A Study of Russian Artifacts in the Collection of Imperial Palace in the Qing Dynasty

This article systematically examines the Russian cultural relics in the collection of the Qing imperial palace and analyzes the remnants of interactions between the Qing court and the Russian court during the reigns of Peter the Great, Nicholas I, and Nicholas II. Russian cultural relics witnessed significant historical events such as the establishment of diplomatic relations between China and Russia, exchange of envoys, and the signing of a series of treaties. They carried themission of promoting the national cultures and advantageous industries of both countries at that time. In addition, these cultural relics have high aesthetic value and contain reliable and rich historical information.

may have been used as a reward for courageous acts in battle. It is speculated that it was specially ordered in small quantities in the early 18th century in Solingen, a German principality, according to "the highest state directive", as at that time the German principalities and Russian Empire had jointly fought against King Charles XII of Sweden (Привалихин, 2006, pp. 73-76).
Peter the Great created a regular army, with the Dragoon Cavalry as its main force. By 1708, there were 36 regiments of Dragoon Cavalry. Dragoon cavalry swords were well-known in Europe since the 17th century, but initially they were seen more as an exotic hardware rather than a popular weapon. The first time they were used by a new Russian army unit was during the Russo-Polish Wars (1632-1634; 1654-1667). The new army unit was organized according to European models and was trained by foreign officers, showing outstanding performance in battle. Dragoon Cavalry regiments achieved multiple victories in the Polish and Russian wars against Sweden. The swords were only housed in the State Historical Museum of Russia, the Moscow Kremlin Museum, the State Hermitage Museum, and the Krasnoyarsk Museum; the one in the Palace Museum is the first discovery of its kind outside of Russia.
Based on the inscription "1715" and "Peter alexewits", it can be inferred that this sword is related to Russian diplomatic missions or trading delegations that visited China after 1715. Considering the missions' size and identity, the most likely one is the mission led by Lev Izmaylov (1685-1738) from 1719 to 1721. Izmaylov was a captain in the Preobrazhensky Regiment (an infantry regiment created by Peter the Great, which also served as his personal guard), a diplomat, and an envoy. His visit to Beijing is described in detail by Jean-Baptiste Du Halde in his work: On November 22, the scene of envoy Lev Izmaylov entering Beijing was exceptionally grand and magnificent. His entourage consisted of about a hundred people, all dressed in splendid European-style attire, with cavalrymen by his side drawing their swords, which left a novel and extraordinary impression on people (Bantysh-Kamensky, 1982). Received by the then elderly Kangxi Emperor, Izmaylov brought generous gifts, including a mirror with gold-plated and carved frame, a dressing mirror with crystal frame and candlesticks, a rectangular mirror with multiple crystal faces, a self-playing clock from England, a pair of gem-set watches, a compass, four sets of mathematical drawing instruments, four telescopes with portraits of the Battle of Poltava for the Great Sovereign, a microscope, two barometers, as well as several pieces of fur, including mink, sable, fox, arctic fox, and ermine, altogether worth 5,083 rubles and 83 kopeks (Bantysh-Kamensky, 1982). Personal gifts from Izmaylov to Kangxi included a gold pocket watch, an enameled gold snuffbox, a gold box from England, a silver sword from France, a large silver cup with a handle, 24 dogs (12 wolfhounds and 12 French Spaniels), and a Danish horse (Bantysh-Kamensky, 1982). It can be seen that Peter the Great showed his generosity in gifts, of which fur and glass mirrors were products of his own country, the remainder coming from other European countries.
In addition, Izmaylov informed Kangxi that the Great Emperor (Peter the Great) particularly liked China's flat flower luxurious tapestry. Kangxi assured that although such carpets took three years to make in the imperial court, requiring silk, gold, silver, and other materials, he would satisfy the Great Emperor with a specially tailored tapestry. One of the entourage members in the mission was specifically left in China to take care of the tapestry. The value of the felt carpets was 30,000 taels of silver; despite Izmaylov's proposal, Kangxi did not accept any payment. According to a report from August 3-14, 1725, these carpets were brought back to Irkutsk on May 19-30, 1721 (Cahen, 1980). Bantysh-Kamensky also mentioned that when they were leaving, the Khan's minister notified him that the flat flower tapestry to be presented to the Great Emperor were being made in the Bogd Khan Palace and would be sent by the Dragon Cavalry stationed in Beijing (Бантыш-Каменский, 1882).
