[2025 Beijing Attraction] Travel Guide for Tsinghua University Art Museum (Updated Apr)

#discoverchina At the "2024 Summit of the Forum on China-Africa Cooperation”, President Xi Jinping proposed that China and Africa should "join hands to advance modernization and build a community with a shared future". The Tsinghua University Art Museum and the China-Africa Leadership Development Institute (Tsinghua University), supported by the International Art Museum of Gulf of Guinea, jointly host the exhibition "African Art: A New Rediscovery”. The exhibition is divided into four chapters: " Between Humanity and Divinity: The Religion and Ritual ", " Between Human and Humanity: The Authority and Affinity" , " Between Humanity and Everything Else: The Animistic World " and " The Form of Beauty: The Appropriation in Modern Art “. A total of 200 pieces (or sets) of works are displayed, presenting the vibrant and diverse nature of African art from multiple perspectives. The exhibition has been extended to May. Grab the opportunity to visit while around! #museums

There is a small-scale special exhibition of bronzes in the Tsinghua University Art Museum that has attracted many visitors. This special exhibition is called "Small State, Grand Art" and mainly displays bronzes unearthed from the cemetery of the Marquis E of the Early Western Zhou Dynasty. The exhibition has only 51 exhibits, 85% of which are first-class cultural relics. Among them, 27 pieces are from the tomb of Marquis E, and 20 pieces are engraved with inscriptions. According to historical records, the Ji-named E was a state located in the Xiangning area of Shanxi Province during the Shang Dynasty. The State of E was listed as one of the three dukes along with Ji Chang and Marquis of Jiu. The discovery of the early Western Zhou Dynasty tombs in Yangzishan, Anju, Suizhou indicates that Marquis E had moved to Suizhou at this time, and 20 miles to its east was the noble cemetery of Yejiashan in the State of Zeng. The State of Zeng was a "big country" with a radius of no more than 200 kilometers, and Marquis E was of course a small state. However, a large number of bronzes were unearthed from the tomb of Marquis E in Yangzishan, especially the four-piece set of deity masks consisting of a pair of you (covered wine container), a zun (wine vessel) and a fang lei (square lei), which are unique, luxurious, exquisite and ingenious. They are not only masterpieces of the early Western Zhou Dynasty, but also wonders of Shang and Zhou bronzes. How could a small state possess such exquisite treasures? This raises several important questions about the function, production, and material culture of Shang and Zhou bronzes: Who designed them? Where were they produced? How were they used? And so on. Although the royal tombs of the Western Zhou Dynasty have not yet been discovered and their connotations are unknown, the tombs of the dukes of the early Western Zhou Dynasty always contained some exquisite bronzes as burial objects. Of course, most of them were ordinary objects, and the tomb of Marquis E was no exception. This exhibition presents all the bronzes from the tomb of Marquis E in Yangzishan, represented by the four-piece set of deity masks, and also includes some bronzes unearthed from the tomb of Marquis Zeng in Yejiashan. The combination of fine and ordinary products allows the audience to better understand the art and technology of bronzes in the early Western Zhou Dynasty. Figure 2: Marquis E Fang Lei (Square Lei) (The cover and the inside of the vessel have inscriptions: "Marquis E made this precious zun yi (sacrificial vessel)") Early Western Zhou Dynasty (11th-12th century BC) Unearthed from Tomb