Palace Museum Research Articles

A Study on Consumers’ Perceptions of Museum Cultural and Creative Products through Online Textual Reviews: An Example from Palace Museum’s Cultural and Creative Flagship Store

The digital transformation and innovative development of museums have led consumers to increasingly prefer purchasing museum cultural and creative products through e-commerce platforms. Although this trend shows potential for market growth, the lack of distinct cultural identity and insufficient product differentiation hinder its stable development. Therefore, this study aims to explore consumers' perceptions on Palace Museum's cultural and creative products using cultural hierarchy theory. Taking the Palace Museum's Cultural and Creative Flagship Store on Tmall.com as a case study, the employed evaluation method involves constructing a lexicon of cultural features using Word2vec model and then analyzing online textual reviews to identify these features. Results reveal that among the various cultural features of the products, consumers placed the greatest emphasis on "Materials used" and the least on "Specialty craft". With regards to the cultural features of inner "intangible" level, consumers tend to have a limited comprehension and familiarity with the cultural heritage and histories behind the products. This study provides suggestions to museum professionals to optimize the use of traditional cultural resources and develop a product development plan.

The New Emperor's Clothes

Abstract This article contextualizes the visual intrigue that was created by the fifteenth-century Chinese poet and painter Sun Ai (ca. 1452–1536) when he broke from convention by using indigo blue to color the leaves of a cotton plant and a mulberry branch in a pair of paintings now in the Palace Museum, Beijing. The key to the meaning of this unique coloration lies in the poems inscribed by Shen Zhou (1427–1509) and Qian Renfu (1446–1526), as well as the socioeconomic connotations of silk, cotton, and indigo in those scholars' regions. It is argued that these paintings were made shortly after the Hongzhi emperor (r. 1487–1505) banned the submission of multicolored cotton and silk textiles. Considered in that context, the monochromatic use of indigo not only alluded to what cotton fibers and silkworms would ultimately produce—cloth and silk to be dyed indigo—but also stood in stark contrast to the kaleidoscopic appearance of the clothing banned by Hongzhi. The collaboration between Shen Zhou and Qian Renfu makes the paintings prominent examples of the layered nuance achieved in traditional Chinese painting through the interplay of color and poetry.

Imitations of ancient jade products of the Qing era (1636-1912) in the collections of Russian museums

Jade products that imitate ancient Chinese art samples are a special kind of objects that, in their form and decor, are close to or likened to more ancient works of arts and crafts. The article explores the artistic form and characteristic features of imitations of ancient jade products of the Qing era, presented in the collections of Russian museums and the Palace Museum of China. The object of the study are objects of Chinese art of jade carving, which are in the collection of the Palace Museum (Beijing), the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences (St. Petersburg) and the State Museum of Oriental Art (Moscow), where the use of imitations of ancient objects was discovered. Artistic analysis of jade imitations allows us to conclude that the works of the Qing era were more complex and diverse in form, decor and carving techniques compared to Han products, while the craftsmen, although they managed to preserve the classical sophistication of objects, lost the severity and solemnity of Han jade. As well as the art history analysis of the works, one can see that the forms and decors of jade objects are the product of aesthetic consciousness. The novelty of this study lies in the fact that the varieties and features of imitations of ancient jade during the Qing Dynasty are summarized, and the huohuan technique in jade processing is confirmed. This may be of interest to researchers in related scientific fields.

Proposed museum service operations framework for addressing overcrowding: A Taipei case study

AbstractAlthough the high growth of the tourism market contributes to a record number of visitors to landmark museums, they also encounter the overcrowding problem. This study reviewed the case of National Palace Museum (NPM) in Taipei to discuss the overcrowding problem and provide suggestions to alleviate this problem. This study adopted document analysis to summarize NPM's policies regarding the overcrowding problem that were identified by performing text mining of visitors' reviews for the NPM. And a content analysis involving semantic analysis and coding of negative reviews for NPM retrieved from TripAdvisor was performed for extracting complaint categories regarding the overcrowding problem. On the basis of the results, a service operation management framework in response to museum overcrowding is proposed. This study suggests that a museum can manage the overcrowding problem on the basis of visitor characteristics by adjusting visitor demand, optimizing the service design, diverting visitors' flow, elaborating the floor plan and exhibition design, or forming a decentralized museum hub to move must‐see exhibits for tourists to a stand‐alone pavilion or branch to disperse the crowd.

