Housed in the Palace of Tranquil Longevity, this is one of the least visited National Treasure among all the others in the Forbidden City.
National Treasure 国宝
Stone Drums of Qin 秦石鼓
Granite | Warring States – Qin | The Palace Museum Collection. 花崗岩 | 战国 – 秦 | 故宫博物院藏
The Stone Drums of Qin or Qin Shi Gu 秦石鼓 are ten granite boulders bearing the oldest known “stone” inscriptions in ancient Chinese (much older inscriptions on pottery, bronzes and the oracle bones exist). Because these inscribed stones are shaped roughly like drums, they have been known as the Stone Drums of Qin since at least the 7th century.
As the oldest known stone inscriptions in China, they are a priceless treasure for epigraphers. The stone drums are now kept in the Palace of Tranquil Longevity 宁寿宫 of the Palace Museum, Beijing. They vary in height from 73 cm to 87.5 cm (with one which was at one point used as a mortar reduced by the grinding to 58 cm), and from 56 to 80.1 cm in diameter. The Stone Drums weigh about 400 kg each.
The ancient inscriptions on them are arranged in accordance with each stone’s size and proportions, the largest stone bearing fifteen lines of five characters each, and a smaller one with nine lines of eight graphs each, neatly arranged as if in a grid. The contents are generally four-character rhymed verse in the style of the poems of the Classic of Poetry, a few lines of which they even paraphrase. The contents generally commemorate royal hunting and fishing activities.
The Stone Drums we see today are largely weathered and illegible due to their age. The surviving Northern Song Dynasty rubbings are naturally rare treasures. Of the original 718 characters, only 275 remain intact (excluding duplicates and combined characters), and 52 are fragmentary.1
Origins of the Stones
The Stone Drums, also known as the “Chencang Stone Tablets” “陈仓石碣” or “Qiyang Stone Drums” “岐阳石鼓”, are carved during the pre-Qin period. They were discovered in 627 in the wilderness of present-day Baoji City, Shaanxi Province, and are now preserved in the Stone Drum Gallery located within the Treasure Gallery (separate admission required to enter the Treasure Gallery). 2
Like their discovery, the details of their origin have also long been subject to debate. While most now agree that they were made at the behest of a Duke of the state of Qin, the century of their creation is still uncertain. According to one scholar’s research, the Stone Drums were carved in the eleventh year of Duke Xian of Qin 秦獻公十一年 (374 BC) during the Warring States period.4
Another scholar points out that the style of the Stone Drums script is extremely close to that of the inscriptions on both the Qin Gong Gui (秦公簋, Gui of the Duke of Qin, a bronze tureen) and a stone qing (chime), both belonging to Duke Jing of Qin 秦景公, who ruled from 576 to 537 BCE. She states that it is very likely that these artefacts date to the same period, and thus dates the Stone Drums to the late Spring and Autumn period.5
The Preservation of the Stones
The Stone Drums, discovered in the early Tang Dynasty at Chencang Mountain in Fengxiang Prefecture, Shaanxi Province (present-day Shigu Mountain in Baoji City), consist of ten stones. The Stone Drums endured wars, frequent relocations, and near-destruction, becoming the subject of many legendary tales, all of which lend them an air of mystery.
Initially, the Stone Drums were scattered in the wilderness of Chencang. Later, they were moved to the Confucius Temple in Fengxiang County, only to be lost again during the Five Dynasties period. During the Song Dynasty, Sima Chi found nine stones, but one was missing. It wasn’t until the fourth year of the Huangyou reign (1495) that Xiang Chuanshi found the lost “Zuoyuan Drum,” thus completing the set of ten. However, by this time, the “Zuoyuan Drum” had been cut in half and used as a rice mortar.
Rubbing of the First Stone Drum Inscription, Collection of The Palace Museum6
During the Daguan era, the stone drums were transported to Bianliang (Kaifeng). Emperor Huizong of Song, a man with a passion for epigraphy, especially the Stone Drums, kept them in the Jigu Pavilion of the Baohe Hall and had the inscriptions filled with gold. During the Jingkang Incident (1127), the treasures of Bianjing were looted by the Jurchens and taken to Yanjing (Beijing). On the way, the Jurchens scraped off the gold from the stone drums and abandoned them in the wilderness. Later, they were acquired by Wang Ji.
