The History of Art in the Forbidden City is a history of Chinese art linked by the cultural relics collected in the Forbidden City Museum. In other words, the cultural relics collected in the Forbidden City Museum itself constitute a grand, vast and visible history of Chinese art. The Palace Museum has a total collection of more than 1.86 million pieces (sets) of cultural relics. These movable cultural relics, including ceramics, jade, bronze, tablet, calligraphy, painting, treasures, lacquerware, enamel, sculpture, inscription, furniture, ancient books, stationery, imperial seals, watches and instruments, military guards of honor, religious relics, etc., fall into 25 categories and 69 items (excluding architecture). Among the precious cultural relics (Class I, II and III) collected by the national state-owned cultural and museum institutions, the precious cultural relics collected by the Palace Museum account for about 41.98%. The cultural relics of the Palace Museum are in an inverted pyramid structure, with the largest number of Class I cultural relics, followed by Class II cultural relics and Class III cultural relics. So some people say that almost every cultural relic in the Forbidden City is a national treasure, which is not an exaggeration, because every cultural relic is irreplaceable. From the perspective of time, the cultural relics collected in the Palace Museum up to the Neolithic Age have spanned the ancient dynasties of China, including Xia, Shang, Zhou, Qin, Han, Three Kingdoms, Jin, Northern and Southern Dynasties, Sui, Tang, Five Dynasties, Song, Liao, Xixia, Jin, Yuan, Ming and Qing, and have gone through the history of the 20th century. The Forbidden City is the imperial palace of the Ming and Qing dynasties, but the collection of the Palace Museum is not just the Ming and Qing dynasties, but covers nearly 8000 years of history since the Neolithic Age. Especially when we face the painted pottery and jade of the Neolithic Age, not only "a glance at a thousand years", but even a glance over nearly ten thousand years, it is no wonder that Mr. Zheng Xinmiao, the fifth president of the Palace Museum, said: "The Palace Museum is a condensed 8000 year history of Chinese civilization." The time scale experienced by these cultural relics is beyond our imagination; Behind every cultural relic in front of us is a rich legend. Whether horizontally or vertically, the cultural relics in the Forbidden City have built a grand system of Chinese civilization, and become the material evidence of the endless growth of Chinese civilization. We think that life is as beautiful as summer flowers and death is as beautiful as autumn leaves. In fact, in front of them, we are fungi that live and die day after day. We do not know the night and dawn, we are cicadas that live and die in spring and summer or in summer and autumn, and we do not know spring and autumn ("The morning fungi do not know the obscure, and the cricket does not know spring and autumn"). Fortunately, the presence of cultural relics has broadened our horizons and broadened our horizons, making us aware of our own insignificance, like a drop in the ocean. It also enables us to look up at the universe, observe the prosperity of categories, understand the spiritual process of our nation and experience the emotional pulse of our ancestors through the ages. In fact, all material cultural heritages are also intangible cultural heritages, because behind the "material", there must be a "non-material" light, including skills, emotions, ideas, pursuits, and even beliefs. We love the cultural relics in the Forbidden City not only because they are precious (the so-called "rare things are precious"), but also because they were once the treasures that emperors of all dynasties loved to play with, but also because they condensed our ancestors' thinking and practice of beauty, radiating life's moving luster. The beauty of cultural relics