Diancui ancient cultural relics
Pointing jade was a traditional craft that used kingfisher feathers for decoration. It was reflected in many ancient artifacts. From the perspective of historical development, the "collection of feather jade" in Han Feizi's "Foreign Reserve Shuo Zuo" during the Warring States Period may be an early record of the decoration of jade. The relatively confirmed use of "knotting beads and paving jade" as a jewelry craft was in the Song and Yuan Dynasties. By the Ming and Qing Dynasties, the word "jade" had a clear meaning-point jade, and became an important feature of gold and silver jewelry in the Qing Dynasty. Among the existing ancient artifacts, there was a crown of Empress Xiaojing of the Ming Dynasty inlaid with pearls and precious stones, golden dragon and phoenix, which was collected by the Palace Museum. There was also a six-dragon and three-phoenix crown unearthed in the Ming Dingling Tomb. It was the funerary object of Empress Xiaoduan of Wanli. There were three phoenixes made of Diancui in the middle. There were also some cultural relics left in the Qing Dynasty, such as silver-plated jade beaded tassels, silver-plated jade butterfly hairpins, etc. However, there was cruelty behind the jadeite craftsmanship. Because only the back feathers of the kingfisher were the brightest and suitable for decoration, in order to maintain the color, there were cases where the feathers were plucked when the kingfisher was alive, which caused the kingfisher to be on the verge of extinction. At the same time, some cultural relics were also facing the situation of being lost overseas. For example, a crown of verdant phoenix appeared in the National Museum of Wales. Now, the cultural relic restorers of the Palace Museum were reinforcing and maintaining the collection of Diancui cultural relics. Read more exciting novels for free
Ancient Changyi cultural relics
There are many cultural relics in ancient Changyi. The old city of Changyi was the capital of Shanyang State and Changyi State in the Western Han Dynasty. In 1992, it was announced as a provincial key cultural relic protection unit in Shandong Province. In 2013, it was announced as a national key cultural relic protection unit by the State Council. There were many cultural relics in the Changyi City Museum, such as the bronze ware of the Shang Dynasty "Deng Gong", the Ming Dynasty "Taotie pattern white jade bowl", the Qing Dynasty "Huang Yuan imperial doctor's manuscript" and other first-class cultural relics enjoyed a high reputation at home and abroad. There were also Western Han Dynasty bronze dragon and phoenix ornaments (unearthed from Xinzhi Village, Duchang), Eastern Han Dynasty green glazed dragon head pottery spoon (unearthed from Taobu Village, Weiziqian), Eastern Han Dynasty green glazed dragon head Tao Kui (unearthed from Taobu Village, Weiziqian), Ming Dynasty dragon-shaped kiss beast (unearthed from Xinge Village, Huangjia Village, Duchang), Qing Dynasty jade dragon hook, Qing Dynasty imitation Ge kiln plastic-patterned dragon bottle, Qing Dynasty glazed carved dragon snuff bottle, Qing Dynasty carved dragon green stone tablet forehead, Qing Dynasty martial arts champion Song Zhankui flying white calligraphy "dragon" and other cultural relics containing dragon elements. In addition, a total of 12 hull fragments were discovered after excavation of the ancient ship in Changyi. Among them, the No. 2 ship plate fragment was composed of four pieces of wood about 11 meters long, 60 centimeters wide and 30 centimeters thick, weighing about 8 tons. After carbon- 14 dating, it was determined that the shipwreck was built between 574 AD and 657 AD, belonging to the Sui and Tang Dynasties. Moreover, this ship was the earliest ancient ship discovered in China that used iron curium. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Ancient shipwreck, 10 cultural relics
The following are 10 artifacts from different ancient shipwrecks mentioned in the reference: 1. Heze ancient shipwreck (Yuan Dynasty): There are many unearthed artifacts, but 10 specific cultural relics are not clearly pointed out. However, the overall unearthed artifacts have high historical research value and archaeological value. 2. [Nanhai No. 1 (Song Dynasty): Carries an astonishing number of national treasures of the Song Dynasty. 10 cultural relics are not explicitly listed.] 3. The No.1 shipwreck on the northwest slope of the South China Sea (Zhengde period of Ming Dynasty): The unearthed cultural relics are mainly porcelain. In the "Deep Blue Treasure--Special Exhibition of the Archeological Achievement of the No.1 and No.2 shipwreck on the northwest slope of the South China Sea", there are 13 pieces (sets) of exquisite porcelain, as well as cultural relics such as red and green colored bowls, plain three-colored pictographic pots, and copper plates with intertwined lotus patterns. Although 10 pieces are not clearly collected, these are all representative cultural relics. 4. A shipwreck discovered on land in the Yuan Dynasty: 110 cultural relics were unearthed, including a complete Yuan Dynasty blue-and-white dragon-patterned plum vase, a Yuan Dynasty white-and-black brown dragon-and-phoenix-patterned jar, etc. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Loulan ancient cultural relics
