paintings to those showcasing folk customs, are on display at a variety of ongoing exhibitions.

Among them, “Ten Thousand Years of Zhejiang” particularly is the highlight. The exhibition showcases the history of the region from the Shangshan Culture dating back over 10,000 years to modern times, with over 2,000 objects exhibited.

In addition, give thematic exhibitions on Zhejiang culture decode the unique cultural genes of Zhejiang, starting from celadon culture, maritime culture, Song Dynasty culture, calligraphy and painting traditions, and the culture of famous figures.³

Thanks to the long history and rich cultural resources of Zhejiang Province, the new museum branch holds a long list of cultural treasures in its collection, including the “King Jade Cong“⁴ (above), a ritual object unearthed from the Archaeological Ruins of Liangzhu City dating back some 5,000 years, and “The Remaining Mountain,” part of the Chinese painting masterpiece “Dwelling in the Fuchun Mountains” by renowned Chinese painter Huang Gongwang (1269-1354).

The museum features a range of current multimedia and audiovisual technologies, where 3D digital space modelling and other advanced systems are used to create a special digital exhibition hall to offer an immersive experience to visitors. Low reflection glass are used throughout the exhibits to reduce light interference for visitors viewing the cultural relics.

Ten Thousand Years of Zhejiang 浙江一万年

Zhejiang is renowned for her picturesque landscape, long history and rich cultural resources. The main “Ten Thousand Years of Zhejiang” historical and cultural exhibition traces the twists and turns of Zhejiang’s 10,000 year history and includes the collection of Hemuda relics that included the first lacquerware discovered in China, as well as the origins of rice cultivation, silk, porcelain, and other cultural products, reflecting the contributions of Zhejiang’s humanistic and technological development to Chinese civilisation.

The exhibition spreads across three halls over two levels of the museum, with the main entrance on the first level right after the X-ray machines. Most of the exhibits were moved from the overcrowded Gushan branch, complemented with new artefacts from recent excavations to complete the narrative of 10,000 years of history, starting with Neolithic Shangshan culture.

The Shangshan culture (11,000–8,500 years BP), the earliest Neolithic culture found in Zhejiang, along with the subsequent Kuahuqiao, Hemudu, Majiabang, Songze, Liangzhu, Haochuan, Qianshanyang, and Guangfulin cultures, forms a diverse Neolithic cultural system of Zhejiang. This system is remarkable for its unique characteristics and progressive developments, consequently making it an important milestone in the history of human civilisation.⁶

Excavations from the Shangshan cultural site have yielded numerous stone mills, which are usually found in sets with millstones or grinding rods. An example of such a set is the one excavated at Xiaohuangshan in Shengzhou, Zhejiang (above)⁷. It is internationally renowned as the world’s earliest origin of domesticated rice agriculture and the site of the earliest known alcohol fermentation in East Asia. 

Zhejiang is also famous for several critical periods in Chinese history – Wu State 吴国 during the Spring Autumn period, Yue State 越国 during the Warring States period, Wuyue Kingdom 吴越国 (not much imagination when naming states huh?) during the Five Dynasties, Southern Song Dynasty (when Hangzhou was the capital), and subsequently Yuan-Ming-Qing, when it became an economic powerhouse of medieval China. The Wuyue Kingdom‘s strategy of “voluntary surrendering under the new Song ruler” made it possible for a smooth transition of jurisdiction and created an opportunity for economic and cultural development in Zhejiang regions.

The Song Dynasty (960-1279) was a time of political and social integrity. The bureaucratic examination system, along with the introduction of checks and balances to the Song Bureaucracy, laid a firm foundation for national stability, economic growth, and cultural prosperity. During the Northern Song dynasty (960–1127), Zhejiang was the main provider of national revenue with its booming wealth and prosperity, contributing to China’s economic center shifting to southern regions.

When the Song ruler retreated to the South and set its capital in Lin’an (modern day Hangzhou), Zhejiang stepped into full development by virtue of its geographical and political advantages during the Southern Song dynasty (1127-1279), creating a vast, spectacular array of classics, regulations, and cultural relics.

The emergence of urban society in the Song Dynasty occupies a prominent position in the overall development of Chinese history. From Bianjing (Kaifeng) in the north to Lin’an (Hangzhou) in the south, bustling streets lined with shops, adorned with pearls and silks, and filled with luxurious goods, the urban landscape and lifestyle are already familiar to modern people.

This land boasts a rich heritage of culture and civility, having once served as an imperial capital. It has been a pivotal transportation hub, marking the beginning of the Maritime Silk Road. Known as a centre for literary pursuits south of the Yangtze River, it abounds in poetry and painting. It is the birthplace of celadon and silk, where countless crafts compete for excellence.

The economy of the Zhejiang region in the Yuan dynasty continued to develop on the basis of the Song period, holding a pivotal position in the national economy. In his travelogue, the Italian Marco Polo described Hangzhou during the Yuan Dynasty as “the most beautiful and magnificent city in the world.”

During the Ming and Qing dynasties, Zhejiang’s regional socio-economic structure underwent significant transformation. The rice economy changed, and cash crop cultivation and specialised agricultural production developed significantly, mainly covering sericulture, cotton, and hemp. The improved specialisation and detailed labour division promoted commodity circulation (primarily salt, which was a monopoly of the government) and commercial prosperity.

