Nanjing Museum 南京博物院

This is one important on my the bucket list of museums to visit, and I was not disappointed with the range of the collection as well as the presentation of the artefacts in the museum. I spent a whole day here. Only if I had allocated more time for the museum during my trip to Nanjing.

The Nanjing Museum was one of the first museums established in China, and the first to be fully funded by the government of the Republic of China. The main building was designed by the father of Chinese modern architecture, Liang Sicheng in the 1930s combining Chinese and Western architectural styles. The front section is structure of traditional style and features a golden tiled roof. The foyer featured the traditional mortise and tenon structure with a caisson ceiling in the middle. In the back is a Western-style flat-roof structure. ¹

Cai Yuanpei, the first preparatory president of the council of the museum, proposed building three major halls, named “Humanity,” “Craft” and “Nature”. Because of China’s political instability in the 1930s, only the Humanity Hall was built. During the Japanese invasion, part of its collections were transferred to Southwest China, and in the end moved to the National Palace Museum in Taipei when the Kuomintang lost the Chinese Civil War. As part of the evacuation of the artefacts, some of the Palace Museum collection still remain in the museum’s vault and have not been returned to the Palace Museum.

History Gallery 历史馆

The History Gallery dates back to the Palaeolithic Age, featuring stone weapons from the early days of humankind, swords and spears from wartime, and jade artefacts and calligraphy from prosperous times.

To understand the history of the Jiangsu (and Zhejiang) regions, one have to differentiate between State of Wu 吴国, often referred to as “Wu and Yue during Spring and Autumn period” 吴越春秋 (670-306 BC) because of its enmity with State of Yue 越国; Eastern Wu 东吴 (222-280 AD) during the Three Kingdoms period, which is the start of the Six Dynasties  (220–589 AD) period that gives Nanjing the moniker of Ancient Capital of Six Dynasties 六朝古都; and Wu Yue 吴越国 (907-928), a small independent state with its capital in Hangzhou, was the only peaceful during the tumultuous period known as the Five Dynasties Ten States period.

Impression of Remote Antiquity 远古印象

In the ancient wilderness, on this magical land where rivers and seas meet, forests and vegetation flourished, and many kinds of animals emerged. In the continuous reproduction of life, humankind appeared.²

Jiangsu Province is located in the lower reaches of the Yangtze River, bordering the river and the sea. It has a long history and a prosperous economy and culture. This is a permanent exhibition that aims to showcase to visitors the living remains of primitive humans in Jiangsu Province during ancient times.

Ancient Charm of Prehistory 天地造化 史前神韵

The emergence of Nanjing Man 350,000 years ago marked the beginning of human activity in Jiangsu Province. Subsequently, ancient humans in Jiangsu persevered, overcoming numerous obstacles to survive and thrive, leaving behind distinctive Paleolithic cultural remains scattered throughout the country.

8,000 years ago, the earliest Neolithic cultural remains were discovered within Jiangsu’s borders. Over 6,000 years ago, rice cultivation saw significant development, laying a solid foundation for prehistoric culture.

Domestication, pottery and jade making, textiles and lacquerware, and stone tool processing all progressed comprehensively, leading to increased material wealth, a growing population, rapidly expanding settlements, significant social stratification, increasingly complex organisational structures, and distinct cultural characteristics. Ultimately, the hallmarks of civilisation—ancient cities and states—emerged.

A group of Neolithic artefacts consists of pottery and jade carvings from the eastern seaboard and the lower reaches of the Yangzi River in the south, representing the Hemudu (near Hangzhou), the Dawenkou and later the Longshan (in Shandong Province), and the Liangzhu (Hangzhou and Shanghai region). The grey and black pottery of eastern China is notable for its distinctive shapes, which differed from those made in the central regions and included the tripod, which was to remain a prominent vessel form in the subsequent Bronze Age.

While some pottery items made in the east were painted (possibly in response to examples imported from central China), potters along the coast also used the techniques of burnishing and incising. These same craftsmen are credited with developing the potter’s wheel in China.

Jade axes and other tools transcended their original function and became objects of great social and aesthetic significance. Few of the jades in archaeological excavations show signs of wear. They are generally found in burials of privileged persons carefully arranged around the body.

Age of Early States 方国风云 吴越春秋

The Xia, Shang, and Zhou dynasties represent the Bronze Age in Chinese history, a period marked by the formation and gradual maturation of states. Early states—the Fangguo—gradually emerged in the Jiangsu region. These included Yi-related Fangguo such as Xu, Zhongwu, Tan, Gan, and Yi, and Yue-related Fangguo such as Wu and Yue. Through continuous interaction and fusion with the Central Plains culture, they created distinctive regional civilisations.³

In antiquity, the Jiangsu region was within the jurisdiction of the ancient state of Wu. During the Zhou dynasty (1046–256 BC) much of the area was called Gouwu 句吳 and was considered to be outside Chinese borders.

Wu was a major vassal state of the Zhou court local to Jiangsu. The Wu culture had a strong local style particularly represented by its bronze weapons. In the middle of the Spring and Autumn Period, Wu claimed its hegemony over the Central Plain. Encountering the indigenous cultures of the Central Plain, the Wu culture, or the culture of Jiangsu, advanced the process to become a part of woven fabric of the Chinese civilisation.

