故宮英文導(dǎo)游？故宮的英文是The Imperial Palace，中文地名可以不加the，英譯詞需要前加the詞匯分析音標(biāo)#240#601 #618m#712p#618#601ri#601l #712p#230l#601s釋義故宮御茶膳房 短語 A。那么，故宮英文導(dǎo)游？一起來了解一下吧。
這是臺(tái)北故宮網(wǎng)頁的英文介紹，后面還有，可是字超過了
Antiquities Department
Composed of sections for bronzes, ceramics, jades, and miscellaneous objects, the Antiquities Department is responsible for the preservation, conservation, research, exhibition, and publication of such works in the collection as well as new acquisitions. The general public may also consult the department on related matters.
Painting and Calligraphy Department
The Painting and Calligraphy Department is responsible for holding regular exhibitions and publishing catalogues as well as research and evaluation of painting and calligraphy, tapestries, and embroideries. Updating display cases conservation and mounting, and new acquisitions are also among this department's projects.
Rare Books and Documents Department
The Rare Books and Documents Department is responsible for the conservation, organization, cataloguing, research, and exhibition of rare books and Ch'ing archives as well as the acquisition and preparation of new books and periodicals for library use.
Education & Exhibition Department
The Education & Exhibition Department conducts activities related to Museum news, education, art programs, academic lectures, tours, traveling exhibits, visitor arrangements, and exhibition design.
Publications Department
The Publications Department is responsible for publishing (in several languages) a wide variety of textural and visual materials, including catalogues, books, periodicals, research studies, and reproductions; CD productions, video tapes, and high-definition CD video introductions of objects; and computer reproductions of painting and calligraphy.
Registration Department
The Registration Department is responsible for classifying and registering objects in the collection as well as works entrusted to, purchased by, and donated to the Museum. It also supervises regular inventory checks on Museum collections.
Secretariat
The Secretariat receives, processes, and sends all official correspondence and documents of the Museum. Keeps track of administrative projects and work situations, and coordinates Museum meetings and government correspondence.
Conservation Department
The Conservation Department supervises research into the materials of the works in the Museum collection, conservation technology, and the prevention of further damage. It is also responsible for repairing objects as well as monitoring the conditions in storage and exhibition areas as well as reproductions.
Fiscal Office
The Fiscal Office coordinates the planning, distribution, administration, and payment of funds for the printing for catalogues. Keeps monthly records related to financial matters.
Personnel Office
The Personnel Office oversees various aspects of the staff, including the organization, distribution, hiring, promotion, training, and approval of personnel.
Government Ethics Office
The Government Ethics Office ensures that the Museum procedures follow government regulations.
Security Department
The Security Department supervises the safety and protection of the works of art and monitors the entire Museum grounds.
General Affairs Office
The General Affairs Office is responsible for construction projects, equipment and material purchases, the repair and management of property and dormitories, payments, assistance with government-sponsored mortgages, maintaining supplementary staff, and approval and management of related matters.
Information Management Center
The Information Management Center is responsible for the planning and development of the overall information system for the Museum, computerization of procedures, automation of office equipment, designing of facilities for Internet and image systems, and computer education.
An Introduction to the National Palace Museum
Protecting and preserving the 7000-year cultural legacy of China with advanced technologies;
Cooperating with private connoisseurs and ushering in exhibitions from the Mainland;
Bringing the Museum's collection to the global community and welcoming arts of the world to the Museum.
Great National Treasures of and for the People
On October 10, 1925, the Palace Museum was inaugurated, as an effort of the Committee for Administering the Care of the Ch'ing Palace to enlist the attention of the public in support of their work, on the premises of the former Ch'ing court in the Forbidden City. Since the collection has had a very long history traceable back through many dynasties, the new institution was rightfully referred to as the Palace Museum. At the same time, it also bore a far greater responsibility and mission as a national museum for China which had just become a republic.
The Ch'ing imperial collection assumed by the Palace Museum was immense in quantity and superb in quality. Some works had been commissioned by the emperors and made by the Imperial Workshop, representing the highest standards of ingenuity and technical perfection. Some had been offered as tribute by foreign dignitaries and local officials or commoners, and the exquisiteness of such rarities require no reiteration. However, what is significant, though, is that the bulk of the collection were treasures that had been passed down over the centuries through the Sung, Yuan, and Ming dynasties. For this reason, the Palace Museum not only inherited a great repository of objects d'art from the preceding Ch'ing court but also assumed the great artistic and cultural legacy of China.