No. M4, Yangzishan, Anju, Suizhou, Hubei Province National First-Class Cultural Relic Figure 3: E Zhong Fang Gai Ding (Square Covered Tripod) (a pair) (The inside of the cover and the inner wall of the vessel have two lines of six characters: "E Zhong made this precious lei") Early Western Zhou Dynasty (11th-12th century BC) Unearthed from Tomb No. M4, Yangzishan, Anju, Suizhou, Hubei Province National First-Class Cultural Relic Figure 4: Ge Fu Yi You (The inscription has three characters: "Ge Fu Yi") Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M107, Yejiashan, Suizhou, Hubei Province National First-Class Cultural Relic Figure 5: Panlong Beast Head Bronze Lei Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M111, Yejiashan, Suizhou, Hubei Province National First-Class Cultural Relic Figure 6: Gong (Wine Vessel) Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M107, Yejiashan, Suizhou, Hubei Province National First-Class Cultural Relic Figure 8: Deity Mask Pattern Zun (Inscription: Made this zun yi (sacrificial vessel)) Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M4, Yangzishan, Anju, Suizhou, Hubei Province National First-Class Cultural Relic Figure 9: Bai Sheng He (The cover of the he (kettle) and the belly of the vessel have the same inscription: "Bai Sheng made this yi (sacrificial vessel) for Zeng") Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M27, Yejiashan, Suizhou, Hubei Province National First-Class Cultural Relic Figure 10: (Left) Fu Ding Bronze Lei Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M111, Yejiashan, Suizhou, Hubei Province National First-Class Cultural Relic (Right) Marquis E Lei Early Western Zhou Dynasty (11th-12th century BC) Unearthed from Tomb No. M4, Yangzishan, Anju, Suizhou, Hubei Province National First-Class Cultural Relic Figure 11: Beast Mask Pattern Square-Based Gui (Food Container) Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M4, Yangzishan, Anju, Suizhou, Hubei Province National First-Class Cultural Relic Figure 12: Bronze Four-Eared Square-Based Gui (The vessel has the inscription "Made this precious zun yi (sacrificial vessel)") Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M4, Yangzishan, Anju, Suizhou, Hubei Province National First-Class Cultural Relic Figure 14: Deity Mask Pattern You (The cover and the inside of the vessel have the inscription: "Made this yi zun (sacrificial vessel)") Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M4, Yangzishan, Anju, Suizhou, Hubei Province National First-Class Cultural Relic Figure 16: Elephant Eye Pattern Li (Cooking Vessel) Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M65, Yejiashan, Suizhou, Hubei Province National Second-Class Cultural Relic Figure 17: Beast Mask Pattern Square-Based Gui Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M4, Yangzishan, Anju, Suizhou, Hubei Province National First-Class Cultural Relic Figure 18: Zeng Hou Kang Bronze Gui (The inscriptions on the vessel cover and body read "Zeng Hou Kang made this precious zun yi (sacrificial vessel)" and "Made this precious yi (sacrificial vessel)" respectively) Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M111, Yejiashan, Suizhou, Hubei Province National First-Class Cultural Relic Figure 20: Xi Gong Jue (The inner wall of the vessel near the tail has two lines of eight characters: "The Earl of Zeng made this precious Xi Gong zun yi (sacrificial vessel)") Early Western Zhou Dynasty (11th-10th century BC) Unearthed from Tomb No. M107, Yejiashan, Suizhou, Hubei Province National First-Class Cultural Relic Address: Tsinghua University, 30 Shuangqing Road, Haidian District, Beijing Opening hours: 9:00–17:00 (No entry after 16:00) Closed on Mondays