From the mid-Spring and Autumn Period, the Chu people consistently strived to control the Jianghuai region to the east, destroying or conquering the various Ji states along the Huai River and the Shu states along the river. They successively contended with Wu and Yue, and ultimately occupied most of present-day Jiangsu. After Qi destroyed Song, it controlled the area north of the Huai River in present-day Jiangsu, creating a peaceful coexistence between Qi and Chu. At the end of the Warring States Period, the Qin army advanced eastward, and Chu retreated to its eastern territories, ultimately collapsing along with Qi. The Jiangsu region was fully incorporated into the political territory of the Central Plains dynasties, and Central Plains culture gradually became dominant, while indigenous cultures gradually declined.⁴

Han Dynasty and Legends of Kingdoms 郡国华章 汉家故里

The late years of the Qin Dynasty saw the risings of rebel forces, amongst which were two major powers, Chu and Han, respectively led by Xiang Yu and Liu Bang. The four years’ Chu-Han Contention after the decline of the Qin court ended with the victory of Liu Bang who established the long-lasting Han Dynasty, which laid the foundation for an enfeoffments and commanderies.

Being the home region to Emperor Liu Bang, Jiangsu enjoyed economic prosperity and political significance with a number of feudal kings. Amongst Jiangsu’s rich Han remains, the mausoleums of the feudal kings are particularly impressive.

Vitalisation of Six Dynasties 江东风流 六朝选兴

Between the 3rd and 6th centuries, six States – Eastern Wu (222-280), Eastern Jin (317-420), Liu Song (420-479), Southern Qi (479-502), Liang (502-557), and Chen (557-589) successively set their capitals in today’s Nanjing. The period is known as “Six Dynasties” in Chinese history. Compared to the northern China that suffered from unceasing war fares as well as recession of economy and culture, the societies of the Six Dynasties (220–589) were relatively stable. ⁶

Known as the Wu region during the Han dynasty, it became the independent state of Wu (aka Eastern Wu or Sun Wu) during the succeeding Three Kingdoms period (220–280 AD), with its capital at Jianye, the site of modern Nanjing. The golden age of culture in the region was during the more extended Six Dynasties period (220–589), when it received a major influx of immigrants from the north.⁸

In 211 AD, Sun Quan moved his base from Jingcheng (present-day Zhenjiang, Jiangsu) to Moling (present-day Nanjing, Jiangsu), and renamed it Jianye the following year. Except for two brief relocations to Wuchang (present-day Echeng, Hubei), Jianye remained the capital of the Sun Wu regime.

At the end of the Western Jin Dynasty, to avoid the taboo of Emperor Min (Sima Ye), it was renamed Jiankang. In 317, the Jin court moved south, and it became the capital of the Eastern Jin Dynasty. For approximately 330 years, the Six Dynasties used Jiankang (Jianye) as their capital. With the development of agriculture, the rise of handicrafts and commerce, the construction and expansion of the city, and the progress in science, culture, and art, Jiankang, with its important position and radiating influence as a political, economic, and cultural center, attracted a large number of outstanding talents from both the north and south, and many foreign envoys and merchants, becoming one of the world’s leading metropolises.⁹

The large population migrated from the north enabled the economic development in Jiangnan (south of the lower reaches of the Yangtze River), resulted in the shifting of the nation’s economic centre of gravity toward the south. Great achievements were gained in science, technology, philosophy, and art in the Six Dynasties.¹⁰

Since ancient times, people have used carriages to display their social status. During the Six Dynasties period, laws strictly regulated the style and number of vehicles used by different social classes. Unlike the Han Dynasty’s tradition of traveling by carriage and horse, riding in an oxcart became fashionable among aristocratic families and wealthy playboys. Oxcarts were smooth and comfortable, the oxen were adorned with ornaments, and the carriages were fully or partially enclosed with windows on both sides, covered by curtains. Aristocratic sons could ride in and out with ease, demonstrating their status.¹¹

Glorious Sui And Tang Dynasties 东南都会 隋唐华彩

The unification of China in the Sui Dynasty set the stage for the prosperity in the Tang. Lasting for over three hundred years, the Tang Empire featured great economic and cultural accomplishments as well as a stable civil life. The Silk Road allowed trade and cultural exchanges between China and the regions to its west, making the Tang a top power of the world.

Jiangsu was the most important area for grain production in the Tang Dynasty. The Grand Canal accelerated the shift of the economic centre of gravity from the north to the south; Yancheng and Taizhou became two major areas for salt production; Yangzhou owned the most prosperous industries and commerce in China.

During the Tang Dynasty, Yangzhou was a city of political and military importance in southeastern China. As a major land-and-water transportation hub and a port city, Yangzhou was not only a trading center for food, salt, money, and iron, but also a window for international exchange.

Merchants and emissaries gathered at Yangzhou from throughout the world. The abundant resources and prosperity of the city triggered the establishment of factories and handicraft workshops. Yangzhou became the top metropolis in southeastern China.

Jianghuai Plain in Song-Yuan Period 江淮多姿 宋元气象

After the fall of the Tang dynasty in 907, Yangzhou in Jiangsu became the eastern capital of the Nan (Southern) Tang state during the Ten Kingdoms period, which lasted from 937 until it was finally absorbed by the Song dynasty (960–1279) in 975/976. After a long period of segregation, China was reunified in the Song Dynasty with new social development when Wu Yue joined the dynasty peacefully.