Lou Lan had unearthed many ancient artifacts of extraordinary significance. 5717 cultural relics of various kinds were unearthed from the ancient tomb of Loulan, the ancient city of Loulan, the ruins of Milan, the ruins of the southern ancient city of Lop Nur, and the cemetery of Xiaohe. These cultural relics are now stored in the Loulan Museum. The ancient city of Loulan had unearthed pagoda-like religious works of art, a large number of Chinese bamboo slips, Chinese documents and other cultural relics, as well as precious cultural relics such as wooden slips, documents, and silk. In 1908, the Japanese monk Ju Ruichao found a letter written by Li Bai, the head of the Western Regions during the Liang Dynasty, in the wall of the "Three Houses" of the Loulan Ruins. Its historical value was immeasurable and it was now collected in the library of the Dragon Valley University in Kyoto, Japan. In addition, Loulan also unearthed the "Loulan Beauty" mummy, Han Jing, Warring States policy manuscript and other cultural relics, as well as a large number of bamboo slips and coins from the Han, Jin, Tang and other periods. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Neixiang ancient cultural relics
There were many ancient cultural relics in Neixiang, such as the bronze tripod collected by the Neixiang County Yamen Museum. There were many bronze tripods in the cultural relics warehouse. There was also the Shang Dynasty wine holding and warming copper (), 33 cm high, 18 cm diameter, the surface decorated with taotie milk nail pattern; Western Zhou Dynasty rice steamer copper (), 35 cm high, 25 cm diameter, the inner wall has eight characters inscription, is the early bronze inscription; The Han Dynasty portrait bricks collected in 1992 were 112 centimeters long, 26 centimeters wide and 12 centimeters thick. The portraits reflected the life of the tomb owner and the hunting scenes in the Han Dynasty. The Han Dynasty portrait stones were made of cyan limestone and red sandy slate, which were the main building materials of the Han Dynasty tombs. In addition, Neixiang was the birthplace of Chu-Han culture. There were more than ten ancient tombs that were announced as county-level cultural relics protection units, among which there were most Han tombs, such as Huawa Han Tomb, Banpo Tomb, etc. The soil of Huawa Han Tomb was as high as 9 meters, which was the largest preserved Han Dynasty tomb in Neixiang at present. The ancient tomb by the river was inferred to be the tomb of Han Dynasty from the unearthed pottery pig and pottery dog, and the tomb of Fuzhuang was recorded as the tomb of Du Mao, the general of the cavalry of the Eastern Han Dynasty. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Ancient cultural relics in Henan
Henan was rich in ancient cultural relics. For example, there were 51172 immovable cultural relics in 14 provincial cities in the Yellow River area of Henan Province, of which 7042 cultural relics protection units above the county level were included in the immovable cultural relics resource database of the Yellow River area. The Erlitou Ruins and the important ruins of the Yangshao culture were typical representatives of ancient cultural relics. In addition, there were also many archaeological excavation results. Many ancient cultural relics were unearthed during the major research projects such as the "Exploration Project of the Chinese Civilization" and "Research on the Ancient Chinese Culture". Many ancient cultural relics were exhibited in the museum. Some cultural relics would be exhibited in special circumstances due to archaeological research and other reasons. For example, the Yingtian Gate Ruins Museum in Luoyang City of the Sui and Tang Dynasties once had some pictures of cultural relics in glass frames (because the cultural relics were undergoing archaeological research). There was also the book "Henan Cultural Relics Story", which described the excavation of many cultural relics, their experiences, and related allusions and events. Most of these cultural relics were ancient cultural relics, and these ancient cultural relics showed their own functions and value. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cangzhou ancient cultural relics