Although its provincial boundary was defined after the establishment of the Zhejiang Provincial Administration Commission in the Ming Dynasty, the “province” system was implemented only in the Qing dynasty, and Zhejiang Provincial Administration Commission was renamed as “Zhejiang Province,” which is largely the same as today regarding the name and scope of jurisdiction. Zhejiang as a province was finally established.

And the exhibition concludes with the founding of modern China, from the revolution by Sun Yat-sen that overthrew the Qing dynasty to the “Red Boat” (南湖红船)¹⁵, birthplace of the Communist Party of China (CPC). Zhejiang remained quite detached from the turmoils of the inland provinces and continued to prosper; even to this modern day, Hangzhou is considered one of the most vibrant cities in China that has embraced the New Economy, having founded giants like Alibaba.

Sword Of King Of Yue Inscribed With Characters “Zhuji Yushi” 越王者旨於睗剑

Zhuji Yushi, the owner of the sword, is the son of Goujian, king of Yue. A number of weaponry created during his ruling period were found, with some of them being discovered from archaeological sites and some passed down through generations. The best preserved one is this sword which has golden luster with a sharp blade. On both sides of the scabbard are inscriptions of “King of Yue” at the front and “Zhuji Yushi” at the back, together with the pattern of double-hook, bird and worm.¹⁶

Secret Colours of Jiangnan 江南秘色

Zhejiang is the birthplace of celadon and a major production area for it since the Han Dynasty. Zhejiang celadon, with its exquisite color and superb craftsmanship, has led global fashion trends. By showcasing famous kilns and porcelains from Zhejiang, this exhibition offers a glimpse into the ancient celadon culture of the region, highlighting the development, technological characteristics, and impact of Zhejiang’s porcelain industry on humanity.¹⁷

The celadon funerary objects of the Three Kingdoms Period and the Westem Jin Dynasty were buried in tombs in sets for their low production cost. These funerary objects reflect the life of the tomb owner and the celadon craftsmanship of the time. Jars with modelled designs were common in the Three Kingdoms Period, the Western Jin and the Eastern Jin dynasties. As funerary objects, this kind of jars evolved from the five-tube vases of the Eastern Han Dynasty

Celadon goats and lions are classic animal-shaped artefacts from the Yue kiln in the Western and Eastern Jin dynasties. Either moulded by a mould or hand-sculpted, these artefacts pursue lifelike appearances. In addition, they are often engraved with flying feathers, reflecting the prevailing immortal Taoist beliefs at that time. Usually, there is a hole in the goat’s head, while the lion’s back is designed with a round tube, probably for inserting incense and candles, thereby having the functions of sacrifice and warding off evil spirits.

During the Five Dynasties period, influenced by Yue ware techniques, the Longquan region began producing celadon. The products exhibited strong styles reminiscent of Yue, Wuzhou, and Ou ware, and can be considered one of the regional types of Yue ware.

The Northern Song Dynasty was a crucial period for the Longquan kiln’s development from nothing to prosperity. Longquan celadon products gradually formed a unique style, thus distinguishing themselves from the Yue ware system. During the Zhenghe and Xuanhe reigns of Emperor Huizong of Song, the imperial court assigned Longquan the task of producing porcelain for the imperial court, establishing clear quality standards, which led to improvements in the quality of Longquan celadon and its growing reputation.

Yue Kiln Celadon Goat-shaped Artefact 越窑青瓷羊形器

The goat adopts a posture of stretching its neck and kneeling down, with bulging eyes and both homs curling backward. The goat-shaped artefacts of the Wester Jin Dynasty are plump and dignified in appearance, while those of the Easter Jin Dynasty have smaller heads, thicker necks, thinner waists, and are often with brown spots. In ancient times, the words “yang (goat)” and “xiang (auspiciousness” had the same pronunciation. The artefact was made in the shape of a goat, symbolising auspiciousness and good fortune. ²⁰

Charm of Song Dynasty 宋韵

The Song Dynasty (960-1279) was a golden age of traditional Chinese culture, characterised by an open and inclusive cultural atmosphere and an elegant yet vibrant aesthetic of life. The exhibition explores the civil service politics, the intellectual world of the literati, and the rich and diverse lives of ordinary people in the Song Dynasty, and experience the unique cultural essence of the Song Dynasty, distinctly Chinese in style and characteristic of Zhejiang province.²¹

This was the pinnacle of traditional Chinese civilisation and harmonious societal life, an era when civil society, trade, science and technology, humanities and arts all flourished. The mores and subsequent prosperity of this era were shaped by the social and intellectual character of Zhejiang and of China. Even today, the values of the Song still remain central to the Chinese people and their way of life.²²

“Song Rhyme” 「宋韵」refers to the cultural aesthetics and spiritual values ​​of the Song Dynasty. Its core characteristics are the advocacy of “tranquility and simplicity” in Neo-Confucian aesthetics, reflected in the “Four Arts of Daily Life” (tea making, incense burning, flower arranging, and painting) and the use of low-saturation, elegant colours (such as pale blue). This Oriental aesthetic has become an important cultural marker connecting history and modernity in contemporary times.