Automatic recognition of craquelure and paint loss on polychrome paintings of the Palace Museum using improved U-Net

Craquelure is the most common defect on ancient polychrome paintings, which may deteriorate further to paint loss. Previous image processing methods, which can accurately recognize paint loss, have limited precision and efficiency in segmenting craquelure. This paper proposes a semantic segmentation method, Res-UNet, for the recognition of craquelure and paint loss in the Palace Museum, Beijing. The residual structure of ResNet-50 enables the avoidance of network degradation, and image features can be fully extracted. Using the unique skip connection module of U-Net, features of different levels are fused to improve segmentation accuracy and provide smoother craquelure edges. Three loss functions are combined to accelerate stable convergence. The model was tested on a newly built dataset based on 600 images. Experimental results supported by statistical tests show that Res-UNet is a capable method of craquelure recognition, with an accuracy rate of 98.19%, and F1-score of 93.42%. Hence, the proposed hybrid approach is a promising tool to support the preservation and restoration of valuable traditional Chinese polychrome architectural paintings.

ANALISIS KAPASITAS KEBUTUHAN LAHAN PARKIR DI ISTANA GEBANG KOTA BLITAR

Gebang palace museum is one of the tourist attractions in the city of Blitar. Many tourists, both from the city of Blitar and outside the city, visit the museum. Ir Soekarno is the first president of the Republic of Indonesia at this time and lives at the Gebang Palace. The Gebang Palace is located at Jalan Sultan Agung No.59, district, Sananweten Jawa Timur, Blitar City, approximately two kilometers from Bung Karno's grave. The method used in this research is a quantitative method in which the data that has been collected is then grouped and analyzed. This analysis was carried out to determine the need for parking area areas, then data analysis was carried out to determine parking characteristics such as parking time duration, parking volume, parking turnover rate, and parking index (Tamin, 2020), and how the needs or conditions of the Gebang Palace parking lot are 5 years Gebang Palace parking area stands on a land area of ​​approximately 2,100 m2 with a capacity of 60 SRP motorcycles, 48 ​​SRP cars, and 5 SRP buses. by predicting the next 5 years, the number of visitors will be 1922 tourists in 2027 from 915 tourists in 2022 with 103 SRP motorbikes, 48 ​​SRP cars, and 27 SRP buses. cars, and 16 buses.

Exploration of Madura Local Wisdom as a Support for Ethnoscience-Oriented Madura Tourism Database

The purpose of this research is to identify and classify the types of ethnoscience-ecotourism on Madura Island, and examine the supporting and inhibiting factors. This study employs a qualitative descriptive research design and is conducted in the regencies of Bangkalan, Sampang, Pamekasan, and Sumenep. The research instruments include the researchers themselves, interview guides, and other supporting materials, whereas the data sources are primary and secondary data obtained through observation, interviews, and documentation. utilizing interactive analytic techniques to analyze research data Huberman and Miles. The results showed that the types of Madurese local wisdom with the concept of ethnoscience-ecotourism were Aer Mata Ebuh Arosbaya Bangkalan Market, Lon Malang Sampang Beach, Pamekasan Salt Education, and the Sumenep Palace Museum; The clustering of Madurese local wisdom as an ethnoscience-based tourist object that has been carried out shows that the Aer Mata Ebuh Arosbaya Bangkalan Islamic Boarding School is included in the type of religious tourism, Lon Malang Sampang Beach is of the nature and halal syari'ah tourism type, Pamekasan Salt Tourism is of the educational tour type, and the Sumenep Palace Museum type of heritage tourism. Factors supporting the development of ethnoscience-ecotourism in Madura are the concept of place, certain points as references, history in Madura and natural landscapes which are the main attraction for tourists. The inhibiting factors for the development of ethnoscience-ecotourism in Madura are the absence of the participation of the closest government apparatus (Village/POKDARWIS), the uncoordinated route network for the Madura tour network, inadequate transportation routes.

