Conservation and restoration are fundamental to the preservation and continued life of cultural heritage. In the early years following the founding of the People's Republic of China, institutions such as the Shanghai Museum recruited distinguished conservators from traditional antiques trade and were among the first to establish professional conservation center. In their practice, they have continually explored ways to integrate traditional techniques with emerging conservation science. Today, artifact conservation in China has established a comprehensive research framework and continues to develop and advance.

The Open Conservation Lab at the Shanghai Museum East offers a behind-the-scenes view of conservation work through its open lab and thematic displays. Conservators specializing in bronzes, ceramics, painting and calligraphy, furniture, lacquerware, and rare books—many recognized at the national and municipal levels as bearers of intangible cultural heritage—demonstrate their work in real time, offering direct insight into professional conservation practice. The thematic displays introduce the risks facing cultural heritage and the methods used to protect it. Through selected case studies—from ancient bronzes to Ming and Qing paintings and decorative arts—the presentation outlines the conservation process, from assessment to treatment and preventive care, while highlighting key techniques and the role of scientific analysis. Displays will be updated regularly, and future programs will offer visitors the opportunities to engage more closely with conservators at work.

Qingming Shanghe Tu (Along the River during the Qingming Festival)

Unknown artist
Ming dynasty (1368-1644)
The painting part (huaxin) of the handscroll is 672 cm long and 30 cm wide.

When this painting was received, there was various types of damage. Multiple scientific analytical technologies told us about the invisible information of its material and techniques of painting and mounting. Traditional painting and calligraphy restoration techniques, including cleaning, removal of old backing, filling, remounting, and retouching, rejuvenated the charm of the artwork. The micro-environment in the showcase is also monitored and controlled.

Jian (water vessel) with coiled dragon pattern

Late Spring and Autumn period (first half of the 6th century-476 BC)

Jian is a type of water vessel used for containing water or ice, or for bathing. Ma Chengyuan, former Director of the Shanghai Museum, rescued this jian from Hong Kong in the 1990s. This enormous vessel suffered from severe losses and deformation, making it difficult to restore to its original shape. The restoration works spanned over a decade and was sponsored by the Bank of America in 2012.

Jar with wucai design of ladies and infants

Jingdezhen Ware
Qing dynasty, Shunzhi reign (1644-1661)

This jar was once damaged, and some pieces were lost. During the restoration, conservators used various colouring techniques to restore the polychrome hues and texture that are unique to the wucai (polychrome glazed) Jingdezhen ware from the Qing dynasty.

Bowl with blue-and-white design of flower and bird

Jingdezhen Ware
Mid-late Ming dynasty (1522-1620)

Through the microscopic observation, analysis of the elemental composition of the blue-and-white pattern and the glaze, and thermoluminescence dating, it was ascertained that this bowl was fired in the Jingdezhen kilns during the reigns from Jiajing to Wanli in the Ming dynasty, although it bears an apocryphal mark "Xuande".

Palace lantern with a lacquer stand of zitan wood

Qing dynasty (1644-1911)

Though the stand of this lantern appeared to be in good condition, the X-CT scan revealed hidden risks of damage and traces of previous repairs, which provided indications for conservation.

Jia (wine vessel) with animal-mask patterns

Mid-Shang dynasty (15-13^th century BC)

Before restoration, this bronze jia was comprised of 13 fragments, with half of the artifact missing. The 3D scanning technology, which enabled precise digital modeling, was applied to produce reconstruction parts. These digital technologies significantly enhance the safety, accuracy, and efficiency of the restoration process.

Replica of a Ming dynasty armchair with curved rest and qilin pattern

Huanghuali wood

All components of the chair are connected with mortise and tenon structure. Modern mechanical analysis allows for a deeper study of the scientific achievements in traditional craftsmanship.