It should be noted that among the recorded gifts personally presented by Izmaylov to Kangxi, there was a silver sword from France, but the Dragon Cavalry sword was made of steel, so it can be concluded that the sword was not personally gifted by Izmaylov. However, the mission had guards and Dragon Cavalry, and one of the Dragon Cavalry remained in Beijing to await the tapestry commissioned for the Tsar, which could suggest a connection. Furthermore, the production time of this sword was in 1715, coinciding with the reign of Peter the Great. Based on the above information, it can be inferred that the Dragon Cavalry sword in the Qing Palace's old collection is related to this mission. During the reign of Peter the Great, frequent missions were sent to China in an attempt to achieve trade diplomacy for political purposes through the exchange of novel European goods.
2 Two Official Exchanges of Books

Eight Hundred Volumes of Russian Books
In 1844, in response to a request from Russian missionaries stationed in Beijing, the Qing government bestowed over 800 volumes of Tibetan sacred texts, including the Tengyur and Kangyur, as gifts. Upon receiving the gifted books, Tsar Nicholas I of Russia wrote on them, "Very good. Tell me what these books are, and prepare gifts for return" (Успенский, 2011, p. 249). In return, the Russian government gifted over 357 different books comprising more than 800 volumes, marking the first known exchange of books between the Chinese and Russian imperial courts. The books from China were extensively utilized in Russia and were compiled into the monumental work Buddhist Library. In China, however, the books gifted by the Russian court were not adequately valued during the Qing Dynasty, and many of them were lost or destroyed.
As recorded in Shuo Fang Bei Cheng (朔方备乘) and Collected Works of Yangjizhai (养吉斋丛录), the books gifted in return to the Qing government covered a wide range of subjects, including literature, history, religion, astronomy, geography, mathematics, biology, geology, metallurgy, medicine, pharmacology, and agriculture, among others. Among them, maps and geographical books were particularly valued by the Qing government. In 1858, Emperor Xianfeng selected 41 volumes of cartographic and geographic books for reading and viewing in the imperial palace, while the rest were kept in the Fanglue Library (方略馆). The gifted books were initially kept in the Imperial Lifan Yuan (理藩院, Office for Relations with Principalities), according to the Palace Museum Archive. Subsequently, they were moved to the Library of the Grand Council of State in 1869 after some twists and turns. By the time of the cataloging conducted by Banduo (班铎) in 1885, out of the original 800-plus volumes, only 682 volumes remained. After the Boxer Rebellion and 1911 Revolution, just over 80 volumes survived and then came under the possession of the foreign affairs department of the Beiyang government. It was not until 1947 that Mr. Zhang Tiexian who worked at the Beijing Library discovered over 40 volumes of Russian books in a book market (Cheng & Li, 2007). According to the author's investigation, among the over 40 volumes of Russian books currently acquired by the National Library in 1947, only 13 volumes can be confirmed to be from the gifts presented by Russia during the Daoguang period (1821-1850). For the convenience of reference, the list is compiled as follows: (1) The book titled Новейшие открытия, наблюдения и опыты врачей, сделанные в практической врачебной науке в последнее двадцатилетие (translated as Newest Discoveries, Observations, and Experiments in Practical Medicine in the Last Twenty Years) was authored by A. P. Neliubin, a Russian physician, and was published in 1840 in St. Petersburg. It is catalogued in the National Library under the foreign rare book number P93. It is also listed as item 187 in the Shuo Fang Bei Cheng bibliography, titled "New Compilation of Medical Laws", consisting of four volumes, and as items 537-539 in the Banduo's bibliographic catalog, titled "New Compilation of Medical Arts", consisting of three volumes. One copy is preserved in the National Library. All the above-mentioned books bear the seal of "北京图书馆藏书 (Beijing Library Collection)" in Chinese and "National Library of Peiping, Peiping, China" in English.
In addition, Zhang Tiexian's collection includes four volumes (Zhang, 1958), for which a Russian catalog is not provided. The details are presented as follows: (1)  Based on the above, it can be seen that the majority of the books in the collection of the National Museum were among the "Atlases and Geographical Illustrations" selectively read by Emperor Xianfeng.