Investigating the Generation Z’s Online Purchase Intention of the Palace Museum Cultural and Creative Industry

Today, with the rapidly developing cultural and creative industry and online consumption, the Palace Museum is a proud symbol of China. Cultural and creative products from the Palace Museum have progressively become the fashion of Generation Z. In order to investigate the online purchase intentions of cultural and creative products from the Palace Museum under the consumption idea of Generation Z, this article made use of the SWOT analysis approach and the Marketing Mix Theory with the 4Ps aspects (product, price, promotion and place). Collecting and analyzing existing online data and phenomena. Based on the SWOT analysis, this paper was concluding that the purchase intention of the Z generation group is affected by the aesthetics, practicality, and other aspects of the product. What’s more, the results also showed that the "experience" and "cost performance" are the biggest factors affecting the purchase intention of the Z generation group. Finally, the contribution and suggestions of this paper would be discussed in detail below.

Using SWOT Analysis to Solve the Problem of Forbidden City Brand Influence under the Background of New Media

The Palace Museum is not only comprehensive but also the largest museum of ancient Chinese culture and art. The Palace Museum brand is a cultural and creative brand derived from the landmark buildings of the Palace Museum through publicity and transformation in the new media era. The cultural and creative brand refers to the value transformation and empowerment of products by relying on personal wisdom and modern scientific and technological means this research seek to analyze the connection between consumers’ impression of the Palace Museum brand and brand loyalty in the new media background of Z era. This analysis concluded that the Palace Museum brand should not be over-commercialized or influenced by the fast-selling atmosphere of the Z era to reduce the actual value of the brand. As a state-supported transformation brand, the Palace Museum brand had a rich cultural value base and production resource support, but it abused brand IP to produce low-quality products due to the atmosphere of the times, resulting in a decline in brand image and loyalty. Therefore, in this context, due to the negative impression brought by the sub-brand and the strong internal and external competitive factors, the brand's image positioning has deviated, the value is reduced, and the brand loyalty is reduced. This paper uses SWOT analysis to split the overall factors of the Palace Museum brand to find solutions.

Customary and customised: nation-building at the Hong Kong Palace Museum

ABSTRACT The Hong Kong Palace Museum (HKPM) is the first museum dedicated to orthodox Chinese history in Hong Kong. Opened in July 2022, the HKPM emerged amid an accelerating integration of the city with mainland China and closely adheres to Chinese nationalist ideologies. However, among museums in Hong Kong and mainland China that foster nation-building, it features conventional yet distinctive presentation strategies. We critically analyse the objects displayed, the textual evidence from labels and panels, and the spatial arrangement of the opening thematic exhibitions to deconstruct the nationalistic agenda embedded in the narrative. On one hand, the HKPM guides local visitors to (re)imagine the Chinese nation based on a flourishing, continuing, Confucian-centric, and culturally diverse Chinese civilisation, following customary nationalistic narratives. On the other hand, the HKPM customises its narrative to legitimise Hong Kong’s unification with China and affix Hong Kong’s past, present, and future to the development of the Chinese nation. Together, the exhibitions attempt to bolster visitors’ sense of belonging to the nation through cognitive and affective means, while invoking a sense of obligation to contribute to the nation.

