Global Times: Guarding nation’s pulse for a century, perpetuating civilization of millennia

The Palace Museum marks its 100th anniversary, celebrating a century of heritage preservation, unity, and cultural exchange.

Beijing, China, Oct. 11, 2025 (GLOBE NEWSWIRE) -- One hundred years ago today, on October 10, 1925, beneath the Gate of Divine Prowess of the Forbidden City, a crowd gathered in front of a newly hung plaque bearing five bold characters: Gu Gong Bo Wu Yuan, or The Palace Museum. This moment heralded a profound transformation. The royal palace of the Ming (1368-1644) and Qing (1644-1911) dynasties opened its doors to the public as the Palace Museum.

The Forbidden City was reborn in a new form. Over the past century, generations of Palace Museum staff have persevered through adversity, passing down the torch of cultural heritage. They have safeguarded the nation's treasures, preserving the heritage of Chinese civilization for future generations and guarding a pearl of world heritage. Their efforts have inscribed a unique chapter of splendor and confidence onto the grand scroll of human civilization.

On the occasion of the Palace Museum's centenary, we present Letters from the Palace Museum. These letters trace the correspondence of those who have served the museum across different eras: from the appointment letters of early experts to the scholarly debates of masters after the founding of the People's Republic of China; from the hardships of relocating cultural relics during war time to the resilience of those who stayed behind after victory; from the longing across the Taiwan Straits to the hopeful exchanges between directors of the Palace Museums on both sides of the Straits... Each letter brings us back to historic moments, bearing witness to how generations of guardians, with devotion and deep affection, have paved an extraordinary path to the inheritance of civilization.

At the heart of Beijing's Central Axis, the 720,000-square-meter Forbidden City stands like a colossal sundial, casting majestic shadows over its over 600-year history. This palace has witnessed both glory and turmoil: the Three Great Halls echoed with imperial authority, its four gates weathered bloody storms, and its 9,000 rooms harbored countless stories.

By the 1920s, as China stood at a crossroads, the Forbidden City faced its own destiny. On October 10, 1925, a new plaque was unveiled at the Gate of Divine Prowess, marking the founding of the Palace Museum. After five centuries of dynastic shifts, the vermilion walls and jade carvings now opened to the public, laying a new foundation for this ancient palace.

The rebirth of the Forbidden City was not merely a social transformation but an evolution of civilization. It raised public awareness to protect cultural roots and shape national destiny, positioning the Palace Museum as a guardian of heritage and a pioneer of culture.

Delving into the past, letters and documents revive the names of trailblazers. In the early days, figures like Li Yuying, Zhuang Yunkuan, Yi Peiji, and Ma Heng worked tirelessly to inventory artifacts, establish systems, and build the framework for China's modern museums. In 1929, Luo Jialun, former president of Tsinghua University, wrote back to Yi Peiji, then president of the Palace Museum, "If I can contribute to academic endeavors, I shall devote my limited knowledge to the cause." His words reflected a commitment to nurturing this "sprout of modernity."

Yet, invasion soon threatened everything. Just six years after its founding, the September 18 Incident erupted. By January 1933, the Shanhaiguan Pass had fallen, sparking the evacuation of 13,427 crates and 64 parcels of palace treasures. Over a decade, these artifacts journeyed south and west, traversing thousands of miles amid war. The museum also curated selections for international exhibitions in London and Moscow, pioneering global cultural exchange.

These guardians shouldered the duty of preserving cultural heritage. They braved bandits, treacherous routes, and personal loss. Li Naiji and his colleagues fought off thieves; Na Zhiliang learned of his father's death only after the crisis had passed. Such resilience defined their mission. Meanwhile, Zhang Tingji and his team protected the Palace Museum in Beijing during enemy occupation. After victory in 1945, he reported, "Aside from metal items, all artifacts in the Forbidden City remain intact." This was a triumph of courage and duty.

In late 1948, Zhuang Shangyan, Na Zhiliang, and Wu Yuzhang escorted artifacts to the island of Taiwan, an uncertain journey. For nearly 40 years, cross-Straits ties were severed, but cultural bonds endured. In 1985, Fu Zhenlun wrote to his former colleagues, "If brothers could return together, it would be my greatest joy." Seventeen years later, Beijing Palace Museum Director Zheng Xinmiao visited the island of Taiwan, breaking barriers and fostering dialogue. His poetic exchange with former Taipei Palace Museum Director Qin Xiaoyi became legend.

After the turbulence, the Palace Museum entered a new chapter. Its collections have expanded significantly. In recent decades, its collection has grown from 1.8 million to over 1.95 million items, bolstering conservation, research, and dissemination. Experts have dedicated themselves to cataloging and mentoring, restorers have blended Eastern and Western techniques to revive relics, and cultural innovators have reimagined traditions for modern audiences.