It was during the Song dynasty, which saw the development of a wealthy mercantile class and emergent market economy in China, that Jiangnan (southern Jiangsu, Shanghai, and adjacent areas) emerged as a center of trade. From then onwards, major cities like Suzhou or Yangzhou, would be synonymous with opulence and luxury in China. Today the region remains one of the richest parts of China.

The Song Dynasty saw a commercial prosperity and expansion of cities. The streets were no longer flanked by walls, but by stores, restaurants, and taverns. The architectures facing streets were usually shops with residential yard at back or multi-story buildings adjacent to each other. Most urban architectures were wood structured, while some made of bricks. Large dwellings were of quadrangle format. The layouts of Yangzhou and Suzhou due to their distinctive local characteristics played significant roles in the history of China’s urban development.

In the Southern Song Dynasty, Yangzhou became a place of great military importance and the Jiangnan area became the economic centre of China with more enormous grain production. The period witnessed a growth of urban population, a raise in social status of merchants, and the formation of the urban class.

During the Yuan Dynasty, Suzhou, Nanjing, and Songjiang became centres for silk and cotton fabric manufacturing, Literati painting featured the art field. Master painters at the time included Huang Gongwang and Ni Zan, who asserted profound influence on later generation.

Flourishing Age Of Jiangnan 盛世江南 明清辉煌

During the Ming and Qing dynasties, economy of Jiangsu experienced unprecedented expansion and saw the sprouts of capitalism. Suzhou, Nanjing, and Yangzhou became the wealthiest cities of the country. The booming economy sparked the prosperity in technology, literature, and art. The architectural engineering and shipbuilding in Nanjing represented the top level of the time. Jiangsu was famous for literary creation; Many masters of painting and calligraphy developed their profession here. It was also a major supplier of handicrafts. Jiangsu exemplified the peak of the development of Chinese feudal society in the Ming and Qing dynasties.

The rulers of the Ming and Qing Dynasties paid great attention to the development of Jiangsu, as it controlled the economic lifeline of the two dynasties. The Qing government set up the governor of canal transportation in Huaian, responsible for transport matters. Grain, salt, and cloth were transported to the north, specially the capital. The commercial metropolis of Suzhou, Nanjing and Yangzhou were well developed with an enormous population, prosperous market, and luxury life.

While people marvel at the grandeur of the Forbidden City in Beijing, the Nanjing Ming Palace, which served as the model for the Forbidden City, is now reduced to a few broken stone column bases. The Ming Palace ruins, which have been preserved for over 600 years, have very few above-ground buildings left.

The Nanjing Ming Palace model recreates the magnificent layout of the early Ming Dynasty Nanjing Forbidden City, reflecting its palace structure as the model for the Forbidden City in Beijing. Covering an area of ​​over 1,012,500 sq.m, the model clearly displays the rigorous ceremonial layout of the central axis buildings and the six eastern and western palaces.

The decline and decay of the Ming Palace were closely related to Nanjing’s political status at the time. In 1421, the nineteenth year of the Yongle Emperor’s reign, Emperor Yongle moved the capital to Beijing. At that time, the Nanjing Ming Palace officially ended its mission as the imperial palace, but it was still guarded by the imperial family and important officials. However, in the following centuries, the Ming Palace, having endured the ravages of time, gradually lost its maintenance and protection due to the weakening of Nanjing’s political status and the decline of the Ming Dynasty’s national strength. ¹²

In 1644, when Li Zicheng led his peasant uprising army to capture Beijing, Emperor Chongzhen’s younger brother, Zhu Yousong, fled to Nanjing and established the Southern Ming court. He was even unable to ascend the throne in the main hall and could only “take the throne in the Wuying Hall.”

Special Exhibitions Gallery 特展馆

The Special Exhibitions Gallery focuses on holding high-quality displays and exhibitions home and abroad, and permanent thematic exhibitions focusing on cultural relics in the museum related to the royal family of the Qing Dynasty, namely “The Glorious Period: Porcelain Artworks in Kangxi, Yongzheng and Qianlong Reigns”《盛世华彩》, “Getting Closer to Buddhism: Buddha Statues Display”《走进佛前》, “Furnishings of the Qing Court”《陈设清宫》and “Accuracy and Splendor: Splendid Clocks and Watches from Nanjing Museum’s Collections”《精准与华美》.

In the 1980s, a collection of cultural relics was accidentally discovered in a hoard in Xuyi, Jiangsu Province. Among them was a vivid gold beast covering on a bronze ewer. The gold beast is 17.5 cm long, 16 cm wide and 10.2 cm high and could date back to the Western Han Dynasty at the latest. Its whole body is decorated with circular markings. It contains 99% gold and weighs 9,100 grams, which is the heaviest ancient gold ware unearthed in China.

The Splendor Of Carved And Mother-of-Pearl Lacquerware From The Nanjing Museum 镂云裁月——南京博物院藏雕漆、螺钿漆器展

This exhibition features carefully selected Ming and Qing dynasty lacquerware and East Asian lacquerware from the Nanjing Museum collection, focusing on carved lacquer and mother-of-pearl inlay techniques. It showcases the artistic expression and cultural connotations of Chinese lacquerware, and its influence on lacquerware worldwide.

Lacquerware, a treasure of traditional Chinese arts and crafts. Since the Neolithic Age, the cultural characteristics embodied in lacquerware reflect the evolution of traditional Chinese aesthetics and the innovation of craftsmanship, possessing a unique style.

