The exhibition "Unity of All Laws: History, Culture, and Art of Sakya Monastery" (referred to as the "Sakya Monastery Exhibition") is currently on display in the Meridian Gate Exhibition Hall of the Palace Museum. This exhibition is themed around a temple and a religious sect, with over 200 precious cultural relics on site, showcasing the historical accumulation, artistic characteristics, and important role of Sakya Monastery in the process of the diversity and integration of the Chinese nation over the past thousand years. The so-called historical exhibition is to show the fragments of history to the audience, not to cover all aspects of history. As a curator, I suggest that the audience view this exhibition with a narrow-minded attitude. In the 36th year of Qianlong's reign (1771), the Turhute Ministry of Mongolia, who had returned to the motherland from the Volga River of Russia, sent leaders to Chengde Mountain Resort. The leader received a high-level reception from Emperor Qianlong of the Qing Dynasty and attended the consecration ceremony of the newly completed Putuo Zongcheng Temple, one of the eight outer temples. Qianlong ordered the court painter at that time to draw a "Ten Thousand Laws Returning to One" painting to commemorate its prosperity. The so-called 'unification of all laws' is not only a recognition of faith, but also a historical witness to the hearts of all people. It is the spiritual foundation of the national community. This exhibition uses this allusion to refer to the great historical contribution of Sakya Monastery. The 13th century was an important period of turbulent events in Chinese history. Sakyamuni Panzhida Gonggajianzan and his nephew Baspa took on the historical responsibility, and with minimal efforts and the aspirations of Tibetan people, they made contributions to promoting Xizang's return to the Yuan Dynasty and the formation of a unified situation, ending the long-term feudal separatism in Xizang, and thus the Sakya faction gained the status of political and religious leaders. Based on the existing collections of the Sakya Temple, we divided the entire exhibition into four units: "the history of the Sakya Temple", "the unification of nine states", "the culture and art of the Sakya Temple" and "the treasures of the Sakya Temple", which respectively demonstrated the architectural evolution of the Sakya Temple and the religious characteristics of the Sakya Sect, the historical contributions of the Sakya Sect and the history of exchanges between the central government and Xizang during the Yuan and Ming Dynasties, the main intangible cultural heritage of the Sakya Sect and the artistic characteristics of Xizang at the same time, and the historical collection of the Sakya Sect that is inclusive of all rivers. The Sakya Sect has two main characteristics: first, unlike most Buddhist sects in Xizang, which adopt the reincarnation system of living Buddhas, the Sakya Sect adopts the family lineage system, and the position of the Dharma King is inherited by uncles and nephews; Secondly, the Sakya sect has developed its own unique teaching system, the "Dao Guo Fa", which combines old and new teachings and embraces diversity. The two major activities that have been passed down to this day, the Puba Vajrayana Dharma Society and the Great Black Sky Barrier Removal Dharma Society, are a manifestation of this ancient tradition. The strong rise of Mongolia in the 13th century changed the world pattern. The trend of China's unification and integration cannot be reversed, and Xizang cannot stay out of it. Kuo Duan, the Mongolian prince who was in charge of Liangzhou at that time and commander in chief of the West Road Army, sent a letter to the Sakya Temple urging Sakya Panzhida Gonggajianzan, the fourth ancestor of Sakya, to come to Liangzhou to discuss the future of Xizang. After the talks, Sakya Panzhida wrote a letter to all walks of life in Xizang, proposing that they should "save the chaos and pacify the people, and protect the Buddha dharma". Taking stock of the situation, he pointed out that it was the general trend to return to Mongolia, which laid a solid foundation for peaceful reunification and future unification of China. The two letters mentioned above are both included in the book "History of the Sakya Genealogy" and have become precious historical documents. These two letters were also lent from the Xizang Museum for exhibition. Afterwards, the nephew of Sakya Pandita and the fifth ancestor of Sakya, Basiba, continued to maintain close relations with the Yuan Dynasty and gained the trust and support of Kublai Khan, the founder of the Yuan Dynasty. He took on the great responsibility of assisting the Yuan Dynasty in governing Tibetan affairs and was successively awarded the titles of National Teacher and Imperial Teacher. The Basiba Mongolian ancient script invented by Basiba became the official script of the Yuan Dynasty, and the Yuan Dynasty edicts exhibited this time are all written in Basiba script. The 31 paintings of Basiba, specially exhibited in the center of the exhibition hall, showcase the important contributions made by this Sakya master to the integration and development of national culture. From the collection of Sakya Temple, cultural exchanges in Xizang have become more frequent and active with the exchanges between the Central Plains and Xizang, and Tibetan Buddhism has rapidly moved