Cultural relic naming method
There were two ways to name cultural relics: one was to "name the owner". If you knew the name of the ancient artifact, you would use the ancient saying. For example, the bronze ware engraved with inscriptions in the Shang and Zhou Dynasties could be named according to this, such as Houmu Wuding and Guo Jizi Baipan. The second was to "establish a custom". When you did not know the name of the ancient artifact, you would use the modern name of this kind of artifact according to the speculation of the function of the artifact. For example, the container for storing grain was called "urn" or "jar". The naming format of cultural relics was usually " age + characteristics + general name ". Among them, the age refers to the age of manufacture or use; the characteristics include the region of cultural relics, craftsmanship, decoration, shape and texture, etc.; the general term refers to the type or use name, such as the pottery figurines of the Cheng and Han Dynasties."Cheng and Han" is the age,"blowing flute and pottery" are the characteristics, and "figurines" are the general term. Read more exciting novels for free
Cultural relic shooting method
The following are some methods of shooting cultural relics: 1. ** Color Management **: - To set the correct white balance during the early shooting, you can use the gray card setting and use the color card to adjust the color later. The configuration file is generated in the software to adjust the color in Lighthouse. - To ensure that the light source environment in the studio is stable and there is no interference from stray light. The display used for post-processing should be regularly colored and equipped with a light shield. 2. ** Selection of background **: - Generally, background paper was used to avoid using materials such as flannelette that were easy to fall off and pollute cultural relics. - When shooting bronzes, porcelain, and other cultural relics, according to the theme color of the cultural relics, black, white, and gray background papers with no color tendency were usually used. For cultural relics that are not easy to reflect light, in order to enrich the picture effect, you can carefully choose the appropriate color background paper. 3. ** Picture composition **: - Usually, the camera position was slightly higher than the level of the subject to avoid distortion, but the angle could be flexibly adjusted to fully show the study supplies on the paint plate. 4. ** Light Usage **: - The photography lamps were generally divided into two types: continuous light photography lamps and flash photography lamps. Most of the cultural relics photography in the shed used flash photography lamps. To choose a special photography lamp with accurate color temperature, according to the main light, top light and auxiliary light distribution position, and use the radar cover, transparent umbrella, soft light box, soft light cloth, beam tube and other accessories to adjust the light source. - Pay attention to the light ratio not to be too large to avoid losing the dark details; when shooting metal, porcelain, and lacquer, try to avoid strong light spots; use hard light to hook the edge of the cultural relics to show the three-dimensional effect. For cultural relics with smooth surfaces, strong light reflection, and easy to produce facula, such as coral lions, soft light cloth should be used to soften the light source and reduce the light intensity. Polarizing mirrors could also be installed in front of the lens to reduce the facula. The background color could be adjusted by changing the angle of the top light to increase the sense of space in the picture and highlight the theme. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic restoration method
According to the information provided, the restoration methods of some cultural relics were as follows: - For the restoration of bronzes, taking the Qin Mausoleum bronze carriage as an example, the team of experts had to carefully clean up and collect the fragments. Due to the large number of fragments and the fact that many of them were damaged or even missing due to age, experts had to repeatedly compare and experiment to find the necessary fragments, piece together the outline of the object, and then gradually complete the restoration of the entire cultural relic according to the outline. - The digital restoration method mentioned in the exhibition of cultural relics protection technology and equipment, such as the cultural relics protection of the cave temple in Dunhuang Mogao Grottoes as an example, using high-precision instruments to protect the ancient murals to show the historical elegant demeanor; The use of wearables to experience movie-level digital restoration of CG images to reproduce the gorgeous and solemn murals of the years; There is also the use of holographic projection, virtual reality, light and shadow special effects technology to transform the "Thousand Miles of Rivers and Mountains Painting" into the "Rhythmic Rivers and Mountains" experience scene. - In the aspect of cultural relic restoration experience, there was the process of touching the screen in the inscription recognition, experiencing the virtual restoration and Optical Character Recognition of the Jingyun Stone Stele of Qu Ren Ling in Bajun of the Eastern Han Dynasty, and watching the process of restoring Han brocade through the interaction device. However, different types of cultural relics may adopt different restoration methods due to factors such as their material and preservation state. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The method of making a cultural relic hairpin