In the Ming Dynasty, a lacquerware craftsman named Huang Cheng 黃成, based on experiences of his own and generations of craftsmen, wrote the first book on lacquer art.¹⁵ The book “Records of Lacquering” 《髹飾錄》was later annotated by another famous Ming era lacquer craftsman Yang Ming 杨明, which make it China’s only complete published work on lacquer art found to date. Ironically, the only copy to be found is now an “Important Cultural Treasure” 「國家重要文化財」 in Tokyo National Museum.

The numerous and high-quality lacquerware pieces of the Ming and Qing dynasties, with their exquisite and mature carved lacquer and mother-of-pearl inlay techniques, represent the pinnacle of Chinese lacquerware, exquisitely beautiful.

The plate is made of wood, with a round mouth and shallow belly, supported by a ring foot. The bottom of the plate is lacquered in black, and the center is decorated with symmetrical ruyi cloud patterns, with the cloud heads connected one after another. This plate is made using the “carved lacquer” technique, specifically the “carved lacquer with black stripes” type described in the “Record of Lacquering” on the right and the “black stripes with red lines” type on the left. At the slanted cuts where the red lacquer was carved, the cross-section clearly reveals strips of black lacquer. The lacquer on the round plate is a bright and pure red, with a thick layer of lacquer. The carving technique is robust yet graceful, and the polishing is fine and smooth, concealing the sharpness. The overall decoration is fluid and natural, swirling and vivid, resembling carved clouds.

The wooden base of the lacquered table is entirely covered in black lacquer and inlaid with mother-of-pearl. The plum blossom-shaped tabletop is decorated with mother-of-pearl inlay depicting pavilions, towers, and figures from various stories. A band around the waist is adorned with auspicious cloud and crane motifs, extending down to the apron and the rolled beaded feet, all inlaid with mother-of-pearl floral patterns. The figures and pavilions are clearly layered, their forms vivid and lifelike; the mother-of-pearl details are exquisitely detailed, and the cloud and crane motifs symbolize auspiciousness, adding to the object’s refined elegance. The floral inlays are delicate and lifelike, their vibrant colours contrasting beautifully with the black lacquer, enhancing its magnificent elegance. The overall design is dignified yet graceful, showcasing the pinnacle and unique charm of Ming dynasty mother-of-pearl inlay craftsmanship.¹⁷

During the Southern Song Dynasty, carved lacquerware was introduced to Japan by Japanese monks and merchants, and quickly gained popularity among the Japanese upper class. In the Yuan Dynasty, Japan, Korea, and Ryukyu regarded carved lacquerware as an artistic treasure, with the carved red lacquerware of Zhang Cheng and Yang Mao being unparalleled. Japan highly valued and bestowed the title “Yang Cheng of Carved Red Lacquer” upon its best carved red lacquerware craftsmen, thus forming the famous Japanese lacquerware technique “Kamakura Carving.”

The “Catalogue of Public Items of the Engaku-ji Temple in Kamakura” includes dozens of lacquerware pieces from the Tang to Song-Yuan periods of China. In the first, fourth, and fifth years of the Yongle reign of the Ming Dynasty, the Ming court repeatedly presented over a hundred pieces of carved red lacquerware to Ashikaga Yoshimitsu, the then Shogun of the Muromachi Shogunate, which were later inherited by the Japanese rulers. This period of carved lacquerware craftsmanship had a profound influence on the development of Japanese lacquerware, and even today, Japanese carved lacquerware works still contain numerous Chinese elements.¹⁸

Accuracy and Splendor: Splendid Clocks and Watches from Nanjing Museum’s Collections 精准与华美

The use of timekeeping devices in China enjoys a long history. As early as over 2,000 years ago, Chinese ancestors started to use devices such as gnomons, sun dials, and clepsydras to measure time. Around the end of Ming Dynasty and beginning of the Qing Dynasty, modern mechanical clocks invented by Europeans were brought to China by missionaries. In 1601, Italian Jesuit priest Matteo Ricci brought two ringing clocks to the Wanli Emperor, creating a huge sensation in the Forbidden City.

In the 17th century, Emperor Kangxi collected many western scientific instruments and clocks due to his great admiration for European technologies. To gain support, Missionaries from Europe at the time often use clocks as gifts to Chinese Emperors or ministers to win their support. These clocks became the medium for Chinese people to learn about western culture. The Qing government then set a clock-making factory in Beijing while people in other cities such as Guangzhou and Suzhou started to make clocks either imitating the European models or creating their own designs.

Clocks are among the most unique and precious collections of Nanjing Museum with their combined value in practical usage and artistic appreciation. The 50 selected clocks to be displayed in this exhibition are all of high historical, technological and artistic value. They were manufactured during the time period from the 18th century to early 20th century. Some of them were made by master clock makers in countries such as the UK, France, Germany, and Switzerland while some were from the Qing imperial Clock-making Factory or civilian factories in Guangzhou; yet others feature a combination of both Chinese and Western designs.

