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“紫禁城与凡尔赛宫”展览开幕
故宫博物院与法国文化机构签署合作协议
2024-04-01

2024年4月1日下午，“紫禁城与凡尔赛宫——17、18世纪的中法交往”展览开幕式在文华殿举行。该展览由故宫博物院和凡尔赛宫殿﹑博物馆及国家园林公共机构（以下简称凡尔赛宫）联合主办，中国建设银行、龙湖集团、卡地亚品牌鼎力支持。

2023年4月，习近平主席和来华访问的法国总统马克龙共同宣布于2024年两国建交60周年之际共同举办中法文化旅游年。作为中法文化旅游年的重要项目，“紫禁城与凡尔赛宫——17、18世纪的中法交往”展览以中法两国外交、文化和艺术交流为主题，通过故宫博物院、凡尔赛宫以及其他收藏机构的约200件文物精品，展现百年间双方彼此尊重、相互欣赏的政治交往史，彼此借鉴、相互学习的文化交流史。此次展览于4月1日至6月30日在故宫博物院文华殿展厅对公众开放。

同时，在法国驻华大使馆提议下，2024年中法文化之春开幕式同步启幕。“中法文化之春”创立于2006年，旨在推动中法两国艺术机构和艺术家之间交流对话，展现中法文化艺术的创新与活力，增进两国民众对彼此文化的了解和友谊。经过18年的发展，该艺术节已成为中法文化交流的重要平台。“紫禁城与凡尔赛宫”展的开幕标志着中法文化之春在北京正式启动。

开幕式上，凡尔赛宫皇家歌剧院管弦乐团与中央民族乐团联袂演出。凡尔赛宫皇家歌剧院管弦乐团是常驻凡尔赛宫的官方乐团，每年在凡尔赛宫举办数百场音乐会与各种音乐文艺活动，为到访法国的各国王室、外宾与重要领导人进行演奏。中央民族乐团是文化和旅游部直属的国家级音乐表演团体，拥有国内外规模最大、民族乐器最完备的民族管弦乐队和全国唯一的职业民族合唱队。凡尔赛宫皇家歌剧院管弦乐团演出曲目为《凡尔赛宫廷歌剧选段联唱》以及维瓦尔第《四季》组曲选段。法方演出完毕后，中央民族乐团团长赵聪上台，与法方打击乐手合奏《玫瑰印象》。最后，由中央民族乐团演奏《北京印象》。双方乐团呈现了精彩的听觉盛宴，共同用音乐艺术促进两国之间的文化交流。

开幕式前，在故宫箭亭书店举办了展览新闻发布会。文化和旅游部党组成员、故宫博物院院长王旭东，凡尔赛宫殿、博物馆及国家园林公共机构主席克里斯托弗·勒里博，吉美国立亚洲艺术博物馆馆长雅妮克·林茨，中国建设银行副行长李运，龙湖集团高级副总裁宋垚，卡地亚品牌形象、风格及传承总监皮埃尔•雷诺出席并致辞。

此次展览开幕也是故宫博物院与法国机构交流合作的新开端。开幕式期间，故宫博物院与法国凡尔赛宫和吉美国立亚洲艺术博物馆签署了战略合作协议。新闻发布会过程中，故宫博物院与卡地亚也签署了合作协议。故宫博物院与上述三家机构均有着良好的合作关系及广阔的合作前景，通过此次签约，共同确认了未来继续推动交流与合作的意向。

2004年和2005年，凡尔赛宫和故宫博物院先后合作举办“康熙大帝展”和“太阳王路易十四——法国凡尔赛宫珍品特展”。2014年中法建交50周年之际，凡尔赛宫举办“中国在凡尔赛：18世纪的艺术与外交”展览。这些展览都取得很大的社会影响，为双方更深入的交流奠定了良好基础。

展览共分三个单元。

第一单元“龙与百合花的相遇”。龙是中国人独特的文化创造和精神标识，百合花是法国王室的标志，龙与百合花的相遇源于1688年。这一年，法王路易十四派遣的国王数学家到达北京，得到康熙皇帝的接见，正式开启了中法间的政治交往和文化交流。中法之间的交往呈现出两国宫廷始终高度关注积极推进、以科学和艺术交流为主旨、以服务清宫的耶稣会士为沟通桥梁的特点。中国古代文化经典与历史著作的西传，促成了法国近代汉学的诞生。