Today, the Palace Museum walks a path shared with the people. "May the Palace Museum be not merely a historical relic of China's past, but a living institution for the world for thousands of years to come." This vision expressed by Li Yuying, one of the founding figures of the Palace Museum, has now become a reality.

Today, the Palace Museum has not only been revitalized but has also gained immense popularity. By embracing technology and innovation, this ancient heritage has become a bridge connecting the past with the present, and China with the world. Through the guardianship and transmission by generations, the Chinese civilization continues to thrive and endure.

Letter from Luo Jialun to Yi Peiji, 1929

Yi Peiji (1880-1937) was one of the founders of the Palace Museum. He was assigned to take over the Palace Museum in 1928. In March 1929, he became its first director, contributing significantly to its development and the standardization of its operations.

During Yi Peiji's tenure, he established three key departments: Antiquities, Library, and Archives. He also formed specialized committees for bronzes, ceramics, calligraphy works and paintings, books, documents, and other areas, and recruited renowned experts and scholars to work at the museum. These committees met several times a week, gradually reviewing and authenticating a large number of cultural relics. Among the appointed committee members were figures such as Wang Ti, Fu Siping, and Luo Jialun.

Luo Jialun (1897-1969), an educator and a historian, served as the first president of Tsinghua University in 1928.

The following is an excerpt from Luo Jialun's reply upon receiving the appointment letter from the Palace Museum. In it, he expressed a scholar's humility, pledging to dedicate his knowledge and efforts to the role and live up to the trust placed in him. Luo wrote, "I wish to assure you that should there be any way I can contribute on academic matters, I would be honored to devote my limited knowledge to the task."

Letters from Xu Senyu to his brothers, written between 1939-41

Xu Senyu (1881-1971), courtesy name Hongbao, participated in the early establishment of the Palace Museum and served as the Keeper of the Antiquities Department in July 1934. After the outbreak of the Chinese People's War of Resistance against Japanese Aggression (1931-45), he took part in the southward evacuation of the Palace Museum's artifacts.

In 1938, as he approached 60, Xu Senyu was responsible for transporting artifacts along the western route. The journey was arduous and fraught with hardship. While in Kunming, Southwest China's Yunnan Province, he suffered a severe hip injury from a fall on rugged mountain paths. This required over five months of treatment before he could walk haltingly with a cane. In a March 1938 letter to Yuan Tongli, deputy director of the National Peiping Library, Xu expressed his unwavering commitment to safeguarding the artifacts from the museum's collection: "Though I am nearing 60, with one foot in the grave, I seek neither power nor position. My sole wish is that not a single national treasure be lost under my watch." In February 1939, Xu Senyu traveled from Yunnan Province to Anshun, Guizhou Province, to oversee the Palace Museum's artifacts. During his stay in Anshun, he wrote several letters to Xu Shouzhi, his eldest brother, and Xu Lujun, his third younger brother, describing the local environment, climate, and daily life, and reflecting the austere and challenging realities of guarding these cultural treasures.

Letter from Zhang Tingji to Ma Heng, 1945

Zhang Tingji (1895-1958) served as secretary of the Palace Museum in August 1934 and was appointed head of the General Affairs Department in March 1935. After the fall of Beijing, Zhang remained in the city at the request of Ma Heng, the museum's director, leading a small team of staff who persevered under extremely difficult conditions for eight years.

Ma Heng (1881-1955) became acting director of the Palace Museum in July 1933 and was appointed director in May 1934, a position he held until 1952. After the full outbreak of the Chinese People's War of Resistance against Japanese Aggression, Ma oversaw the westward evacuation of the museum's artifacts. Following the war, he directed the museum's restoration and the return of the artifacts to Beijing.

During the Japanese occupation of Beijing from 1937 to 1945, the Palace Museum faced threats from both inside and outside and endured numerous crises. Zhang Tingji and his team shouldered immense responsibilities under the puppet regime, striving to maintain the museum's operations and protect its artifacts and architecture. In the autumn of 1938, Ma wrote to Zhang, acknowledging his perseverance. On October 10, 1945, the ceremony for the surrender of Japanese forces in the Beijing area was held. On November 8, Zhang Tingji compiled and submitted an eight-year work report on the Palace Museum's operations to Ma Heng.

In the report, Zhang wrote that "all cultural relics in the Palace Museum and the Forbidden City have fortunately remained undamaged."

Despite the challenges, the museum not only sustained its operations during those eight years but also achieved significant results, laying an essential foundation for its orderly development in the years to come.