While each exhibits the special style from the culture it belonged, they all share some features such as the luxurious decoration, the delicate fabrication, and the advanced functions, all of which represent the highest standard of clock making during their times.¹⁹

Furnishings of the Qing Court 陈设清宫

Lasted for 300 years, the Qing was the last dynasty of imperial China, and the prelude for the transformation of Chinese society from autocratic to modern. The flourishing age from Kangxi Reign to Qianlong Reign was the most glamorous part at the end of Chinese feudal period. The Qing Dynasty went through the splendour in the 18th century and the recession in the 19th century. It witnessed uprisings of social revolution and turbulence over time, leaving behind a memorable painting scroll of history rich in colours and tastes.

Though the Qing Dynasty has faded in history, its court life, featured with unique historical characteristics, is still compelling to today’s people. The ceremonial regulation, religious belief, luxurious furnishings, elegant scholar artifacts and delicate daily utensils of the dynasty are preserved. They are not only the result of Chinese classification regulation, political system, ideology, technology, academy and arts that has been cultivated for thousands of years, but also the representation of the rich Chinese traditional culture.

The extremity of the perfection shows through the variety of types and materials, elegant shapes and sophisticated skills. The precious objects reflect the superior dignity of imperial power, the luxurious manner of the royal family and the exquisite aesthetic taste.

By displaying different aspects of the Qing Dynasty court life, the exhibition is not only a presentation of the preference and aesthetic taste of the Qing emperors, but also a condensed sample of human culture that shows the wisdom and creativity of Chinese people.²⁰

Nanjing Museum, the successor of the National Museum of China in the Republic Period (1912-1949), has a remarkable collection of court art. The collection was originally from the Qing imperial palace, Fengtian Palace (Shenyang Imperial Palace), and Rehe Palace (Chengde Imperial Summer Palace), and finally settled in the museum after traveling 10 years in Yunnan and Sichuan Provinces during the Second World War. It contains artefacts of various categories and numerous styles.

Republic of China Gallery 民国馆

The Republic of China Galley, located underground on the east side of the art museum, showcases the characteristics of the Republic of China era in every aspect, from the overall layout to the smallest details. The exhibition hall replicates European-style street scenes from the Republic of China period to depict urban life at that time, offering a microcosm of old Nanjing’s city life. The sky, roads, streetlights and related facilities are simulated using sound, light, and electronics to create an authentic historical atmosphere. Even the staff here wear period costumes and clothings to recreate the retro and nostalgic feel.

The streets feature physical shops that fulfil practical functions, such as an operational post office where you can buy China postage stamps and send out a postcard, a replica of a train station with the actual train from the period, as well as a period barbershop (which reminded me of my childhood barber from Shanghai), traditional Chinese medicine shop, bookstore, and jewellery store.

The furnishings, plaques, and utensils are all collected Republic of China artefacts, such as modern furniture, vintage Ford cars, and locomotives, all highlighting the rich sense of the era. Visitors are immersed in the atmosphere, experiencing the social customs of that time amidst fragments of history.

The entire exhibition hall not only showcases the architectural features but also dynamically recreates the urban life of that era, allowing visitors to transcend the barriers of time and space as if walking on the streets of the Republic of China.

Intangible Cultural Heritage Gallery 非遗馆

The Intangible Cultural Heritage Gallery is made up of two parts; one is an exhibition hall with the artisans and practitioners of the crafts that have been certified to be an intangible cultural heritage 非物质文化遗产 of China to showcase their craftsmanship; second is a performance stage for showcase shows and performances of some performing art forms that have been certified to be an intangible cultural heritage.

The stage is at the end of the hall of the Republic of China Gallery and features performances that you can view for free on the sides, or for a small fee, get a cup of tea from the local farmers and enjoy the performance in the teahouse setting.

Digital Gallery 数位馆

Besides traditional artefacts and exhibitions, Nanjing Museum has adopted modern multimedia presentation technologies to make these artefacts “come alive”. These digital artefacts appeal to the younger set, and are interactive and innovative at the same time.

Take this example of the National Treasure, Picture of the Seven Sages of the Bamboo Grove 竹林七贤砖印模画, it is difficult to understand the actual murals because of the artistic style of that era is not easily accessible to the modern folks. But the multimedia presentation makes the clay mural come alive, making the stoic content very lively and interesting.

Controversy

According to media reports, in 1997, former Director of Museum, Xu Huping, signed a “Cultural Relics Transfer Form,” transferring the Ming Dynasty painting “Spring in Jiangnan,” donated by the Pang family in 1959, to the General Cultural Relics Store on the grounds that it “did not meet museum collection standards.” In 2001, the painting was identified as a “forgery” and sold for 6,800 yuan to an unidentified “customer.” After several changes of ownership, “Spring in Jiangnan” was recently auctioned, fetching a high price of 88 million yuan. This caused a public uproar and attracted the attention of the Pang family’s descendants.²¹

I visited the museum in Nov 2025, one week before the exposé. Subsequently, all the museums in China went into red alert, auditing all their exhibits to ensure the paper trail of the collection is properly updated. Many of them closed for “maintenance” until the new year. And one of them even had a fire to the warehouse, which gave rise to many conspiracy theories about how many “real artefacts” remain in these museums. This one incident brought the booming museum scene into its nuclear winter.²²

Highlights of Nanjing Museum

Being one of the top three museums in China²³, Nanjing Museum has a huge collection of artefacts and relics from all over China, having Nanjing as the capital of Republic of China between 1912-1949. Because of the vast collection on display, I have posted a selection of the best exhibits IMHO over a couple of weeks.