第二单元“紫禁城中的法国风景”，分为“礼品和定制”“交汇与新创”两个章节。清代宫廷收藏中，来自法国的物品种类丰富，或来自两国交往的礼品，或来自传教士的贡献，或来自两国之间的贸易。同时，随着中法交往的不断深入，不乏清宫向法国定制物品的情形。清宫内有诸多受到法国技艺影响或带有法国文化印记的器物，中法两国深厚而精致的文化在紫禁城内密切互动，激发出丰富的想象力和新创意。

第三单元“凡尔赛宫的中国时尚”，分为“收藏和改造”“模仿与灵感”两个章节。随着中西交往的深入，大量中国物品输送欧洲市场，诸多法国王室成员和政要成为中国艺术品的收藏家。同时，法国对从中国进口的物品进行装饰和改造，以适应自身的审美需求。中国文化深刻影响着法国的艺术风尚，对中国瓷器的仿制是法国“中国风艺术”的重要组成部分。中国成为了法国艺术家和知识精英获取创作灵感的源泉，后者在诸多领域大量汲取中国元素。

17世纪下半叶至18世纪是中法宫廷间交往和文化交流的黄金时代，这一时期是法国王室及其宫廷对中国文化兴趣最为浓厚的时期。大量中国工艺品和书籍进入法国宫廷和贵族的收藏视野，引发了以凡尔赛宫为中心波及欧洲的“中国风艺术”创作风潮。法国宫廷保存了大量来自中国的物品以及法国本土创作的中国风艺术作品，成为了解此一时期中法关系和艺术交流的重要物证。同时，在远隔万里之外的中国宫廷，自路易十四派出“国王数学家”来华以后，大量法国耶稣会士东来，很多法国人长期在此服务，他们对清代宫廷在科学、艺术、建筑、医学、地图编绘等诸多领域产生了重要影响，这种状况一直持续到乾隆末年。

本展览将追寻17世纪下半叶至18世纪一百多年间，中法往来交互的历史印迹。中国和法国虽远隔千山万水，在历史上却进行过持续不断的理解对方的尝试和文化交流的实践。他们彼此间的吸引，相互间的兴趣，一直深藏于历史记忆之中，令人回味无穷，成就了一段世界文明发展史上交流互鉴的佳话。

新闻报道：凡尔赛宫“遇见”紫禁城——一场双向奔赴的文明交融盛举

新华社北京/巴黎4月2日电 特稿｜凡尔赛宫“遇见”紫禁城——一场双向奔赴的文明交融盛举

新华社记者彭梦瑶　崔可欣　张百慧

东风送暖，春回京城。古老的故宫文华殿内，一件件瓷器、一幅幅画作被小心翼翼地从层层包裹中取出，“唤醒”两三百年前中国与法国文化交往的历史记忆。

4月1日，观众参观展览。新华社记者金良快摄

在中法建交60周年之际，《紫禁城与凡尔赛宫——17、18世纪的中法交往》展览于4月至6月在故宫博物院举办。展览精选约200件展品，多数收藏于凡尔赛宫和故宫博物院，涵盖瓷器、绘画、书籍等多种类型。

东风西渐　风靡法国

1688年，同样在春季，法国国王路易十四派遣的传教士使团在紫禁城乾清宫大殿觐见康熙帝。

在当时的欧洲，马可·波罗笔下繁荣富强的神秘东方大国形象历经几世纪传播已深入人心。伴随着航海大发现开辟商贸航线，更多来自中国的商品以其独特工艺和异域风情引起欧洲人的浓厚兴趣。“中国风”工艺品成为法国上层社会竞相追捧的珍品，不论在凡尔赛宫，还是在王公贵族的庄园、城堡，无不以收藏中国艺术品、模仿中式风格为风尚。

凡尔赛宫文物部负责人、此次展览的法方策展人玛丽－洛尔·德罗什布吕讷介绍，当时法国追逐“中国风”主要体现在四个方面：一是进口、收藏大量中国工艺品；二是对中国工艺品进行“法式改造”，比如给瓷器镶嵌底座，把漆器屏风上的部件拆下来加装到西式家具上，以更好适应法国人的需求；三是模仿、学习中国的制瓷等工艺；四是法国艺术源源不断受到中国艺术潜移默化的影响，这一特点在装饰艺术中尤为明显。

此次展览中，许多展品体现出这样“东风西渐”的特点。比如，法国路易十六王后收藏的一组三只白色蛋形“中国风”瓷瓶，由法国塞夫尔御用瓷厂借鉴中国制瓷经验制造，法国画师在瓶身上描绘出中国人饮茶等日常生活场景并以铜鎏金装饰，“中西合璧”得到完美诠释。