In summary, there are currently 13 volumes in the collection of the Ancient Books Department of the National Library of China, 20 pieces/volumes in the National Museum of China, and four volumes in Zhang Tiexian's collection, totaling 37 volumes/pieces, which are the remaining portion of the originally discovered 800 volumes of gifted books. These books reflect the cutting-edge works in various fields of Europe and Russia at that time. The gifted books initially attracted attention from the intellectual community, and after the translation of the book list, literati and officials eagerly copied them, seemingly refreshing the minds of people in the imperial court and civil society. And there has always been advocacies for translation. In the 11th year of the reign of Emperor Guangxu (1885), the censor Zhao Erxun (赵尔巽) suggested to the Grand Council that the gifted books be translated into Chinese and printed with engraved plates by the Tongwen Guan (同文馆). Yet the then chief examiner of the Tongwen Guan, the American missionary W. A. P. Martin, held a negative opinion. The Grand Council eventually decided that the old books from Russia were not as comprehensive and influential as the new books from Britain, Germany, and France, so there was no need for translation. Hence, the Qing government did not adopt the suggestion for translation and did not attach enough importance to the gifted books. Prior to the Opium War, Russia's expansion in China was still in the exploratory stage, and the translation of these books had significant implications for the development of various fields in China at that time. After the Second Opium War, with a deeper understanding of China, Russia's expansion became more audacious. The first official book exchange between China and Russia undoubtedly occurred at this historical juncture.

The Chinese Version of Journey to the East of His Imperial
Highness the Tsesarevich 1890-1891 The   during his time as the Tsesarevich. The tradition of the "educational journey" for Tsesareviches dates back to the time of Peter the Great. This journey lasted for 9 months and included visits to Greece, Egypt, India, Thailand, Burma (now Myanmar), China, Japan, and other countries, which helped to strengthen the diplomatic relations between the Russian Empire and other countries. The author of the book is Esper Esperovich Ukhtomsky (Эспер Эсперович Ухтомский). In Qing dynasty literature, he was also referred to as "邬多穆斯基", "王 爵吴克托穆斯基", "吴王", "吴克托", "乌克托木斯基", "乌和他木斯科", "乌赫唐斯 基", and other names, depending on different translation. He was commissioned to write this account, in which he recorded the receptions, geography, military, and historical and cultural aspects of the countries visited during the journey. The book was published over a period of six years (1893-1898) in deluxe and regular editions, and it was available in five languages: Russian, English, German, French, and Chinese. The Russian edition was first published in 1893 under the title Journey to the East of His Imperial Highness the Tsesarevich 1890-1891, but after the coronation of Nicholas II in 1894, the title was changed to Путешествие Государя Императора Николая II на Восток (в 1890-1891), translated as Journey of the Tsar Nicholas II to the East (1890-1891). In 1897, an official version was published, which was used as an official textbook and distributed throughout the country. The   (Хохлов, 1999). After extensive research, the author finally found, in the Vol. 4 of the Third Compilation of "Report on the Inventory of Forbidden City Collections" (故宫物品点查报告), two copies of Journey to the East itemized 2628, which corroborates the information in the above-mentioned literature. Due to the transfer of cultural relics and other reasons, these two books were found in the Palace Museum Library and Peking University, respectively. In addition to the two copies presented to the Qing imperial court, a third copy of the Chinese version was printed slightly later and ordered by the Russian Tsar to be kept in the Imperial Library of Russia. In 2018, Dr. Anastasia Komolova from the Kremlin Museum found the third copy in the Russian National Library (formerly the Imperial Library of Russia). So far, all three Chinese versions have been located.
