"Director Hu, please forgive me for taking the liberty of disturbing me!"

Director Hu greeted him in person and said with a smile: "Don't be so polite, if it weren't for Director Wu, you should have come here a long time ago, right?" ”

Wu Tianyuan followed Lin Baili to contact Director Hu in advance, and the three of them came to visit the National Palace in Taipei today, which was also his first time in Taiwan.

The National Palace in Taipei is located in the beautiful Waishuangxi, covering an area of 1,200 acres. It is a palace-style building designed in the style of the Forbidden City in Beijing, and the purpose of the old Chiang to build the Forbidden City in Taipei was to show the orthodox status of its Chinese culture.

"Many friends like to ask me a question, which of the two Forbidden Cities has a better collection?"

Director Hu joked: "If you simply compare the number of collections, the Mainland Palace Museum will undoubtedly win." If it's more high-quality, you have to talk about it! ”

The three of them visited the collection first, chatting while walking, and Director Hu was also a talkative person, and began to tell the inside story.

In 1933, the Forbidden City moved south to a total of 13,491 boxes of cultural relics, and 2,972 boxes of southward moved cultural relics to Taiwan, accounting for 22% of the number of boxes moved south. The Kuomintang only transported cultural relics to Taiwan three times due to the sudden change in the war situation, and the third time it planned to carry 1,700 boxes, but due to the limited space of the transport ship and the fact that there was only 24 hours of loading time, only 972 boxes were shipped out, and the other 728 boxes were also left in the mainland. ”

"The National Palace Museum in Taipei has a total of 9,120 pieces of calligraphy and painting, 574 pieces of pre-Yuan paintings, and 155 pieces of pre-Yuan calligraphy. There are about 150,000 pieces of calligraphy and painting in the Forbidden City in the mainland, including nearly 420 paintings before the Yuan Dynasty and 310 pieces of calligraphy before the Yuan Dynasty. Before the Yuan Dynasty, the total collection of paintings and calligraphy was lower than that of the Taipei Palace Museum in terms of quantity. ”

"In terms of the age of painting, the early collections of the Forbidden City in the mainland reflect the painting landscape of various historical periods, especially the two Northern Song Dynasty facsimile volumes of Gu Kaizhi's Northern Song Dynasty "Portrait of the Lienu" and "Luo Shen Futu" volumes, which truly reflect the painting style of the Han and Wei dynasties. In terms of paintings of the Tang Dynasty, the Five Dynasties and the Two Song Dynasties, the Taipei Palace Museum is larger than the Beijing Palace Museum in terms of quantity, but the large collection of Yuan Dynasty paintings in the mainland is the highest in the world. ”

Director Hu objectively commented: "As far as Song Dynasty painting is concerned, there are more landscape painting treasures in the Taipei Palace Museum than in the mainland Palace Museum, but the figure painting treasures there occupy an important position. In addition to scroll paintings, there are also prints, New Year paintings, Qing court oil paintings, glass paintings, screen paintings, stickers, etc., which are lacking and insufficient in the National Palace Museum in Taipei. ”

The National Palace in Taipei mainly receives the old collection of calligraphy and painting of the Qing Palace, and the painting and calligraphy of many schools such as the "Eight Monsters of Yangzhou" and "Jingjiang School" in the 18th and 19th centuries, the "Jinling Zhujia" and "Four Monks" in the early Qing Dynasty are lacking in the Qing Palace, and are now a national treasure. ”

"How's it going on with bronzes?" This is the problem that Wu Tianyuan is most concerned about, and it is related to the difficulty of exchanging bronze bells.

"There are more than 15,000 pieces of bronzes in the Mainland Palace Museum, including about 10,000 pre-Qin bronzes and more than 1,600 inscriptions, and 5,615 bronzes in the Taipei Palace Museum and about 500 pre-Qin bronzes. The bronzes of the Forbidden City on both sides of the strait are mainly heirlooms, and each one is a heavy weapon. The total amount and number of fine works in the collection of the National Palace Museum in Taipei are small, but the heavy objects such as Mao Gongding, Sanshi Plate, and Eastern Zhou Chimes are very famous. ”

Wu Tianyuan's heart was cold when he heard this, everyone said that it was the treasure of the town hall, and it was estimated that the probability of exchange was very low. Even if Taiwan's system is more relaxed, it will not be easily exchanged for national treasures. It seems that only by looking for an opportunity to borrow an exhibition, or a joint exhibition, can we gather nine bronzes.

