根据《中国新闻奖评选办法》有关规定，中国日报社总编室推荐作品《A lasting legacy of ancient wisdom
（古人智慧，岁月流芳）》等参加第三十一届中国新闻奖试点报送单位初评。
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中国日报社总编室
2021年4月
原文
A lasting legacy of ancient wisdom
The Forbidden City stands as a testimony to past glory that informs contemporary people about Chinese civilization's advanced thought and practices across six centuries, Wang Kaihao reports.
Editor's note: The Forbidden City is celebrating the 600th anniversary of its completion this year. China Daily journalists speak with historians, researchers and experts to discover how this architectural wonder that embodies traditional Chinese thinking evolved over time and its vital role in East-West communications.
If the millennia during which China built and renovated palaces is viewed as an epic, Beijing's Forbidden City is an awe-inspiring final chapter.
The previous pages of this story may have been marvelous. But they're at least partially, if not largely, lost to the rise and fall of many dynasties, leaving behind ruins that serve as archaeological puzzles that experts are still putting together.
But in the heart of Beijing stands a 720,000-square-meter palace complex made of wood and earthen bricks, the largest surviving specimen of its kind in the world.
And this compound, which served as the imperial palace from 1420 to 1911, where 24 emperors once lived, is celebrating the 600th anniversary of its completion this year.
For this special moment, the Meridian Gate Galleries by the museum's entrance have become a "lobby "to receive visitors to the ongoing exhibition, Everlasting Splendor: Six Centuries at the Forbidden City, which will run through Nov 15.
"There are so many things to talk about within 600 years," says Zhao Peng, director of the museum's architectural heritage department, who is also the exhibition's main curator.
"It's better to focus on the 'city'－that is, the architecture－to see how this place formed and evolved … It's the crystallized wisdom and talent of the ancient Chinese."
Still, it's not easy to select just 450 items, including construction components and emperors' relics, to unfurl a panoramic picture of architectural glamour.
Eighteen landmark years during the six centuries of history have been chosen to highlight the exhibits in chronological order to show how the compound was born, grew up and matured.
"From these slices of time, we can see the bigger historical picture," Zhao says.
In 1406, Zhu Di, the third emperor of the Ming Dynasty (1368-1644), proposed moving the national capital from Nanjing, capital of today's Jiangsu province, to Beijing, where he once resided as a prince and could better safeguard the northern frontiers.
When Zhu Yuanzhang established the Ming empire, the ambitious emperor initially located the imperial city in his hometown in today's Fengyang county, Anhui province. But construction on the grand complex stopped abruptly for unknown reasons. He decided to instead build an imperial city in Nanjing.
Both imperial cities are in ruins but still offer some key findings, such as stone rails and tiles in the Meridian Gate Galleries, which indicate what the earliest architecture of the Forbidden City may have also looked like.
"Although the Forbidden City's basic layout remained the same, it was constantly being rebuilt and renovated throughout its imperial years," Palace Museum architecture researcher Zhang Jie says.
For example, the Hall of Supreme Harmony was swallowed by flame less than a year after its completion. It was rebuilt several times throughout history. The current hall was built in 1695, during the reign of Emperor Kangxi (1654-1722).
Before the invention of the lightning rod, the only way to combat the heaven-sent strikes was with prayers.
Among the roof ornaments, a thunder god is unique to Taihe Dian. Such an ornament is also exhibited for people to examine more closely.
Ancient artisans knew that more practical fire controls were needed. Firewalls have stood by the two wings of today's Taihe Dian since the 1695 rebuild. An exhibited Ming painting shows there were previously two wooden corridors.
"We've seen many references in paintings that indicate buildings' original appearances," says Di Yajing, deputy director of the museum's department of architectural heritage.
"However, we need further investigation, archaeological research and the study of documents to see if these paintings accurately match historical facts."
Some folk legends say Li Zicheng, a rebel leader, burned down the entire Forbidden City in 1644, marking the fall of the Ming Dynasty.
