Anonymous court painter, Portrait of Emperor Yongzheng in his study. Ink and colour on silk. Qing dynasty, Yongzheng period. Ht. 171.3 cm Wi. 156.5 cm.© The Palace Museum.

TORONTO.- The Royal Ontario Museum unveiled The Forbidden City: Inside the Court of China’s Emperors, presented by the Robert H.N. Ho Family Foundation with Manulife as Lead Sponsor. The exhibition is on display in the Garfield Weston Exhibition Hall from Saturday, March 8 until Monday, September 1, 2014. Presented in collaboration with Beijing’s Palace Museum, the show brings to Canada for the first time approximately 250 treasures that were part of Chinese imperial life for five centuries in a city strictly off-limits to all but the emperor, his family, and his personal servants. These objects are the relics of a momentous chapter in China’s long and fascinating history. 

More than 80 of the exhibition’s objects, including textiles, calligraphy, paintings, and armour, have never before travelled outside the Forbidden City. Complemented by stunning artifacts from the ROM’s own internationally celebrated Chinese collections, these objects tell captivating stories and reveal the fascinating characters that made the Forbidden City the centre of an immense empire for more than 500 years. Due to the significant number of light-sensitive textiles and paintings, there will be an extensive rotation of objects half way through the exhibition’s engagement, presenting a new opportunity to experience the stories and exquisite objects of the Forbidden City. 

“The ROM’s exhibition takes visitors on a remarkable journey to the heart of the Forbidden City — once off limits to all but a privileged few,” said Janet Carding, ROM Director and CEO. “Carefully selected by our curatorial team, these extraordinary artifacts from Beijing's Palace Museum will give visitors an inside view of life within the Forbidden City and immerse them in China’s rich history. The exhibition is the centerpiece of the Museum’s Centennial, bringing to life our promise to connect our visitors with their communities, world, and with each other.” 

The ROM has partnered with Beijing’s Palace Museum to create an exhibition that uncovers untold stories about life in the courts of the Chinese emperors. Dr Chen Shen is the exhibition’s lead curator and the ROM’s Vice President, World Cultures and Senior Curator, Bishop White Chair of East Asian Archaeology. He said, “This exhibition allows Canadians to see, for the first time, the finest objects hidden from view in the Forbidden City. We have worked with our Palace Museum colleagues to develop untold stories about life in the courts of the Chinese emperors; ensuring ROM visitors will enjoy many of China’s national treasures, many of which have never left the palace. These objects — both luxurious and everyday — provide the unique opportunity to advance our understanding of the people who lived within the walls of the Forbidden City.” 

In December 2012, Dr. Shen travelled to China with co-curator Dr Wen-chien Cheng, the ROM’s Louise Hawley Stone Chair of Far Eastern Art, and curatorial advisor Dr. Sarah Fee, the Museum’s Curator, Eastern Hemisphere Textiles and Fashion to spend time in the vaults of the Palace Museum and select the most compelling objects in the vast and storied collection. 

Robert H. N. Ho, Founder of The Robert H. N. Ho Family Foundation, said “The Foundation is pleased to present The Forbidden City: Inside the Court of China’s Emperors in Canada. Advancing the understanding and appreciation of Chinese culture is a key mission of our foundation. Robust educational programming in support of the exhibition should encourage wider exploration by the public, especially teachers and students. The Foundation is also proud to once again be working with the ROM, an outstanding institution which together with Beijing’s Palace Museum, has developed this wonderful exhibition, bringing to life the 600-year-old imperial palace and revealing for the first time many of its treasures and secrets. ” 

“The Forbidden City is a true celebration of Chinese culture and history," said Nicole Boivin, Chief Branding and Communications Officer for the exhibition’s Lead Sponsor Manulife, “As a global company, Manulife is committed to engaging the international communities in which we live and work, including China where we've been operating since 1897. Partnering with the ROM to support this exclusive exhibit is an excellent way to honour the China-Canada Cultural Exchange and the ROM’s 100th anniversary.” 

The ROM’s exhibition uncovers the stories of the Forbidden City and China’s last emperors who led their lives deep within the palace’s opulent interior. Through intimate encounters with everyday objects, visitors meet a cast of real characters, including emperors, court officials, concubines, and eunuchs — castrated men who served the imperial families. The ROM’s exploration of life inside the mysterious Forbidden City transports visitors through increasingly restricted areas — the palace’s great halls, grand courtyards, and intricate terraces and roofs, until visitors ultimately gain access to the most private space of all: the emperor’s personal study. 