The production order of the cultural relic hairpin was as follows: 1. [Pattern Selection: Choose according to the difficulty of the pattern. The difficulty level is 9, 8, 7, 4, 6, 5, 3, 1, 2 (2 is to be made). Generally, electrical appliances are needed to make patterns with holes.] After choosing the pattern, he took a wooden board of suitable size and pasted the pattern on it. 2. [Saw: Use a saw to remove the excess parts of the pattern. Wear gloves to protect yourself from injury during the operation. You can leave a little excess on the side until all the excess parts are removed.] 3. "Opticize the look and feel: First, use iron to polish the sides flat, then use sandpaper to polish the hairpin round and round to prevent hurting the hand. This process requires enough patience. 4. Coloring: After polishing and polishing, use a sponge to dip in the ancient color oil and evenly apply it on the hairpin. After drying, it can be done. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Method for manufacturing cultural relic protection display box
The following is a manufacturing method of a cultural relic protection display box: 1. ** Basic structure creation ** - A base plate was prepared, and a transparent display box was fixed on one side of the base plate. - A connecting gap is arranged at the end of the surface of the other side of the bottom plate, the side of the connecting gap is hinged with a hinged block, and the other end of the hinged block is fixedly connected with a side plate, so that the surface of the side plate is connected with the outer side of the surface of the bottom plate. - The other end of the surface of the side plate is provided with a threaded hole, and the surface of the side plate is fixedly sleeved with a cover plate. The side face of the cover plate is connected with a screw, and the end of the screw is threadedly connected with the side face of the threaded hole, so that the connection between the side plate and the cover plate is realized. 2. ** Internal Protection Setting ** - The surface of the side plate is fixedly adhered with a supporting sponge plate, so that the surface of the other side of the supporting sponge plate is tightly connected with the side face of the transparent display box to play the role of support and buffer protection. - Wedge sealing strips are fixed on the surfaces of both ends of the side plates, and the sealing strips are made of a right-angle structure of a graphene rubber to facilitate mutual compression and sealing, so as to avoid large gaps at the corners. 3. ** Cover protection settings ** - A protective rubber plate is fixed on the surface of one side of the cover plate, so that the protective rubber plate is tightly pressed and connected to the surface of the transparent display box, which is used for isolation and positioning after the cover plate is closed, so as to avoid collision and improve the safety protection effect. - The other end of the screw is fixedly connected with a connecting ring, and the connecting ring is located on the side of the cover plate, which is convenient for connecting and convenient for lifting the semicircle. - Make sure that the connection gap is located at the four corners of the bottom plate, and the depth is not less than the length of the hinged block to ensure the rationality and stability of the structure. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Method for manufacturing multi-functional cultural relic collection cabinet
The following is the manufacturing method of a multi-functional cultural relic collection cabinet: ** I. Overall structural design ** 1. ** Cabinet structure ** - First, the overall frame structure of the cultural relic cabinet was designed to ensure that the structure was firm, able to withstand the weight of the cultural relics, and stable for a long time. For example, the cabinet frame could be made of metal (such as iron or alloy) or processed wood. - According to the type of cultural relics and storage needs, the space layout inside the cabinet was planned, including setting up different bearing plates, drawers, compartments, etc. 2. ** Function component design ** - ** Show functional components ** - A power device is arranged inside the cabinet body. For example, in a multi-functional cultural relic cabinet, a motor can be installed on one side of the upper surface of the second bearing plate inside. The output end of the motor is connected with a second conical gear through a second bearing seat, the second conical gear is engaged with the first conical gear, the first conical gear is connected with one end of the first connecting rod, the first bearing seat (installed on the first bearing plate) is arranged on the outer wall of the first connecting rod, and one end of the first connecting rod, which is close to the first bearing seat, passes through the first bearing plate and is connected with a third bearing plate. In this way, a series of transmission components were driven by the motor, allowing the third bearing plate to rotate, which was convenient for the comprehensive display of the cultural