The three copies appear to be consistent in the cover and content, with the only difference being that original covers sleeves of the two copies in China are presumably lost. The cover of the books is exceptionally exquisite, with embossed, gilded, rectangular gold-framed and decorative floral patterns, the design of which is similar to the Qing Dynasty enamel cloisonné. The paper used in the inside pages is similar to modern copperplate paper, with lead printing and meticulous binding. There are 111 pages of text in Chinese, totaling 18,955 Chinese characters, without page numbers. The calligraphy of the Chinese text is elegant and beautiful, showing a deep understanding of Chinese calligraphy. There are 479 illustrations (some in color) in the book, including photographs, engravings, lithographs, and watercolor paintings. The author of the watercolor paintings is N. N. Karazin (Н.Н. Каразин, 1842-1908), a distinguished painter, anthropologist, writer, geographer, traveler, and war correspondent, whose grandfather was the founder of Kharkiv University. The photographs were taken by photographer Vladimir Dmitrievich Mendeleev (Владимир Дмитриевич Менделеев, 1865-1898), who was the eldest son of the famous Russian chemist D. I. Mendeleev. After his trip, V. D. Mendeleev wrote letters to his father praising the amiable character of the Tsesarevich. The photos taken on this trip were included in this book by Ukhtomsky. There were originally more than 200 photos, which are now kept in the National Library of Russia. The cover and title page of the Chinese version contain the following information: book title, "俄太子东游 记"; the author, "王爵吴克托穆斯基"; the publisher, "德来泽城璞洛喀次书坊藏板"; publication year, "光绪戊戌年" (1898).
The Chinese version of Journey to the East is distinct from versions in other languages. Firstly, the book depicts the firsthand experiences of the Tsesarevich during the Qing Dynasty, vividly showcasing a direct historical witness to the exchanges between the Chinese and Russian courts during the Qing Dynasty.
Secondly, the Chinese version was commissioned by the Russian Tsar and only printed in three copies, whose imperial-level design reflects exceptional value. Thirdly, the book was written by the Prince Esper Ukhtomsky, a prominent Orientalist of the Russian Empire, and was transcribed by a Chinese calligrapher and printed in Leipzig, Germany. The book covers important figures in China and Russia, and touches upon ethnology, geography, and natural resources, making it an important cultural heritage of the Chinese-Russian exchange.
In recent years, other cultural relics related to the visit of the Russian Tsesarevich to China have also been discovered. The Collected Poems of Zhang Zhidong (张 之洞诗文集) contains two poems describing the grand reception of the Tsesarevich. One poem, titled "Book Gifting to the Tsesarevich Visiting Hankou in the Qianchuan Pavilion" (太子来游汉口享燕晴川阁索书即席奉赠), goes: Flying wheels from the west have crossed the sea Carrying auspicious bells to compare with the Decheng On a sunny day, the Qingchuan Pavilion unfurls its splendid curtains As flowers bloom and rainbow flags welcome the Han River Magnificent views of the three territories await the bold adventurer As the happy union of two countries is celebrated with joy From this day on, the grand achievements are recorded and spread As the rivers and skies clear for thousands of miles (Zhang, 1928, p. 256) Another poem titled "The Young Companionship of the Greek and Russian Princes" (希腊世子俄太子之戚, 来同游者, 年甚少), goes: On high spirits they ride, plucking fragrant grass on Chu's land Banners and flags soaring high, in the sea and sky's command Amidst singing parrots by the spring, they row beneath the night's light Together drinking wine, by the water's edge so bright. Men of both countries connect, hearts bound as one Women in silks, of which the colors bright But like Sima of Southern Han's age, I feel About, I yearn and appeal (Zhang, 1928, p. 256) These poems vividly depict the cultural exchange between China and Russia during the Qing Dynasty, and the Qianchuan Pavilion gained more fame for hosting the Russian Tsesarevich. Zhang Zhidong's handwritten version of the poem "Book Gifting to the Tsesarevich Visiting Hankou in the Qianchuan Pavilion" was once collected by Qian Zhongshu and Yang Jiang, and was donated to the National Museum of China before Yang Jiang passed away, adding fresh materials to the reenactment of the Russian Tsesarevich's trip.
In commemoration of his journey, in 1891, Tsar Alexander III commissioned the jewelry company "Fabergé" (Фаберже) to create the "Azov Commemorative Egg", which was modeled after the half-armored ship named "Azov" on which the Tsesarevich had traveled. This was the seventh imperial egg created in Russia. Its delicate craftsmanship was embodied in every detail, including the ship's meticulously replicated equipment, the platinum boat, anchor and chain, spider-web-like gold wire mast, and tiny letters spelling of Azov. The Egg is currently housed in the Moscow Kremlin Museum, serving as a memento of the Tsesarevich's journey to the East and showcasing the artistic achievements of Russia.
Unfortunately, despite its promotion, Tsar Nicholas II's journey to the East did not lead to a change in Russia's aggressively expansionistic policies towards China after his ascension to the throne. The Chinese version of the book was only printed in three copies, while the English, French, and German versions were openly distributed, highlighting an uneven attitude towards different countries.