After the Yuan dynasty came to power, Wang Ji rose to the position of Pacification Commissioner. He restored the temple school on the site of the former Jin Privy Council and displayed the stone drums under the eaves. Later, the stone drums were lost again. In the eleventh year of the Dade era (1307), Yu Ji, then a professor at the Imperial Academy, discovered the stone drums and placed them inside the Dacheng Gate of the Imperial Academy. In the first year of the Huangqing era (1309), they were moved to the Imperial Academy. They remained unmoved during the Ming and Qing dynasties.
In 1933, to avoid the invasion of Japanese imperialism and to save cultural relics from catastrophe, the Stone Drums, as cultural relics of the Imperial College, were moved south along with cultural relics of the Summer Palace and the Palace Museum, until they were transported back to the Palace Museum after the victory of the Second Sino-Japanese War.7
Stone Engraving of “Pronunciation and meaning of the Stone Drums” by Pan Di 潘迪撰《石鼓文音训》刻石
Stone | First year of Emperor Huizong (1339), Yuan Dynasty | The Palace Museum Collection. 石刻｜元惠宗至元己卯（公元1339年）｜故宫博物院藏
The epigraph is an essay by Pan Di, the Director of Studies of the highest educational institution in the Yuan dynasty, investigating the pronunciation and meaning of the ancient stone drum inscriptions.8 It has since become the guide to the inscriptions on the stone.
The inscription is carved on both sides. The top of the stele is inscribed with the five characters “Pronunciation and meaning of the Stone Drums” 《石鼓文音训》 in ancient seal script, while the phonetic explanation is in regular script, and the postscript is in clerical script. The content includes the interpretation, pronunciation, and meaning of the Stone Drum Inscriptions, as well as the ordering of the Stone Drums by various scholars during the Song Dynasty. 9
Due to the preciousness of the inscriptions on the drums, which are the earliest extant stone carvings in China, they have been highly valued throughout history. Based on the inscriptions, they are named based on the first two characters in the poem – (in the sequence of 【明拓战国石鼓文册】) “Wu Che”《吾车》(“The Hunt”)、”Qian Yi”《汧殹》(“Qian River”)、”Tian Che”《田车》(“The Game”)、”Luan Che”《銮车》(“The Entourage”)、”Ling Yu”《霝雨》(“The Shower”)、”Zuo Yuan”《作原》(“The Road”)、”Er Shi”《而师》(“The Welcome”)、”Ma Jian”《马荐》(“The Pasture”)、”Wu Shui”《吾水》(“The Journey”)、”Yu Ren”《吴人》(“The Ritual”).10 Below is the sequence that has been determined by the Palace Museum.11
“Zuo Yuan”《乍原》(“The Road”)
This passage describes the repair of the road. “Yuan” refers to “Sanshi Yuan,” also known as “Nan Yuan” or “Shigu Yuan.” Under the leadership of officials, laborers repaired the road and planted various trees. Both tree planting and road repair had time limits: two days and five days respectively.12
“Er Shi”《而师》(“The Welcome”)
This passage recounts the grand scene of Duke Xian of Qin welcoming the envoy of the Zhou emperor. Unfortunately, the text is riddled with omissions and errors, making it difficult to read. “Successor King” refers to King Lie of Zhou. Upon ascending the throne, King Lie sent his grand historian to see Duke Xian of Qin, hence Duke Xian’s army was dispatched to welcome him. “I” is Duke Xian’s self-reference.
