A special cultural relic that is forbidden to be exhibited abroad
Qin Shihuang's bronze chariot was a special cultural relic that was permanently banned from being displayed outside the country. It was a national treasure among national treasures and was even on the cover of our junior high school history textbook. In December 1980, archaeologists excavated the chariot pit on the west side of Qin Shihuang's mausoleum. The Tongan Carriage was 3.17 meters long, 1.06 meters high, and weighed 2482 pounds. It was about half the size of a real carriage. The entire carriage was assembled from 3462 parts. It had exquisite craftsmanship, unique design, and deep historical value. The carriage was divided into two parts. The front part was where the imperial hand sat, and the back part was the spacious master's sitting room. The cover was oval and the widest was 1.78 meters. The wheels were about 0.59 meters in diameter and had 30 spokes. The width and width of the wheels were the same, and the error was very small. The seats in the carriage were spacious and comfortable, and they were engraved with exquisite patterns. The four bronze horses pulling the carriage were lifelike, and the accessories on the heads of the horses were gorgeous and exquisite. It was not only an exquisite piece of art, but also a testimony to the highly developed bronze casting technology of the Qin Dynasty. It was of great significance to the study of the politics, economy, culture, and military of the Qin Dynasty. The Warring States Crystal Cup was also a cultural relic that was prohibited from being exhibited abroad. The tomb of the late Warring States period unearthed in Shitang Village, Banshan Town, Hangzhou City, Zhejiang Province in 1990 was the largest crystal cup among the early crystal products unearthed in China. It was 15.4 centimeters high, 7.8 centimeters in diameter, and 5.4 centimeters in diameter. It was light amber in color and had a floc in some parts. Its appearance was similar to that of modern glass cups. The origin of its crystal was still a mystery, and it was now stored in Hangzhou Museum. There was also the female corpse of Mrs. Xin Zhui. This female corpse of the Western Han Dynasty was buried underground for more than 2,000 years. When it was unearthed, it was still in a complete shape. The whole body was moist, and the skin, hair, and toe lines were well preserved. Some joints could still move, almost similar to a fresh corpse. It was the best preserved wet corpse in the world. It was now collected in the Hunan Museum and was under 24-hour constant temperature monitoring. It was also a cultural relic that was prohibited from being exhibited abroad. The Empress Wu Ding (renamed in 2011) was also a cultural relic that was prohibited from being exhibited abroad. It was a national treasure of the Shang Dynasty. It was 133 centimeters high, 110 centimeters long, 79 centimeters wide, and weighed 832.84 kilograms. It had upright ears, square belly, and four hollow legs. Except for the rectangular surface in the center of the tripod body, there were decorative patterns everywhere else. The Eight Treasure Boxes (Tang Dynasty) of the underground palace of the Fa Men Temple were also forbidden to be exhibited abroad. The outermost layer of the Eight Treasure Boxes had already decayed when it was unearthed. It was a set of gold and silver ware given to the Fa Men Temple by Emperor Yizong of the Tang Dynasty. It was used to worship the Buddha's true body and Buddha's finger relics. It contained many treasure boxes and a single-eave four-door pure gold tower. Read more exciting novels for free
Cultural relic special effect
Modern technology had brought a variety of special effects to cultural relics. In terms of 3D printing technology, the Xi'an Museum used this technology to scan and print the treasure of the town hall, the Tang Sancai Flying Barbarian Horse-riding Figurine. It also combined with the Cyber mechanical style for a second creation, presenting a cross-era three-colored flying horse that integrated ancient and modern times. The AR tour service was also a special effect application. For example, the AR tour of Xi'an Museum could be identified by the audience wearing AR glasses and aiming at the cultural relics. It could reproduce real-life items, restore ancient cultural relics, tell the story behind the exhibit,"repair" damaged cultural relics, and "touch" precious cultural relics that were not suitable for display. The digital virtual technology could restore the cultural relics in real life. For example, the Longmen Grotto Research Institute used this technology to restore the Northern Wei Dynasty's "Empress Wen Zhao's Buddhist Ceremony Painting" in virtual and real life, allowing the fragments of cultural relics scattered overseas to reproduce their former glory. Through 3D digital technology, cultural relics could be moved to the online display. On the mobile phone, they could rotate and zoom 720 degrees to view the structure, texture, pattern, decoration and other details of the cultural relics. At the same time, 3D, VR and other digital technologies could also create real-life replicas or pure virtual online 3D museum for the museum, creating the experience of a " mobile museum ". Combined with AI explanation, users could have a deeper understanding of cultural relics and the history behind them. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The cultural relic of the Forbidden City, Xie Zhi
Xie Zhi looked like a unicorn with a single horn and dragon claws. There was a pair of Xie Zhi in front of Tianyi Gate in the Imperial Garden of the Forbidden City. In the Ming and Qing Dynasties, the officials in charge of supervising discipline and law and discipline (Ming Dynasty Fengxian Officer, Qing Dynasty Censor, and Provincial Judge) wore official uniforms with patterns of Xie Zhi. It was one of the nine sons of the dragon. Legend had it that its horns could identify treacherous officials and knock them down. It used its sharp claws to press down treacherous officials and eat them, representing the emperor to distinguish right from wrong. Xie Zhi could also be seen on the roofs of ancient high-level buildings. Xie Zhi's eyes were wide open, bright and spirited. Its mane stood up, and its four claws were fierce and powerful. It had a royal temperament. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The cultural relic emoji package of the Forbidden City is here.