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Tsinghua University is one of the world's most prestigious universities, representing China. The campus is lined with beautiful buildings that combine tradition and modern technology, and the magnificent architectural beauty deeply impresses visitors✨ The student cafeteria is very reasonably priced and has a reputation for being delicious. A wide variety of menus are offered using fresh local ingredients, and the open environment that is open to not only students but also general visitors is attractive🍽️ Tsinghua University is open to those who are not related to the university, so you can stroll around the vast campus and feel the advanced research facilities, beautiful gardens, and the breath of academics. Experience the unique space where history and the future are in harmony on this campus and spend a fulfilling time✨ 📍Location: Haidian District, Beijing #0 yen trip February 2025

The African Art Exhibition at the Tsinghua University Art Museum left a profound and rich impression on the audience. The exhibition showcased the diverse artistic charm of the African continent through 200 (sets of) exquisite sculptures, covering four sections: "Man and God: Reverence and Ritual," "Man and Man: Power and Emotion," "Man and the World: Animism," and "The Form of Beauty: Appropriation by Modern Art Masters," presenting the diversity and depth of African art from different perspectives. African art not only showcases the spirituality of nature but also expresses humanity's respect and awe for life and nature. Masks and sculptures are not only visual artworks but also mediums connecting "man and the divine," transcending mere visual enjoyment to become carriers of sacred power. For example, African masks and statues are often used in religious ceremonies, tribal celebrations, and social life, with distinct regional characteristics and rich symbolic meanings. The influence of African art on modern art is also significant. In the late 19th to early 20th centuries, African art provided modern artists with a new visual language, inspiring the development of movements such as Fauvism and Cubism. The works of masters like Picasso and Matisse reflect the geometric shapes and abstract expressions of African sculptures and masks. African sculpture art is an important part of world art and is worth appreciating.

#traveldiaries The mission of Tsinghua University Art Museum is to spread the historical achievements of human civilization. For the purpose of enhancing cultural accomplishment of both Tsinghua students and the public, it spares no effort to build up an open window for international cultural exchanges and to carry forward the traditional culture and create the modern culture as well. Tsinghua University Art Museum owns more than 13,000 pieces of collections, covering six major categories, namely, painting and calligraphy, embroidery, porcelain, furniture, bronze ware and comprehensive artwork. Most of the collections are from Academy of Arts & Design since 1956, and donations from Tsinghua alumni or some social elites. We aim to present diversified collections, to gather the latest original works, to promote exchanges with museums both at home and abroad and to share resources, so as to together sustain the development of human civilization. Opening hours: 9:00-17:00 from Tuesday – Sunday #chinatrip #museum

#travellerswonderland Theme: Bronze Grandeur of A Minor State - Four Bronzewares of the Early Western Zhou Dynasty The newly opened exhibition in September has many China’s national first-class cultural relics. The relics on display are very beautiful and worth seeing! The exhibition of Tsinghua Art Museum has always been very high-level. Friends who want to see it can watch it together with the exhibition on the first and second floors. Note ⚠️: Non-students need to buy separate tickets to enter this exhibition, which is separate from the general art exhibition. Swipe your ID card or ticket before entering the exhibition. #beijing #museum #tsinghua

👍️Recommended for: 📅Travel Tips: 🏨Accommodation Tips: Find accommodation near the subway 💗Other Tips: Closed on Mondays, admission fee required, but it's worth it! There are general exhibition tickets and special exhibition tickets, and the special exhibition ticket includes the general exhibition ticket; There is a special passage for entering the school at the museum exit, which needs to be booked separately. Tsinghua University Art Museum (Tsinghua University Art Museum) is a national first-class museum[1] located in Tsinghua University, No. 1 Tsinghua Park, Haidian District, Beijing. It has a total construction area of 30,000 square meters and an exhibition hall of 9,000 square meters. It is a comprehensive art museum of Tsinghua University.[9][12] In the 15th year of the Republic of China (1926), the National Studies Department of the Tsinghua School Research Institute and the History Department jointly organized the Archaeology Exhibition Room. In the 37th year of the Republic of China (1948), the National Tsinghua University established the Museum of Cultural Relics and planned to establish the Department of Art. In 1950, the Tsinghua University Museum of Cultural Relics was established. In November 2015, the Tsinghua University Art Museum was completed. On March 9, 2016, the Beijing Municipal Bureau of Cultural Relics officially approved the filing of the Tsinghua University Art Museum. On April 24 of the same year, the Tsinghua University Art Museum held a completion ceremony.[6] In December 2021, the official website of the Tsinghua University Art Museum showed that the Tsinghua University Art Museum has a collection of 22,915 pieces.[8] On March 30, 2022, the Tsinghua University Art Museum was rated as the first batch of national science and education bases by the China Association for Science and Technology.

