A blockbuster exhibition of the Liaoning Provincial Museum is drawing renewed attention as it enters its final stage this weekend—China in Poetry and Painting: The Poetic Realm of Chinese Painting is set to close on March 29. Have you taken this springtime journey through the harmonious world of poetry and painting?

Co-presented by the Liaoning Provincial Museum and over ten prestigious institutions across China—including the National Museum of China, Shanghai Museum, Tianjin Museum, and Guangdong Museum—this annual flagship exhibition has been garnering widespread acclaim since its opening on December 30, 2025. It has been hailed by cultural and museum circles, art circles and the general public as a “textbook-level pilgrimage of eastern aesthetics”.

This exhibition marks a rare “grand reunion” of poetry-and-painting themed cultural relics, featuring an unprecedented gathering of top-tier treasures. It brings together painting and calligraphy masterpieces spanning the Song, Yuan, Ming, and Qing dynasties. Visitors can not only feel the majesty of the flourishing Tang Dynasty flowing through the verses of Du Fu, but also immerse themselves in the vast, misty landscapes of Su Shi’s poem line “A heart of sorrow by the river, facing the endless layers of mist-covered mountains”. Moreover, with original works by masters such as Zhao Mengfu, Wen Zhengming, Shen Zhou, Tang Yin, and Shi Tao, this exhibition unfolds like a living history of Chinese art.

Moving beyond a simple display of artifacts, the exhibition has meticulously curated immersive poetic spaces, such as “Inquiry into Peach Garden”, “Moonlit Night on Spring River”, “Poetic Shadows of Petals Afloat” and “Layered Peaks by Misty River”. Here, the Wangchuan of Wang Wei, the Peach Blossom Spring of Tao Yuanming, and the Moonlight of Li Bai come to life from the written verses, transforming into interactive scenes for visitors to step into, listen to, and experience.

Due to cultural relic preservation requirements, certain national treasures are shown for a limited period. For instance, the highly anticipated Song Dynasty facsimile of Zhang Xuan’s Lady Guoguo’s Spring Outing was on display until March 1, and has now been replaced by a modern master’s copy. However, high-profile exhibits like Tao Qian Returning to Village Life by Yuan Dynasty painter He Cheng (collected by the Jilin Provincial Museum) and Wangchuan Villa by a Southern Song Dynasty anonymous painter (collected by the National Museum of China) are still awaiting visitors’ appreciation.

Every great encounter eventually leads to a parting. As this artistic feast, showcasing 115 pieces (sets) of national treasures, draws to a close, the Liaoning Provincial Museum warmly invites visitors from near and far to seize this final opportunity to witness the splendor.