The Palace Museum Cultural Service Center's official Weibo @ Palace Museum Taobao posted a set of emojis from the precious collections of the Palace Museum. These collections included wood carvings and paintings from the Liao Dynasty, pottery dogs from the Eastern Han Dynasty, hibiscus stones from the Qing Dynasty, and patterned bricks from the Tang Dynasty. These emoticons allowed the cultural relics of the Forbidden City to be displayed in front of the public in a more approachable way, so that people could see the interesting side of the cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Salt Flask Special Cultural Relic
In Shaodian Village, Wuying Township, Qin 'an County, Gansu Province, a villager once had a special "salt bottle". In 1973, the villager dug up a colorful pottery bottle while working in the farmland. The bottle was painted with fish-shaped patterns, and the mouth of the bottle was a girl's face. At that time, the bottle was in a damaged state. He glued it with cement and used it as a salt bottle at home for five years. In 1978, when archaeologists discovered the Dadiwan site and collected scattered folk cultural relics, the villagers handed in the salt bottle. After identification, it was a national first-class national treasure and was named a human-head-shaped painted pottery bottle. There were three main reasons why this colored pottery bottle became a special national treasure: First, it was the earliest colored pottery product in the Yangshao culture period; second, it was exquisitely made, reflecting the superb pottery skills of the ancestors 5000 years ago, representing the highest level of pottery art at that time; third, the human face and fish patterns on the bottle were full of mysterious cultural atmosphere, which had high research value and space. However, there were three mysteries about this human-head-shaped colored pottery bottle: First, was it a water container? If it was an ordinary container, why was it so exquisite? Second, was it a sacrificial vessel? If so, how did people use it to sacrifice? Third, was it the "ancestral god" of the ancestors of Dadi Bay? If so, what did the salamander and fish patterns on the bottle represent? Was it related to the totem symbols of Fuxi, who created humans? <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Xizang cultural relics exhibited in the provincial museum
The following are some of the Xizang cultural relics exhibited in the provincial museum: - On September 3,2018, the "Shannan Cultural Relics Exhibition in Xizang" was completed in the new museum of the Anhui Museum. It was open to the public the next day and the exhibition lasted until October 7. It mainly exhibited 94 pieces (sets) of prehistoric stone tools, Tibetan gold ware, literature materials (Pattra-leaf Sutra), Tibetan Buddhist statues, Thangka, Tibetan opera and other related cultural relics found, collected or protected in Shannan, striving to show the historical development process of the Tibetan people. - From January 28 to October 28,2021,"Tibetan Rhyme Banquet_Xizang Cultural Relics Exhibition" was exhibited in the Cultural Relics Exhibition Hall of Qin Shihuang Mausoleum Museum in Shaanxi Province. The exhibition was organized by the Cultural Relics Bureau of the Tibet Autonomous Region and the Cultural Relics Bureau of Shaanxi Province. It gathered 100 precious cultural relics from the Norbulingka Administrative Office and the Potala Palace Administrative Office, focusing on the cultural richness of the Xizang ethnic groups and the historical fact that Xizang had been an inseparable part of the motherland since ancient times. The exhibition helped to increase people's understanding of Xizang cultural relics and Xizang culture, and promoted cultural exchanges between different regions. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The Forbidden City set up a cultural relic hospital to treat national treasures
The cultural relic protection and restoration team of the Forbidden City had a long history, and its cultural relic hospital bore an important task in the cultural relic protection and restoration work of the Forbidden City. The team combined traditional cultural relic restoration techniques, modern science and technology, and many professional technical talents. The Cultural Relics Hospital had a number of professional teams for protection and restoration, such as the framing and restoration of ancient calligraphy and painting, the copying and reproduction of ancient calligraphy and painting, the restoration of bronze ware, and the construction of official ancient buildings. These teams, with their superb skills and meticulous work, allowed many national treasures to "prolong their lives" and played an irreplaceable role in the protection and inheritance of cultural relics in the Forbidden City. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
cultural relic with inscriptions
