Director Lin Guo-ping of the National Palace Museum: We are the Disseminators of Knowledge

We must recognise where we stand, our work is not simply for the pleasure of those here and now, it is for those who come after us – Lin Guo-ping

A millennia ago in the far away Imperial Palace; a meeting of concubines in the afternoon; the drinking of tea, the playing of music, the partaking of alcohol – images captured in the painting known as Gong Le Yuan. The seal of ownership shows its appreciation by many throughout its passage down through the generations; its silk background has already suffered quite a bit of damage. In 2012 collaboration between The Imperial Palace Museum and Delta Electronics allowed this painting to undergo digital application and preservation; the painted hand plucking an instrument begins to move, it is a picture frozen in time that is now being brought to life through 3D technology.

Entering into the 21st Century, the National Palace Museum has begun to use digital information technology to open its ancient artefacts to new opportunities and possibilities, thereby enriching its collections. From the 1998 participation of ‘Beauty of National Palace Museum Cultural Relics’ in the ‘Facing the New Millennium – Humanism as the crux of Cross-century Development Project’ sponsored by the National Science Council of the Executive Yuan, the Museum has since taken a leading role in such technologies through instigating such projects as the ‘Digital Pilot Program’ and the ‘National Digital Archives Program(NDAP)’.

From the outset it has been the application of concrete structure, procedures, specifications and standards that have laid a solid foundation for such digital work, thereby allowing for the application of science and technology to build the antiques in a digital form and collect valuable data. Aside from photographing and scanning the artefacts, attempts have been made in the past few years to combine x-ray and 3D computer tomography to produce precise images; which in turn would allow for more possibilities in the area of artefact preservation, repair, study, propagation and utilisation.  Many pieces in the collections of this museum have now been subject to such creativity through of digital art, documentaries and other areas of multimedia production. Examples of such achievements can be seen in the production of ‘Adventures in the National Palace Museum’,   ‘The Future Museum of NPM’, ‘Dwelling in the Fuchun Mountains’ and others. These productions are a striking achievement representing interflow between Taiwan and the outside world, repeatedly winning international acclaim and awards they leave people with a deep impression.

Entering into the digital age, such national projects bring together human resources, equipment, funding and technology with which to drive forward a new wave of development in museums. Director of Education and Information, Lin Guoping, entered the National Palace Museum in 2003. At that time the freedoms of the internet and open thinking were prominent and museums were hoisting high the banner of reform and innovation; the interaction and communication between artefacts and the general public was beginning to be looked upon in new seriousness. Like asking a novelist to rewrite the heavy exhibition catalogue previously published by the National Palace Museum in a fresher, lighter tone, the interpretations of exhibitions and artefacts were incorporated into the new web2.0 way of thinking and in the spring of 2011the social media platform Facebook began to be used to attract those who may be interested in the artefacts housed in the National Palace Museum, thereby taking even further the scope at which such artefacts can be interpreted and re-interpreted. After building this digital bridge out of the deep recesses of the Museum, artefacts can now gradually become more accessible and more open to interpretation. Ancient collections no longer inspire trepidation; instead they can now allow people to cross time and history to understand the nature and beauty of such pieces.

Lin Guo-ping has been foremost in his welcoming embrace of this surging digital tide. With scientific and technological advancements, mobile and digital publishing has become an inevitable future trend. The evolution of physical material dissipating into an electronic ether is like watching recent weather begin to form the future’s coming clime; its original substance and essence is always there, however the future will form new clouds, bring new methods. Following the gradual development of an operational business model, the increase of virtual content and the rise in project value, tomorrow’s world, like the weather, will be changed. In order to save costs, improve operation efficiency, and strengthen its appeal to the public, thereby allowing more people easier access to information, the Museum will need to strengthen its lead in the field of science and technology with its services moving online. Following such a notion, for the past few years the National Palace Museum has focused on interactive installations and exploring the multifaceted possibilities offered by virtualising its artefacts, it is using digital methods to break through previously held frontiers. Facilitating collections protected by different packaging requires differing methods for presentation and assembly; machines are now being used to breathe life into ancient history. Such a gradual build-up of this content is helping polish the image of the National Palace Museum.