Gold Sachet Pendant with Double Fish Pattern 金鱼袋“饰鱼”

Fish-shaped pouches 鱼袋 are a type of official accessory in China, Japan, Korea, and Vietnam. They originated in the Tang Dynasty. According to the “Treatise on Carriages and Clothing” in the History of the Song Dynasty, “Their design originated in the Tang Dynasty, and they were used as tallies. They were originally called fish tallies (鱼符)… and were then placed in a bag, hence the name fish pouches”. Fish pouches were abolished in China during the Ming Dynasty.²⁵ It is the first time I have seen this in a museum anywhere in China.

Her Red Makeup 伊人红妆

From the mid-Qing Dynasty to the Republican era, lavish wedding processions were popular in the Ningbo-Shaoxing Plain. A wide variety of red bridal furniture stretched for miles, creating a beautiful scene known as “Ten Miles of Red Dowries.” The exhibition hall for “Wedding Tradition And Dowry In Ningbo-Shaoxing Plain”²⁶ on Level 3 displays folk wedding customs of the Ningbo-Shaoxing region, and the dowry items that have survived to this day continue to tell us the story of a woman’s life—from waiting to marry to marriage, to becoming a wife and mother.²⁷

Ningbo Cinnabar Gold and Lacquer Wood-carved Sedan Chair 朱金木雕宁波花轿

This Ningbo cinnabar gold and lacquer wood-carved bridal sedan chair (aka Wan Gong Sedan Chair 万工轿) from the late Qing and early Republic period is currently the most luxurious surviving bridal sedan chair. It stands 275 cm tall, 150 cm long, and 90 cm wide. It was the top-tier sedan chair rented out by Cai Jie Zhi Qi Dian (similar to a modern wedding company), and it bears the sedan shop name “Ju Cheng Hao.”

To The East Lies The Sea 向东是大海

Zhejiang Province, bordering the East China Sea, boasts a long coastline and the largest number of islands in China. The humid sea breezes and abundant rainfall have brought rich fishing and salt resources. From ancient times to modern times, the ancient inhabitants of Zhejiang resisted the tides, reclaimed tidal flats, developed transportation, and promoted foreign trade. With an open and inclusive attitude, they engaged in cultural exchange, cultivating a broad-minded spirit and a pioneering character.

The sea not only brought trade, they also allowed the dissemination of cultural influence to neighbouring countries, like Asuka and Nara periods Japan during the Tang and Song dynasties. Marco Polo stopped at Zhejiang in his travels to China. Sesshü Tõyo, Choe Bu, and others also arrived in Zhejiang by sea and made careful records of Zhejiang’s customs and cultures. Wang Yangming’s philosophy and Zhu Shunshui’s Confucianism produced a profound impact on Japanese society after they were introduced to Japan.³⁰

In 753, during the 12th year of the Tianbao period in the Tang Dynasty, Jianzhen, also known by his Japanese name Ganjin, brought the classics of the Tendai Sect of Buddhism to Japan. Since then, monks from Japan and the Korean Peninsula have continuously sought teachings and made pilgrimages to the sacred site of Mount Tiantai.³¹

Mirror with Line Engravings for Vaisravana, Guardian of the North 北方毗沙门天王线刻镜

The mirror surface features a shallowly engraved image of Vaishravana, the Heavenly King of the North. The Heavenly King wears a tall crown and is fully armored, holding a pagoda in his right hand and a spear in his left, with a banner hanging above him bearing the characters “Heavenly King.” The right side is also engraved with “Vaisravana, Heavenly King of the North.” The surrounding inscription reads, “Recorded by the monk Gui Jinmu Yuan, who donated the stupa for perpetual offering, in the ninth month of the Bingyin year of the Qiande era (1266), at Lingshi Temple.” The six characters “Vaisravana, Heavenly King of the North” are engraved twice, with multiple strokes; the offering text was engraved after the design was completed.³²

Amid Mountains and Waters 山水之间

This is one of the rare exhibition hall dedicated to a single painting. Huang Gongwang’s “Dwelling in the Fuchun Mountains” is considered a masterpiece at the same breath as as “Riverside Scene at Qingming Festival” (by Zhang Zeduan). The transmission history of “Dwelling in the Fuchun Mountains” is legendary³³ in art history, but it is not because of this story that makes this painting a masterpiece. However, through digital animations, we can appreciate unclose the beauty of the landscape of the Fuchun River depicted in “Dwelling in the Fuchun Mountains,” review Huang Gongwang’s life, and feel the life and universe in his brushstrokes.

Because of the fragile nature of these paintings, very often you can only see an exact replica of the actual. The other part of this long scroll format painting, “Master Wuyong Scroll”, was displayed as part of the 100th anniversary of National Palace Museum in Taipei,³⁴ making a very rare appearance. “The Remaining Mountain” remained in the collection of Zhejiang Provincial Museum and only made a brief appearance in 2025³⁵.

In 2011, “The Remaining Mountain” was loaned to the National Palace Museum in Taipei where, in June and July, the two pieces were reunited for the first time since their separation more than three and a half centuries ago.³⁶ The exhibition attracted 847,509 visitors and became one of the most popular art shows in 2011. We can only dream of such collaboration given the current political situation between the two governments.