This has led many among the general public to believe that most key structures were rebuilt during the Qing Dynasty, but academic research indicates the opposite.
"The wooden frames of many Ming buildings are still very well preserved," Di says.
"And some buildings have Ming foundations but Qing roofs. It's difficult to judge which dynasty a building is from. Periodization is a complex procedure that needs detailed research of the beams, styles of colored decorations and building materials."
No matter how their ancestors' rules were passed down, it's understandable that successive emperors desired to decorate their new home.
The complex was completed in 1420, after about 10 years of preparation and a massive three-year construction. The capital was officially relocated the next year.
"An amazing feature of the Forbidden City is that it rigidly follows certain formats no matter how times changed," Zhao says.
"This reflects traditional Chinese thought that emphasizes rituals and the harmony between humans and the heavens."
The Forbidden City was built following rules inherited throughout Chinese history.
As the exhibition shows, Kaogong Ji (Book of Diverse Crafts), a Spring and Autumn Period (770-476 BC) publication about craftsmanship, included in the fundamental Chinese classic on the rituals of organizational theory, Rites of Zhou, spells out the basics for palace construction.
It regulates a symmetrical layout for capital cities, which should be centered by a palace with a north-south axis.
The historical areas of today's Beijing, including the Forbidden City, precisely echo the rule.
"Finally, this ideal plan, which has been referred to for 2,000 years, reached its zenith when it was perfectly practiced in Beijing," Zhao says. Rites are represented through architectural details.
For example, only the Hall of Supreme Harmony (Taihe Dian), the palace's highest-status building, where the most important ceremonies took place, can have 10 deified creatures as ornaments on the roof.
The fewer the roof ornaments, the lower the building's rank.
And the hall also has 11 "rooms "on its facade, the most in the complex. (In ancient Chinese architecture, a "room", or jian, refers to a quadrangular indoor space between four pillars.)
The shape of the roof is another key indicator of a building's status. For example, Taihe Dian's roof adopts a pattern called chongyan wudian－a double-eave hip roof with curved and protruding edges－the design exclusively reserved for the highest-level structures.
In 1734, Qing Dynasty (1644-1911) Emperor Yongzheng released official guidelines for palace-construction formats. The more than 2,700 page book comprehensively regulated architectural criteria like pillar sizes and rooftop decor, which Zhao says is a benchmark of integrating rites with Chinese architecture.
Beijing's Forbidden City has two older cousins.
Ming emperors preferred simple but grandiose appearances. So, buildings were larger then. But their Qing counterparts preferred more exquisite aesthetics," Di says.
Sometimes they had to, as it could be difficult to find giant pieces of timber from precious trees during the renovations. But they also wished to demonstrate their wealth and regal status through state-of-the-art craftsmanship.
Emperor Qianlong (1711-99), who adored fine arts, pushed the trend to a peak. In 1776, he ordered the construction of the Palace of Tranquil Longevity (Ningshou Gong) as a potential resort for when he'd retire. Its garden became a trove of exceptional interior decorations.
A displayed lacquered gauze that was once set on a window enables visitors to glimpse its extravagance, as the garden has never been opened to the public.
The silk piece also mixes papercuts, gilding, dyeing and lacquering, which means it required extraordinary cooperation among several artisans. The 12-layer gauze is as thin as a sheet of paper.
"We've tried to duplicate it but failed, despite today's advanced manufacturing," Di says. "This lost technique reminds us to take good care of our cultural heritage."
A comprehensive renovation of key buildings in the complex has been underway since 2002.
Although it was originally planned to be finished for this milestone anniversary, architectural experts ultimately decided to slow down and ensure they were acting in a responsible manner and respecting the history.
Everlasting splendor, it seems, may refer to not only physical structures, but also the desire of those working hard to maintain the legacy of our ancestors.