Not long after the Palace Museum's inauguration, China fell into a period of intense turmoil, resulting in an odyssey of repeated, fraught-filled movements of the Museum's collection. On September 18, 1931, the Japanese militarists instigated the Mukden Incident in northeast China, leading to the occupation of Manchuria, which posed a direct threat to nearby Peking. Resolving to protect the cultural heritage represented by the Museum's collection, the National Government, under the leadership of Generalissimo Chiang Kai-shek, immediately moved the most important objets d'art southward to Nanking and Shanghai to avoid the flames of war. In 1937 a branch office of the Museum was established in Nanking, providing respite for the objects in the south. Unfortunately, matters took a turn for the worse with Japan's full-scale invasion of China. When the Japanese attacked from the north and from the coast, the treasures in storage in the south were rounded up again and sent through active war zones to O-mei, Lo-shan, An-hsun, and Pa-hsien in inland Szechwan and Kweichow provinces. The convoys and their precious cargoes were exposed to air attacks from above and artillery barrages and machine-gun fire from behind as they traveled along the arduous and circuitous journeys. When Japan was defeated in 1945, the treasures were transported back to Nanking. Shortly after resetting the collection in the branch office, however, they were once again forced to move with the Government in the wake of China's domestic insurrection engineered by the Communists, this time eastward across the straits to the island of Taiwan.
Accounting for approximately one-fifth of the collection evacuated to southern China, the treasured objects were stored at Pei-kou in the township of Wu-feng, Taichung County, after arrival in Taiwan. In 1965, the National Palace Museum was restored in Wai-shuang-hsi in the suburbs of Taipei. With the collection installed in a secure setting, the Museum's art treasures were finally opened to the public. As we reflect upon the history of the Museum, we realize that had the National Government not taken immediate action to move its collection to safe haven during and after the Sino-Japanese War, many of the treasures undoubtedly would have been looted by Japanese militarists or destroyed in the chaos of the Cultural Revolution. Indeed, those Mainland visitors - the ones from the cultural communities in particular - who have since the 1970's come to the Museum and witnessed in person its modern, optimal facilities and the kind of efforts exerted upon the care of the collection, as well as the splendid exhibitions which are available for public viewing on a daily basis, are gratified that the National Palace Museum is truly the home to the history and culture of the Chinese people.
From an Imperial Art Collection to a National Museum
The founding of the Palace Museum was based on the structure typical of an imperial art collection, and it shared certain superficial similarities with the Musee du Louvre of France in its inheritance from the rich collection and grand palaces of the imperial past. While the collection at the time of the Museum's inauguration featured a few archaic jade pieces of kuei and chang, it comprised largely works from the Hsuan-ho reign (1119-1125) of the Sung Dynasty to the Ch'ien-lung and Chia-ch'ing reigns (1736-1820) of the Ch'ing Dynasty. After being evacuated to Taiwan, the collection gradually expanded as objects of historical or artistic value from other government institutions as well as objects d'art returned by the defeated Japan were integrated into the Museum. And since the time of its re-opening in Taipei the scope of the Museum's holdings has further been substantially enlarged through the generous donations of private connoisseurs and the implementation of an active, well-designed acquisition policy structured along the principle of quality over quantity. Geared towards filling the gaps inherent in a collection molded by imperial taste, such efforts have resulted in a collection that encompasses representative works from each and every stage in the history of Chinese civilization from the early Neolithic Age (ca. 10000 to 5000 B.C.) to the modern times and down to the Republican era (1912 to date). It is exactly in this way that the Museum has been transformed from the prototype of a museum that was imperial in nature into a world-class art collection that is truly national in character, illustrative of the development of Chinese culture coming down in continuity from one and the same origin.
Unique in design and solid in structure, the storage area of the Museum, located in caves carved out of the hillside to the rear, not only offers a secure setting for the protection of the collection but also blends seamlessly into the surroundings and form a natural extension of the Museum building. The Museum's storage space was further expanded with the addition in the designated area of one of the new buildings of advanced facilities connecting to the caves, and along with the integration came an unified approach to storing and managing the collection. To optimize conservation, technologically advanced equipment that are constantly in operation, such as temperature and humidity regulators, devices to counter fire, flooding, and earthquakes, computerized monitoring and security systems, as well as fumigating chambers to prevent deterioration by insects and other biological effects, have also been installed. With these preservation measures and the firm construction of the storage, the National Palace Museum has in effect become the sanctuary of Chinese culture, the home where the artistic legacy of China is well safeguarded.