Huang Gongwang, “Dwelling in the Fuchun Mountains” – Remaining Mountain Part 《富春山居图》剩山图

Dwelling in the Fuchun Mountains by Chinese painting master Huang Gongwang (1269-1354) is regarded as one of the top 10 masterpieces in Chinese art history. In 1650, the near 7m long painting was split into two pieces which are now hundreds of miles apart. Today, if you want to take a close look at the precious artwork, you need to either visit Taipei National Palace Museum or Zhejiang Provincial Museum in Hangzhou.

Ancient Sounds 太古之音

Last but not least, there’s an exhibition of a collection of ancient musical instruments. The guqin is one of the world’s oldest plucked string instruments, with a deep, serene, ethereal, and far-reaching tone. Its open and transcendent temperament embodies Confucian, Buddhist, and Taoist philosophies and aesthetics, making it a valuable companion for scholars throughout history to express their emotions and ideals. It is the most prominent representative of ancient Chinese spiritual culture in the field of music and is regarded as a symbol of Eastern culture.

Luoxia-style “Colourful Phoenix Singing in the Qishan Mountain” Guqin 落霞式「彩凤鸣岐」七弦琴

This originally chestnut-coloured guqin (string instrument) was painted with red lacquer by later generations. “Made by Lei Wei in the 2nd year of the Kaiyuan Period in the Tang Dynasty” (大唐开元二年雷威制) is carved inside the dragon pool. Its name is auspicious. The Lei family was an important instrument maker during the Tang Dynasty in ancient Shu 蜀 (modern day Sichuan).

Highlights of the Museum 镇馆之宝

The museum holds over 100,000 items, spanning Neolithic artefacts from the Hemudu and Liangzhu cultures, bronzes from the ancient Yue State, and spectacular celadon from the Longquan and Yue kilns.

Gold and Silver Artefacts Excavated from Tomb of Wang Shiqi 王士琦墓出土金银器

Wang Shiqi (1551-1618) was a native of Linhai, Zhejiang. In 1598, he led troops to aid the Korean Kingdom in the war against the Japanese invasion. He died of an illness in the 46th year of the Wanli reign (1618) and was buried in Shitang in the west of Linhai (present-day Zhangjiadu). More than 100 pieces of finely crafted goldware and silverware were excavated from his tomb. These precious metals are on display in the Ten Thousand Years of Zhejiang exhibition (Part 3) on the second level of the museum.

Silk Embroidery from Weaving Bureau of Hangzhou 杭州织造局

During the Yuan, Ming, and Qing dynasties, Zhejiang’s silk weaving and cotton spinning industries were on the rise, and the Hangzhou, Jiaxing and Huzhou areas rapidly developed into the national center of production and exchange for silk weaving. The Weaving Bureau of Hangzhou was one of the three government-run weaving bureaus in Jiangnan during the Qing dynasty. It was under the direct jurisdiction of the central government and its scale far exceeded its predecessor in the Ming dynasty. producing silk products needed by the imperial court and palace. Most of these artefacts were in the collection of the Palace Museum in Beijing, but since then they have been repatriated to their place of origin.

All photos taken by author at Zhejiang Provincial Museum (Mar 2024), unless otherwise noted.

Footnotes :