Upon arrival, before reaching the admissions desk, visitors are introduced to the Forbidden City in the exhibition’s Prologue. An intricate model including many of the complex’s significant features is displayed in the Thorsell Spirit House, complemented by the one of the ROM’s most recent acquisitions — a yellow-glazed bowl, commissioned by Ming Emperor Wanli. The colour yellow was strictly reserved for royal families and could not be used in any way outside the Forbidden City unless explicitly permitted by the emperor himself. 

Imperial throne set, The Palace Museum, Gu115711 (throne, footstool only) © The Palace MuseumIn the exhibition’s entrance, visitors gain information about the fascinating locale before progressing into The Outer Court, the official space where the emperor displayed his power only to those invited inside. In this, the exhibition’s largest area, ceremonial bells, suits of armour, weapons and large-scale paintings tell the story of the emperors’ governing and military battles. An exhibition highlight dates to the reign of Emperor Qianlong — a throne, symbolizing his authoritative power. This area also introduces visitors to the first of several characters, including Emperors Yongzheng and Qianlong, two of the most accomplished emperors of the Qing dynasty. 

Visitors next enter The Inner Court, the residential space where only the imperial family and their eunuchs lived. Empress Dowager Cixi, a towering presence over the Chinese empire for almost half a century, is profiled in this section. Stunning gilt silver nail guards represent her. Up to six inches long, they protected the extremely long nails of imperial women — signifying their leisure status. Also on display are the opulent objects of the emperor’s everyday life including silk dog coats, gold eating utensils, and the last emperor’s gilt bath tub. 

The exhibition’s climatic section takes visitors inside the Emperor’s personal spaces that were once forbidden to all but the emperor. As rulers, emperors were bound to strict institutionalized governance. However, their choices were their own in collecting and personal cultivation. This area showcases some of the most exquisite objects in the imperial collection including jades, calligraphies, and ceramics and an exceedingly rare porcelain “chicken” cup, commissioned by Emperor Chenghua for his mother; only two such cups exist today in the Palace Museum. In this section, a British-made musical clock and the character of a Western missionary represent the foreign dignitaries who gained access to the Forbidden City with gifts from their homelands — pieces much admired by Qing dynasty emperors. 

Finally, Twilight of the Last Dynasty portrays the Forbidden City’s last chapter as it began its transformation to the Palace Museum. Here, visitors learn of the fall of the empire during the last dynasty and the imperial collection’s fate. The magnificence of imperial life is countered by the poignancy of the last emperor’s departure. As visitors are brought back to their own world, they gain an appreciation for the Forbidden City then and now. 

THE FORBIDDEN CITY

China’s imperial palace, known to the world as the Forbidden City, was built from 1406 – 1420. It was the center of government and home to China’s last 24 emperors of the Ming (1368 – 1644) and Qing (1644 – 1911) dynasties. Made up of about 980 buildings and 8700 rooms in over 90 architectural complexes, the Forbidden City remains to this day the largest palace complex in history. Once strictly forbidden to all but the emperors, their families, servants, invited guests, and most trusted officials, the palace gates are now open to all. 

THE PALACE MUSEUM

The Forbidden City became the Palace Museum in 1925, one year after the last emperor was forced into exile. Located in the heart of Beijing, the magnificent site spans over 720,000 square metres and houses the largest collection of China’s imperial treasures. Designated by China’s State Council as one of that country’s most important protected cultural heritage sites in 1961, it became a UNESCO World Heritage site in 1987. Today, it is considered one of the world’s most important museums. Popularly called The Forbidden City, it houses over 1.8 million art treasures spanning 5,000 years of Chinese history with many from the Qing imperial court. It is one of the world’s most visited museums, welcoming a record 182,000 visitors on October 2, 2012. 

Emperor Yongzheng Ceremonial Helmet. The emperor's role as head of the military required special ceremonial 'armour'. Worn for reviews, it was made more for show than active battle. © The Palace Museum. 