eastward and entered the court. The Yuan Wenzong statue preserved in the Potala Palace exhibited at the exhibition site is enough to prove this point. On the portrait, Emperor Wenzong is dressed in the magnificent imperial attire of the Yuan Dynasty, wearing the five Buddha crowns on his head, holding seals with his hands, and each holding a bell and pestle, creating a wonderful combination of the dignity of an emperor and the sanctity of a Dharma king. The Sakya Monastery has a rich collection of royal gifts from the Yuan and Ming dynasties, which goes beyond just a few examples. The Xuande Nian Blue and White Colorful Full Pool Jiaotu Target Bowl on display is a national treasure level cultural relic, which is only preserved in Sakya Monastery worldwide. There are only two of them, and the one on display is the most complete. The preciousness of this bowl lies in the technique of combining underglaze blue and white with underglaze five colors to form a complete pattern in its design. The wings of the birds painted on the inner bottom feature a technique of blue and white hooked edges and yellow color filling, which is the prototype of the doucai technique. It brought the previously thought doucai to the Ming Chenghua period and advanced it to the Xuande period. During the Yongle period of the Ming Dynasty, the imperial court rewarded the Mahayana Dharma King with a gilded bronze statue and a gilded lotus flower mandala, both of which had the inscription "Great Ming Yongle Year Gift" and were exquisite works of that time. The precious shell leaf sutra "Prajnaparamita Eight Thousand Odes" exhibited on site is said to have been written in the Yuan Dynasty. This sutra has a total of more than 300 pages, with detailed illustrations on the upper and lower protective panels and 6 inner pages, which is extremely rare among the existing shell leaf sutras. From today's perspective, it is appropriate to consider Sakya Monastery as an ancient museum. The temple preserves numerous precious cultural relics, including thousands of bronze statues, thangkas, ritual vessels, and tens of thousands of Buddhist scriptures; From the 7th century to the 20th century, Xizang came from neighboring countries and regions, including Bihar and Bangladesh in the Ganges River basin, Nepal in the Himalayas, Swat, Kashmir and Gilgit in the Indus River basin, which shows that Tibet has always adhered to the tradition of openness and inclusiveness, and has the spirit of embracing all rivers. Communication is never one-way. A brass statue of a master on display this time is inscribed with a Tibetan inscription, which mentions that the master's name is Jiamuyang Sonam Lhundrup. This person is the third son of Angongsangpo, the king of the Lhunpo Dynasty in Nepal. He converted to Buddhism at birth and studied the teachings of the important branch of the Sakya sect, the 2nd to 4th and 7th ancestors of the Russian sect. He taught and transmitted the teachings of this sect in the capital of Lhunpo Dynasty, Lhunpo Monastery, Prankoga Monastery, Russian Monastery, and Zidong Monastery, gradually gaining fame and making significant contributions to the inheritance of Sakya sect teachings in Lhunpo. This is the result of the spillover of Tibetan Buddhist culture and influence, which reflects the strong influence of Xizang in China on Himalayan culture. Hundred rivers converge into the sea, and ten thousand laws return to the sect. At that time, the teachers of the Sakya Emperor came from a distant snowy land to Dadu (now Beijing) to join forces in the grand event of unification; Today, the cultural relics of Sakya Monastery are exhibited in the Forbidden City, allowing viewers to revisit this important moment in Chinese history together. This is precisely the significance of this exhibition. Author Introduction: Luo Wenhua, graduated from the Archaeology Department of Peking University in 1989, currently works in the Palace Department of the Palace Museum, a second level research curator at the Palace Museum, and the director of the Institute of Tibetan Buddhist Cultural Relics. Mainly dedicated to the identification and research of Tibetan Buddhist cultural relics, the history of Tibetan Buddhist art, the Tibetan Buddhist belief culture of the Qing Dynasty royal family, and the exchange of Han Tibetan culture. Published monographs such as "Dragon Robe and Saffron: Archaeology of Tibetan Buddhist Culture in the Qing Palace", "Classic Series of the Forbidden City: Tibetan Buddhist Statues", "Ultimate Determination: Secret Practice Treasures in the Qing Palace", as well as field research results such as "Ming Dynasty Scripture Hall Watchtower Paintings in the Muya Region", "Invisible Tangka", and "Gonggaqude Temple Murals: Milestones in the History of Tibetan Buddhist Art". Published a total of 106 papers and 14 works. As an independent curator, I have successively held large-scale domestic and international exhibitions such as "The Light of Buddha: Buddhist Statues Exhibition at the Palace Museum and the Zhiguan Art Museum", "Brahma's Eastern Land and Lotus Flower: Indian and Chinese Buddhist Sculpture Art Exhibition from 400-700 AD", "Sumeru Fushou: When Tashilhunpo Monastery Meets the Forbidden City", "Dun Xing Gu Yuan: Dunhuang Special Exhibition at the Palace Museum", "Biruoxiang Mountain: Gandhara Art Exhibition", and "Unity of All Laws: Historical Culture and Art of Sakya Monastery".