中西交流　影响久远

当时法国社会对中国的兴趣还不止于精美的工艺品。早在1684年，中国人沈福宗在凡尔赛宫受法国国王路易十四召见，介绍中国风俗习惯、名人历史，并进献书籍译本、展示汉字书法。路易十四赞叹不已，对中国的兴趣大增。

这一时期，《中国杂纂》《中国近事报道》《中华帝国全志》等多部由法国人编撰的著作陆续问世，从历史、地理、科学、文化等方面介绍中国，西方人得以在那个交通不便的年代增加了对中国的了解。

法国汉学家雷米·马修说，受中国科举制度启发，法国改革了精英选拔制度，其影响一直延续至今。

故宫博物院研究馆员、此次展览的中方策展人郭福祥说，除了物与人的流动，信息传播在文化交流中也占有重要地位。有关中国的信息向法国传播，使得中国文化对法国乃至欧洲社会产生了一定影响，如法国启蒙思想家伏尔泰就曾深受孔子思想的影响。

“文化交流是双向的，是互相学习与交往，这在中法交往历史上表现得非常突出。”郭福祥说。

这一时期，中国也从法国得到诸多启发。科学方面，法国传教士带来西方科学仪器以及数学、地理、天文、医学等知识，这些仪器和清宫造办处仿制的器具至今保存在故宫博物院。艺术方面，故宫收藏的一些中国珐琅作品隐约看到法国珐琅的影响，清朝玻璃生产技术的改良也有法国人参与推动；清朝皇帝也对西方美术技艺深感赞叹，乾隆帝就曾向法国订购多幅“中国皇帝征战版画”，其中一部分现仍保存在故宫。

一些法国传教士留下来成了皇家医生、画师、建筑师、科学家；康熙帝曾委派法国传教士率团回访法国。

文明互鉴　再创辉煌

在此次琳琅满目的珍贵展品中，郭福祥特别看重一只由故宫博物院收藏的17世纪法国制怀表。这只表的表盘正中是法国王室标记，表壳背面是路易十四头像，怀表内部雕刻了一条栩栩如生、象征中国皇帝的五爪行龙，被认为是路易十四送给康熙帝的礼物。“这特别能说明路易十四想跟中国建立良好关系、进行深入交流的殷切心情。”

回顾17、18世纪中法交流史，德罗什布吕讷亦有同感。她说，法中双方“彼此欣赏、互相好奇”，“在当时，没有任何一个其他国家与中国有着如此特殊的关系。双方都希望加强交流、增进了解。”

时间来到现代，60年前，中法领导人以非凡的智慧和勇气，打开中西方交往合作的大门；60年来，中法携手合作，成果丰硕。两国不断增强对彼此的了解与信任，不仅在经贸领域实现互利共赢，更在思想、人文等领域深入交流、产生共鸣。

“历史是最好的老师。当我们回顾历史，能从中获得很多教益。在此次办展过程中，我们深深感到交流需要相互尊重、彼此借鉴，相互吸引、彼此学习。”郭福祥说。

文明因交流而多彩，文明因互鉴而丰富。面向下一个60年，中法携手合作，必将再创辉煌。

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## Translation by Phi-3-medium-28k:

The "Forbidden City and Versailles Palace" exhibition opens
The Palace Museum (formerly the Forbidden City) and French cultural institutions sign a cooperation agreement
April 1, 2024

On April 1, 2024, in the afternoon, the opening ceremony of the "Forbidden City and Versailles Palace - Interactions between China and France during the 17th and 18th centuries" exhibition was held at Wenhua Hall (also known as the Forbidden City). The exhibition is co-hosted by the Palace Museum, the Versailles Palace, Museum & National Public Gardens Institutions of France (hereafter referred to as the Versailles Palace), and supported in a big way by China Development Bank, Long Lake Group, and Cartier brand.

In April 2023, President Xi Jinping and visiting French President Macron jointly announced that they would hold the Chinese-French Cultural Tourism Year on the occasion of the 60th anniversary of diplomatic relations between the two countries in 2024. As a major part of the Chinese-French Cultural Tourism Year, this exhibition "Forbidden City and Versailles Palace - Interactions between China and France during the 17th and 18th centuries" presents the political interactions of mutual respect and appreciation between the two countries over the past century through around 200 exquisite items from the collections of the Palace Museum, the Versailles Palace, and other institutions. The exhibition is open to the public at Wenhua Hall (also known as the Forbidden City) from April 1st to June 30th.