relics placed on it. - A slot was opened at the top of the cultural relic cabinet for inserting the transparent shield. The transparent shield could not only protect the cultural relics, but also facilitate the observation of the cultural relics from the outside. - ** Movement and stability components ** - A fourth bearing plate is installed at the lower end of the interior of the cultural relic cabinet, and screw rods penetrate through the four corners of the fourth bearing plate. One end of the screw rods is integrated with a limiting block, and the other end is connected with a first roller. By turning the screw, the position of the first roller could be adjusted. When the screw is rotated in a positive direction, the screw gradually detaches from the fourth bearing plate and drives the first roller to be lowered from the bottom of the cultural relic cabinet, so that the cultural relic cabinet can move conveniently; when the screw is rotated in a reverse direction, the screw vertically moves towards the direction of the second bearing plate and drives the first roller to be retracted into the cultural relic cabinet, so that the cultural relic cabinet can directly contact the ground and increase stability. ** 2. Material Selection and Treatment ** 1. ** Metal material (such as iron or alloy)** - From the perspective of fire protection and saving the storage area, the metal cultural relic cabinet had certain advantages. However, iron cabinets were prone to rust in humid areas such as the south, so if you chose iron, you had to consider the humidity control conditions of the warehouse. If it was an alloy, its physical and chemical properties must be used to ensure that its strength and stability met the requirements. At the same time, the metal surface should be properly treated, such as spraying paint to prevent rust or corrosion. 2. ** Wooden Material ** - If you choose wood materials, you must choose the appropriate type of wood, such as high-temperature insect-proof, anti-mold, acid removal, and molding treatment. Camphor and teak are ideal materials for cultural relics cabinets. The wood should be dried before production to reduce the possibility of releasing acidic corrosive substances and avoid damage to cultural relics. ** 3. Assembling the auxiliary components ** 1. ** Anti-slip and protective parts ** - The upper surface of the third bearing plate used for display was glued with anti-slip mats to prevent the cultural relics from sliding and causing damage during the rotation process. - On one side of the bottom of the third bearing plate, a number of groups (such as four groups) of second rollers are installed to ensure the stability of the third bearing plate when it is rotating. 2. ** Operation Control Part ** - A control panel was installed on one side of the outer wall of the cultural relic cabinet to control the operation of functional components such as the motor, so that the user could control the display function of the cultural relic cabinet. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
5.18 cultural relic
5.18 The International Museum Day was related to cultural relics. On this day, the local museum would hold various activities to showcase the historical and cultural meaning behind the cultural relics. For example, there are many museum activities in Yulin on May 18 International Museum Day. Yulin Folk Museum welcomes children to visit and learn. Children can appreciate the charm of folk culture through the exhibition, while adults learn about the history of the party and listen to the stories behind the revolutionary cultural relics here. The collection of Yulin Han Dynasty Portrait Stone Museum is like "epic on the stone". On this day, people can learn more about cultural relics through the photo exhibition of mobile cultural relics survey results under the introduction of the staff; The Yu Zijun Memorial Hall in Yulin would also display pictures of the Great Wall culture in Yansui Town on this day. The Shaanxi Museum of History would also hold a series of activities on May 18 International Museum Day, such as the "Flower Dance Tang" cultural creation runway show in 2021, volunteer explanation services in the mobile museum, and themed educational activities. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
cultural relic
Sand casting was an ancient craft that was of great significance in the production and identification of cultural relics. For example, 11 gilded Buddhas from the early Tang Dynasty unearthed in Duchang County, Jiujiang, Jiangxi Province, were made using the sand-turning process at the end of the Sui Dynasty. There was also the Yuan Dynasty's "Seal of Ten Thousand Families of the Han Army" in the collection of the Zhaodong City Museum, which was also made by sand casting, but this seal was more crude. In the field of China antique art, the art of turning sand was also used to counterfeit. For example, when ancient coins were forged, profiteers might use the method of turning sand to cast money, which involved turning the mold, trimming the edge, repairing the hole, rusting, silencing the sound, making old coins, and other methods to make counterfeit coins. This required collectors to improve their eyesight to distinguish. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Relic pattering method