Russian Silverware
In 1897, in response to Li Hongzhang's attendance at the coronation of Nicholas II, the Qing court sent Esper Esperovich Ukhtomsky as an envoy to China.
During the Ukhtomsky's trip from the planning stage, departure, landing in Shanghai and Tianjin, until the audience at the Hall of Literary Glory (文华殿), there were related reports along the way, which were detailed in the newspaper Shen Bao (申报).
On the 25th of the previous month, Wu Keshi (Ukhtomsky) went to the Hall of Literary Glory to meet the Emperor, presented the credentials and the precious gifts bestowed by the Tsar of Russia, and requested an audience with the Empress Dowager Cixi. Subsequently, according to an imperial edict from the Empress, on the 27th, he once again went to the Hall of Literary Glory and presented the letter from the Russian Empress to the Chinese Empress, which was then passed on to the Empress Dowager Cixi for her perusal. The gifts to the Empress were listed as follows: a diamond-studded star of the order of Catherine the Great, Moscow's finest brocade fabric, a crown inlaid with gold and diamonds, a complete set of silver combs, a lapis lazuli table, a treasure needle, an antique fan, and a pair of phonographs. The gifts to the Emperor included a silver statue of a loyalist with an ancient jade throne, a blue lapis lazuli tile with a blue lapis lazuli base, four pieces of top-quality arctic fox fur, a precious wine flask and sixteen cups, a cloisonné enamel piece, a carved silver eagle wine vessel with six cups, and a fruit box. In addition, six precious items were presented to the Gong Mansion and the Qing Mansion; eight items were presented to Li Fuxiang; three items were presented to each of the officials of the Zongshu. This also reflects the deep friendship between China and Russia. (Shenbao, 1897, June 7, p. A2) The above passage details the two occasions in which Ukhtomsky presented himself before the Emperor in the Hall of Literary Glory, as well as a list of gifts given. This account was corroborated by the account in "Li Hongzhang's European and American Visit Records" (李鸿章历聘欧美记), both reporting that the total value of these items was approximately 400,000 gold pieces (Zhong, 1980).
In addition, the book In Old Beijing, written by V. V. Korsakov, a doctor of the Russian missionary group and a journalist, also provides specific descriptions of the gifts, and reveals the deeper meanings of these items from the perspective of the Russians. The following is a translation of the original text.
One of the gifts presented to the emperor was a sculpture made by the Ovchinnikov factory, depicting the liberation of Bulgaria. The gift given to Empress Dowager Cixi included the Catherine Medal, which was specifically designed for non-Christians and studded with diamonds worth over 5000 rubles, a set of silver bathroom utensils, a serpent-shaped crown made of gold and set with a large ruby. The gifts were undoubtedly a grand gesture at the time, as the Chinese had a great appreciation for precious stones. Other gifts included a white satin fan with a painted golden border, a lapis lazuli small table, and a phonograph. Empress Dowager Cixi was interested in all new inventions and had installed electric lights and telephones in her palace. She had also imported a phonograph from Paris last year, and had electric boats and cars in her garden. Additionally, many fabrics were given as gifts to the empress, including gold and silver silk satin, woven brocade, gold and silver ripple silk, and velvet. Prince Gong was given six cup-shaped containers made by the Grachev factory, a pair of rose quartz vases, a Fabergé silver rooster vase, a lapis lazuli small table, and a stone dressing table. Li Hongzhang was given a set of silver tea utensils, a pair of silver glass bottles made by the Grachev factory, a diamond-studded hat, a statue of Peter the Great, and a snuff box. Li Hongzhang must have been very pleased with the gift of the statue of Peter the Great, as, like all Chinese people, he would have seen the hidden meaning behind the gift. Undoubtedly, he was an outstanding figure in China, and the gift of the statue of Peter the Great would have greatly honored him. (Корсаков, 1904, pp. 200-202) After examining the literature and inspecting the Palace Museum's cultural relics, it was found that a silver knight statue (银义士像), an oriole-engraved silver wine vessel (錾莺银酒匜), a decorative silver fruit and sweet box (盛花果盒全具), a pair of silver cloisonné plates, and a pair of silver tree-shaped double-eared washbasins are closely related to the current recruitment. The first three were recorded as gifts presented to Emperor Guangxu. Furthermore, the silver cloisonné plates by Ovchinnikov and the silver tree-shaped double-eared washbasins by Grachev Brothers were found to be consistent with the literature description, indicating that they are also part of the gifts presented during this visit.