At the same time, following a proposal by the French Embassy in China, the opening ceremony of "China-France Cultural Spring" is synchronized with this exhibition. "China-France Cultural Spring," established in 2006, aims to promote cultural exchange and dialogue between art institutions and artists from both countries, showcasing the innovation and vitality of Chinese-French arts. After 18 years of development, it has become an important platform for Sino-French cultural exchanges. The opening of "Forbidden City and Versailles Palace" marks the official launch of "China-France Cultural Spring" in Beijing.At the opening ceremony, the Royal Opera Orchestra of Versailles Palace and the Central Nationalities Music Ensemble performed together. The Royal Opera Orchestra is the official orchestra permanently stationed at the palace, holding numerous concerts and various musical art events annually for visiting royal families, foreign dignitaries, and other important leaders from around the world. The Central Nationalities Music Ensemble, under the direct supervision of the Ministry of Culture and Tourism, is a national-level performing arts troupe with the largest scale and most complete set of ethnic instruments in China as well as the only professional ethnic chorus in the country. The Royal Opera Orchestra performed pieces such as 'The Court Opera Aria' and sections from Vivaldi's 'Four Seasons'. After the French performance, Zhao Shu of the Central Nationalities Music Ensemble took to the stage and performed 'Rose Impression' with the percussionists from France. The ensemble then concluded with a rendition of 'Beijing Impression.' Both orchestras presented an impressive musical banquet and used music art to promote cultural exchange between the two countries.

Before the opening ceremony, there was a press conference for the exhibition at the Arrow Pavilion Bookstore in the Forbidden City. The Party member of the Ministry of Culture and Tourism, Wang Xu Dong; President of Versailles Palace Museum, Christopher Le Roux; Director of the Asian Art Museum of France, Janice Linz; Deputy General Manager of China Construction Bank, Li Yun; Senior Vice President of Long Lake Group, Song Miao; and Creative Director of Cartier's Brand Heritage & Legacy, Pierre Renault attended and delivered speeches.

The opening of the exhibition also marked a new beginning for cooperation between the Palace Museum in Beijing and French institutions. During the ceremony, the Palace Museum signed strategic cooperation agreements with Versailles Palace and the Asian Art Museum of France. At the press conference, the Palace Museum also signed an agreement with Cartier. All three organizations have established good working relationships and broad prospects for collaboration; through these agreements, they confirmed their mutual intention to continue promoting exchange and cooperation in the future.In 2004 and 2005, the Versailles Palace and Forbidden City Museum collaborated on exhibitions titled "Kangxi Emperor Exhibition" and "Sun King Louis XIV - The Treasures of Versailles." On the occasion of the 50th anniversary of Sino-French relations in 2014, the Versailles Palace presented an exhibition called "China in Versailles: Art and Diplomacy of the Eighteenth Century," which had a significant social impact and laid a solid foundation for deeper exchanges between both sides.

The exhibition is divided into three units.

Firstly, "Encounter Between Dragon and Lily" highlights dragons as unique cultural creations and spiritual symbols in Chinese culture, while lilies are emblems of the French monarchy. Their meeting dates back to 1688 when Louis XIV dispatched a group of mathematicians to Beijing for an audience with Emperor Kangxi, marking the start of political exchanges and cultural interactions between China and France. The ongoing interaction between the two courts was characterized by mutual admiration and fascination, active promotion, and scientific and artistic exchanges facilitated by Jesuit missionaries serving at the Qing court. Chinese classical literature and historical works were introduced to Europe through these exchanges, leading to the birth of modern Sinology in France.

Secondly, "French Scenes in the Forbidden City" is divided into two sections: "Gifts and Custom Orders," and "Intersections and Innovations." The Qing palace collections included a variety of items from France, either as gifts exchanged between nations or contributions by missionaries. There was also evidence of custom-made products for the French in the Forbidden City due to deepening Sino-French interactions. Many objects within the Forbidden City were influenced by French craftsmanship and bore marks of French culture, reflecting a rich interplay between Chinese and French cultures during this period.

Thirdly, "Chinese Fashion at Versailles" is divided into two sections: "Collection and Adaptation," and "Imitation and Inspiration." As Sino-French interactions deepened, numerous Chinese items were introduced to the European market, with many French royalty and officials becoming collectors of Chinese art. France also adapted imported goods from China to meet its aesthetic needs. The profound influence of Chinese culture on French arts is evident in the imitation of Chinese ceramics, which is an essential element of "Chinoiserie" (a style inspired by Chinese art) in France. China became a source of inspiration for French artists and intellectuals across various fields.