1. Sun, Y., Zhang, M. & Zhong, Z. Preliminary technological insights into Shangshan period pottery from the Xiatang Site, Taizhou, Zhejiang Province. npj Herit. Sci. 14, 215 (2026). https://doi.org/10.1038/s40494-026-02463-1
   Pottery basins from the early Holocene Shangshan culture (ca. 11,000–8,500 years ago) in Zhejiang Province are among the oldest known in the world. Characterised by their coarse clay, plant temper, and distinct red slip, these wide-mouthed basins are celebrated as artifacts that mark the dawn of both rice agriculture and early ceramic artistry in China. ↩︎
2. Pottery basin 陶盆
   Pottery | Shangshan culture in the Neolithic Age (about 11,000-8,500 BP) | From the Qiaotou site in 2021 |collection of Zhejiang Provincial Institute of Cultural Relics and Archeology. 陶器｜新石器时代上山文化（距今约11000-8500年）｜2021年桥头遗址出土｜浙江省文物考古研究所藏 ↩︎
3. 之江新馆位于杭州之江文化中心，建筑面积10万平方米，展陈面积32012平方米，建筑高度59.9米，是之江文化中心单体建筑面积最大的建筑，也是集收藏、保护、研究、展示、宣传、教育和文化体验于一体的现代化公共文化空间。之江新馆展览策划以“思想高度、学术深度、人文温度”为原则，构建了“159”多样化的展览体系。《浙江一万年》通史陈列，用考古成果和文物构建浙江宏大的历史，突出浙江历史的高光亮点，以及稻作、丝绸、瓷器等的起源，体现浙江人文和科技发展对中华文明乃至世界文明的贡献；5个浙江文化专题陈列，从青瓷文化、海洋文化、宋韵文化、书画文脉和名人文化出发，解码浙江独特的文化基因；9个功能拓展和体验陈列，既具有个性化、多样化、品质化的特点，又兼备科技感和体验感。https://www.zjmuseum.com.cn/cn/#/Exhibition/BaseExhibition, accessed 3 Jul 2026 ↩︎
4. King of Jade Cong 玉琮王
   Jadeite | Liangzhu culture in the Neolithic Age (5,300-4,300 BP) | From tomb No. 12 on Fanshan Mountain in 1966 | Zhejiang Provincial Museum collection.
   玉器｜新石器时代良清文化（距今5300～4300年）｜1986年反山 12号墓出土｜浙江省博物馆藏
   The whole jade weighs about 6,500 grams and has a wide and large shape with unique and intricate patterns, making it the most important jade cong of the Liangzhu culture and known as the “king of jade cong” The shape of the cong is square on the outside and round on the inside, with a larger upper section and a smaller lower section, and a round hole in the middle. There are four straight grooves on each side of the cong, each with a figurative image of a deity or an animal face carved on the upper and lower parts. The deity wears a feathered headdress and rides on a divine animal, and the pattern is carved using shallow relief and line engraving techniques. On the rectangular convex surface of the corner, every two sections are carved ith abstract images of deities or animal faces, which unfold on both sides along the turning point as the axis. This combination of human and animal structures at the corners is a basic feature of Liangzhu jade cong decoration. There are also mildly raised bird patterns on both sides of the animal faces. The funeton of the cong is uncertain, but it may symbolize both divine and royal power.
   Museum information card (Mar 2024) ↩︎
5. Settlements and moats already appeared in Shangshan culture, creating complex village patterns. The site fully reflects the daily life of early rice farming societies.
   上山文化已经出现定居聚落。其早期浦江上山遗址发现挖墙基、立木柱的建筑形式，以及埋藏保存完好的大口盆、石球、磨盘等灰坑遗迹。中晚期嵊州小黄山遗址、“永康湖西遗址和义乌桥头遗址等均发现环壕，呈现更为复杂的村落形态，仙居下汤遗址还发现铺垫红烧土的广场和出土罐、壶、杯等组合的器物坑，充分展现了早期稻作农业社会的生活场景。
   Museum information card (Mar 2024) ↩︎
6. 浙江史前文化肇始于距今约 11000 年的上山文化。它与之后的跨湖桥、河姆渡、马家浜、崧泽、良渚、好川、钱山漾、广富林等文化一起共同构建了浙江多姿多彩的新石器时代文化体系，并以独树一帜的文化特色和领先世界的众多发明，书写下人类文明史上浓墨重彩的一页。 ↩︎
7. Millstone and grinding rod 石磨盘石磨棒
   Stone tools | Shangshan eulture in the Neolthie Age (about 11,000-8,500 BP) | From the Xiaohuangshan site in 2005 | Collection of Zhejiang Provincial Institute of Cultural Relics and Archaeology. 石器｜新石器时代上山文化（距今約11000-8500年）｜2005年小黄山遺址出土｜浙江省文物考古研究所藏
   上山文化遗址中出士了多件石磨盘，通常与磨石或磨棒成套。这套石磨盘石磨棒出士于浙江嵊州小黄山遗址，形体硕大，坚实厚重，盘面凹陷，有密密麻麻的小坑。磨石小巧圆润，适于手握。稻谷颗粒外有硬壳，即俗称的糠，糠带芒刺，所以稻谷需要脱粒、去売后食用。上山文化的石磨盘、石磨棒可以用作碾磨脱粒工具，也可以将橡子、栗子等磨成粉，再做成食物。