Research on the Development of the Original Display in the Palace Museum

Research on the Development of the Original Display in the Palace Museum

일제강점기 1937년 만주국 강덕제 발원 고려대장경 인경과 특징

In 1937, the printing of the Tripitaka Koreana was carried out under the supervision of Gyeongseong Imperial University professor Dakahasi Toru(高橋亨) through the cooperation of the Japanese Government- General of Korea at the request and praying of KangDeok-je, the emperor of Manchukuo.
 In 1935, the KangDe Emperor visited Japan and observed old books and paintings from Joseon, China, and Japan in the collections of the Palace Museum and Jesil Museum, and was interested in the Goryeo Tripitaka and the Hwangbyeokpan Tripitaka. In 1936, the KangDe Emperor requested the Japanese Government-General of Korea to print the Tripitaka Koreana. It is presumed that Kang Deok-je's request for printing the Tripitaka was based on his devout Buddhist faith, and that he wished for merit or reward through the printing of the Tripitaka, a compilation of Buddhism.
 The printing of the Tripitaka in 1937 was requested by the KangDe Emperor, but 2 sets of Tripitaka were printed with one copy for the Central Buddhist College. In addition, the items required for printing were produced in Joseon, and printing and binding were performed by Joseon people in the traditional way of Joseon.
 Preparation for printing began in June 1937, printing was done from September 2nd to October 17th, and binding and box production were completed by December 1937. The Tripitaka arrived in Manchukuo on January 19, 1938. What was sent to the KangDe Emperor was 1,163 books of the Tripitaka, 3 lists, and 48 boxes, as well as 2 books of Daegakguksa-munjib大覺國師文集 and 1 book of Haejangsa-sajinjang 海印寺寫眞帳 in Haeinsa. The printed version was enshrined in Manchukuo and Bohyeonsa in Mt. Myohyang, Pyongan-do, and the Tripitaka in Manchukuo is unknown.
 Regarding the characteristics of the printing of the Tripitaka in 1937, the missing scriptures and supplementation of missing letters were reviewed. At the time of printing in 1937, 18 plates were engraved again with the intention of reproducing the original plate of the Goryeo Dynasty for the re-engraved plate to supplement the missing plate in 1915. The missing letters due to the damage of the Tripitaka scriptures were supplemented using 1,017 letters in 136 places produced in 1915.

The Relationship between Cultural Institutions, Cultural Identity and Ideology in Chinese Museums: a Discourse Analysis

This study examines the relationship between cultural institutions, Cultural identity, and ideology in Chinese museums through a discourse analysis. The Palace Museum, the Beijing Urban Planning Exhibition Hall, and the Xinjiang Regional Museum are used as case studies. The research methods employed include discourse analysis, content analysis, critical discourse analysis, in-depth interviews and a field survey. The results of this study show that these museums present narratives that construct a Cultural identity rooted in the past, but also forward-looking and modern. These narratives are closely tied to the ideology of the Chinese and are used to promote a sense of unity and continuity among the Chinese people. However, there are also contradictions and limitations in the construction of Cultural identity through these cultural institutions.