In addition, the Forbidden City in Beijing also has 1,442 bonsai and 590 pieces of ware, while the National Palace Museum in Taipei does not have this collection. As for the palace cultural relics, this is not to be compared, the Forbidden City is the emperor's hometown, representing the imperial power of the canonical cultural relics to the royal daily necessities and cultural relics, everything is hidden, we have a lot of here! ”

Wu Tianyuan joked: "It seems that all the good ones of the year were shipped to you?" ”

"You can't say that!" Director Hu Zhengse said: "When the cultural relics moved south, due to a variety of reasons, not all of them were selected as high-quality products, and some of the suitcases were left behind by the lack of research on the cultural relics, leaving genuine products and selecting fake ones. For example, the 5-ton "Dayu Water Control" Yushan Stone, the throne of the Taihe Hall that cannot be moved, etc., are all representative masterpieces of the Forbidden City in Beijing. ”

Our former dean Zhou Gongxin also answered this question: In a nutshell, some things that can't be moved away are also national treasures. At that time, the cultural relics were moved south with consideration. For the National Palace in Taipei, there are more Song and Yuan paintings and Qing enamel colors. The images of Qing Dynasty figures are all in Beijing. Moreover, the large pile of porcelain fragments in the Palace Museum in the mainland are treasures, such as the two posts in Qianlong's "Sanxi Hall" are in Beijing. It can be said that the biggest treasure of the Forbidden City in the mainland is the Forbidden City, and there is no second one in the world, so the cultural relics of the two Forbidden City have their own characteristics. ”

Wu Tianyuan studied that period of history, and in addition to Lao Jiang, there was also someone who decided to relocate the cultural relics at that time, and he was Pu Yi!

In Pu Yi's autobiography "The First Half of My Life", he brilliantly described the brilliance of the treasures of the Qing Dynasty. However, from Pu Yi's ignorance and pseudo-naïve writings, it is also clear that the serious situation of the loss of cultural relics has emerged.

"The treasures collected by the emperors of the Ming and Qing dynasties for hundreds of years, except for the second time that were taken away by foreign soldiers, most of the rest remained in the palace. These are not counted, and even if there are records, no one checks them, so no one knows if they are missing or how many are missing! ”

Among them, the most serious was the situation of "all the people were thieves" in the palace at that time, and there were thousands of ways to steal. For example, eunuchs kicked open the door of the warehouse where the cultural relics were kept, broke the door lock, and took the treasure like a thief.

The ministers and officials under Pu Yi lent treasures under the guise of money, such as collateral, bidding, appreciation, etc., and even asked the emperor for rewards, and tried all means to disguise and legally take the treasures out.

Pu Yi knew about these things, but he didn't know what to do, he recalled: "I just thought that other people were stealing my property!" ”

Even the cost of dinner was paid by the Qing court, relying on a large number of gems and pottery as collateral, and the ignorant and incompetent Pu Yi could only watch a large number of cultural flows out of the Forbidden City. Pu Yi is the owner of cultural relics, and also uses cultural relics as a tool to save his life. He took cultural relics as birthday gifts and gave them to warlord figures such as Cao Kun, Wu Peifu, Zhang Zuolin, and Xu Shichang.

What's even more incredible is that Pu Yi also smuggled more than 1,200 pieces of fine paintings and calligraphy, rare books and a large number of treasures out of the palace, and later only found one-third, such as "Qingming Riverside Picture", "Han Xizai Night Banquet Map", "Five Ox Pictures", "Boyuan Post", "Mid-Autumn Festival" and so on, so that a large number of other precious cultural relics were lost to the people. (To be continued.) )