“Ma Jian”《马薦》(“The Pasture”)
The inscription on this stone is the most severely damaged, with no characters remaining today. However, a comparison with a fine rubbing from the Northern Song Dynasty reveals the characters “天虹” (tianhong, meaning rainbow), indicating that the Qin region at that time received abundant rainfall, rainbows were frequently seen in the sky, the climate was mild, and vegetation flourished. Although only the two lines “济济马荐，栺栺芄芄” (jiji majian, liu liu wanwan) are legible, they already demonstrate the favourable pastoral environment of the Qin region.13
“Wu Shui”《吾水》(“The Journey”)
This passage describes how our waters are clear, our roads are paved, and our trees have been planted. On the day of Bing Shen, Duke Xian of Qin and the envoys of the Zhou emperor prepared for a trip.14
“Yu Ren”《吴人》(“The Ritual”)
This passage recounts how Duke Xian of Qin’s entourage first arrived at Wuyang, where, under the supervision of the Grand Sacrificer, the Duke offered a distant sacrifice to Mount Wu. In the deer park of Mount Wu, many male and female deer ran and frolicked.15
“Wu Che”《吾车》(“The Hunt”)
It consists of five stanzas: first, it speaks of the strength of the chariots and horses; second, of the harmony and joy among the officials; third, of the excellent bows and arrows; fourth, of the scenery seen during the hunt; and fifth, of the spoils of the hunt. The poem depicted the hunting scenes in a leisurely tune and suggested that the State Qin was a rich, stable and powerful country.16
“Qian Yi”《汧殹》(“Qian River”)
The poem praised the beautiful Qian River and the joyful fish swimming in the river. The four poems all speak of fish farming and fishing. The poems praise the excellent water conservancy of the Qin region, which is rich in aquatic products, including many large fish such as catfish, carp, silver carp, and bighead carp, which need to be transported in willow baskets.17
“Tian Che”《田车》(“The Game”)
This poem depicts a hunting expedition in the wilderness, marking the climax of the entire hunt. The prey included not only deer, but also elk and pheasants. Furthermore, commoners also participated in this hunt.18
“Luan Che”《銮车》(“The Entourage”)
This poem on the stone has five chapters. It begins by mentioning the imperial chariot, indicating the chariot used by the ruler and depicting the scene as the hunt is about to end. Around the chariot, which is temporarily encamped, are attendants receiving orders and valiant guards; the encampment is secure and protective. The poem ends in the voice of Duke Xian of Qin, saying, “My hunt has been very fruitful.”19
“Ling Yu”《霝雨》(“The Shower”)
This poem describes the journey back from a hunt, encountering rain, wading through water, and traveling by boat. The “癸” in the first line should be the name of a day, indicating that seven days had passed since the start of the journey on the second day of the Bing-Shen year. After the rain, the Qian River rose; in some places, it was possible to cross on horseback, while in others, it was necessary to travel by boat.20
Palace of Tranquil Longevity
The Qin Stone Drums are on display in the Palace of Tranquil Longevity, which has been designated as a specialised exhibition hall since 2014. This is the only National Treasure with such honour.
In 1689, the 28th year of the Kangxi reign in the Qing Dynasty (1644-1911), this palace was first built as the rear hall 後殿 of the Palace of Tranquil Longevity.
From 1772 to 1776 (the 37th year to the 41st year of the Qianlong reign), it was reconstructed in imitation of the Palace of Earthly Tranquility 坤寧宮, and the original plaque from the Palace of Tranquil Longevity 寧壽宮 was moved here.
The term “寧壽” (“Tranquil Longevity”) derives from the lines “寧成萬國，壽先五福” (Tranquility across the world, longevity is first among the five blessings). The Qianlong Emperor planned to conduct rituals in this palace after his abdication, in his role as Emperor Emeritus 太上皇.
All photos taken at The Palace Museum Nov 2025, unless otherwise noted.
About Chinese Treasure Series
中華國寶系列 Chinese Treasure series feature specific artefacts and relics from museums all around the world that are historically significant to be considered a National Treasure. The series covers the 5,000 years of Chinese civilisation from Neolithic periods before the Xia dynasty (c. 2070-1600 BC) to modern day.