Zhao Dajun (1937-2023) was born in Hankou and his ancestral home is Shandong. In 1954, he studied at the Affiliated Middle School of Luxun Academy of Fine Arts. In 1958, he studied at the Oil Painting Department of Luxun Academy of Fine Arts. After graduating in 1962, he stayed on to teach at the academy. He was the chairman of the first faculty and staff congress of Lu Xun Academy of Fine Arts, deputy director of the academy's academic committee, deputy director of the oil painting department and director of the mural department's teaching and research section, and professor. He enjoys the State Council's special contribution allowance. Starting from the 1960s, Mr. Zhao Dajun began his painting practice which he called "my modernism". The career of this artist, whose life spanned several eras, was based on the collision with the surrounding artistic reality and China's realistic tradition since the second half of the 20th century. The creative method with a spirit of forced reflection that he adhered to throughout his life provides an important text for us to understand the formation path and historical driving force of Chinese realism. The exhibition is titled “Geometry”. Through this concept, which has both visual and ideological meanings, it attempts for the first time to outline the basic clues of the painting creation of this important pioneer in Chinese modern and contemporary art who is not yet fully recognized, and analyzes his work between the tension here and beyond here. Several sketches that have been hidden for decades and have never appeared in public exhibitions appear in this exhibition. Starting with two of these sketches, "Hercules" (1978) and "Portrait of Mr. Lu Xun" (1978), the exhibition will present two intertwined paths in Mr. Zhao Dajun's painting practice.

At the third floor of the Tsinghua University Art Museum, a special exhibition named 'Emergence—From Qi Baishi to Huang Yongyu' is being held. In this exhibition, visitors can appreciate numerous works on animal themes by Mr. Qi Baishi and Mr. Huang Yongyu, as well as works on animal themes by other famous artists. In 2024, it will be the 160th anniversary of Mr. Qi Baishi's birth and the 100th anniversary of Mr. Huang Yongyu's birth. Both artists are from Hunan, born sixty years apart. To commemorate and pay tribute to them, the Tsinghua University Art Museum has specially launched the grand exhibition 'Emergence—From Qi Baishi to Huang Yongyu.' 'Emergence' focuses on animal themes, aiming to capture the artistic images created by Mr. Qi Baishi and Mr. Huang Yongyu, and to honor their evergreen artistic lives and immortal artistic spirits. Therefore, the positioning of 'From Qi Baishi to Huang Yongyu' is not focused on the development history of art, nor on the research perspectives of art history, but is based on a commemorative theme selection. The exhibition hall mainly features the artworks of Mr. Qi Baishi and Mr. Huang Yongyu, gathering classic works from more than 20 ancient and modern masters such as Ren Bonian, Xu Gu, Wang Mengbai, Xu Beihong, Zhu Danian, and Wu Guanzhong. It also selects representative works from 15 contemporary artists including Pang Jun, Jin Yucheng, Wei Xiaoming, Xu Lei, Zhao Bandi, and Zhou Chunya. The museum's collection covers a wide range of fine arts including painting, sculpture, embroidery, ceramics, and metalwork. Exhibition location: Third floor of the Tsinghua University Art Museum Opening hours: 9:00—17:00 (Entry stops at 16:00) Closed on Mondays