Emperor Yongzheng Ceremonial Armour. The emperor's role as head of the military required special ceremonial 'armour'. Worn for reviews, it was made more for show than active battle. © The Palace Museum. 

Gold ewer inlaid with gemstones. Gold, Qing, 1644-1911. This gemstone-decorated gold ewer was used only on special occasions such as the emperor’s. © The Palace Museum. 

Emperor Yongzheng Stamp (seal). Being Ruler is Tough' was the motto Emperor Yongzheng inscribed on this seal. At his wish, copies of this seal were placed in different rooms for his use and as a reminder of his role. © The Palace Museum. 

Imperial throne set, The Palace Museum, (throne, footstool only). Thrones were not made for comfort, but as a symbol of the ruler’s imperial and authoritative power. All the pieces here are part of the 'throne set'. © The Palace Museum. 

Album of Emperor Yongzheng Enjoying Various Activities. Pages like this, in a fourteen-sheet album, presents the emperor assuming various ethnicities and characters – in each he is accompanied by an animal or a bird. © The Palace Museum. 

Ceremonial robe.  Silk, Qing Tongzhi, 1862-1874, The Palace Museum. This formal robe was worn only once by the six year old Emperor Tongzhi on his inauguration –the day on which he assumed the throne in 1862. © The Palace Museum. 

Hairpin. Beautiful hair styles were required for all women of the royal court, and elaborately decorated hairpins such as this were used to keep every hair in place. © The Palace Museum. 

Empress Dowager Cixi. Woman's nail guard Elite women in the Forbidden City grew extremely long fingernails, and wearing embellished nail guards on the pinky and ring fingers became the fashion. None were more splendidly decorated than those of the Empress Dowager, and her image was rarely captured without them. © The Palace Museum.

Plate. .Emperor Yongzheng followed his father Emperor Kangxi's lead, embracing Western sciences and technology. This exquisite plate is one of a set of eight using Western production techniques, and is a precursor to the exceptional Chinese painted enamel ware that reached its peak during Yongzheng's reign. © The Palace Museum. 

Emperor Xuantong (Puyi) Imperial Seal. Imperial seals were symbols of power, and 25 were inherited by each emperor. In 1924, a day after Puyi was forced to flee the palace, the entire set was handed over to the Government of the Republic of China, signalling the official end of the 2000-year-old. © The Palace Museum. 

Fit for a Dog. People weren't the only ones with grand robes in The Forbidden City. Court ladies loved dogs, and even had special silk robes, like this one, made for them. © The Palace Museum. 

Cricket Jar. Crickets were well looked after in The Forbidden City. This little jar was made for six-year-old Emperor Tongzhi. It contained nine small stackable containers to hold the crickets. © The Palace Museum. 

Chicken cup. Porcelain. Ming dynasty, Chenghua mark and period. One of the rarest Ming porcelains was made by Emperor Chenghua (r. 1465 – 1487) for his mother, who loved small objects. Only two original cups exist today in the Palace Museum’s collection in Beijing.© The Palace Museum. 

Bat Vase. Bats were considered emblems of good luck and prosperity in Chinese culture. If you look closely, one hundred bats decorate this vase! © The Palace Museum. 

Woman's informal outer gown (changyi).Empress Dowager Cixi was very conscious of how she looked, and often even the most informal of gowns, such as ones like this, would require hundreds of yards of cloth, and craftsmen, to create it. © The Palace Museum.

Ice Box. Icy air came from this box to keep the emperor cool in the hot summer months. When ice was put inside, the cool air would drift out of holes in the top, and the melted water would drain out the bottom. Cool ! © The Palace Museum.

Crouching ox, jade, Qing dynasty. Emperors Yongzheng and Qianlong were fond of jade artwork such as this crouching ox statue. © The Palace Museum.

Musical clock. The Forbidden City was not entirely closed off to outside influences. This 18th-century musical clock, for example, was made in England. © The Palace Museum.

Emperor Kangxi was gifted this vase on his 60th birthday. It is inscribed with a single character—shou, wishing the emperor longevity—10,000 times. © The Palace Museum.

Portraits of Beautiful Women. Colour on silk, Qing, 1644-1911. The Palace Museum. One of a set of 12 screen paintings of beauties who were assumed to be ladies of Prince of Yong, later Emperor Yongzheng. © The Palace Museum