译文：
古人智慧，岁月流芳
六百年来，紫禁城屹立不倒。作为对过往辉煌的见证，它向世人讲述着中华文明中蕴含的先进思想与实践。来自王恺昊的报道。
如果中国的数千年的宫殿营建修复史被看作一篇史诗，那么，北京故宫便是这篇史诗令人惊叹的终章。
在这故事中，之前的一页页或曾美轮美奂。但随着王朝兴衰，它们就算没有近乎消陨，也至少有部分已经不复存在。它们留下的遗址成为了考古的拼图碎片，而专家们仍在将它们重新拼接。
在北京城的中心屹立着占地72万平方米的土木结构宫殿建筑群。在世界上现存的宫殿建筑群当中，它是最大的。
从1420年到1911年，有24位皇帝曾在这片院落中居住。今年，它正在欢庆落成600年的华诞。
为了这样一个特殊的时刻，故宫博物院入口处的午门展厅用一场正在进行的展览成为了欢迎访客的前厅。“丹宸永固：紫禁城建成六百年”将会一直展出到11月15日。
“600年的岁月里可以讲述的东西太多了，”故宫博物院古建部主任赵鹏说道。他也是这场展览的主策展人。
他表示：“最好还是把关注点放在‘城’字上，也就是建筑上。借此我们可以看出故宫是如何形成和演变的……这座城便是古代中国人智慧与才干的结晶。”
可是，想要把建筑的壮美图景完全铺陈开来，选择区区450件展品的仍然并非易事，而这些展品中既要包括建筑构件，又有皇家文物。
在六个世纪的历史中，展览选取了18个标志性的年份。重点文物按照时间顺序排列。它们反映出这座建筑群如何诞生又如何生长乃至成熟。
“从这些时间的切片当中，我们可以看出更为宏大的历史图景，”赵鹏说道。
1406年，明朝（1368-1644）的第三位皇帝朱棣提出把国都从今天江苏省的南京市迁往北京。当朱棣还是皇子的时候，他曾在北京居住。此举或许也能让他更好地守卫北方的边境。
在差不多十年的准备和三年的大兴土木之后，宫殿群于1420年完工。第二年，正式迁都。
赵鹏表示：“无论时光如何流转，紫禁城一直严格遵循某些范式。这也是它的令人惊叹之处。
“而这也反映了强调礼制和天人合一的中国传统思想。”
故宫的营建遵循的规则可谓在中国历史中一脉相承。
如展览所呈现的那样，故宫营建的基本原则在《考工记》一书中讲得都很清楚。述及工匠技艺的《考工记》一书成于春秋时期（前770-前476），也被收录于讲述礼制理论的中国经典《周礼》当中。
《考工记》规定了都城营造的对称原则。都城应以王宫为中心，并有一条南北走向的轴线。
今天包括故宫在内的北京老城恰恰是这一原则的精确展示。
赵鹏解释道：“在人们谨遵2000年之后，随着它在北京的完美实践，这一理想化的方案最终达到了巅峰。”
建筑的细节也体现着“礼”字。
例如，故宫中最高等级的建筑是太和殿，最重要的典礼会在此举办。而只有在太和殿的屋顶上才会有十只被神化的脊兽作为装饰。
脊兽的数量越少表明建筑的等级越低。
太和殿面阔11“间”，也是故宫中最多的。（在中国古代建筑中，“间”指的是由四根柱子围成的四方形区域。）
（下转18版）
（甩版副标题）故宫：一座可以住人的瑰宝讲述穿越时间的故事
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屋顶的形状也是建筑等级的标志物。比如，太和殿的屋顶采用的一种叫“重檐庑殿”的建筑范式。重檐庑殿拥有两层四坡形成的屋顶并且屋顶的边缘向外凸出。这种屋顶的设计为最高等级的建筑所专属。
