What new archaeological discoveries have been made in the world-renowned ancient city of Pompeii? What are the similarities between Italian classical architectural thought and traditional Chinese architectural concepts? How can modern technology be better applied to the protection of cultural heritage? Recently, the exhibitions "Asking for Eternity - Exploration and Excavation of Pompeii" and "Geometry, Harmony, Life - Andrea Palladio: From Classical to Classical Architectural Art" jointly organized by China and Italy were unveiled at the National Museum of China. The two exhibitions showcase many precious cultural relics that have been exhibited in China for the first time, building a bridge for cultural exchange and enabling the two ancient civilizations of China and Italy to engage in a dialogue that transcends time and space. In the year 79 AD, Mount Vesuvius erupted with a loud bang, sealing the prosperous Mediterranean city of Pompeii in dust. The burial of volcanic ash isolates the erosion of time and human destruction, preserving a rich sample of ancient Roman life for future generations and becoming an important window for understanding ancient Italian civilization. The exhibition "Exploring Eternity - Exploration and Excavation of Pompeii" is jointly launched by the National Museum of China and the Trecani Encyclopedia Research Institute in Italy. It brings together 105 sets of cultural relics and 3 immersive exhibits from the Naples National Archaeological Museum and Pompeii Archaeological Park in Italy, transforming cutting-edge academic achievements into tangible visual language and restoring the historical style and daily life of Pompeii from a new perspective. Most of the exhibits are first-time encounters with Chinese audiences, including newly excavated cultural relics and treasures that have never been publicly exhibited. Chinese curator Chen Yu introduced that this exhibition is different from many Pompeii themed exhibitions held in recent years. It does not simply showcase Pompeii relics, but creatively uses the "excavation history" as a clue to review the archaeological process and research results of Pompeii from its first excavation in 1748 to nearly 300 years ago. The excavation history of Pompeii, from simple artifact extraction to overall site protection, from static relic description to socio-cultural reconstruction, is a microcosm of the evolution of archaeology, witnessing the continuous changes in archaeological methodology and scientific research methods, and revealing the scientific approach of human cognition and protection of cultural heritage. Strolling through the exhibition hall, a vibrant Pompeii is' revived 'before our eyes. The bronze shoulder guard miniature model unearthed from the gladiator barracks tells the murmurs of gladiators praying for victory; Silver tableware, wine glasses, and mirrors adorned with exquisite patterns showcase the elegant lifestyle of affluent families; Colorful frescoes depict classic scenes of mythological stories with delicate brushstrokes, interpreting themes such as love and harmony; The lifelike marble and bronze sculptures in the garden courtyard showcase the homeowner's artistic taste and witness the beautiful moments of gatherings, banquets, or leisurely solitude. The fifth district is the largest area in the ancient city of Pompeii, and many parts have not been excavated. Since the launch of the "Pompeii Project" in 2012, this area has become a focus of archaeological research. Archaeologists have obtained a large amount of new data and information through advanced technologies such as 3D laser scanning, drone monitoring, DNA research, and interdisciplinary research methods, greatly enriching people's understanding of this city. The archaeological survey conducted from 2018 to 2020 brought light to a buried neighborhood. The exhibition cabinet displays a batch of excavated cultural relics, such as bronze teapots, pole scales, glass oil bottles, covered round boxes, etc., full of vitality. This bronze bucket with a detachable iron lifting beam was discovered on the ground of a hot food restaurant. Iron reacts chemically with volcanic ash to form colorful condensates, giving it a unique beauty, "said Chen Yu. Hot food restaurants were an important part of community life in ancient Roman cities, and there were over 80 hot food restaurants in Pompeii. This hot food restaurant is located between two small alleys in the fifth district, with a small square in front of it equipped with a reservoir, fountain, and water tower for distributing water sources. There are pottery jars and other containers placed on the counter in the store, with food traces such as fava beans and poultry bones remaining inside. The L-shaped bar counter of the hot food restaurant has been restored in the exhibition hall, with bright painted colors on its surface: the longer side is painted with a sea goddess riding a seahorse and swimming, followed by a group of dolphins; The shorter side faces towards the outside of the store, depicting a small figure shuttling and busy inside the hot food shop, playing a role in attracting customers. The vivid scenes and display of cultural relics make people feel as if they can see the rising smoke and flickering figures in Pompeii city 2000 years ago. A large cabinet against the wall displays two rows of double eared pottery jars, which are commonly used containers in Mediterranean trade. Their slender body and pointed bottom design facilitate layered stacking and tight fitting, minimizing the risk of damage during shipping. This type of pottery jar is mainly used for transporting wine, olive oil, fish sauce, and other bulk commodities. The characteristics of the pottery jar's shape, painted inscriptions, and seal markings provide information about producers, merchants, and trade routes. These findings demonstrate the important position of Pompeii as a hub of Mediterranean trade, with its products able to spread beyond the territory of the Roman Empire. The exhibition "Geometry, Harmony, and Life - Andrea Palladio: From Classical to Classical Architectural Art" presents a masterpiece of architectural art. It is hosted by the National Museum of China and the Italian Embassy in China, and organized by the Trecani Encyclopedia Research Institute in Italy. The exhibition brings together a total of 110 pieces (sets) of exhibits from China and Italy, systematically sorting out the journey of the architectural giant Palladio from Vicenza, Italy to the world, and presenting the dialogue and resonance of architectural art under different cultural backgrounds. Andrea Palladio was one of the most influential architectural masters of the Italian Renaissance. He delved deeply into classical architecture, infused the wisdom of the times, and through relentless exploration and outstanding talent, reshaped the face of European architecture, leaving behind the timeless work "The Four Books of Architecture". Palladio tightly combines aesthetic values with practical functions, making architecture not only a space that carries life