Cangzhou had many ancient cultural relics. The following is a partial introduction: - Cangzhou Iron Lion: Located in Jiuzhou Town of Cangzhou City, it was cast in the third year of Guangshun of the Later Zhou Dynasty (953 AD) during the Five Dynasties and Ten Kingdoms period. The folk called it the "Sea Suppressing Roar" and weighed 32 tons. It was the oldest and largest cast iron lion in China. The inside was engraved with the Diamond Sutra. The lotus seat on its back was once thought to be the mount of Manjushri. In 1961, along with the Forbidden City and the Great Wall, it was evaluated as a national key cultural relic protection unit. However, after the founding of the People's Republic of China, the protection process experienced ups and downs. Due to improper protection measures, there were conditions such as limping legs, falling heads, and rotting bodies. Now, they were supported by pillars. In 2011, the new Cangzhou Iron Lion was completed and placed in Cangzhou Lion City Park. It became the largest iron lion in the world and broke the Guinness World Record. - ** Xian County Han Tombs **: Located in Xian County, Cangzhou City, it is made up of many Han Dynasty tombs and is a national key cultural relic protection unit. - [Tomb of Ji Xiaolan: In Nanpi County, Cangzhou City. It is the tomb of Ji Xiaolan, a famous writer of the Qing Dynasty.] Cangzhou Confucian Temple was also of historical value. It was located at No. 9 Xiaoshi Street in Yunhe District and was a key cultural relic protection unit in Cangzhou City. It was built in the early Ming Dynasty. There are three main halls and east and west corridors. It is the only remaining ancient building with beam frame and bucket arch structure in Cangzhou. It was 110.5 meters long from north to south and 37.2 meters wide from east to west. It occupied an area of 4110 square meters and had a construction area of 1986 square meters. The Halberd Gate, Dacheng Hall, and Minglun Hall on the central axis were well preserved, reflecting the mainstream and essence of Confucianism. In addition, Cangzhou City Museum collected more than 800 cultural relics. These cultural relics were displayed in six parts: "Living in the Sea","Yanqi Metropolis","Setting up a County and Enfeoffment","First Setting up Cangzhou","Ancient Rhyme of the Canal", and "Famous Cities in the Capital Region". They vividly displayed the social development and historical changes of Lion City in the past 6000 years. Exhibits ranged from the painted pottery of Yangshao culture in the Neolith Age to the Sancai of the Tang Dynasty nurtured by the Sui and Tang Grand Canal, and then to the white glaze and black color of Cizhou kiln "floating" on the Beijing-Hangzhou Grand Canal. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Ancient Coins in Cultural Relics
As cultural relics, ancient coins had a rich variety and important value. Some of the ancient coins that were classified as Grade 3 and above were as follows: - The Western King's Merit Silver Coin was a third-grade ancient coin. After the archaeological excavation of Zhang Xianzhong's Heavy Silver site, this ancient coin became more sensitive. It was feasible to collect it, but private exchange was strictly prohibited. - Chu Ying Yuan gold coins were Grade 3 cultural relics, mostly found in Hubei, Anhui, Shaanxi, Henan and other places. They were coins given by the king, with a purity of up to 99%. - Wang Mang's 5,000 yuan per blade was a Grade 3 cultural relic. It was created under Wang Mang's currency reform system, and one piece was worth 5,000 copper coins. - In the Warring States period, the four Zhu coins were more famous. This series of coins could reach the level of a second-class cultural relic. They were exquisitely cast and difficult to imitate. In addition, there was also the three-hole cloth of the Warring States Period. Among them, the large-scale "Wuyang" back "one liang" three-hole cloth was sold for 3.528 million yuan in 2010. The shape of the coin body was unique. There was a hole on the head and two feet. Most of the characters on the face were Ji Di, and the characters on the back were heavy and numbered. The currency value was divided into two grades, which was relatively rare. The Warring States Period Qi Six Character Knife, such as the Six Character Knife Coin on the back of the Qi Fan State Chief Knife, was sold for 920,000 yuan in 2011. Some people believed that it was a founding coin cast by the Tian family on behalf of the Qi Dynasty, while others said that it was cast by Tian Dan when he helped the King of Qi Xiang to restore the country. The Six Character Knife was rare in the world and was a famous item in the knife coin world. For example, the "Eastern Zhou" and "Western Zhou" round coins had different transaction prices in 2011 and 2023 respectively. They were bronze coins in the middle and late Warring States Period, which was related to the history of the division of the Zhou royal capital into the Western Zhou Kingdom and the Eastern Zhou Kingdom. There was also the Warring States and Wei's "Gongtun Red Gold" round coin, which was cast in the middle and late stages of Wei. Although Wei mainly circulated cloth coins, this round coin had extraordinary significance. When ancient coins were excavated, such as copper coins suspected to be ancient coins of the Song Dynasty in a village in Anhui Province, the relevant departments would carry out rescue excavation, research, appraisal, and report to the higher authorities according to procedures. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Ancient Tang cultural relics
