英文旅游攻略台北

关于台湾旅游的攻略，可以多看看蚂蜂窝，穷游网里所写的台湾旅游攻略。

1、台北地区：台北、基隆、九份

2、台中地区：阿里山、日月潭、清静农场、花莲

3、台湾东南：高雄、垦丁

适宜旅游时间：全年，最佳旅游时间9月至11月，这几个月是台湾的秋天，天气晴朗凉爽，并且少有台风，是适合旅游的最佳季节。

路线：台北周边——台中周边——台湾东南

1.参观世界四大博物馆之一的台北故宫博物馆

台北故宫博物内有70万件藏品堪称中国文化艺术之宝，据说一个人看完需要30年的时间！最出名的是西周镇宫之宝“小白菜”，进去直奔3楼就能看到哦~建议游玩时间：半天

2.到九份山城，走过千与千寻的小镇

侯孝贤导演的《悲情城市》就是在九份实地取景的。还有诸多影视剧女星在此拍写真，婚纱摄影也都喜欢选这做外景地，是摄影爱好者的必去之地。

3.畅游缤纷夜市、像地道台湾人一样饕餮美食

4. 坐登山小火车，看阿里山日出、云海和日月潭

阿里山除神木、樱花、云海、日出四大胜景，还有阿里山第五奇——森林小火车驰誉全球。阿里山其实看的最主要是日出及云海，而旅行团几乎不能安排看日出，因此建议一定要自助游。3、4月份去的时候能边乘坐小火车边观赏漫山的樱花，非常浪漫！

5.去台中清静农场感受台湾的小“新西兰”

清境农场空气清新、繁花遍野，素有“雾上桃源”之称。到了暑期，台湾本地人非常喜欢到山里和农场里避暑休闲。绿野如茵的青青草原是清境农场最大的卖点，四周群峰环绕，草原上的绵羊出场时，更令人有置身新西兰的错觉！

6.搭“爱之船”夜游高雄爱河，许一段浪漫山海恋

7.去垦丁寻找《海角七号》和《少年派》的浪漫

《少年派的奇幻漂流》讲述了印度少年派和一只老虎在海上漂泊227天，最终漂流到墨西哥湾的故事。然而大家都知道，大导演李安其实是在他的故土：台湾南部的垦丁的一片柔绵细白的沙滩拍摄了这组镜头。

最后的提示，游台湾，比看好山好水更重要的，是一定要去小巷子里的那家客家菜尝一尝，去阳明山上的咖啡馆坐一坐，好好品味台湾的细节。再有，就是要和热情好客的台湾人聊一聊，让他们带着你走一走，那就是另一个故事了。

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

[(Go to Taiwan. Walking in colourful fashion to Ximen Ding, hang around in the long process of history the National Palace Museum in Taipei, Tang Yang Huguang clear water in it, "West Lake" Tan Sun and the Moon, in the foot Cenglin do with the Alishan, I believe that even if only a week The time, you can and Taiwan to a long-awaited in-depth exchanges