At the same time as marching onwards, Lin Guo-ping is, at once self-reflective and thoughtful; in taking forwards such an idea and exhibition, after arranging and summarising the knowledge pertaining to the artefacts and conveying it to the audience, is this not a virtual museum? Speaking in a relaxed and humorous tone he commented: “What will the future bring? This many possibilities require a great deal of creativity in order for their construction”. During the interview he laid out his blueprint for the ideal museum:

 “In a virtual space I can talk with great familiarity and eloquence about the things which are yours. Illustration is multidimensional; it can be according to age, place, name, or the restructuring or arrangement of a theme. The dimensions are decided by the user rather than by the museum. As a user I can search for the artifact information I want according to my own desires; the best pictures and themes of my pondering all organised together.

A database is not a novel, its content cannot be found wanting, for if content is not complete and information fragmented, searches will not yield true and accurate results. Regarding the database, it is the belief of Lin Guo-ping that primary focus should be placed on its completeness; fields should be accurate, words quoted copiously, and research clearly presented. The National Palace Museum has recently created platforms such as the Palace Artifact Information Retrieval, Palace Painting Information Retrieval, Image File Database of Rare Books, and Ming and the Qing Dynasty Map and Document Database. Developing and maintaining these platforms is becoming an important task of the National Palace Museum.

Regarding topic extension of the databases, Lin Guo-ping emphasises his understanding of the project. Being a custodian of knowledge the objective of the Taiwan e-Learning and Digital Archives Program, TELDAP is to establish a database of information. He emphasises: “Those who utilise this knowledge are not necessarily restricted to the here and now. This generation is but the first beneficiary. Of more importance are those who come after us. On behalf of those, we must preserve and consolidate knowledge. Whether or not those in the future may wish to use this knowledge is not for us to fathom, yet should they wish it, it should be easily accessible at their fingertips – this is truly valuable! For if it is not consolidated now,  but left scattered without care, in a hundred years’ time should people in the future wish to find it, they will find themselves in a similar state that we are in now – unable to locate those things of antiquity. We must act on behalf of future generations. We must not shortsightedly see only those around us now. If we see only now, then it is like producing goods with which to stack shelves; sell one for a pound and you make a pound, the realism of a businessman. Today we are teachers, researchers, and government organisations, not simply businessmen – we are also good officials, custodians of tradition, educators; our roles are many”.

When asked about how participation in all of this has changed or influenced him, aside from busy work wrought by complicated administration, Lin Guo-ping reflects: “Ten wonderful years are enough. What stands out from participating in the implementation of this project, are the many opportunities to take part in public activities; through sharing and interacting, I have experienced many different things that life can offer. I am extremely thankful for this and believe it to have been worth every moment – extremely fulfilling. Not only have I been a teacher and administrator, but I have also had opportunities to represent my country and have been able to bring our accomplishments achieved to an international stage. Furthermore I have been able to bring such international applause back home with which to show everybody we have indeed done a great job – this is my greatest achievement”. Regarding the end of the project he continues to merrily encourage those around him: “As we draw the final curtain we must now find our own individual directions and strength. Find new projects through which to enjoy life and raise life’s meaning. Life is fleeting, yet we have the freedom to choose our own directions, the opportunity to decide what it is we want to pursue, and it is this through which happiness is found”.

In the summer of 2012, adults and children alike can explore the magic and mystery of discovering artifacts through the medium of artistic multimedia installations as part of the ‘Children’s National Palace Museum Digital Art Exhibition’. Say Hi to Ferdinand Verbiest who lived three hundred years ago, and watch ancient civilisations digitally unfold before one’s very eyes. Like a relay race the value and significance of digitised artifacts can be passed on from generation to generation – knowledge can continue down through time like a marathon. This step by step continuity creates value in history; we must make valuable records for the generations yet to come.