The expert translations suggest improvements to enhance accuracy, fluency, style, terminology, idiomatic expressions, cultural context, consistency, grammar and punctuation, clarity, and contextual information. The revised translation addresses these suggestions by refining phrasing for natural English expression, ensuring consistent use of terms, breaking up long sentences for readability, providing brief explanations of historical figures, and maintaining the formal tone of the source text while making it more accessible to an English-speaking audience.The period from the second half of the 17th century to the 18th century was a golden era for Sino-French courtly exchange. This epoch marked when French royalty, particularly at Versailles Palace, showed profound interest in Chinese culture. A multitude of Chinese artworks and books entered the collection of French nobility, sparking an "Chinoiserie" movement centered on Versailles that spread throughout Europe. The palace preserved a large number of items from China as well as works created with a Chinese influence, serving as important evidence of cultural exchange during this period. Meanwhile, at the distant Forbidden City in China, many French Jesuits served for centuries after Louis XIV sent "the king's mathematicians" to Beijing, and their contributions significantly impacted various fields such as science, art, architecture, medicine, and cartography until Emperor Qianlong's reign.

The exhibition will explore the historical footprint of cultural exchanges between China and France from 1650 to 1800. Despite being separated by thousands of miles, China and France have engaged in continuous efforts to understand each other throughout history. Their mutual attraction and interest are deeply embedded in historical memory, creating a rich narrative for the development of world civilization through cultural exchange and mutual learning.

News report: Versailles Palace "meets" Forbidden City - A grand display of intercultural fusion

New China News Agency Beijing/Paris April 2nd dispatch Special Feature

On the occasion of the Sino-French diplomatic anniversary, the exhibition "Forbidden City and Versailles Palace: Cultural Exchange in the 17th and 18th Centuries" will be held at the Palace Museum from April to June. The exhibition features around 200 items selected from collections of both the Forbidden City and the Louvre, covering various types such as ceramics, paintings, and books.

With the East's influence spreading westward, Chinoiserie became fashionable in France.

The translation has been revised to improve accuracy by correcting any mistranslations or omissions, enhance fluency with proper English grammar, spelling, and punctuation rules while avoiding repetitions, maintain the style of the source text, ensure consistent use of terminology appropriate for the context, and address other potential errors.In 1688, during the spring season, a delegation sent by King Louis XIV of France met with Emperor Kangxi in the Forbidden City. At that time in Europe, Marco Polo's portrayal of China as a flourishing and formidable enigmatic Eastern empire had been deeply ingrained in people's minds for centuries. Accompanying the age of great sea voyages that opened up trade routes, there was an increasing European fascination with Chinese goods known for their unique craftsmanship and exotic appeal. "Chinoiserie" artworks became coveted items among France's elite society, whether in the Palace of Versailles or the estates and castles of nobility, where collecting Chinese art pieces and imitating Chinese styles was fashionable.

The curator from the Museum of Fine Arts at Versailles, who is also the French co-curator for this exhibition, Marie-Laure de Rochebrune, explains that France's pursuit of "Chinoiserie" during that period manifested in four main ways: firstly, importing and collecting a large number of Chinese artworks; secondly, modifying Chinese works to suit French tastes, such as adding bases to porcelain items or incorporating parts from screen panels into Western furniture; thirdly, imitating and learning Chinese techniques like porcelain making; and fourthly, the continuous influence of Chinese art on French decorative arts, which is particularly evident in this field.

Many exhibits at this exhibition embody these "Chinoiserie" characteristics. For example, a set of three egg-shaped white "Chinoiserie" porcelain vases collected by Queen Marie Antoinette were made by the Sevres Porcelain Factory using Chinese techniques and decorated with scenes of daily life in China, such as tea drinking, achieving a perfect blend of Eastern and Western elements.

Cultural exchange had long-lasting impacts. At that time, French society's interest extended beyond exquisite craftsmanship. As early as 1684, the Chinese scholar Shen Fuzong was summoned to Versailles by King Louis XIV and introduced Chinese customs and historical figures, presenting translated books and showcasing calligraphy. The king greatly admired China's culture, which led to a surge in interest among the French people.

During this period, several works of art collected at Versailles showed subtle influences from Chinese porcelain. In addition, improvements in glassmaking techniques during the Qing Dynasty involved contributions from foreigners, including those from France. The Qing emperors were also deeply impressed by Western artistic methods; Emperor Qianlong even commissioned several "China Emperor's Campaign" paintings from France, some of which are still preserved at Versailles today.

