The Kangxi, Yongzheng, and Qianlong dynasties of the Qing Dynasty were important stages in border governance in Chinese history. The Palace Museum has collected a large number of cultural relics closely related to Xinjiang, including calligraphy and painting, jade artifacts, military equipment, weaving and embroidery, books, etc., especially during the Kangxi, Yongzheng, and Qianlong dynasties. On July 8th, the "New Homeland: Exhibition of Xinjiang Cultural Relics from the Kangxi, Yongzheng, and Qianlong Dynasties in the Collection of the Palace Museum" opened in the "Palace Hall" of the Xinjiang Museum. 185 exquisite cultural relics present a historical picture of the people of various ethnic groups in the north and south of the Tianshan Mountains helping each other, having close ties, and sharing the same fate with each other. The rugged imprint of the unified mountains and rivers, the Qing cavalry unit dressed in regular clothes and wearing bows and arrows, lined up from the valley forest on the left side of the picture and entered the open area in the center of the picture. In the lower right corner of the picture are the soldiers of the Junggar tribe and the herdsmen leading cattle, sheep, and camels. In the exhibition hall, a painting depicting the surrender of Yili captures the turbulent years of the Qing army's pacification of the Western Regions. This surrender painting, along with the displayed war pictures such as the Battle of Heluohuo and the Battle of Tonggushuluke, together constitute the "Map Book of Pacifying the Western Regions". This album was initiated by Western painters such as Lang Shining and created by court painters such as Ding Guanpeng. It combines the realistic texture of Western painting with the elegant charm of Eastern art, vividly portraying the magnificent background environment of the battlefield and the intense and tense battles. The curator and research curator of the Palace Museum, Wen Wenming, stated, "This precious set of illustrations not only provides a visual basis for studying the history, military strategy, ethnic relations, and other aspects of Xinjiang during the Qing Dynasty, but also demonstrates the firm determination and strong strength of the central government of the Qing Dynasty to maintain national unity and stability, and suppress border rebellions." This set of illustrations was once sent to France to be engraved into bronze plates and printed in multiple copies. Now it has returned to Xinjiang for exhibition, just like the echoes of history. The "Imperial Edict for Pacifying the Jungar Region and Achieving Success in the Imperial Academy" in the display cabinet is made of green jade with dignified inscriptions. The inscription describes the reasons, process, and achievements of the military campaigns against the Oroqen Mongols since Emperor Kangxi, pointing out that the Qing government's pacification of the Junggar region was aimed at maintaining stability and peace in the border areas, as well as providing a stable and peaceful living environment for regions such as Xinjiang. The painting "Hui people presenting their martial arts skills" in the "Lu Huan Hui Jing Tu Book" of the cultural and administrative chapter "An Lan" depicts a vivid scene of Uyghur artists performing the "Dawaz" high-altitude rope walking in the Forbidden City. Emperor Qianlong's imperial poem "Startled by the Dance on the Rope, Fearless of the Falling Wind" is inscribed in the corner of the painting. The realistic details of the artist's flower hat and long skirt in the painting not only showcase the unique art form of the Uyghur ethnic group, but also reflect the Qing government's emphasis on border culture. In the "Four Fruits of the Huibu" painting, the papaya is round and the pomegranate is in full bloom. During the Qing Dynasty, the painter Qian Weicheng used Xinjiang fruits and melons in his paintings, metaphorically referring to the "attire of the four barbarians" and also a cultural confirmation of the "return to the homeland". The imagery of plump fruits and lush branches and leaves echoes the Qing government's policy of "governing Xinjiang according to customs" and artistically incorporates Xinjiang into the narrative system of "unification". In front of the volume of Emperor Qianlong's travelogue "The Complete Surrender of Tuerhute", many viewers stopped to read it carefully. The screen of "Ten Thousand Laws Returning to One" on the paper roll, which echoes the phrase "If the current Tuerhute, with all his possessions, gave up foreign lands, surrendered, and traveled thousands of miles, it is submission, not surrender", vividly reproduces the scene of Emperor Qianlong's meeting with Wobaxi in Rehe (now Chengde, Hebei). The Qing government implemented a policy of universal use of multiple languages including Han, Manchu, Mongolian, and Uyghur in Xinjiang, while also placing great emphasis on strengthening border identity through cultural integration. Schools were established in Xinjiang to encourage ethnic minorities to learn Central Plains culture, compile relevant classics, and promote cultural exchange. The "Qinding Xiyu Tongwen Zhi" in the display cabinet is a comprehensive dictionary of six languages, including Manchu, Han, Mongolian, and Uyghur, compiled by the Qing Dynasty officials. This dictionary, which includes about 3202 words, involves the translation and interpretation of proprietary terms such as Western region place names, personal names, and official names. It is one of the key texts for interpreting the Qing Dynasty's border governance ideas and the formation process of the diverse and integrated pattern of Chinese civilization. During the Qing Dynasty, many religions coexisted in Xinjiang, including Buddhism, Taoism, and Islam. In 1762, the Qing government established the Yili General's Mansion in Huiyuan City, along with buildings such as the Bell Tower and the Guandi Temple. By the mid Qing Dynasty, the Guandi Temple had spread throughout the north and south of the Tianshan Mountains. In the exhibition hall, there is a four character plaque with the words "God blesses Xinjiang" and a seven character couplet written by the imperial pen, which reads "The Spring and Autumn Annals are renowned, and the Wuji Temple has a complete appearance." It inspires the military and civilians guarding the border with the loyalty, righteousness, and bravery of Guan Yu, and behind it is a profound and far-reaching plan to consolidate the border with cultural identity. The silver scripture box next to it, with Buddhist patterns of hammering and bowing, hides the nomadic imprints of the Zunghar tribe. This cultural relic seized during the suppression of rebellion eventually became a witness to national unity - just like the entwined lotus patterns on the box, various ethnic cultures intertwined and coexisted in the fertile soil of Chinese civilization. Stepping out of the exhibition hall, sunlight shone through the window frames and onto the exhibition labels of the "Palace Museum Hall". From the smoke of war to the joy of song and dance, from the sound of hooves returning to the east to the ink marks on plaques, 185 cultural relics are linked together, not only as memories of Xinjiang during the Kangxi, Yongzheng, and Qianlong periods, but also as a magnificent history of communication, exchange, and integration among various ethnic groups. (New Society)