According to the Russian inscriptions, the above-mentioned relics were produced by the Fabergé, Ovchinnikov, and Grachev Brothers. Fabergé is known for its exquisite craftsmanship, ingenious design, and use of jewel inlays and luxurious decorations, making it a hallmark of imperial treasure manufacturing in Russia. The products of the Ovchinnikov factory have fascinated royalty worldwide, mainly using ancient Russian and modern artists' paintings as their inspiration. The revival of the cloisonné enamel craft is not only associated with Russia but also closely related to Ovchinnikov's efforts in Europe. The Grachev Brothers company was established in 1866, and its silver art products are renowned both domestically and internationally, having won numerous awards at world expositions.
(1) The Silver Knight Statue (银义士像) The Silver Knight Statue, found in Russian artifacts, is a historical sculpture created by the Ovchinnikov factory. The statue stands at 1.5 m tall and weighs several hundred kilograms. According to the literature, the sculpture depicts a Russian knight riding on a tall horse, accompanied on the left by a barefoot Russian peasant in sandals holding the reins of the horse, while on the right, a standing woman kisses a corner of a flag while holding a child, who holds a shield with the emblem of Bulgaria. The entire group of figures is placed on a granite base, with silver figurines representing Montenegro and Bulgaria on either side. This group of sculptures was created in Russia, signifying a historical event unrelated to China, and may not have been fully understood by the Chinese people. The sculpture was valued at over 7,000 rubles. (Корсаков, 1904, pp. 200-202) During the early 20th century, Russian gold and silver products were at the forefront of global craftsmanship and production. This period saw the emergence of numerous famous craftsmen who created excellent works, with silver sculpting being one of the most representative. The focus of silver sculpting is primarily on character modeling, utilizing molded casting to represent an entire scene, which is composed of multiple molded casts. Subsequently, hammering, chiseling, or reliefmaking methods are used to depict the finer details of the characters, such as hair and beards, or to illustrate their expressions. The Silver Knight Statue was created using the aforementioned methods, and is considered a masterpiece of Ovchinnikov. Through the Silver Knight Statue, the Tsarist government aimed to express its unwavering support of China during a time of internal and external difficulties for the Qing government, portraying Russia as defending China like a knight, just as it defended Bulgaria.
(2) The Silver-Inlaid Double-Eared Three-Legged Double-Headed Eagle Vessel (银 贴花双耳三足双头鹰盖炉) Formerly known as the "oriole-engraved silver wine vessel" (錾莺银酒匜), this vessel has a height of 61 cm and a diameter of 53 cm. It is three-legged, with two ears and a bulging belly. The belly is decorated with silver flower and grass pieces, and the neck is adorned with an "S" pattern. On either side is a double-headed eagle emblem. Its flat lid is narrow at the top and wide at the bottom, with a large three-dimensional double-headed eagle on the top. The inside of the lid bears the Russian inscription "К.ФАБЕРЖЕ (K. Fabergé)". The decoration of this wholly gilded object conforms to the luxurious style typical of the Fabergé company, which was usually famous for creating exquisitely decorated Easter eggs for the royal family, but not for objects of this size and scale. Given the important matter of an audience with the Chinese emperor, artistic expression was required to be even more exquisite. The relief double-headed eagle on the belly and the double-headed eagle sculpture on the top of the lid present the Russian national emblem in a three-dimensional form. The appearance of the national emblem twice on one object emphasizes the national characteristics and also reflects the symbol of Russian imperial power.
According to the naming rules for cultural relics, it is named the "Silver-Inlaid Double-Eared Three-Legged Double-Headed Eagle Vessel". Usually made of gold or silver and decorated with silver floral patterns, this type of object is called "братина", which was popular in Russia from the 16th to the 19th century as an alcohol container at grand banquets. It was also used as a valuable gift. The shape and size of the vessels varied, with some having a cone-shaped lid and generally accompanied by 6-12 cups. The literature mentions that the six accompanying cups are now missing.