   Museum information card (Mar 2024) ↩︎
8. Gold Dragon 金龙
   Gold | Song dynasty | Excavated when dredging the West Lake in Hangzhou | Zhejiang Provincial Museum collection. 金器｜宋｜杭州疏浚西湖出土｜浙江省博物馆藏
   金龙与宋真宗天禧四年玉简同为 1955年杭州疏浚西湖出土，很有可能是天禧四年春宋真宗派王从政投入西湖水府的一套金龙玉简。
   The gold dragon and jade tablet of the fourth year of Zhenzang reign of the Song dynasty were both excavated from the dredging of the West Lake in Hangzhou in 1955. They are likely the set of gold dragon and jade tablet cast by Wang Congzheng into the West Lake, who was dispatched by Emperor Zhenzong in 1020. ↩︎
9. During the Song dynasty, emperors often employed Taoist rituals involving the dragon casting ceremony to seek blessings. The dragon, symbolising a divine messenger, was believed to carry the emperor’s written prayers and deliver them to the deities. ↩︎
10. Rubbing of “Huan Wo He Shan” (Literally “Restore Our Lost Land”) in Yue Fei’s Handwriting 岳飞书还我河山四字拓片
    Paper | Republic of China (1912-1949)｜Donated by Sha Menghai | Zhejiang Provincial Museum collection. 拓片｜民国时期（1912—1949年）｜沙孟海捐赠｜浙江省博物馆藏
    1931年“九•一八”事变后，东北沦陷，江苏嘉定文字学家周承忠从《吊古战场文》碑拓中选取“还”“我”“河”“山”四字组成岳飞手书“还我河山”题词，并在《中国形势一览图》《东方杂志》中刊出。在国难深重的历史时刻，英雄岳飞精神不泯。 ↩︎
11. In 1972, artefacts such as bronze Li-style incense burner (above), animal-shaped inkstone water dropper and bronze crane-standing-on-tortoise candlestick (above) were excavated from an ancient tomb at Zhejiang University New Village in Hangzhou. Objects like incense burners, vases and inkstone water droppers, etc. are common in the tombs of literati in the Song and Yuan dynasties, and thus the construction time of this tomb was inferred to be during these two dynasties. ↩︎
12. Imperial edict of the Jiajing Emperor of the Ming dynasty 明嘉靖皇帝敕谕
    Paper scroll |The 18th year of the Jiajing reign of the Ming dynasty (1539 AD) ｜Donated by Wu Jinsi ｜ Zhejiang Provincial Museum collection. 纸卷｜明嘉靖十八年（公元1539年）｜吴进思捐赠｜浙江省博物馆藏 ↩︎
13. Imperial edict of Emperor Gaozong of the Qing dynasty to Chen Shiguan 清高宗赐陈世倌敕命
    Paper scroll | The second year of the Qianlong reign of the ding dynasty (1737 AD) | Donated by Qian Jingtang | Zhejiang Provincial Museum collection. 纸卷｜清乾隆二年（公元1737年）｜钱镜塘捐赠｜浙江省博物馆藏
    《清史稿·列傳九十》：陳世倌 （1680-1758），字秉之，浙江海寧人。Chen Shiguan (1680–1758), courtesy name Bingzhi, style name Lianyu, was from Hai Ning County, Zhejiang Province (now Hai Ning City). He was a political figure of the Qing Dynasty and held the position of Grand Secretary of the Wenyuan Pavilion and Minister of Rites. ↩︎
14. Red Boat on the South Lake 南湖红船
    8月3日，就在这艘游船上，中共一大会议通过了《纲领》和《决议》，选举产生了党的中央领导机构，宣布中国共产党正式成立。
    On August 3, 1921, the Party’s Program and Resolutions were adopted at the First Congress of the Communist Party of China, the Party’s central leadership was elected, and the Communist Party of China was declared officially established. ↩︎
15. In July 1921, after foreign concession police disrupted their meeting in Shanghai, 13 delegates relocated to a wooden tourist boat on Nanhu (South Lake) in Jiaxing, Zhejiang Province, to conclude the first CPC National Congress and proclaim the Party’s founding.  ↩︎
16. Sword Of King Of Yue Inscribed With Characters “Zhuji Yushi” 越王者旨於睗剑
    Bronze | Zhou Dynasty | Length 52.4 cm | Purchased from Hong Kong by Hangzhou Steel Group in 1996 | Zhejiang Provincial Museum collection. 铜器｜周｜通长52.4厘米｜1996年杭州钢铁集团出资征回｜浙江省博物馆藏
    剑身中部起脊，刃锋犀利。剑格两面铸双钩鸟虫书铭文8字，正面为“戉（越）王戉（越）王”，反面为“者（zhu） 旨 （ji） 於（yu）睗（shi）”，字口间镶嵌绿松石。剑茎上的丝质缠缑也保存较好，剑首装饰同心园。由铭文可知，此剑为越王勾践儿子的佩剑。 ↩︎