A very distinctive exhibition on the fourth floor of the Tsinghua University Art Museum is worth a visit, which is the 'Adapting Forms to Function—The Tsinghua Collection of Furniture' exhibition. The history of the development of ancient Chinese furniture is very long. Seating and storage furniture appeared during the pre-Qin period, and lacquered wood furniture from the Han dynasty was already exquisite. Since the Northern and Southern Dynasties, tall furniture became popular with the 'sitting with feet down' lifestyle. After development during the Tang and Song periods, by the Ming and Qing dynasties, furniture craftsmanship became even more skilled and refined, with more scientific and reasonable structural designs. Chinese classical furniture entered its golden age, giving birth to the world-renowned 'Ming-style furniture'. Ming-style furniture refers to furniture from the Ming to the early Qing dynasty that has a unified style characteristic of the era. This style of furniture can be divided into six categories according to its function: seating, sleeping, supporting, storing, shelving, and screen furniture. In terms of materials, it includes hardwood, lacquered wood, and miscellaneous wood furniture used daily by common people. In terms of production areas, the main ones are Suzhou, Yangzhou, Beijing, Huizhou, Shanxi, etc., among which the hardwood furniture produced in the Jiangnan area centered on Suzhou is particularly representative. In the formation of Ming-style furniture style, scholars played an important role. As stated in 'The Record of Long Objects', 'Tables and couches have their measures, utensils have their forms, placements are fixed, valuing precision and convenience, simplicity and cutting, cleverness and naturalness', which represents their general requirements for furniture. In terms of materials, Ming-style furniture is often made of wood that is hard, with fine texture, and glossy color, fully utilizing the inherent grain and color of the wood. Structurally, Ming-style furniture mainly imitates early architectural woodwork, with a frame structure as the mainstay, and the connections between parts rely mainly on mortise and tenon, with very few nails used. In terms of dimensions, craftsmen could arrange the height, width, and breadth reasonably according to the purpose of the furniture, and many designs are even in line with modern ergonomics. The Ming-style furniture in the Tsinghua University Art Museum's collection comes from the old collection of the Central Academy of Arts and Crafts, which was purchased in the early 1950s under the care of the older generation of arts and crafts educators such as Zhang Ding, Pang Xunqin, Lei Kuiyuan, Chen Shuliang, and Xu Zhenpeng. Art educators such as Luo Wuyi, Hu Wenyen, and Chen Zengbi, who were older generation experts in Ming-style furniture research, used it for teaching and research, and it still remains a precious material for students to learn about classical furniture today. Currently, there are 41 sets of Ming-style furniture in the exhibition hall, mainly made of high-quality hardwoods such as huanghuali and zitan, among which the Ming ju wood low official's hat chair, Ming huanghuali square qin table, Ming huanghuali low qiaotou table, and huanghuali round chair are all rare masterpieces of Ming-style furniture. Exhibition location: Fourth floor of Tsinghua University Art Museum Opening hours: 9:00—17:00 Closed on Mondays

Weekend study tours are crowded, it is recommended to avoid the morning hours. Even with a museum ticket, you cannot enter the campus. Take the subway to Tsinghua East Road West Exit C. Enter through Tsinghua East Gate 4. The souvenir shop has nice items, worth a visit.

In the golden autumn of 2023, under the guidance of the National Cultural Heritage Administration and the People's Government of Shandong Province, and seizing the opportunity of strategic cooperation between the province and universities, Tsinghua University and the Shandong Provincial Department of Culture and Tourism co-hosted an unprecedented special exhibition at the Tsinghua University Art Museum titled 'The Rites Journey to the East: The Essence of Ancient Civilization in Shandong' - With nearly 400 sets of exquisite cultural relics as clues, the exhibition explores the origins, inheritance, and development of the Chinese concept of 'rites', uncovers ancient wisdom, interprets China to the world, and highlights the significant role of Shandong as the birthplace of 'Eastern Civilization' in the historical process of Chinese civilization development.

☑️"Song of the Road: Tie Yang Art Exhibition" September 10, 2023 - December 10, 2023 Third floor exhibition hall of Tsinghua University Art Museum Creating a strong rhythm of color with oil painting: sometimes it shows a texture, as if you can touch the life. ☑️"Frozen Rhythm: International Contemporary Ceramic Art Exhibition" July 12, 2023 - October 15, 2023 7th and 8th exhibition halls on the fourth floor of Tsinghua University Art Museum Ceramic artists regard the mud in their hands as a medium for self-expression, like using oil paint and ink, after being reforged by fire, they form artistic works with different styles and unique styles. ☑️"Boundless - Yan Zhenduo Art Exhibition" June 10, 2023 - October 15, 2023 First floor exhibition hall of Tsinghua University Art Museum The exhibition is themed "Boundless", presenting nearly seventy years of creative works, including ink, oil painting, rock color and other types, covering styles such as realism, expression, abstraction. Implement flow restriction appointment visit (tickets do not include entering the campus) Tuesday to Sunday 9:00-17:00 (stop entering the museum at 16:30) 🎫50