(3) Silver Engraved Flower Double-Eared Six-Foot Elliptical Plate (银刻花双耳六足 椭圆盘) In the literature, this object is referred to as a "fruits and sweets box", with a height of 18 cm, length of 93 cm, and width of 45 cm. The plate has laurel flower crowns as its ears, and is decorated with patterns of Lycoris leaves and bouquets around its body. This plate was itemized as "吕1945" in the list of post-war inspection. According to the "Report on the Inventory of Forbidden City Collections", it was originally stored in the Hall of Mental Cultivation (养心殿), referred to as a "silverplated copper fruit and sweets container" (The Palace Museum and the Kulangsu Gallery of Foreign Artifects, 2017). The place of its storage, the Hall of Mental Cultivation, where the emperors handled political affairs and daily life, demonstrates its importance to the emperor. This object was used for decoration or display of fruits. The Imperial Palace is added on Russian artistic elements through such rich and exotic objects. (4) Silver Cloisonné Plates The plates are 0.5 cm high and 13.5 cm in diameter and come in a pair. On the bottom of the plate, there is a double-headed eagle badge, while its wide rim is decorated with cloisonné inlays and embellished with wave, floral, and other decorative patterns. The decoration on the rim is particularly striking, with variegated blue, green, and yellow colors. The outer bottom of the plate has an 84 silver hallmark, indicating a silver content of 87.5 %. The inscription "П. Овчинниковъ (P. Ovchinnikov)" was commonly used by the Ovchinnikov factory at that time. The Ovchinnikov factory pushed the art of cloisonné to its limit, filling the gaps in the exquisite silverware with various colors and giving it a unique Russian style.
Karsakov mentioned Ovchinnikov's cloisonné silverware in his book In Old Beijing, stating that each person in the Office of General Management was given a diamond-encrusted hat and various gifts, including cloisonné silverware and glassware made by Grachev Brothers and Ovchinnikov factories. Among some finely carved jade vases, two of them were exquisitely crafted small ones made of green jade worth 2200 rubles. There were also silver cups with animal heads. Other ministers, in addition to the aforementioned, also received gold watches on chains and long robes. The total value of the gifts exceeded 70,000 rubles. (Корсаков, 1904, pp. 200-202) (5) Silver Tree-Shaped Washbasins with Double Handles The washbasins are 43 cm in height and 33.5 cm in diameter. They are made entirely of silver and come in a pair. The lower body is shaped like a tree, with branches and leaves stretching out and supporting a silver plate. The silver plate is decorated with rope-like patterns, creating the effect of woven fabric. One of the washbasins features four deer under the tree, with two adult deer looking up and two fawns searching for food. The other washbasin depicts two bears under the tree, one walking and the other sleeping. The tree and the base are stabilized by screws (The Palace Museum and the Kulangsu Gallery of Foreign Artifects, 2017). The bottom of the silver plate bears the numbers 84 and 1893, and inscription "Грачевъ", representing 84 silver, the year 1893, and the name of manufacturer the Grachev Brothers Factory. These silver pieces, made by the Grachev Brothers Factory, showcase the brilliant craftsmanship of Russian silverware manufacturing.
During his reign, Nicholas II had a special fondness for silverware and recruited outstanding craftsmen from Europe to produce exquisite silver pieces. His aesthetic taste surpassed many of the European royalty. This can be attested to by the abovementioned cultural relics from the old collection of the Qing Palace. The three artworks from three royal suppliers, serving as diplomatic gifts to showcase the pinnacle of Russian silverware craftsmanship.

Conclusions
The Qing imperial collection of Russian cultural relics not only served as a carrier and witness of cultural exchanges between China and Russia, but also reflected the different cultural values between two countries. During the reign of Peter the Great, huge profits were obtained through trade with China to solve the problem of largescale military spending. He was willing to make concessions in the dispute over ceremonial gifts, reflected the German-made sword of the 18th century Dragon Cavalry. The Russian books gifted to the Emperor Daoguang mostly reflected the advanced areas of European scientific and technological progress and national development. The Chinese version of Journey to the East of His Imperial Highness the Tsesarevich 1890-1891 was only printed in three copies, while the English, French, and German versions were officially published and distributed. The silver gift items highlighted European elements, indicating that since Peter the Great, the Russian Empire hoped to gain recognition from Europe, while extracting profits from the East. The European influence in the material and cultural exchanges between the two countries is prominent, which also led to minimal Russian influence on the material level in the Qing imperial court.