• Treasures of Nanjing Museum – History Gallery
• Treasures of Nanjing Museum – Special Exhibition Gallery

Footnotes :

1. 穿越千年，品人文之美：走进南京博物院，看银缕玉衣｜远在身边, 2022-12-28 12:59发布于广东历史领域创作者
   南京博物院大殿仿照蓟县独乐寺山门形式，同时又模仿唐朝宫殿，将琉璃瓦铺于其上。其殿顶做了四阿式设计，模样像庑殿顶，四条斜脊四个斜曲面，这样设计，既美观，又能在下雨时保护建筑。
   https://news.qq.com/rain/a/20221228A0370Y00
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2. 远古印象 IMPRESSION OF REMOTE ANTIQUITY 遠古印象 상고의 인상
   远古洪荒，在 这片江海交汇的神奇土地上，森林植被繁茂，动物种坐螫多，在生生不息的生命繁衍中，人类出现了。
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3. 夏商周是中国的青铜时代，也是中国历史上国家形成并逐渐成熟的阶段。江苏地区也逐步出现早期国家——方国，徐、钟吾、郯、干、宜等夷系方国与吴、越等越系方国，在与中原文化不断碰撞、交融的过程中，创造了特色鲜明的地域文明。
   ↩︎
4. 齐楚相安 BALANCED PEACE OF QI AND CHU
   ［公元前306年一公元前223年］ (306 – 223 BC)
   自春秋中期，楚人一直致力于东控江淮，灭亡或征服了淮上诸姬、江淮群舒，先后与吴、越争锋，并最终占领了今江苏的大部分地区；齐灭宋之后，控制今江苏淮北之地，形成了齐楚相安的局面。战国末年秦军东进，楚国退守东土，最终和齐先后覆灭。江苏地区完全纳入了中原王朝的政治版图，中原文化逐渐占据主导地位，土著文化渐趋式微。
   From the mid-Spring and Autumn Period, the Chu people consistently strived to control the Jianghuai region to the east, destroying or conquering the various Ji states along the Huai River and the Shu states along the river. They successively contended with Wu and Yue, and ultimately occupied most of present-day Jiangsu. After Qi destroyed Song, it controlled the area north of the Huai River in present-day Jiangsu, creating a peaceful coexistence between Qi and Chu. At the end of the Warring States Period, the Qin army advanced eastward, and Chu retreated to its eastern territories, ultimately collapsing along with Qi. The Jiangsu region was fully incorporated into the political territory of the Central Plains dynasties, and Central Plains culture gradually became dominant, while indigenous cultures gradually declined.
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5. 《后汉书》中更有明确记载：“帝崩，唅以珠，缠以缇缯十二重。以玉为襦，如铠状，连缝之，以黄金为缕。腰以下以玉为札，长一尺，广二寸半，为柙，下至足，亦缝以黄金镂。诸衣衿敛之。凡乘舆衣服，已御，辄藏之，崩皆以敛。诸侯王、列侯、始封贵人、公主薨，皆令赠印玺、玉柙银缕；大贵人、长公主铜缕。”
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6. 公元211年，孙权将治所自京城（今江苏镇江）迁至秣陵（今江苏南京），次年改名建业。其间两次短暂徒都武昌（今湖北鄂城）外，建业始终是孙吴政权的首都。西晋末因避愍帝司马邺之讳，改名建康。317年晋室南迁，又为东晋首都。而后宋、齐、梁、陈，均立都建康。六朝以建康（建业）为都，前后约330年。随着农业的发展，手工业和商业的兴起，城市的兴建和扩展，以及科技、文化、艺术的进步，建康城以其政治、经济、文化中心的重要地位与辐射能力，汇聚了南北方大批杰出人才，吸引了许多异国使臣客商，成为国际上屈指可数的大都市。
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7. Soapstone (steatite) is a soft, dense, metamorphic rock primarily composed of talc, known for its heat resistance, durability, and smooth feel. 
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8. https://www.britannica.com/place/Jiangsu/History
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9. 公元211年，孙权将治所自京城（今江苏镇江）迁至秣陵（今江苏南京），次年改名建业。其间两次短暂徒都武昌（今湖北鄂城）外，建业始终是孙吴政权的首都。西晋末因避愍帝司马邺之讳，改名建康。317年晋室南迁，又为东晋首都。而后宋、齐、梁、陈，均立都建康。六朝以建康（建业）为都，前后约330年。随着农业的发展，手工业和商业的兴起，城市的兴建和扩展，以及科技、文化、艺术的进步，建康城以其政治、经济、文化中心的重要地位与辐射能力，汇聚了南北方大批杰出人才，吸引了许多异国使臣客商，成为国际上屈指可数的大都市。