接受美学视域下博物馆IP现象及其价值研究——以北京故宫博物院为例

接受美学视域下博物馆IP现象及其价值研究——以北京故宫博物院为例

Research progress on wisdom museums in metaverse

中华民族拥有五千年的灿烂文化，各民族在各个历史阶段创造出的文物是中华民族繁荣昌盛的见证。博物馆作为文物收藏、文化展示的公共平台，在我国文化传承的过程中起着重要作用，随着科技的发展，当前博物馆已经步入智慧化建设时代。本文对数字化采集技术、文物真实感重建技术、虚拟结合智能交互和智慧平台建设等关键技术进行了对比分析，对诸多数字博物馆与艺术机构的案例进行了比较研究，对在元宇宙下建设智慧博物馆的发展趋势进行了展望。元宇宙技术融入智慧博物馆建设，是把握新一轮科技革命和产业变革新机遇的战略方向，有利于博物馆的数字化建设，有利于保护和发展中国优秀传统文化，对促进文化繁荣、构筑文化自信以及建设文化强国具有重要意义。;The preservation and exhibition of cultural relics have been concerned more nowadays, in which number of worldwide museums is even higher at about 55 097 and all the artefacts have been melted into. In China, total number of museums can be reached to 6 183, and it has involved 108 million state-owned movable cultural relics(sets) and 767 000 immovable cultural relics nationwide recently. Traditional museums are mainly focused on display cases, pictures, and other related audio-visual materials. Current digitization of cultural objects is beneficial to optimize traditional methods further. First, standard and consistent preservation can be introduced to alleviate natural-derived irreversible damage challenges to cultural objects. Next, it facilitates diverse ways of displaying cultural relics, which can enhance public awareness for appreciate heritage in a holistic, multi-angle, and three-dimensional manner. In recent years, the development of information technology has harnessed the emergence of many new conservation techniques and ways of displaying heritage, such as deep learning based 3D reconstruction and intelligent museums-oriented metaverse technologies of virtual reality. The digitization of museums has been launched globally in the context of digitization of collection resources since 1990s. But, the following digital museums are still challenged to deal with the problem of museum-across integrated resources. Such worldwide research projects for intelligent museums construction has been called for further. The goal of a smart museum is aimed to create a feasible intelligent ecosystem for museum-relevant domains. We review global-contextual technologies, in which four category of such key technologies in relevance to digital acquisition, heritage realism reconstruction, virtual-intelligent-integrated interaction, and smart platform construction. For digital acquisition of cultural relics, we illustrate and analyze the two most common types of methods in related to 3D scanning and close-up photogrammetry. For the realistic reconstruction technology of cultural relics, geometric processing and deep learning-based methods are focused on in terms of 3D reconstruction model analysis. For virtual-intelligent-integrated interaction, a variety of interaction methods are demonstrated in related to such aspects of multimodality, gesture, and handling. For the construction of smart platforms, we summarize some emerging technologies, and the final artistic results are described and achieved. The case study analysis is based on such famous multination museums of the Louvre Museum in France, the Hermitage Museum in Russia, the Palace Museum in Beijing and other related world-renowned museums. We sort out that the commonly-used construction process of smart museums for cultural relics through collection of digital information, three-dimensional reconstruction, and the integration of multiple virtual interaction. The consensus is focused on improving conservation measures and inherit culture. At the same time, potential metaverse technology can be used to build metaverse museum platforms further. Finally, modernizing museums analysis is focused on and its relevant tools and technologies has been focused on metaverse-related technologies. In the future, such emerging metaverse technologies can be used to predicted and integrated into the construction of smart museums as well like blockchain technology, computing and storage, artificial intelligence, and brain-computer Interface. It is focused on the integrated and intelligent construction of museums, and more ultimate and immersive experience can be melted into visitors experiences. To sum up, to promote the development and preservation of global civilization, metaverse technology-integrated intelligent museums are required for its integrated construction in relevance to human cognitive abilities and behavioral patterns.

Research on the Revitalization of Cultural Heritage in the Perspective of Cultural Creativity: Reinvention of the IP of the Forbidden City

The communication mode of Internet new media contributes to the vigorous development of the cultural IP ecosystem. Guided by the concept of cultural IP, the Palace Museum develops a series of cultural and creative products to realize the inheritance, creative transformation, and modern expression of traditional culture, to enhance the influence and appeal of the Palace Museum culture. Taking the cultural and creative works of the Forbidden City as the case study object, this paper expounds on the common methods of creative interpretation and display of heritage cultural symbols in the contemporary context by analyzing four aspects of the cultural and creative works of the Forbidden City: abstract extraction of symbols, interactive narration, the awakening of cultural memory and integration of ancient and modern cultures. Based on the three characteristics of the main body, intermediary, and channel of cross-media communication of the cultural IP of the Forbidden City in the new era, this paper explores the practical path of "living" inheritance and communication of cultural heritage and provides ideas and references for the design of cultural and creative products of historical museums.

Determining the experience of museum visitors by text mining: example of Topkapi Palace museum

Determining the experience of museum visitors by text mining: example of Topkapi Palace museum

Characteristics & Application Analysis of Digital Experience Display Design

The display design of digital experience starts from the fundamental demand of display design development, combined with digital display technology, to bring a new energy to display design. Digital experience display design is a combination of rational and emotional thinking. This article analyzes the characteristics and expression techniques of digital experience display design, and explores the ways and means of digital experience display design. Taking the Forbidden City of Beijing in "Beyond Time and Space" as an example, it explains that more experiences should be put into the process of display design, such as scene production, atmosphere creation, interaction methods, scheduling between display space environment, and the use of narrative methods. In a digital experiential display environment, comprehensive control of music, ambient sound, and vocals can be achieved, using the ambient sound brought by the audio system to create an immersive sound environment for the audience, and transmitting richer information through sound. Technological innovation has brought full surround stereo sound field, Dolby Atmos and reasonable broadcast scheme design. Taking the "Panoramic Palace Museum" - Taihe Hall as an example, it is demonstrated that all the displayed content and route are arranged at the most central position of the visual, and unnecessary content such as decorations around are all cleared. This display method effectively guides the audience's visual center towards the exhibits. By utilizing experiential digital display methods and utilizing digital spatial display technology, new ideas for display design are broadened, interest in digital display spaces is enhanced, and the public and more designers are encouraged to participate in digital display design.