Footnotes :
- 第一百一十三讲
殊今异古——故宫博物院藏石鼓的流传及其影响
时间：2017-08-23, 主 讲 人: 焦东华
今天我们所见石鼓，因经历久远，文字多风蚀残泐，很多字不可辨识。流传下来的北宋拓本，自然成为稀世之珍宝。石鼓文字数，原文共计718字，现仅存全字275（不计重文、合文），残字52。https://www.dpm.org.cn/gugongforum/detail/245912.html#:~:text=故宫石鼓馆，今,特别提示： ↩︎ - https://www.dpm.org.cn/gugongforum/detail/245912.html#:~:text=故宫石鼓馆，今,特别提示： ↩︎
- 乾隆石鼓
为清乾隆年间仿照周（宣王）石鼓镌刻、周石鼓唐末发现于陕西岐山，元代皇庆二年（1313）移置孔庙大成门内，乾隆时因莫残损严重，故汇集缺损文字重镌新鼓，列于现在的位置。周石鼓现存于故宫博物院。
Qianlong Stone Drum
Modeled on the stone drum created during the reign of Xuanwang of the Zhou Dynasty (11th Century BC-256 BC), the Qianiong Stone Drum was made during the reign of Qing emperor Qianlong. The Zhou Dynasty Stone Drum was discovered in Qishan, Shaanxi Province in the late years of the Tang Dynasty (618-907). It was placed inside the Da Cheng Gate of the Temple of Confucius in 1313 during the Yuan Dynasty and is now kept in the Palace Museum. During Qianiong’s reign, the Zhou Dynasty Stone Drum was so severely damaged that part of the inscription was missing. A new drum with a full inscription was thus made and placed where it is today. ↩︎ - 石鼓為一組花崗岩刻石，因其形狀若鼓而得名。中國刻石文字的開始，遠在甲骨文和金文之後。石鼓文則是我國已知石刻文字中最早的，據唐蘭先生考證，石鼓文的刻鑿時代為戰國秦獻公十一年。https://condoret76.wixsite.com/forbiddencity/ling-sau-stones ↩︎
- 王国维、郭沫若、马衡、唐兰等考证为先秦刻，但对于确切时间看法不同。https://old.shuge.org/ebook/shi-gu-wen-ta-ben/ ↩︎
- 清拓石鼓文（第一鼓）
Rubbing of the First Stone Drum Inscription
墨纸 Paper
石鼓为战国时期秦国刻石，共十个，每石刻四言诗一篇。石鼓文字体为大篆，上承西周金文遗风，下开秦小篆先河。石鼓文被历代书家视为临习大篆的重要范本。抗战时期，国子监石鼓随故官文物南迁上海、南京、宝鸡、汉中、成都、峨眉等地。1950年北返故宫博物院，现陈于宁寿官石鼓馆。 ↩︎ - 石鼓刻石，唐初在陕西凤翔府陈仓山（今宝鸡市石鼓山）被发现，共十枚。分别刻有大篆四言诗一首，共十首。出土至今千余年的时间里，倍受历代文人与书家推崇，对后世产生了巨大的影响。石鼓在流传的过程中，历经战乱，频繁迁移，险遭毁失，发生了许多传奇故事，这些都赋予它更多的神秘色彩。