In the 1st century AD, Buddhist art originated in the South Asian subcontinent, incorporating elements from ancient Greek, Persian, and Central Asian civilizations. Buddhism spread along the northern and southern routes, spreading northward along the Silk Road to Afghanistan, Central Asia, Kashmir, western China, and the Central Plains. During the Northern and Southern Dynasties (420-589), Buddhist art underwent a transformation into a Chinese style and continued to influence the Korean Peninsula and Japan, forming an East Asian system of Buddhist statue style. The early Buddhist statues of the Northern Wei Dynasty (386-534) inevitably carried foreign characteristics, but by the 4th century, the facial features of the early Buddhist statues had begun to be sinicized. By the late Northern Wei Dynasty (the second half of the 5th century - the beginning of the 6th century), the Buddhist statues had been completely sinicized. In 534 AD, the Northern Wei Dynasty split into the Eastern Wei (534-550) and the Western Wei (535-556), which were later replaced by the Northern Qi (550-577) and the Northern Zhou (557-581). In 581 AD, the Sui Dynasty unified the north. The period from the late Northern Wei to the early Sui was a time of extreme social turmoil. The rulers, for the sake of governance, and the people, for the sake of spiritual comfort, was also a period of great prosperity for Buddhism and Buddhist statue art. The Buddhist statues found in several areas of Shandong are unique in the history of ancient Chinese art, especially the artistic achievements of hundreds of statues found in the Longxing Temple in Qingzhou, most of which have charming smiles. According to the records of Zhang Yanyuan's 'Famous Paintings of the Past Dynasties', Cao Zhongda, who was known as 'the most skilled in the Northern Qi', came from the Western Regions. His painted Buddhist statues were 'unrivaled in his time', forming the artistic style of the 'Cao family style', which was on par with the 'Wu family style' of Wu Daozi in the Tang Dynasty. Its characteristic is the 'Cao's clothes coming out of the water' shown in the Buddhist statues unearthed from the Longxing Temple in Qingzhou - the various parts of the body of the Buddhist statue (head, shoulders, torso, arms and legs) become organic, interconnected muscular structures, standing freely, with the chest, waist, and buttocks forming a subtle 'reverse posture', and clear, natural clothing lines, as if coming out of the water. This artistic achievement clearly reflects the development of the technique of three-dimensional objects in northern Buddhist art from the late Northern and Southern Dynasties to the Sui and Tang Dynasties, and lays a solid foundation for the development of future modeling art. The Buddhist statue art of the Northern Dynasty to the Sui and Tang Dynasties in Shandong also influenced the Korean Peninsula across the sea, and indirectly influenced the 'official spread' of Buddhism to Japan through the Korean Peninsula in the 6th century. The exhibits in this unit mainly include representative Buddhist statues from the Northern Dynasty to the Sui and Tang Dynasties unearthed from the Longxing Temple in Qingzhou and the Longhua Temple in Boxing, as well as sporadically discovered Buddhist statues from other regions, and some religious artifacts and secular statues.

The Buddhist statues of the early Northern Wei Dynasty (386-534) inevitably carried foreign characteristics, but in the 4th century, the facial features of the early Buddha statues began to be sinicized. By the late Northern Wei Dynasty (the second half of the 5th century-the beginning of the 6th century), the Buddhist statues had been completely sinicized with refined bones and wide belts. In 534 AD, the Northern Wei Dynasty split into the Eastern Wei (534-550) and the Western Wei (535-556), which were later replaced by the Northern Qi (550-577) and the Northern Zhou (557-581). In 581 AD, the Sui Dynasty unified the north. From the late Northern Wei Dynasty to the early Sui Dynasty, it was a time of extreme social turmoil. The rulers, out of the need for governance, and the public, out of the need for spiritual comfort, was also a period of great prosperity of Buddhism and Buddhist statue art. The Buddhist statues found in many areas of Shandong have a unique place in the history of ancient Chinese art. Among them, the artistic achievements of hundreds of Buddha statues with charming smiles found in the cellar of Longxing Temple in Qingzhou are the best.