1、故宮找個(gè)導(dǎo)游多少錢？
有導(dǎo)游電話提供嗎
2、私人導(dǎo)游一天費(fèi)用標(biāo)準(zhǔn)
截至2020年1月，在北京一日游導(dǎo)游標(biāo)準(zhǔn)380元中，外語導(dǎo)游分為大語導(dǎo)游和小語導(dǎo)游。英語導(dǎo)游收費(fèi)在500元左右，法語、西班牙語、意大利語、日語、韓語等小語種導(dǎo)游收費(fèi)最高，一日游導(dǎo)游收費(fèi)在600元-800元左右。
但是，私人導(dǎo)游的工作時(shí)間是不固定的。除了陪客戶，還要陪他們吃飯聊天，往往超過8個(gè)小時(shí)，所以最貴的小語種導(dǎo)游也很難收取到每小時(shí)100元的費(fèi)用。
擴(kuò)展信息:
分類:私人導(dǎo)游需持有國內(nèi)認(rèn)可的導(dǎo)游證方可上崗。根據(jù)導(dǎo)游的服務(wù)區(qū)域、導(dǎo)游的經(jīng)驗(yàn)和提供的語言，主要分為:目的地私人導(dǎo)游、英語私人導(dǎo)游、私人導(dǎo)游經(jīng)理等。
行程安排:私人導(dǎo)游可以根據(jù)游客的要求改變旅游路線，行程自由。同時(shí)，根據(jù)游客的需求，可以為游客提供不同的服務(wù)。我們國家很多人在國外做中文導(dǎo)游，接待國內(nèi)游客。他們可以根據(jù)游客的需求提供不同的服務(wù)。如果客人需要去多個(gè)城市旅游，可以讓導(dǎo)游帶車，這樣行程會(huì)更方便。
導(dǎo)游主要分為中文導(dǎo)游和外語導(dǎo)游，其主要工作內(nèi)容為引導(dǎo)游客感受山水之美，解決旅途中可能出現(xiàn)的突發(fā)事件，并給予游客食、宿、行等方面的幫助。
在中國，凡希望從事導(dǎo)游業(yè)務(wù)活動(dòng)的人都必須按規(guī)定參加導(dǎo)游人員資格考試。
這是一篇向外國游客介紹北京故宮的英文導(dǎo)游詞。如果想簡短一點(diǎn)，就用第一段吧。那是一段總體介紹。
This is the palace museum; also know as the Purple Forbidden City. It is the largest and most well reserved imperial residence in China today. Under Ming Emperor Yongle, construction began in 1406. It took 14 years to build the Forbidden City. The first ruler who actually lived here was Ming Emperor Zhudi. For five centuries thereafter, it continued to be the residence of 23 successive emperors until 1911 when Qing Emperor Puyi was forced to abdicate the throne. In 1987, the United Nations Educational, Scientific and Cultural Organization recognized the Forbidden City was a world cultural legacy.
It is believed that the Palace Museum, or Zi Jin Cheng (Purple Forbidden City), got its name from astronomy folklore, The ancient astronomers divided the constellations into groups and centered them around the Ziwei Yuan (North Star) . The constellation containing the North Star was called the Constellation of Heavenly God and star itself was called the purple palace. Because the emperor was supposedly the son of the heavenly gods, his central and dominant position would be further highlighted the use of the word purple in the name of his residence. In folklore, the term “an eastern purple cloud is drifting” became a metaphor for auspicious events after a purple cloud was seen drifting eastward immediately before the arrival of an ancient philosopher, LaoZi, to the Hanghu Pass. Here, purple is associated with auspicious developments. The word jin (forbidden) is self-explanatory as the imperial palace was heavily guarded and off-explanatory as the imperial palace was heavily guarded and off-limits to ordinary people.
The red and yellow used on the palace walls and roofs are also symbolic. Red represents happiness, good fortune and wealth. Yellow is the color of the earth on the Loess Plateau, the original home of the Chinese people. Yellow became an imperial color during the Tang dynasty, when only members of the royal family were allowed to wear it and use it in their architecture.