At present, there was no specific literature on how to form the patina of antiques. However, the possible ways to form the patina were as follows: For porcelain, the glaze on the surface of the porcelain glaze would form a stable compound under the effect of oxygen and moisture in the air. This was the patina. After the porcelain was fired, the surface of the porcelain glaze would have a strong glaze light (thief light). However, after a hundred years of circulation, due to the influence of the air's oxidization reaction, artificial scrubbing, playing, moving, and the dust in the room, the glaze light of the porcelain would gradually become old and lose its brightness. These performance characteristics were the formation process of the patina. When the jade was unearthed, the soil and iron rust stains on the surface were not cleaned. This was because the jade had been eroded and oxided in the humid underground environment for a long time, resulting in the loss of brightness or a layer of pulpy substance on the surface. This was a kind of patchy situation. After the jade was unearthed, the oily texture and the sense of moisture formed after being polished for a long time were also patchy. The surface of the bronze ware was mainly in the form of patina, which was caused by the copper's oxidization. In antiques, the patina might be the result of the sweat of many people, the soil buried in the ground, or even the reaction of the air. These things would adhere to the surface of the object and form a layer of patina under the friction of people. High-grade wood such as red sandalwood, mahogany, and yellow rosewood had an oily luster. Coupled with the accumulation of time from generation to generation, the oil hidden in the wood furniture was stimulated. When people touched these furniture all year round, the oily substances mixed with the sweat of various human bodies would form a patina. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
cultural relic storage
There were many ways to store cultural relics. In China, cultural relics collection units such as museum and library would have special warehouses for storing cultural relics. For example, the Neixiang County Yamen Museum had a cultural relics warehouse, which was a special storage place for cultural relics. It had constant temperature and humidity conditions and a strict security system, which was convenient for cultural relics protection research. From a legal point of view, as early as June 7, 1930, the National Government promulgated the Antiquities Preservation Law, which stipulated the preservation method of antiques. Except for private owners, the Central Antiquities Preservation Committee instructed the preservation place to preserve them, and made photos to be stored in the Ministry of Education, the Ministry of Internal Affairs, the Central Antiquities Preservation Committee, etc. Privately owned important antiques should be registered with the government and could not be transferred to outsiders. Underground antiques belonged to the state. With the development of science and technology, digital cultural relics became an emerging storage method, which used the latest 3D modeling technology to archive cultural relics. This method not only could preserve precious cultural relics permanently, but also provided the possibility for cultural relics experts and cultural relics enthusiasts to study and communicate together. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
cultural relic fraud
Cultural relic fraud was a crime that involved using fake cultural relics to deceive buyers into obtaining money. For example, in a case in Shanghai, an 80-year-old Auntie Li, who was passionate about antiques, was scammed by cultural relics. She came from a family of collectors. In 2012, she met Wang Mojie, a literary and playboy businessman. She initially bought small objects. Later, from September 2020 to June 2021, she expressed her willingness to buy real cultural relics at any price. Wang Mojie promoted the so-called "hidden authentic","Qing Dynasty three generations of official kiln" and other cultural relics and antiques. She spent more than 9 million yuan to buy more than 1000 pieces, which piled up at home. His daughter returned to China and found the suspect. After identifying it as a fake, she reported it to the police. The police took three years to send batches of samples for inspection and identification. They were all fakes. Wang Mojie argued that he was negligent and refused to refund. After the police tried their best to find key evidence to prove that he deliberately made and sold fake goods, he was arrested on May 10,2024 and returned more than 9 million yuan. In addition, there was a similar incident in 1959. Li Zongren said that he had donated 110,000 US dollars worth of cultural relics to the motherland. After identification, most of them were fake and only worth 3000 US dollars. However, Chairman Mao still spent 120,000 US dollars to buy them, saying that he was buying a loyal friend for New China. These incidents reminded antique collectors to raise their awareness of prevention and conduct cultural exchanges, appreciation, trading, and other activities through official channels. When it came to money transactions, they should choose formal trading platforms and have a rational understanding of the value of their collections to avoid being scammed by cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>