The following are some of the cultural relics with inscriptions: - There were 29 inscriptions on the base of the "Eight-year-old Lacquer Wood Tall Bean" that was recovered from the Eastern Tomb of Qin Dynasty. The interpretation of some inscriptions helped to determine whether Lord Mengchang had served as the prime minister of Qin Dynasty. This cultural relic was determined to be a national first-class cultural relic. - He Zun, a national treasure of the Western Zhou Dynasty, had an inscription that recorded the important historical fact that King Cheng of the Zhou Dynasty inherited the will of King Wu of the Zhou Dynasty and moved the capital to Luoyi (now Luoyang, Henan Province), which was called "Cheng Zhou". The earliest source of the word "China" was "Staying in China". - There were four lines and 33 words of inscriptions cast on the bottom of the Gui of the Western Zhou Dynasty. The content was related to King Wu of Zhou's conquest of King Zhou of the Shang Dynasty. This Gui was also known as the Gui of King Wu's conquest of the Shang Dynasty. It had great historical significance and was listed as one of the nine national treasures. - There were two circles of words on the outer wall of a certain drum seat. The upper circle had about 98 words and the lower circle had 52 words. Although some of the words were vague and some were written in reverse, the word "Yu" in one of the lines was believed by experts to be more than a third-level cultural relic and should be classified as a first-level national treasure. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
cultural relic box
Casing cultural relics was a method of disposal during archaeological excavation. During an archaeological excavation, the unearthed cultural relics that were important but could not be cleaned up in time would be extracted in a box. For example, a large number of chariots and horses were unearthed from Tomb M1901 at the Liulihe archaeological site. Because their relative position was very important for archaeological research, the archaeologists carried out box extraction. These carriages were large, heavy, and in the mud. It might not be possible to insert them according to the usual steel plate extraction method. The team members listened to the advice of the old gentleman in the cultural relic protection and inserted a row of steel pipes under the boxes to reinforce the boxes. Also, in the archaeological research of the Marquis of Haiying's tomb, a large number of cultural relics excavated on the spot were transported to the laboratory in boxes for protection and research. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
cultural relic bottle
There were many kinds of bottles and jars in the cultural relics. There were all kinds of bottles and jars in different periods and regions. In the blue and white flowers of the Yuan Dynasty, there was a vase with four paintings of love. The blessed part of the vase had four paintings related to "love". They were Wang Xizhi's love for orchids, Tao Yuanming's love for chrysanthemums, Zhou Dunyi's love for lotuses, and Lin Hejing's love for plum blossoms and cranes. It was originally bought by a cultural relic store for 600 yuan, and was later identified as the Yuan Dynasty, becoming the treasure of the museum. There were also some bottles and cultural relics in the museum, such as the white glazed brown flower plum vase and the white glazed black animal pattern plum vase unearthed in 2017 from the tomb of the high-level noble family of the Khitan in the Liao Dynasty. There were also the Ming Jiajing blue and white cloud dragon auspicious phoenix cloud crane pattern cover jar, Ming Zhengde blue and white figure gourd vase, etc. In addition, in the Shandong Museum, there are various kinds of bronze "bottles and jars", such as You, which holds wine, has a large mouth and lower abdomen, with a cover and a beam; Gu, which holds wine, has a long body, luxurious mouth, mouth and bottom in the shape of a trumpet; The Zhi used for drinking wine, round belly, luxurious mouth, circle foot, looks like a small bottle, most of which have a cover; Gui, which holds cooked food, has a round mouth and two ears; Square pot for millet, rice and other meals; From Gui, there are oval mouths, lids, two ears, circular feet or four feet, etc. These bottles and cultural relics have their own characteristics in terms of shape and use. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
cultural relic maintenance
Cultural relics were divided into movable cultural relics and immovable cultural relics. The principle of not changing the original state of the cultural relics and the principle of minimum intervention must be adhered to when repairing, maintaining and migrating immovable cultural relics, so as to preserve the historical information and historical value of the cultural relics to the greatest extent. Taking Binzhou City as an example, in terms of cultural relics protection, they completed the confirmation of the protection scope and construction control zone of the sixth batch of provincial cultural relics protection units, strengthened the management of cultural relics protection qualification units, submitted the cultural relics protection project plan for the cultural relics protection units, strictly enforced the filing of cultural relics protection projects and the inspection of cultural relics protection projects, and successively carried out on-site supervision work for many cultural relics repair and protection projects. In addition, the relevant departments also attached great importance to the repair and maintenance of the original body of the small source conference site, Jiang Xianyun's former residence, and other places. All regions should also promote the protection of cultural relics from the legal and policy levels. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>