The Forbidden City is rectangular in shape. It is 960 meters long from north to south and 750 meter wide from east west. It has 9,900 rooms under a total roof area 150,000 square meters. A 52-meter-wide-moat encircles a 9. 9-meter—high wall which encloses the complex. Octagon —shaped turrets rest on the four corners of the wall. There are four entrances into the city: the Meridian Gate to the south, the Shenwu Gate (Gate of Military Prowess) to the north, and the Xihua Gate (Gate of military Prowess) to the north, and the Xihua Gate (Western Flowery Gate ) to the west, the Donghua (Eastern Flowery Gate) to the east.
Manpower and materials throughout the country were used to build the Forbidden City. A total of 230,000 artisans and one million laborers were employed. Marble was quarried from fangshan Country Mount Pan in Jixian County in Hebei Province. Granite was quarried in Quyang County in Hebei Province. Paving blocks were fired in kilns in Suzhou in southern China. Bricks and scarlet pigmentation used on the palatial walls came from linqing in Shandong Province. Timber was cut, processed and hauled from the northwestern and southern regions.
the Forbidden City (故宮)
開頭語
The magnificent architecture, also known as the Forbidden City was open in 1925.It is one of the most prestigious museums in China and the world at large. In 1987 it was list as the World Heritage site by UNESCO.
位置和歷史
Situated at the heart of Beijing, its centrality as well as restricted access, the palace was called The Forbidden City. It was built in 1406 in Ming dynasty and last 600 hundred years until 1911 in the Qing dynasty, it was finally overthrown by the republican revolutionaries. The last emperor Puyi continued to live in the palace after his abdication until he was expelled in 1924. So,totally twenty-four emperors lived and ruled from this palace.
規(guī)模
The Forbidden City is surrounded by 10-metre-high red walls and a 52-metre-wide moat. Measuring 961 meters from north to south and 753 meters from east to west, it covers an area as big as 12 stadiums. Each of the four sides is pierced by a gate. The buildings' glowing yellow roofs levitating above vermilion walls is a magnificent sight. The painted ridges and carved beams all contribute to the sumptuous effect.
前朝
The southern portion is the Outer Court. As we can see the three main halls,we call it 3 golden halls. It was here in the Ourter Court that the emperor held court and conducted grand audiences.
后寢
The Inner Court comprising the northern portion.There are another 3 halls which are smaller than the front. An Imperial Garden is laid out at the north end. In here, it is comprised of not only the residences of the emperor and his consorts but also venues for religious rituals and administrative activities.
These were precisely designed in accordance with a code of architectural hierarchy, which designated specific features to reflect the paramount authority and status of the emperor. No ordinary mortal would have been allowed or would even have dared to come within close proximity to these buildings.
故宮講解怎么收費(fèi)
北京故宮導(dǎo)游看接待的團(tuán)體人數(shù)和行進(jìn)路程定價(jià)。5人以下（含5人）全程250元，中、西路150元，中路100元。5人以上，每增加1人，加收10.00元。在珍寶館、鐘表館、書畫館等展館內(nèi)，有志愿者提供漢語、英語的免費(fèi)講解。
北京故宮，舊稱紫禁城，位于北京中軸線的中心，為中國明清兩代的皇家宮殿，是世界上現(xiàn)存規(guī)模最大的宮殿型建筑，國家5A級旅游景區(qū)，第一批全國重點(diǎn)文物保護(hù)單位，國家一級博物館。1987年入選《世界文化遺產(chǎn)》名錄，被譽(yù)凱冊為“世界五大宮之首”（法國凡爾賽宮、英國白金漢宮、美國白宮、俄羅斯克里姆林宮）。
故宮占地面積72萬平方米，建筑面積約15萬平方米。建于明成祖永樂四年（1406年），永樂十八年（1420年）落成。陸侍現(xiàn)為故宮博物院，藏品主要以明、清兩代宮廷收藏為基礎(chǔ)。2018年5月24日，故宮博物院決定自2018年6月開始實(shí)行周一全年閉館，國家法定早孫吵節(jié)假日除外。
以上就是故宮英文導(dǎo)游的全部內(nèi)容，截至2020年1月，在北京一日游導(dǎo)游標(biāo)準(zhǔn)380元中，外語導(dǎo)游分為大語導(dǎo)游和小語導(dǎo)游。英語導(dǎo)游收費(fèi)在500元左右，法語、西班牙語、意大利語、日語、韓語等小語種導(dǎo)游收費(fèi)最高，一日游導(dǎo)游收費(fèi)在600元-800元左右。但是。