17. 浙江是青瓷的故乡，也是汉代以后青瓷的主要产区。浙江青瓷以其风华绝代的秘色和精湛的工艺引领了世界时尚。通过展示浙江地区的名窑名瓷，一览浙江古代青瓷文化的面貌，彰显浙江制瓷业的发展历程、工艺特色及对人类的影响。 ↩︎
18. Yue Kiln Celadon Ewer with Dragon-shaped Handle and Chicken-head Spout 越窑青瓷龙柄鸡首壶
    Celadon | Southern Dynasties (420-589) | Zhejiang Provincial Museum collection.
    陶瓷｜南朝（420-589年）｜浙江省博物馆藏
    南朝的鸡首壶，器身变高，柄做成了龙首形，甚至出现双龙柄双鸡首的造型，而肩部的系也由牛鼻形演变成桥形，肩腹部则刻划莲瓣纹。莲瓣纹以刻划花的形式出现在越窑青瓷上，最早的例子在东晋晚期，南北朝时盛行全国。主要装饰在碗、盘、碟等圆器的内外壁，或尊、瓶、壶等立件的颈腹部，不见枝叶，只有盛开的花朵。佛生莲花，这时的莲瓣纹传递的是佛教的精义，也是佛教地位尊隆深入人心的体现。
    This ewer from the Southem Dynasties features a chicken-head spout, with a taller body and a handle shaped like a dragon’s head. There were even some designs with double dragon-shaped handles and double chicken-head spouts. Additionally, the ear on the shoulder changed from a shape resembling a cow’s nose to a bridge-like shape. The shoulders and the belly are engraved with lotus petal pattems. The lotus petal patters were earliest engraved on Yue kiln celadon ware dating back to the late Easter Jin period and were popular throughout the country during the Northem and Southem dynasties. The lotus pattems are mainly decorated on the inner and outer walls of circular vessels such as bowls, plates, and dishes, or the neck and belly of standing vessels such as wine vessels, vases, and pots. For the pattems, there are no visible branches or leaves, only blooming flowers. In Buddhism, the lotus symbolizes the birth of the Buddha. The lotus petal pattems at that time conveyed the essence of Buddhism and also embodied the high status and popular support of Buddhism. ↩︎
19. Yue Kiln Celadon Ying with Curled-up Dragon 越窑青瓷蟠龙罂
    Celadon | Tang Dynasty (618-907) | Handed over by Yuyao Cultural Station, Zhejiang.
    陶瓷｜唐（618-907年）｜浙江省余姚市文化站拨交
    蟠龙罂在唐代较为多见，早期的龙身紧贴颈部，四耳很小，后逐渐演变成四鋬，龙塑在鋬上。浙江嵊县出土的一件此类器，腹部刻铭“元和拾肆年四月一日造此罂价直一千文”，由此可知此类器物当时称为“罂”。
    The curled-up dragon ying (small-mouthed jar) was quite common during the Tang Dynasty. In earty examples, the dragon’s body tightly hugged the neck of the jar with four small ears. Later on, the design evolved to feature four handles instead of ears, with the dragon sculpted onto these handles. A similar vessel was unearthed in Shengxian County, Zhejiang Province. The inscription on its belly reads “Made on the first day of the fourth month in the 14th year of the Yuanhe reign. Price set at one thousand when (cash)”. From this, it can be inferred that vessels of this type were referred to as “ying” at that time. ↩︎
20. Yue Kiln Celadon Goat-shaped Artefact 越窑青瓷羊形器
    Celadon | Eastern Jin (317-420) | Zhejiang Provincial Museum collection.
    陶瓷｜东晋（317 420年）｜浙江省博物馆藏
    羊作引颈跪伏状，双目外突，两角后卷。西晋的羊形器体形饱满，有雍容之态，东晋的羊形器头部变小，颈部变粗，腰部却变得很细，并常以褐色点彩作装饰。古时“羊”与“祥”同音，取羊之形，寓意“吉祥如意”。青瓷羊和青瓷狮子，是两晋时期越窑青瓷两款经典的动物造型。或模压成型，或手工塑造，在追求外形逼真地同时，往往刻饰飞羽，反映出当时盛行的仙道思想。其中羊首上穿圆孔，而狮背上装圆管，这种设计可能用于插香插烛，从而具有牺牲和避邪的功用寓意 ↩︎
21. 宋代是中华传统文化的高峰时代，拥有开放包容的文化氛围和典雅活泼的生活美学。走近宋代的文官政治、士大夫的精神世界和丰富多元的平民生活，一起感受具有中国气派和浙江辨识度的宋韵文化内涵。 ↩︎
22. 宋 ，是古代政治的清呀时代。以科举制度为基石、权力制衡为理念的文官政治，为国家稳定，经济繁荣和文化发展提供了坚实基姗。宋朝，是中华文化的高峰时代。经学、史学、诗词、科技，“历数千载之演进，造极于赵来之世”。宋朝，是社会生活的和谐时代。经济活力充分释放，日常生活多彩多姿，义利并举，百工竞巧，平民化、世俗化、人文化，同样造极于赵宋之世。宋事的气与风韵，历经下年，传承至今，是具有中国派、浙江风范的精神内核和文化标识。 ↩︎
23. Bluish-white-glazed Porcelain Censer with Tangled Peony Pattern 缠枝牡丹纹青白瓷熏炉
    Porcelain | Song Dynasty (960-1279) | Unearthed at a Song Dynasty tomb, Tingzishan, Caoshanling, Zhicheng, Changxing, Huzhou | Collection of the Changxing Museum. 瓷器｜宋（960—1279年）｜湖州长兴雉城镇高山岭亭子山宋墓出土｜长兴县博物馆藏 ↩︎
24. Gold Sachet Pendant with Double Fish Pattern 金鱼袋“饰鱼”
    Gold | Southern Song Dynasty (1127-1279) | Unearthed at the Southern Song Dynasty tomb, Feilongkou, Lingdong, Lanxi, Jinhua | Lanxi Museum collection. 金器｜南宋朱（1127-1279年）｜金华兰溪灵洞乡费垄口村南宋基出土｜兰溪市博物馆藏 ↩︎