发现之初，石鼓散落在陈仓荒野之中。后被迁至凤翔县孔子庙，又经五代战火而散失。宋朝时，司马池寻得九枚，遗失其一。直到皇祐四年，向传师搜访到了遗失的“作原鼓”，才得以聚齐十枚。然而，此时“作原鼓”已被人削去一半，并做成舂米的石臼。大观年间运归汴梁，宋徽宗素有金石之癖，尤喜《石鼓》，遂存于保和殿稽古阁内，并令人以金填充其文字。靖康之变（1127），汴京珍宝被金人掳至燕京。途中，金人将石鼓上的黄金刮去，遂再度将石鼓弃之荒野。后来为王檝所得。入元后，王檝官至宣抚使。他在金枢密院旧址恢复了庙学，并将石鼓陈列于庑下。后来石鼓又复散失。大德十一年（1307），时任大都教授的虞集发现了石鼓，将其陈设于国子学大成门内。皇庆元年（1309），徙置国子监。后来明、清两代皆未曾移动。民国二十二年（1933），为躲避日本帝国主义侵略，文物免罹浩劫，石鼓作为国子监的文物，与颐和园、古物陈列所文物一道南迁，直至抗战胜利后被运回故宫博物院。 ↩︎ - 《石鼓文音训》为元代奉训大夫国子监司业潘迪于至元己卯（1339年）撰写。首题称音训，取用声音相同或相近的字来解释字义之意，正文内容取宋人考订石鼓刻石之说，引经据典，并列自家按语。
此刻石是考订石鼓文内容的具有文献性的实作，其本身具有重大意义。 ↩︎ - 两面刻字，碑额为古文篆书“石鼓文音训”五字，音训为楷书，后记为隶书。内容是《石鼓文》的释文、音义及宋时各家对石鼓的排序。https://zhuanlan.zhihu.com/p/516728667, accessed 3 Feb 2026 ↩︎
- 石鼓也叫“陈仓石碣”、“岐阳石鼓”，是十座刻有文字的石墩，刻于先秦时期，627年发现于今陕西省宝鸡市的荒野，现保存在北京故宫博物院石鼓馆（位于珍宝馆内）。由于鼓身上刻凿的文字珍贵，是中国现存最早的石刻文字，历代都极受重视。根据鼓身上的文字分别命名为：乍原、而師、馬薦、吾水、吳人、吾車、汧沔、田車、鑾車、霝雨。 ↩︎
- 作者:靳杰強 – 2024-06-24 故宮見石鼓
唐蘭考證 石鼓排列
清末以來，考古繼有發現。20世紀，商周青銅器出土不少。這些器皿上的鐘鼎文，加上1890年代被發現的甲骨文，使我們對中國古文字和上古史增加了認識。我多年前曾讀過現代考古學家唐蘭的文章。他用文字的發展、詩文的內容、史冊的記載和地理等證據各方面來考證，將石鼓那10篇詩訂為敘述周烈王派太史儋赴秦省獻公的事 （374 BC）。而獻公則先築路、修樹（〈作原〉篇所述），等候太史儋來到（〈吾水〉篇）一齊去打獵（〈吾車〉篇）和捕魚（〈汧也〉篇），到了目的地，在那裏舉行祭禮（〈鑾車〉篇），然後盡興而歸，歸時遇雨，故以〈霝雨〉篇作結。現在故宮展出的石鼓就是以這個次序來排列的。https://www.master-insight.com/article/32048 ↩︎ - 本篇叙说修治道途。“原”即“三時（zhi）原”，又名“南原”、“石鼓原”。在官吏的率领下徒隶来整治道路，种植各种树木。植树及治道都有时日的限制，分别是二日和五日。 ↩︎
- 此石文字残损最重，今一字无存。参照北宋墨拓善本可见“天虹”二字，说明当时秦地雨量充沛，天上常见虹霓，气候温润，草木滋蕃。虽仅“济济马荐，栺栺芄芄”二句可读，已表明秦地良好的畜牧环境。 ↩︎
- 此篇叙说我们的水很清澈，我们的道路已修平，树木也已经种植就绪。在丙申这一天秦献公和周天子使臣一道准备出游。 ↩︎
- 此篇叙说秦献公的队伍首先到达吴阳，在太祝的主持下秦公遥祭了吴岳。在吴岳的鹿囿中，许多公鹿和母鹿奔跑嬉戏。 ↩︎
- 此篇叙说游猎开始情景。诗五章，首言车马强盛，次言公卿和乐，三叙弓矢精良，四叙游猎所见景物，五纪狩猎所获，是一篇意态悠闲的游猎诗篇。诗中突出车马整齐，暗示国体稳定，兵强马壮。 ↩︎
- 此石称道汧源之美与游鱼之乐。诗四章，皆言养鱼、捕鱼之事。诗中赞美秦地水利优越，水产丰富，鰋、鲤、触、鲢等名种大鱼很多，要用杨柳条筐装运。 ↩︎
- 此石叙在原野上打猎，也是整个狩猎活动的高潮。猎物不仅是“麀鹿”，还有“麋鹿”和“雉免”。而且众庶也参加此时的围猎。 ↩︎
- 此石诗五章。首言銮车，指明人君所乘之车，展现出这次狩猎活动将要结束时的情景。在临时驻跸的銮车周围，有奏对受命的近侍，有勇猛善战的护卫，驻地安如屏障。诗末以秦献公的口吻说，我这次狩猎所获很多。 ↩︎
- 此篇是狩猎归途中，遇雨，涉水，行舟的描写。诗首句的“癸”，应该是日名，从丙申第二天出游以后已经七天了。下雨以后汧水上涨，有些地方还可以骑马横渡，有些地方就需要乘舟而行。 ↩︎
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