韩·中参与式博物馆青少年文化艺术 教育项目比较研究 : 以韩国国立中央博物馆和中国故宫博物馆为中心

최근 참여적 박물관 개념이 확산되고 있는 가운데 청소년들의 예술적 소양을 함 양하기 위한 박물관의 교육기능이 강조되고 있다. 이에 본 연구는 한·중 박물관의 참여적 교육프로그램을 비교함으로써 개선 및 발전방안을 도출하고자 하였다. 이를 위해 한국 국립중앙박물관과 중국 고궁박물 관과의 청소년 교육프로그램을 Nina Simon(2010)이 참여적 박물관의 요소로 제시한 가상공간화, 현실감, 개인화, 상호작용성 등 네 가지 관점에서 비교 분석하였다. 연구 결과, 가상공간화 측면에서 두 박물관 모두 VR 기술을 통해 3D가상 모델링 기능을 활용해 가상 박물관을 구축하고 있다. 그러나 중국 고궁박물관은 VR에 집 중한 활용교육에 촛점을 둔다면, 한국 국립중앙박물관은 VR뿐 아니라 인공지능, 틸트 브러시, 뮤지엄 뷰 등 다양한 기술을 활용한다는 점에서 차이가 있었다. 현실 감 측면에서는 두 곳 모두 교육 수용자의 몰입을 이끌어내기 위해 놀이 요소를 적 극적으로 차용한다. 그러나 중국 고궁박물관은 온라인 앱에 의존하는 경향이 강한 반면, 한국 국립중앙박물관은 학교 수업과 연계해 박물관 공간을 적극적으로 활용 하고 있다. 개인화 측면에서 중국고궁박물관은 특히 청각장애 청소년을 위한 프로 그램을 강조한 반면, 한국 국립중앙박물관은 미래 직업에 대한 전문지식을 갖춘 청 소년 육성 프로그램을 집중 운영하고 있었다. 마지막으로 상호작용 측면에서 중국 고궁박물관은 음악 창작대회를 개최하여 청소년들로 하여금 창작 잠재력을 자극하 고 전통문화 계승에 대한 관심을 환기하는 반면, 한국 국립중앙박물관은 게임적 요 소를 도입한 체험을 통해 팀원들과의 교류 능력을 향상하도록 한다. 본 연구가 한국과 중국 양국의 박물관 문화예술 교육 발전에 기여할 수 있기를 기대한다.

한국 근현대 자격루 연구사 검토

We have briefly looked at the history of the study of Jagyeongnu (自擊漏, automatic striking clepsydra) in the modern and contemporary period of Korea so far. The study of Jagyeongnu is divided into before and after as of 1980. Prior to 1980, Hong Yi-seop and Jeon Sang-woon conducted basic research. During the Japanese colonial period, Hong Yi-seop studied Jagyeongnu as a “pride of the nation” in a nationalistic perspective. And after liberation, Jeon Sang-woon tried to reveal “Korean creativity” based on thorough literature research. Research on the restoration of Jagyeongnu was carried out in the 1980s. It took about 30 years to restore and install Jagyeongnu at the National Palace Museum in November 2007. This process is divided into three periods. The first (1980-87) was a collaborative research period between academia and the government that sympathized with the need for research and restoration of Korean scientific and cultural properties in the early and mid-1980s. The second (1988-96) was a propulsion period for the restoration of Jagyeongnu, which was promoted as part of the Gyeongbokgung Palace restoration project. The third period (1997-2007) was a restoration installation period in the National Palace Museum of Korea.