"Though belonging to a single lineage, it can be regarded as tangible evidence of the history of Ming Dynasty." It was how an article described the cultural relics related to the Qiyang family in the early 1930s. On January 25th, after more than 90 years, this batch of cultural relics reappeared. Robes and portraits from Ming Dynasty, the decree of the Duke of Wu written in the ninth year of the Han Song Long Feng era, and imperial robes worn by Emperor Taizu of the Ming Dynasty, and other cultural relics carrying the memories of the Qiyang family, accompanied by meticulously crafted replicas of Ming Dynasty costumes. These 72 exhibits show the most authentic history.
In the exhibition hall of "Legacy from the Prince of Qiyang, Cultural Relics of Li Wenzhong's Clan from the National Museum of China Collection", rows of portraits with the same height as adults, are displayed in a spectacular manner. Li Wenzhong was the founding hero of the Ming Dynasty. In his youth, he followed his father Li Zhen to join his uncle Zhu Yuanzhang, and was posthumously titled the Prince of Qiyang. Descendants of his inherited his titles and ranks, and the family lineage has continued for more than 600 years, known to later generations as the "Qiyang Family". Today, starting with Li Zhen and his wife, various figures from the family are prominently displayed.
"The audience can clearly contrast the changes in the style of ancient Chinese portrait paintings with the distinct differences from Western ones," curator Hu Yan introduced the portraits of Li Wenzhong and Li Zhen, which are the only two surviving Ming Dynasty coronation robe portraits. Upon close examination of the portrait of Li Wenzhong, the upper garment is depicted in green, with discernible patterns of pythons, mountains, and fire. The hem reveals parts where decorative patterns (known as "fu" in pronunciation) and jade pendants on both sides can be seen, representing the typical early Ming Dynasty princes' ceremonial attire. It is of great significance in the history of Chinese clothing.
Within the rich memories of the family and the nation, there are also interesting anecdotes. In one display case lies a handkerchief. Historical records mention that after Li Wenzhong's death, Zhu Yuanzhang treated his sons, Li Jinglong and Li Fangying, kindly. In the eighteenth year of the Hongwu era, Li Jinglong was ordered to march northward, and Zhu Yuanzhang instructed Li Fangying to practice calligraphy every ten days. After one session of calligraphy practice, Zhu Yuanzhang happily wrapped steamed buns in the imperial handkerchief he held and awarded them to Li Fangying. Upon returning home, Li Fangying and his entire family reverently tasted the steamed buns and treasured the imperial handkerchief in the family temple to express gratitude for the emperor's grace. In 1932, Zhu Qiqian restored the imperial handkerchief with great care.
Another batch of cultural relics has regained its splendor due to the exhibition. A Ming Dynasty rhino armor, collected by the Qiyang family, was once rolled into a cylindrical shape and displayed in the museum's storage room. "Since its acquisition by the National Museum of China in the last century, it has been kept in its original state and is not easily accessible to avoid accidental damage," said Hu Yan, adding that the leather armor has been specially restored for this exhibition and fully unfolded. "The last time it was fully unfolded was during the Republican era."
"In the late Qing Dynasty, even though the family's fortune declined, descendants of the Li family spared no effort in safeguarding the family's heirlooms. The inheritance of these cultural relics stems from their family belongingness, representing the memory of a family. Due to their integrity, orderliness, and relevance to the times, they provide possibilities for later generations to delve into themes such as social history, institutional history, cultural history, and the history of clothing," said Hu Yan. She explained that the exhibition, centered around family history, is divided into four parts, emphasizing the conscious preservation and inheritance of the Li family's roots by its members and showcasing the Chinese nation's reverence for their ancestors and the spirit of continuity. The exhibition also includes the reconstruction of four sets of Ming Dynasty official costumes based on these cultural relics.
Translator: JIANG Wenyi
Reviewer: NIU Lihua