Some French missionaries stayed on to become royal physicians, artists, architects, and scientists. Emperor Kangxi had sent a group of Jesuits back to visit France.

Cultural exchange is reciprocal; it requires mutual respect, learning from each other, being drawn to one another, and inspiring each other's creativity. This was particularly evident in the history of Sino-French relations.

Looking at this rich collection of artifacts, Gu Fuxiang, a researcher at the Palace Museum, highlighted a 17th-century French pocket watch kept by the Palace Museum as an example. The watch's dial bears the emblem of the French royal family and features a carved five-clawed dragon on its reverse side, believed to have been gifted by King Louis XIV to Emperor Kangxi. "This particularly reflects King Louis XIV's earnest desire to establish good relations with China and engage in deep cultural exchange."

Reflecting on the history of Sino-French exchanges during the 17th and 18th centuries, Rochebrune also expressed a similar sentiment. She said that both sides "respected each other's interests" and were eager to strengthen their understanding. At that time, no other country had such a unique relationship with China as France did. Both parties wished to enhance exchanges and deepen mutual comprehension.

Looking ahead to the next 60 years, France and China working together will undoubtedly achieve further glories.

The historical lessons learned during this exhibitionRemi Mauduyt (Rémi Mauduit), a French scholar, stated that France reformed its elite selection process inspired by China's civil service examination system; this influence continues to be felt today.

The curator from the Palace Museum Research Institute and the main exhibition organizer of this event, Guo Fuhao, said that besides the movement of people and objects, information dissemination plays an important role in cultural exchange. Information about China being transmitted to France has had a certain impact on Chinese culture within French society and Europe as a whole; for instance, the Enlightenment philosopher Voltaire was deeply influenced by Confucian thought.

"Cultural exchange is bidirectional, involving mutual learning and interaction," Guo Fuhao said.

During this period, China also gained many inspirations from France. In terms of science, French missionaries brought Western scientific instruments as well as knowledge in mathematics, geography, astronomy, and medicine; these instruments and devices replicated by the Palace's workshop are still preserved at the Palace Museum today. Artistically, some Chinese cloisonné works subtly show the influence of French cloisonné; improvements to glass production techniques during the Qing Dynasty were also influenced by French involvement; Emperor Qianlong admired Western artistic skills and even ordered several "China Emperors in Campaign" paintings from France, some of which are still preserved at the Palace Museum.

Some French missionaries stayed on to become royal physicians, artists, architects, and scientists; Emperor Kangxi once sent a delegation of French missionaries back to France for further study.

Cultural exchange leads to mutual enrichment; as Guo Fuhao said, "In this exhibition featuring precious artifacts, I particularly value an 17th-century watch from the Palace Museum collection that has been repaired by French craftsmanship." The presence of a five-clawed dragon carved inside the pocket watch, which is believed to be Louis XIV's present to Emperor Kangxi, "speaks volumes about his earnest desire to establish good relations and engage in deep exchanges with China."

Reflecting on 17th and 18th-century Sino-French exchange history, Duroch Brunet also shared the sentiment. She said that France and China "mutually appreciated each other's curiosity" at a time when no other country had such special relations with China. Both sides wished to strengthen their exchanges and understanding.

Cultural exchange leads to mutual enrichment; as Guo Fuhao said, "In this exhibition featuring precious artifacts, I particularly value an 17th-century watch from the Palace Museum collection that has been repaired by French craftsmanship." The presence of a five-clawed dragon carved inside the pocket watch, which is believed to be Louis XIV's present to Emperor Kangxi, "speaks volumes about his earnest desire to establish good relations and engage in deep exchanges with China."

Looking forward to the next 60 years, China and France working together will continue to shine.Time has come to the modern era; 60 years ago, Chinese and French leaders with extraordinary wisdom and courage opened the door for cross-cultural cooperation between East and West. Over the past 60 years, China and France have worked hand in hand, achieving remarkable results. The two countries have been continuously deepening mutual understanding and trust, not only reaping benefits in trade but also engaging deeply in exchanges of ideas and culture.

"History is the best teacher. When we review history, we can learn a lot from it. During this exhibition process, we profoundly felt that cooperation requires mutual respect, learning from each other, being attracted to each other, and learning from each other." Gu Fuxiang said.

Cultures become more colorful through exchange, cultures enrich themselves through reciprocal appreciation. Looking forward to the next 60 years, China and France working together will surely create new glories.