There were many cultural relics in the Great Tang Dynasty, ranging from porcelain, gold and silver ware to bronze mirrors. For example, there were Tang Sancai Pearl-printed Beast-faced Phoenix Head Pot, Gongxian Kiln Eagle Head Pot, Diamond Lattice Flower Glass Bottle, Filial Son Tuta Ping, Grape Flower and Bird Pattern Silver Sachet, Disciple Zhang Jun's printed Sutra Mantra, Bronze Peacock Bird Pattern Sunflower Mirror, etc. In the exhibition, 169 pieces (sets) of Tang cultural relics collected by Wangye Museum were exhibited, including 12 national first-class cultural relics. These cultural relics were simple but beautiful, and many of them could be called top-grade art treasures. From the material of the cultural relics, there were gold, silver, copper, jade, porcelain, pottery, glazed glass, and other utensils made of different materials. These cultural relics vividly displayed the prosperity, cultural style, and glorious history of the Great Tang. For example, 89 sets of bronze mirrors were auctioned in the special bronze mirror auction of the 15th anniversary celebration of Poly Auction, including the Four Mountain Mirror, the Inner Arc Three Dragon Mirror, the Anle Weiyang Three Phoenix Pattern Mirror, and other different types of bronze mirrors. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Ancient China Cultural Relics
The English term for China ancient relics was "Chinese ancient relics" or "Chinese antiques." When translating the names of cultural relics in the museum, it was necessary to pay attention to the differences in naming methods between English and Chinese. English paid attention to rigorous grammar structure and word order. Chinese cultural relic names usually placed the attribute qualifier in front and the keyword at the end. English was used to placing the emphasis in front and the qualifier at the back. For example,"Zhou Feng Guo Yun-Guo State History and Culture Exhibition" could be translated as "The culture and History of the Guo State","Guo Zhong Bronze XU with characters 'Guo Zhong', XU, a bronze vessel used for holding food", etc. In addition, for some of the unique terms related to the system in Chinese history, such as the Tu Ming Shi, Feng Bang Jian Guo (Zuo Tu Ming Shi was a patriarchal clan system that observed the lineal primogenitude system in ancient China.Feng Bang Jian Guo means that emperor divided his heroes to other brothers except his capital of kingdom.) If the English translation was long and the information was complicated, they could also use the Chinese Pinyin translation with an English explanation. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Restoration of cultural relics and ancient paintings
The restoration of cultural relics and ancient paintings was a complicated and delicate work. There were mainly the following methods: ** 1. Traditional restoration method ** 1. ** Cleansing the heart of the painting ** - This was a very important step in the restoration of ancient paintings. Add an appropriate amount of pure water into the basin. The temperature should not exceed 60 degrees Celsius. Turn the heart of the painting (the work completed by the painter on paper or silk) face up. Dip the brush in the water and gently wash the heart of the painting one by one. Repeat 2 - 3 times. 2. ** Reveal the heart of painting ** - Uncovering the heart of the painting meant removing the back paper and support paper (also known as the "life paper") that the heart of the painting was originally mounted on. This was a crucial process that determined the fate of the ancient painting. During the operation, you should peel off the paper according to the lines of the paper. Starting from the places where it is easy to peel off the pieces, you should lay your index finger and middle finger flat on the paper and rub them back and forth in one direction. It is better to be slow than urgent, light than heavy, and the strength should be uniform. Keep observing the subtle changes after rubbing down, so that the thickness of the peeled layer is consistent, so as to avoid rubbing the heart of the painting. 