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10. 公元三至六世纪，吴、东晋、宋、齐、梁、陈六国相继在南京建都，史称“六朝”。疆域北达江准，南至交广，西抵巴蜀，东临沧海。相对北方地区的战争频仍，经济窒息，文化衰退，六朝则社会较为稳定。北方士人和劳动民众大量南迁江南经济得到进一步开发，逐渐赶上并超过黄河流域，中国经济重心南移。六朝时期科学、技术、思想、艺术诸领域皆取得辉煌成就，在汉末战乱里濒于毁灭的汉文化传统得以保存和发展，开创了风采绰约、意义深远的六朝文化。
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11. 自古以来，人们常以车舆显示社会地位。六朝时期，法令对不同阶层使用车辆的式样和数量都有严格规定。与汉朝车马出行的传统不同，乘坐牛车成为世家大族、富豪纨绔的时尚。牛车平稳舒缓，牛身挂有饰物，车厢全封闭或半封闭，左右开窗，遮以帷帐，士族子弟乘之从容出入，以示身份。
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12. 南京明故宫仅剩残缺石柱础 地面建筑寥寥无几(图)
    2014年03月05日08:25   
    明故宫的衰败与破落其实与南京当年的政治地位息息相关。明永乐十九年(1421年)，明成祖朱棣迁都北京，彼时南京明故宫正式结束王朝皇宫的使命，但仍由皇族和重臣驻守。不过在此后的数百年间，经历了风吹雨打的明故宫，却因为南京政治地位的不断弱化以及明朝国力的衰退，逐渐失去了维修与保护。公元1644年，李自成率农民起义军攻陷北京，崇祯皇帝的弟弟朱由崧逃往南京建立南明小朝廷时，甚至无法在大殿登基，只能“即皇帝位于武英殿”。https://www.people.com.cn/24hour/n/2014/0305/c25408-24531103.html
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13. 壶为紫砂胎上髹朱漆，壶身与壶盖以四方连续“万字不到头“锦纹为底纹，寓意吉祥连绵，万寿无疆。壶身开光人物故事图，人物形象栩栩如生。雕漆制胎，以木胎为主，兼有金银、铜、锡等金属胎，紫砂胎制剔红漆器胎者较为罕见，是研究剔红工艺的珍贵实物资料。
    The teapot is made of purple clay and lacquered in vermilion. The body and lid are decorated with a continuous “swastika” pattern as the background, symbolizing good fortune and longevity. The body of the teapot features openwork panels depicting figures from stories, with lifelike images. The teapot is crafted with a carved lacquer base, primarily made of wood, but also incorporating metals such as gold, silver, copper, and tin. Teapots with a purple clay base and carved lacquer base are relatively rare, making this a valuable material for the study of the carved lacquer technique.
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14. 方形盒外髹朱漆，盒身满剔波涛海水纹，海浪雕镂层叠涌动，浪花交汇于盒盖中心，四角饰姿态各异的海马。盒底及盒内髹黑漆，盒内上下分别刀刻填金“大清乾隆年制”“泽马宝盒”楷书款，故此盒亦称为泽马宝盒。盒身整体纹饰布局疏密有致，波涛海浪层次交错分明，海马毛发鳞甲逼真生动。
    清代雕漆工艺极重雕刻，刻必精细，纹饰紧密繁复，地景与边纹讲究“富贵不断头”，艺术风格华丽璀璨、奢华张扬，刀笔起落间说不尽的富贵，尤其以乾隆时期为典型代表。
    乾隆因其个人对雕漆的嗜爱，要求雕漆“漆层要厚，花纹要精”。在此背景下，雕漆产量大幅增加，雕刻工艺达到鼎盛状态，纹饰题材也更为丰富多样。此时，雕漆的制作已经由明代以北京为中心转移到江南，苏州、扬州等地成为雕漆制作的主要地区。《苏州史志》记载“漆作，有退光，明光，又剔红、剔黑、彩漆兼精”。《养心殿造办处各作成做活计清档》记载乾隆三年始开始降旨苏州织造府制作雕漆，并在此后不断下旨苏州制作雕漆漆器。《清档》载：“乾隆十八年五月初五…太监胡世杰交雕漆海兽圆盒一件，棉垫木座。传旨：着南边照一模一样做雕漆圆盒二件，钦此。”于十九年十二月＋七日，员外郎白世秀，将苏州织造安宁运到雕漆圆盒二件…..持进交太监胡世杰呈讫。”乾隆对苏州漆器赞赏有加并有御题诗：“吴人髹工巧莫比，仿为或比旧还过，脱胎那用木和锡，成器奚劳琢与磨。”
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15. Tsai Wen-ting/tr. by Jonathan Barnard. “In Search of Lacquer’s Lustrous Past“, June 1998. https://www.taiwan-panorama.com/en/Articles/Details?Guid=c2662bd9-b7a0-4452-995c-b3afd3a66482&CatId=8 
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16. 黑漆嵌螺钿松石孔雀图屏风
    屏风为木胎，黑漆为底，边框饰金漆螺钿葡萄纹，正面为松石孔雀图。金漆光泽温润，与螺钿的绚丽交相辉映，屏风在不同光线角度下呈现出丰富的视觉层次。孔雀的羽毛通过螺钿的堆叠，更具立体感。松树与花草的装饰，则通过金漆的细腻堆砌，营造出一种自然生长的生机感，与彩色螺钿的点缀相得益彰。