and emotions, but also a cultural carrier that connects the past and the future. This exhibition is the first special exhibition in China with the theme of Palladio, telling the story of Palladio's architectural career and its profound influence through three units: "Foundation - Classical Surveyor", "Peak - Great Architect", and "Dialogue - Palladio of the World". In the exhibition hall, exquisite architectural models vividly showcase Palladio's design ingenuity. The wooden bridge in the town of Bassano, Italy, was designed by Palladio in 1569. The bridge deck has a covered long corridor, and the piers are narrow and thin edged, cleverly reducing the impact of floating wood. The Emo Villa located in Fanzolo is an ideal farm designed by Palladio, with a harmonious and unified overall layout. The main house, open gallery, and pigeon house are arranged in sequence along the axis. The main house is built on a high pedestal, and a long ramp facilitates the transportation of grain by carriage to the attic for storage. People can smoothly navigate through various interior spaces of the villa through the open corridors and the arched passages on the ground floor. The Vicenza Round Hall Villa is a highly acclaimed masterpiece of Palladio. The villa is symbolized by a square dome, with identical open galleries and steps on all four sides. Palladio explained in the "Four Books of Architecture" that this design is intended to allow all four open corridors to enjoy different scenery. This is the first time in Western architecture with clear records that landscape vision dominates the design of architectural form, achieving a harmonious resonance between architecture and nature. In 1570, Palladio's "Four Books of Architecture" was first published in Venice. This work is illustrated and illustrated, and can be regarded as the culmination of Palladian architectural theory and practice. Its publication promoted the widespread dissemination of architectural knowledge during the Renaissance and established Palladio's position as a world-class architectural giant. This exhibition presents different versions of the "Four Books of Architecture", including not only the original printed in 1570, but also the first editions of multiple translations. Among them, the Italian "Four Books on Architecture" collected by the National Library of China is eye-catching. It is reported that it may have been introduced to China by Italian scholar Matteo Ricci, reflecting the cultural exchange between China and Europe in the mid to late Ming Dynasty. Palladio's architectural philosophy has had a profound influence in the West, as evidenced by the bidding model for the US Presidential Palace (now known as the White House) designed by Thomas Jefferson. In 1792, the United States held a presidential palace design competition, and then Secretary of State Jefferson anonymously submitted a design proposal. His design is an improved replica of the Palladio circular hall villa, using a ribbed dome structure to solve the lighting problem of the central circular hall. Although this plan was not adopted, Jefferson personally participated in the design of the expansion and renovation of the White House after taking office as president. How to stimulate emotional resonance among Chinese audiences for an exhibition themed on Italian culture? The curation team put a lot of effort into this. In the third unit of the exhibition "Geometry, Harmony, and Life - Andrea Palladio: From Classical to Classical Architectural Art", the Ming Dynasty's Minqi Ji carved "Kao Gong Ji", the Qing Dynasty's Weng Tonghe's postscript "Construction Method" copy, and the "Four Books of Architecture" are exhibited together, guiding the audience to reflect on the similarities and differences in classical architectural concepts between the East and the West. As the first official manual in China to systematically record handicraft technology, the "Kaogong Ji" proposed the principles of "heaven and earth have vitality, materials are beautiful, and work is skillful". Among them, the "Craftsman" chapter established the paradigm of "nine li square, three gates beside" and "left ancestor, right community, facing the rear market" in the capital planning, transforming the ritual order into spatial language. The "Construction Method" is the first complete official construction standard book in ancient China, which established the modular system of wooden architecture and marked the development of architectural technology towards standardization. Although the architectural forms of the East and the West are vastly different, both advocate for "order" and "harmony", which coincide in the expression of spatial rationality. The exhibition of the Ming Dynasty's "The Triumph of the Imperial Capital" echoes the 18th century painter Canaletto's oil painting "Rhapsody on Palladio Architecture", interpreting the organic integration of human and urban architecture. The "Imperial Capital Accumulated Victory Map" truly records the prosperous scene of Beijing in the mid to late Ming Dynasty, reproducing the urban spatial structure and commercial distribution; The "Rhapsody of Palladio Architecture" transplanted Palladio's basilica and Chielichetti Palace built in Vicenza to the banks of the Venetian Canal, and replaced the real Rialto Bridge with Palladio's designed bridge type, constructing a "fantasy Venice". The exhibition also enhances the audience's experience through multimedia and interactive installations, allowing for a better understanding of Palladio's architectural art. The design scheme of the Rialto Bridge presented with AR technology allows the audience to intuitively experience Palladio's clever idea of transforming the bridge into a "water square". There is a "Palladian Architectural Element Seal Area" in the exhibition hall, providing representative element seals such as colonnades, arches, and mountain flowers. Visitors can freely combine them to create a unique architectural "design". The immersive exhibition is also a highlight of the exhibition "Exploring and Excavating Pompeii: Asking for Eternity". The on-site large screen adopts paper like LED technology to present videos, and the circular giant screen with a length of 16 meters and an area of over 64 square meters brings a strong visual impact to people. Viewers can follow the camera and "step into" a typical Hellenistic mansion - the "House of Agriculture and Pastoral Gods" - to appreciate its exquisite floor and ceiling decorations. Through virtual reconstruction technology, they can also "experience" Pompeii's nearly 300 year excavation process, see the civilized texture of the city, and understand its complex relationship with Rome. There are also some carefully designed tips in the exhibition hall to supplement background knowledge and prompt visitors to find interesting details in the exhibition. For example, next to the mural depicting Ariadne, introduce the symbolism behind this image and remind the audience to pay attention to the bracelet she is wearing and find similar exhibits in the exhibition. The text