1734年，清朝（1644-1911）皇帝雍正发布了宫殿营造范式的官方法则。这部2700多页的著作对建筑标准做出了详尽规范，诸如柱子的大小、屋顶的装饰等等。在赵鹏看来，这也是将礼制融入中国建筑的一大基础。
北京故宫还有两个更为年长的表亲。
当朱元璋建立他的明王朝之际，这位拥有雄心壮志的皇帝最初想把他的都城定在自己的老家——今天安徽省的凤阳县。但是，由于不明原因，这座巨大宫殿群的建造戛然而止。他转而决心在南京建造建造皇城。
两座皇城现在都沦为废墟，但它们还是提供了关键的发现，譬如在午门中展出的石栏和瓦当。它们也显示出故宫最早期建筑的样子。
故宫博物院的古建研究员张杰表示：“虽然故宫的基本布局一直未变，但在它作为皇宫的年月里，宫殿的重建和修复一直没有停止过。”
比如，太和殿完工还不到一年就曾被大火吞噬。历史上它也曾数次重建。今天的太和殿建于康熙年间（1654-1722）的1695年。
在避雷针发明以前，想要对抗从天而降的雷击，最好的办法便是寄希望于祈祷。
在太和殿的脊兽当中，有一位雷神是它独有的。这尊脊兽也正在展出，供人们近距离地一探究竟。
古代工匠们知道，想要防火还得有更切实际的办法。1695年的重建之后，防火墙一直竖立在太和殿的两侧。而据一幅正在展出的明代画作显示，它的两侧曾经是木制长廊。
故宫博物院古建部副主任狄雅静表示：“我们在很多绘画作品中看到了故宫建筑原本的样子，也因此有了很多参照。
“但要想搞清楚这些画作是否准确符合史实，我们还需要更多的研究、考古学调查以及文献整理。”
根据一些民间传说，起义首领李自成在1644年把整个故宫都付之一炬。这也标志着明朝的覆亡。
这也让大多数公众相信故宫中大多数重要建筑都是清代重建，但学术研究却表明事实恰恰相反。
狄雅静表示：“很多明代建筑的木制框架依然保存完好。
“还有些建筑的基础是明代的，而上部屋顶是清代的。也很难说这样的建筑属于哪个朝代。断代是一个复杂的过程，需要对屋梁进行彩绘饰纹和材料的细致研究。”
不管祖宗的法则是如何传下来的，继位的皇帝们还是想要装修一下他们的新家，这也不难理解。
狄雅静表示：“明代的皇帝更喜欢简单大气的外形，所以那时候的建筑体量更大。但到了清代，皇帝们就对更为精细的美感钟爱有加。”
有时候，清朝的皇帝们也是迫不得已，因为他们在修复过程中可能已经很难找到巨大的珍稀木料。但是，他们也想通过这些堪称国粹的工匠技艺来展现自己的富庶与皇威。
乾隆皇帝（1711-1799）钟爱艺术，他也把这一风潮推向顶峰。1776年，他下令建造宁寿宫，用作未来退休以后自己的修养之所。卓尔不凡的宁寿宫花园成为了室内装饰的宝库。
一件正在展出的漆纱曾经安装在宁寿宫花园的隔窗之上。鉴于宁寿宫花园从未对外开放过，这件漆纱也让参观展览的人们可以一窥花园的富丽堂皇。
这件丝织品融合了剪纸、鎏金、浆染和漆器制作技艺。这也意味着几位工匠的合作需要天衣无缝。这件漆纱有12层，却只有一张纸那么薄。
“我们曾经想制作一件它的复制品，”狄雅静介绍道。“尽管今天的工业水平已经很先进了，但我们还是没能成功。这一失传的工艺也提醒我们要好好保护我们的文化遗产。”
针对故宫重要建筑的大修从2002年启动，目前仍在进行当中。
尽管大修最初计划于今年这样具有里程碑意义的周年纪念之际完工，但古建专家们还是最终决定放慢速度。他们可以由此确保自己的修复行动秉持负责的态度，也是出于对历史的尊重。
似乎“丹宸永固”说的并不只是有形的建筑，它讲的也是人，那些一心只想兢兢业业工作、好好保护祖先遗产的人们。
