The Forbidden City and The Palace of Versailles: China-France Cultural Encounters in the Seventeenth and Eighteenth Centuries

EVENT DESCRIPTION

To celebrate the 60th anniversary of the establishment of diplomatic relations between China and France, as well as the China-France Year of Cultural Tourism, the Hong Kong Palace Museum is delighted to present the new special exhibition The Forbidden City and The Palace of Versailles: China-France Cultural Encounters in the Seventeenth and Eighteenth Centuries between 18 December 2024 and 4 May 2025. Co-organised by the Hong Kong Palace Museum, the Palace Museum, and the Palace of Versailles, the exhibition presents nearly 150 treasures from the Palace Museum and the Palace of Versailles, highlighting the rich history of mutual respect, inspiration, and exchanges in the realms of culture, arts, science, and more between the Forbidden City and Versailles — two distinguished World Heritage Sites — during the latter half of the 17th century and throughout the 18th century. This remarkable collection of artefacts showcases their enduring friendship and a long legacy of admiration.

The 17th and 18th centuries are historically regarded as the glory days for both Chinese and French courts. During the Kangxi (1662–1722), Yongzheng (1723–1735), and Qianlong (1736–1795) periods, the Qing dynasty experienced extraordinary economic and cultural prosperity, which opened new avenues for foreign trade. Simultaneously, Louis XIV’s reign (1643–1715) elevated the French Bourbon dynasty to unprecedented heights during this great period. Despite the vast geographical distance between the two imperial palaces and the fact that the rulers of the two nations never met, the royal courts held immense curiosity for one another. The French court had a deep interest in Chinese culture and art. Louis XIV championed the trend of Chinese blue and white porcelain, which was popular in Europe at the time, and even constructed a “Porcelain Palace” in the garden of the Palace of Versailles. Marie Leszczyńska, the queen of Louis XV (r. 1715-1774), was fond of Chinese art and transformed her private suite into the “Chinese Chamber”. Louis XVI (r. 1774-1792) and his queen, Marie Antoinette, also shared a passion for China. Notably, Louis XVI commissioned a porcelain plaque of the Qianlong emperor’s portrait from the Sèvres Manufactory to display in his study room at Versailles. Furthermore, an influx of Chinese crafts and literature into the French court and the collections of nobles gave rise to a taste for China, a new artistic style inspired by the French taste for Chinese items that centred around the Palace of Versailles and later captivated Europe. Since Louis XIV dispatched six Jesuit missionaries as “King’s Mathematicians” to China, many French Jesuits served in the Qing court for extended periods. Their presence significantly influenced the Qing court in areas such as science, art, architecture, medicine, and cartography. The Sino-French exchanges stand as an astonishing testament to the profound mutual respect and appreciation that characterise the relationship shared by these two nations.

Nearly 150 extraordinary objects and masterpieces including 9 first-grade national treasures from China, and the finest collections of the Palace of Versailles, with an immersive multimedia display recreating Louis XIV’s handwritten letter to the Kangxi emperor

The exhibition, divided into four sections, will delve into key figures, spaces, and cultural dynamics, scientific and diplomatic exchanges, craftsmanship and innovation, and the exchange of arts and ideas between the Forbidden City and Versailles — two distinguished World Heritage Sites. It showcases nearly 150 treasures from the Palace Museum and the Palace of Versailles, marking the first time artefacts from the two palaces are showcased together in Hong Kong. Among the exhibits are nine first-grade national treasures from the Palace Museum, invaluable collections and new acquisitions from the Palace of Versailles in France, and loans from local museums including the Hong Kong Maritime Museum and The Chinese University of Hong Kong Library.

The exhibition presents an array of artefacts from the two museums, spanning from large imperial portraits and exquisite crafts such as porcelain, glass, enamel, and textiles to books, scientific instruments, medical products, highlighting the little-known stories of the two courts. One of the highlighted objects is the Chrysanthemum Pot (1783) from the Palace Museum. Initially believed to be an enamelware of Qianlong’s court made in Guangdong due to its distinctly Chinese design, a recent examination revealed a signature “coteau” on the bottom of the pot, indicating that it was crafted by the renowned French enameller. This discovery uncovers an intriguing chapter in the exchange of artistic craftsmanship between China and France.

Another notable exhibit is the Silver Jug (about 1680), recently acquired by the Palace of Versailles. This exquisite piece, crafted in Guangdong, China, for the overseas market, was presented as a gift to Louis XIV by a Siamese (now Thailand) envoy. The silver jug holds tremendous value as a well-preserved example of gold and silver craftsmanship from that period. Such precious objects illustrate that China and France not only imported and collected each other’s treasures, but their artisans also engaged in mutual learning and aesthetic exchange for over 300 years. This cross-cultural dialogue sparked new ideas, fostered innovative artistic forms, and advanced the development of craftsmanship in both nations.

In addition, the exhibition features a multimedia installation that vividly recreates a handwritten letter from Louis XIV to the Kangxi emperor in 1688. Written in Old French, the letter praises the Kangxi emperor and expresses Louis XIV’s desire to send Jesuit missionaries and introduce him to advancements in astronomy. At the end of the letter, it is signed affectionately – “Your most Dear, and Good Friend, Louis.” Although the letter never reached the Kangxi emperor, the Jesuit missionaries dispatched by Louis XIV had arrived in China, at that time, which signifies the official beginning of many subsequent exchanges between the courts of China and France.

In the final section of the exhibition, visitors will encounter a dedicated learning space featuring interactive and self-learning activities. Here, they will be invited to explore art influenced by the Sino-French exchange of the 17th and 18th centuries, uncovering narratives of cultural interchange, mutual enlightenment, and innovation between the two courts. Complementing these experiences are a range of educational offerings such as public lectures, interactive theatre activities, workshops, and guided docent tours. Details of the activities will be provided in due course. Additionally, the Museum is planning to host a scholarly workshop in the second quarter of next year, where experts will delve into the latest research surrounding the Sino-French cultural exchange of that era.