Remarkable changes have taken place under the leadership of the Communist Party of China in the past 10 years. Let’s follow Pan’s adventures in the Metaverse for an insight into how far China has advanced in pursuit of national rejuvenation in the past decade.
(Produced by Zhang Jian and Ni Tao; Intern Wu Meiqi also contributed to this video)
The Palace Museum in Beijing hopes to hold a joint exhibition with its counterpart in Taipei at the newly opened Hong Kong Palace Museum in the future, said Wang Xudong, director of the museum, which is also known as the Forbidden City, at a news conference on Thursday.
“We are one family bound by blood and share the same roots. Why don’t we have more communication and cultural exchanges?” Wang said to journalists from home and abroad attending a news conference in Beijing during the 20th National Congress of the Communist Party of China.
After the civil war in the late 1940s, some of the art collections from Beijing’s Forbidden City were transported to Taiwan and housed at the Palace Museum in Taipei built in 1962. A delegate to the congress, Wang said he wishes the two palace museums can “talk with each other” and cooperate on academic research and relic protections in the future.
“Only if we talk with each other can we have the chance to realize future cooperation. The Palace Museum welcomes all the possibilities to work with its counterpart in Taipei,” Wang said.
The museum director called for a joint show with the Taipei museum. Wang said a suitable venue may be Hong Kong’s palace museum, which opened to the public in July, a milestone cross-boundary cultural collaboration between the cities of Beijing and Hong Kong.
“It’s my sincere wish that the three palace museums in Beijing, Taipei and Hong Kong can curate together on exhibitions to show Chinese culture,” he said. Before COVID-19 disruptions, the two palace museums in Beijing and Taipei carried out many cultural exchanges, such as joint shows and academic sessions.
Icebreaking exchanges between the two museums started in 2009 when their then directors visited each other. A joint show — Harmony and Integrity: The Yongzheng Emperor and His Times — was held in Taipei that year. Later, the masterpiece ink painting Dwelling in the Fuchun Mountains, parts of which were collected by the two museums, was exhibited together in Taipei in 2011.
Wang said he visited Taipei’s Palace Museum twice as director of the Dunhuang Academy in Gansu province, but he has not had the chance to visit it again since he took up his role heading the Palace Museum in Beijing in 2019.
“I’m looking forward to visiting again and sincerely invite them to visit us,” Wang said.
Wang worked at the Dunhuang Academy from 1991 to 2019. The academy focuses on studies and preservation of the Mogao Caves, which houses fine Buddhist art and is known for its exquisite murals and Buddha statues.
Born and raised in Chicago, Brian Linden has lived for 18 years in Xizhou, Southwest China’s Yunnan Province. Erhai is the mother lake of Dali and its people. In 1996, 2003 and 2013, algal and water blooms tainted the Erhai basin. Fish and aquatic plants died as the ecology of the lake came under serious threat.
In response, the local government launched a series of harsh measures. To save Erhai, the local government faced a series of difficult tradeoffs which Linden documents. Some immediate economic gains needed to be set aside in the pursuit of long-term environmental benefits not solely for Dali, but also for China and the rest of the world.
(Produced by Lin Rui, Xie Runjia and Zhao Dantong; Intern Hou Chenchen also contributed to this story.)