25. 鱼袋是中国、日本、朝鲜、越南一种官员配饰。它始于唐朝，按《宋史·舆服志》：“其制自唐始，盖以为符契也。其始曰鱼符…因盛以袋，故曰鱼袋”。鱼袋在中国至明朝时废除。https://zh.wikipedia.org/zh-sg/魚袋, accessed 5 Jul 2026 ↩︎
26. “宁绍平原的传统婚俗与嫁妆” ↩︎
27. 清代中期至民国年间，宁绍平原流行着豪华的嫁女排场，种类繁多的红妆家具绵延数里，成为一道靓丽的风景，被称为“十里红妆”。展厅陈列介绍宁绍地区的民间婚嫁习俗，流传至今的嫁妆用具继续向我们诉说着待嫁、出嫁、为人妻母的女子的一生。 ↩︎
28. “Green Eyebrow” Boat Model “绿眉毛”船模型
    又称“鸟船”，是中国古代四大船系之— “浙船”中的代表性船型，曾在宁波、舟山、温州、台州一带广泛流行。可用作渔船、冰鲜运输船和海上贸易船。明未清初，绿眉毛海船可以远至日本、东南亚等地。该船多用黑色油漆在船首两侧绘上两只眼睛，两眼之上涂一条绿色油漆，状似眉毛，故称“绿眉毛”。
    Also known stir Be representative type “Zhejiang-style Boat”, one of the four major ship systems in ancient China, anc was once widely popular in Ningbo, Zhoushan, Wenzhou, and Taizhou. It can be used for fishing, cold-chain transportation, and sea trade. In the late Ming and early Qing dynasties, “Green Eyebrow” boats could go as far as Japan, Southeast Asia, and other places. It is usually painted with two black eyes on both sides of the bow, and a strip of green paint was drawn on top of the two eyes, which look like eyebrows, hence the name. ↩︎
29. The Lotus Sutra 《妙法莲华经》（复制品）
    Print, paper | Block-printed edition of the Tang Dynasty and the Five Dynasties (618-978) | Unearthed at the East and West Pagodas of the Dongda Temple in Longquan | Zhejiang Provincial Museum collection. 印刷、纸｜唐五代（618—979年）刻本｜龙泉东大寺东西二塔出土｜浙江省博物馆藏 ↩︎
30. 古代浙江与东亚诸国的商贸关系最为密切，文化交流也最为频繁。自唐以来，东亚僧侣巡礼浙江的名山圣境，天台宗等佛教宗派、阿育王舍利信仰、南海观音信仰等通过海上丝路传播。商旅、使者等在文化交流中也扮演了重要角色。马可•波罗游历中国，途经浙江，雪舟、崔溥等漂海而来，均用心记录了浙江的风土人情。王阳明心学、朱舜水儒学东传日本，对日本社会发展产生深远影响。 ↩︎
31. 唐天宝十二年（753年）鉴真东渡，将天台宗经典带至日本。贞元二十年（804年），日本高僧最澄受天台三大部影响，与弟子义真随遣唐使船队自宁波登陆，入天台山求法，归国后在比叡 （rui）山创立日本天台宗。最澄弟子圆载、义真弟子圆珍陆续前来，足迹遍布浙江。五代吴越国至宋元时期，来自日本、朝鲜半岛的求法僧侣络绎不绝，巡礼天台圣地。 ↩︎
32. Mirror with Line Engravings for Vaisravana, Guardian of the North 北方毗沙门天王线刻镜
    Bronze | Wuyue Kingdom of the Five Dynasties and Ten Kingdoms Period (907-978) | Unearthed at the North Heavenly Palace, the fourth floor of the Lingshi Temple Pagoda in Huangyan District, Taizhou | Collection of the Huangyan Museum. 铜器 ｜五代吴越国（907—978年）｜黄岩灵石寺塔第四层北天宫出土｜百岩区博物馆藏
    镜面浅线刻北方毗沙门天王像。天王戴高冠，全身胃甲，右手托塔，左手持长矛，上端悬挂旗幡，有“天王”二字。右侧刻“北方毗沙门天王”。周刻“僧归进慕缘舍入塔永充供养乾德四年丙寅九月记灵石寺记”。“北方毗沙门天王”六字经两次錾刻，有多重笔道，供养文字的錾刻在图案画成以后。
    The image of Vaisravana, Guardian of the North, is carved in shallow lines on the mirror. The Guardian wears a crown and body armor, with a stupa in his right hand and a spear in his left hand. A flag hangs on the top with the Chinese character “Guardian”. ↩︎
33. For more information about the transmission history of the painting, please read my full blogpost about this treasure. ↩︎
34. “3 NPM Centennial Exhibitions Author the NPM Legacy & the New Chapter.” National Palace Museum website, Release date: 2025-10-16 ↩︎
35. Masterpiece ‘Dwelling in the Fuchun Mountains’ returns to public view in Hangzhou
    en.hangzhou.com.cn   2025-11-13 14:57   Source: http://www.ehangzhou.gov.cn ↩︎
36. “Classic Chinese painting ‘reunited’ after 400 years“, Taipei Times, Thu, Jun 02, 2011 page2 ↩︎
37. Ivory Butterfly-Shaped Container With Double-Bird Pattern 双鸟纹象牙蝶形器
    Ivory | Hemudu culture in the Neolithic Age (about 7,000-5,300 BP) | Excavated from the Hemudu site, 1973-1977 | Zhejiang Provincial Museum collection. 象牙｜新石器时代河姆滾文化（距今7000～5300年）｜1973-1977年河姆渡遗址出土｜浙江省博物馆藏 ↩︎
38. Pottery Stove (Earth Kiln For Firing Pottery) 陶灶
    Pottery | Hemudu culture in the Neolithic Age (about 7,000-5,300 BP) | Excavated from the Hemudu site, 1973-1977 | Zhejiang Provincial Museum Collection.  陶器｜新石器时代河姆渡文化（距今7000-5300年）｜通长55厘米、口宽37厘米、通高25厘米｜1973-1977年河姆渡遗址出土｜浙江省博物馆藏 ↩︎