    屏风的使用在西周时期就已开始，最早称为“展”。有围屏、座屏、插屏等形制之分，明清开始不仅使用围屏，又衍生出挂屏等装饰特性的各类屏风。中国的屏风文化从唐代开始逐渐向韩国、日本等东亚地区传播。屏风也是
    18至19世纪西方欧洲“中国风 艺术思潮的重要载体。
    此件屏风为清宫旧藏，应为日本匠人制作后进献或为清宫造办处“洋漆作”制作。屏风工艺特点为金漆莳绘和螺钿结合，是日本学习借鉴中国描金、螺钿等漆器工艺后逐渐衍变出来的新工艺，此工艺既保留了中国传统漆器工艺的精髓，又在细节处理上融入了日本本士的审美意趣。
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17. 漆几內木胎，通体施黑漆，遍饰螺钾。梅花形几面以螺钿嵌亭台楼阁人物故事图，束腰一周环饰如意云鹤纹，束腰下至牙子及卷珠足处，满嵌螺钿花卉纹。人物亭阁层次分明，造型生动传神；螺钿细节精妙入微，云鹤纹饰寓意祥瑞，平添器物文韵。花卉嵌饰细腻逼真，斑斓色泽与黑漆相映，愈显华美典雅。整体造型端稳而不失灵秀，尽显明代嵌螺钿工艺所臻之极境与独到意趣。
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18. 南宋时期，雕漆漆器经日本僧人及商人传入日本，并很快受到日本上流社会的推崇。元代，日本、高丽、琉球等地区视雕漆漆器为艺术瑰宝，元代张成和杨茂的剔红漆器冠绝一时。日本十分推崇向本国剔红做得最好的工匠赐予“堆朱杨成”的称呼，在此基础上形成了日本著名的漆器工艺“镰仓雕”。镰仓圆觉寺《佛日庵公物目录》收录了中国唐至宋元时期的漆器数十件。明代永乐元年、四年、五年明廷多次赠送给当时的室町幕府将军足利义满雕漆剔红漆器百余件，后为日本统治者所继承。这一时期雕漆工艺对日本漆器工艺的发展产生了深远影响，时至今日，日本的雕漆作品中仍然有大量的中国元素。
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19. 精准与华美——南京博物院藏钟表精品展
    　　中国计时器的使用有着悠久的历史。早在2000多年以前，我们的祖先就已经开始使用圭表、日晷和漏壶等计时器。明末清初，随着欧洲传教士的到来，由欧洲人发明的现代机械钟表被带到了中国。1601年，意大利传教士利玛窦向明神宗万历皇帝进献了两座自鸣钟，在当时的宫廷内引起了轰动。至十七世纪，清康熙帝倾慕欧洲的科学技术，收集了许多西洋的科学仪器和各类时钟。当时，来华的欧洲传教士都把西洋钟表当作礼物献给中国皇帝或王公大臣以求得支持，西洋钟表在当时已经成为中国人认识西方文化的一个重要媒介。受此影响，清政府设置了做钟处，广州、苏州等地亦纷纷模仿西洋钟或创新制造机械钟表。
    　　钟表是南京博物院丰富藏品中特殊与珍贵的种类，是极致的实用品，也是高贵的艺术品。此次展出的五十件中外机械钟表具有很高的历史、科技和艺术价值。制作年代从十八世纪至二十世纪初，其中既有英国、法国、德国、瑞士等名家之作，也有清宫做钟处和广州的精品，还有一些中西合璧的产物。尽管各自的文化背景决定了它们以不同的造型出现，但装饰华贵，制作精美，功能复杂是其共性，代表了当时钟表制造的最高水准。
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20. 陈设清宫——南京博物院藏清代宫廷文物展
        　大清王朝悠悠300年，是中国最后一个皇权帝制时代，也是中国社会由专制皇朝向现代社会转型的前夜。“康乾盛世”更是成为中国封建社会灿烂晚霞中一抹最耀眼的光辉。清王朝经历了18世纪的辉煌和19世纪的衰落。这一历史时期，社会变革风起云涌，时代潮流波澜壮阔，辽阔的中华大地上展开了一幅色彩浓淡、情趣不同却着实让人回味的历史图卷。
    大清王朝虽然已经成为历史，而清代宫廷生活以其独特的时代特点，散发出诱人的魅力，强烈地吸引着当代。其凝固的仪轨、特别的信仰、华美的陈设、高雅的文玩、精致的日用至今历历在目。它们不仅是几千年中国的器用典章、国家制度、意识形态、科学技术以及学术、艺术等积累的结晶，更隐含着华夏传统文化的丰富内涵。器类之丰富、材质之多样、造型之优美、制作之精湛，无不臻于极致。显示出皇权至高无上的尊严、皇家华贵堂皇的气势和高雅脱俗的审美品位。
       　 南京博物院收藏了较多的宫廷旧藏，大部分原置于清宫和奉天、热河两个行宫，“九一八”事变和抗日战争期间辗转滇、川，颠沛十载。他们琳琅满目，千姿百态。展览从清宫礼制、信仰、生活、赏玩、陈设等各个层面，为您呈现清代宫廷生活多姿多彩的生动画面，不仅展示清代帝王对艺术品的偏爱和审美取向，更展现中国人的聪明才智和创造能力。
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21. 带走82岁南博原院长徐湖平 法律很尴尬, 道亦有道经济
    https://zhuanlan.zhihu.com/p/1987933953441699109, accessed 14 Mar 2026
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22. 南博文物風波｜文物遭變賣四畫追回　徐湖平等24人被查https://www.tkww.hk/a/202602/10/AP698a79b9e4b04773b0698d16.html
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23. According to their official websites; the others being The Palace Museum, Beijing and Shaanxi Provincial History Museum, although some would include Shanghai Museum (for its wonderful collection of bronze wares.) It is quite amusing that most do not consider National Museum of China as one of the Top 3, although it is consistently in the Top 10 list.
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