3. ** With the heart of a painter ** - After the heart of the painting was cleaned and exposed, it was placed on the heart. Brush the back of the heart of the painting with thick water, cover it with a pre-dyed paper (dyed according to the color of the heart of the painting), and brush it. The silk painting heart should pay attention to make the silk pattern horizontal and vertical, the edge and seal should not be slanted, and the brushing strength should be moderate to prevent the broken part of the painting heart from being brushed open. 4. ** Sticking folding strips, adding drawing heart ** - The broken and creased areas of the heart of the painting need to be supported by the heart of the painting and pasted with a strip of rice paper on the back. According to the thickness of the heart of the painting, choose a suitable leather paper and cut it into a folding strip about 0.3 cm wide. The center of the painting was laid flat on the copying table with the front side down, and the paste was brushed on the folding strip. The center was pasted on the broken or creased place. If the length was not enough, it was connected with the stubble to avoid overlapping. For the missing parts of the painting heart, choose materials that are as consistent with the texture and color of the original work, especially the surrounding painting heart as much as possible to make up for it. Before making up for it, gently scrape a slope of 0.1 - 0.2 cm along the edge of the defect, apply thin paste with a brush, place the patch paper flat on the defect with the curtain pattern, pad the paper firmly, and scrape off the excess while it is wet. 5. ** Full Color ** - After the heart of the painting had been repaired, in order to achieve a complete unity of the painting, the color differences needed to be filled with full color. Bone glue and mineral water were mixed according to an appropriate proportion, and then evenly brushed on the back of the part to be filled with full color. The appropriate ancient ink and traditional Chinese painting paint were selected to carry out full color on the incomplete parts, and the missing parts were only filled with the base color without the brush. ** 2. Artificial Intelligence Restoration of Ancient Paintings ** 1. ** Meaning ** - ** Assist in the restoration of traditional ancient paintings **: The artificial intelligence virtual restoration of ancient painting images can provide restoration workers with a variety of visual virtual restoration results as a reference for restoration in a short period of time, reducing the investment in restoration preparation work and improving the efficiency, accuracy, and reliability of the restoration of real ancient paintings. - ** Supporting the protection of ancient paintings and cultural relics **: The virtual restoration of digital images does not touch the original works to avoid damage to the cultural relics. The restoration reports and annotations completed during the restoration process can be used as academic materials for the protection of cultural relics. - ** Serve the promotion of our country's excellent traditional culture **: Through digital restoration, ancient Chinese paintings with broken auras will be transformed into images that meet the aesthetic preferences of the public, which can be more widely disseminated and displayed. 2. ** Difficulty ** - ** High-definition image restoration **: The current technology is mostly targeted at low-resolution photos, and the images scanned or taken by ancient paintings are of higher resolution and larger files. - ** Large-area image restoration ability **: The restoration algorithm needs to be able to understand the image information of the whole picture and achieve accurate filling of large-area defects. - ** Better representation of the artistic features of ancient China paintings **: The restoration algorithm should be able to better represent the texture, texture, and color transition of the picture. The line restoration should conform to the strokes of traditional Chinese painting, and the restoration area should be able to represent the artistic features of ancient China paintings. - ** The objectiveness of the repair result **: Whether the data used for training is sufficient, professional, and converged will directly affect whether the repair result is better than manual judgment objectively. - ** Arithmetic process optimization **: The calculation process requires high efficiency and resource optimization to avoid problems such as long calculation time and excessive use of calculation resources. - ** Simple and easy to operate **: The restoration process should be easy for non-computer technicians to learn and use. Only then can it be promoted and used by cultural relics protection and art researchers. 3. ** Repair Method System Construction ** - ** Data preparation ** - ** Data collection and establishment of a data set **: Ancient China paintings were selected as the basis for data training. For example, more than 20,000 ancient China painting images were sorted out, and the images were split into 300,000 ancient painting images through customized software, and they were continuously updated. - ** Data classification processing **: Divide all the data into six sub-libraries, and compare the data with the image group so that the algorithm can converge more easily. - ** Restoration process design **: refer to the manual restoration process and principles of traditional ancient paintings, and design a complete algorithm restoration process or software tool. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>