Letter from Fu Zhenlun to his friends at the Taipei Palace Museum, 1985

Fu Zhenlun (1906-99) worked at the Palace Museum from 1934 to 1940, primarily overseeing artifact conservation, research, and exhibition planning. He participated in the 1935 International Exhibition of Chinese Art in London, marking the first-time artifacts from the Palace Museum - and indeed from China - were exhibited overseas.

Fu developed close friendships with colleagues Zhuang Shangyan, Wu Yuzhang, and Na Zhiliang during their years together at the Palace Museum. Shen Ruoxia was the wife of Zhuang Shangyan (1899-1980).

At the end of 1948 and early 1949, Zhuang, Wu (also known as Shuangqiu), and Na (also known as Xinru) escorted cultural relics to the island of Taiwan and later worked at the Taipei Palace Museum.

In 1985, on the 60th anniversary of the Palace Museum and at a time when postal service across the Taiwan Straits was still suspended, Fu published an open letter in the magazine Zhongguo Jianshe (lit: China Construction) addressed to Shen Ruoxia, as well as Wu and Na. The letter recalled the camaraderie of former colleagues, reflecting the subtle melancholy shared by Palace Museum veterans separated across the Straits. Fu also expressed delight at the changes in the Chinese mainland and his sincere hope for a future reunion.

In this letter, Fu wrote, "The Palace Museum has flourished, now with over a thousand staff members and standing among the world's great museums... Over the past 30 years, the museum has acquired countless newly unearthed treasures, frequently participated in international exhibitions and showcased the brilliance of Chinese culture... Many academic societies have been established, reserving positions for scholars from Taiwan, warmly awaiting their return."

A handwritten poem by Qin Xiaoyi Photo: Courtesy of the Palace Museum

Zheng Xinmiao and Qin Xiaoyi exchange letters and poems across the Taiwan Straits, 2003

Zheng, born in 1947, served as director of the Palace Museum in Beijing from September 2002 to January 2012. He actively promoted cross-Straits exchanges and cooperation between the two palace museums, achieving the first mutual visits by their directors. In 2009, these efforts broke the ice, marking a new chapter in collaboration.

Qin Xiaoyi (1921-2007) was director of the Taipei Palace Museum from January 1983 to April 2000. After cross-Straits contact resumed in the 1980s, Qin worked tirelessly to foster interaction and achieved significant breakthroughs.

At the turn of 2002 and 2003, Zheng became the first sitting Beijing Palace Museum director to visit the island of Taiwan, laying a strong foundation for future exchanges. During this visit, Zheng and Qin formed a deep friendship, which they continued through correspondence, exchanging books and poetry. Their verses expressed heartfelt hopes for enhanced collaboration and the ultimate reunification of the motherland.

In a poem reflecting on the southward relocation of Palace Museum treasures, Zheng wrote,"Sudden partings bring endless sorrow; silently, affection lingers. May these treasures be preserved forever, the legacy of civilization endured. Our blood binds us as Chinese - how can a sea divide our hearts? The cause of unity is deeply rooted." Qin responded in verse: "When will the sun and moon shine bright again? First, our rivers and mountains must be embroidered anew."

Letter from Wang Xudong to Beijing students, 2020

Wang Xudong, born in February 1967, is the current director of the Palace Museum.

On November 27, 2020, the Beijing Municipal Education Commission, in collaboration with the Palace Museum and the National Centre for the Performing Arts, launched the "Letters Across Time: Dialogues with the Palace Museum" exchange program. Over the course of a month, the Palace Museum received 5,530 letters from students at 603 schools across all 16 districts of Beijing. These letters touched on topics such as ancient architecture, artifacts, calligraphy, painting, and cultural relic restoration, showcasing the students' deep interest in the museum.

This particular letter was Wang's reply to students from the Experimental High School Attached to Beijing Normal University. These students had brought their classroom into the Palace Museum, conducting research-based learning programs and writing letters simulating conversations with historical figures, cultural relics, and artisans. In his response, Wang once again invited the students to explore the Palace Museum and expressed his heartfelt expectations for them.

He wrote, "You have engaged with the Palace Museum's artifacts and architecture from a fresh perspective, experiencing its boundless cultural charm. As a treasure trove of China's 5,000-year civilization and a hub of our outstanding traditional culture, the Palace Museum is committed to building a safe, academic, digital, and dynamic space. With a focus on protection, we aim to unearth its diverse cultural value and responsibly pass it on... I hope you draw strength from its culture, find inspiration for creativity, and build confidence in our cultural heritage."

Source: Global Times:
Company: Global Times
Contact Person: Anna Li
Email: editor@globaltimes.com.cn
Website: https://globaltimes.cn
City: Beijing


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