The size of the cultural relic Han costume
The following is information about the size of some cultural relics: - Plain yarn unlined garment (Western Han Dynasty): 128 cm long, 190 cm long sleeves, 48 cm wide waist, total material of about 2.6 square meters, weight of only 49 grams; There are also specifications of 140 cm long, 245 cm long sleeves, 52 cm wide waist. - Song Dynasty Han clothing (Northern Song Dynasty Nanling Tie Guai Tomb wide sleeves): length 64.5 cm, shoulder width 78 cm, sleeve length 44.5 cm, sleeve length 149 cm, sleeve width 12.2 - 37 cm; Narrow sleeve clothing length 108.3 cm, shoulder width 83 cm, sleeve length 33 cm, sleeve length 167 cm, sleeve width 34 - 39 cm. - In the underground palace of Changgan Temple in the Northern Song Dynasty, there are women's clothes with mud gold flowers, birds, silk lining and long-sleeved double-lapel; In the tomb of Huang Sheng in Fuzhou in the Northern Song Dynasty, there are purple-brown silk printed gold painted lace unlined clothes with double-lapel, without button loop or tie on the lapel. Read more exciting novels for free
Han costume with cultural relic patterns
There were many styles of Han clothing with cultural relics. Some directly used the cultural relics in Henan Museum as the prototype, such as the square tripod of Duling in Shang Dynasty, the square pot of lotus crane in Spring and Autumn Period, and the cloud map of the four gods in the early Western Han Dynasty. There were also the Han costumes created by the non-hereditary inheritors of the Nanjing Yunjin Research Institute, such as green woven gold makeup flower sleeves over the shoulder dragon persimmon satin stand collar short jacket, red woven gold makeup flower dragon horse face skirt and other Yunjin auspicious clothes. These were the results of researching the collection and striving to restore the exquisite patterns on the cultural relics. In addition, some commercial Han clothing products would also have round neck gowns with cultural relics patterns. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Zhuang costume cultural relic
Zhuang costumes and related historical relics can be appreciated in the Guangxi Museum of Nationalities. In addition, the modern Longsheng Zhuang women's clothing was collected by the Guangxi Museum of Nationalities. In the 1980s, it was collected from the Longji Brigade of the Peace Commune in Longsheng County. It was composed of a round-neck double-lapped top, a blue brocade chest pocket, and black wide-sleeved trousers. It was the basic daily outfit of Zhuang women in Longji Zhuang Village. In the "Five Colors Eight Osmanthus-Guangxi National Culture Exhibition", 166 pieces (sets) of ethnic cultural relics such as traditional costumes of Zhuang people collected by Guangxi National Museum and Yulin City Museum were also exhibited. These cultural relics of Zhuang costumes witnessed the development process of Zhuang costumes from primitive to harmonious, reflecting the characteristics of Zhuang costumes in different periods. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic costume picture
There were pictures of China costumes and cultural relics in the past dynasties in the Illustrated Classic of Chinese Costume and Cultural Relics. There were 220 high-definition pictures of the costumes in the collection of the Forbidden City in the Illustrated Classic of the Colors of the Forbidden City. These pictures were arranged according to the occasion of use and color, covering eight modules, including formal wear, auspicious wear, ordinary wear, travel wear, military wear and casual wear. They could be used as reference for the pictures of cultural relics and costumes. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
The size Design Concept of the Cultural Relic Showcase in the Museum
1. ** Showcase space ** - The structure and size of the showcase should be planned according to the cultural relics displayed, which should meet the aesthetic needs of the cultural relics display and highlight the color and cultural content of the cultural relics. The design style was mostly retro to reflect the sense of dignity. After all, the museum was a cultural exhibition place, and the design of the showcase had to match the cultural relics displayed. - The interior space of the showcase could be equipped with a light source, giving people a sense of pleasure in the color tone, forming the focus of their eyes. - The design of the booth should display the cultural relics as a whole, so that the audience could see the largest aspect of the cultural relics. At the same time, the fabric of the booth should not be too bright to avoid visual fatigue. 2. ** Bright theme ** - The museum displayed the treasures of China culture, and the design of the display cabinets had to follow the concept of " the most important thing in the production of display cabinets is the display." The color tone was usually dark to show solemnity, and the display cabinet should reflect the characteristics of steadiness. The light source inside the exhibition hall was generally warm, so that the cultural relics could be displayed more vividly. Each exhibition hall should have its own unique charm and uphold the concept of never getting tired of looking at it. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic, Han Dynasty bronze mirror
Han Dynasty cultural relic hair ornament
There were many types of cultural relics and hair ornaments in the Han Dynasty. Judging from the jewelry of the empress, it was modeled after fake knots (bun), buyao, and hairpin. In the Wei, Jin, Southern and Northern Dynasties,"buyao" was renamed "flower tree", but in the Han Dynasty,"flower tree" had not been called this name. In the Han Dynasty, there was a custom of "hairpin pen". Civil officials would pin the brush on their heads. For example, the "White Horse Writing" brush unearthed from the ancient tomb of the Han Dynasty in the Gansu Province Museum had a blunt tip at the end of the pen so that it could be inserted into the hair bun. The hairpin brush changed from an ordinary brush to a "hairpin white pen" that had not been dipped in ink, becoming a kind of "identity symbol". Hairpins were quite common after the Neolith Age and were used by both men and women. Until the late Qing Dynasty, it was an important practical decorative ornament for the ancients, especially for women. The Han Dynasty was no exception. Although there were not many jewelry objects unearthed in the Han Dynasty, the excavation of important Han tombs such as Mawangdui Han Tomb, Mancheng Han Tomb, Guishan Han Tomb, Haiying Marquis Tomb and so on provided rich information for understanding Han Dynasty clothing and jewelry. In addition, it was very common for civilians to wear turbans in the Qin and Han Dynasties, but the turbans used by civilians were different from those used by nobles. The turbans were probably wrapped with narrow strips of cloth at the beginning. In the Han Dynasty, it was improved into a hat with a high top on the head that could cover the bun and neat edges on the four sides. Its scope of application continued to expand, and the style continued to improve, such as adding ear protectors on both sides or combining with the hair crown. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Han Dynasty golden hairpin cultural relic
According to the available information, there were not many jewelry unearthed in the Han Dynasty. At present, the excavation of several important Han tombs such as Mawangdui Han Tomb, Mancheng Han Tomb, Guishan Han Tomb, Haiying Marquis Tomb, etc. provided information for understanding the Han Dynasty clothing jewelry, but did not explicitly mention the specific situation of the golden hairpin cultural relics. The Book of the Later Han Dynasty mentioned that all the wives of the empresses had hairpins, but it seemed that it was difficult to find traces of hairpins in the cultural relics of the Han Dynasty that had been seen so far. The clear image of hairpins appeared in the paintings of ancient characters in later generations. Therefore, it was difficult to give a more accurate description of the Han Dynasty's golden hairpin cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Han Dynasty wine vessel cultural relic
There were many kinds of wine vessels and cultural relics in the Han Dynasty. From the material, there were lacquer ware, bronze ware, pottery, gold and silver ware, jade ware, and so on. Among them, lacquer wine vessels were more common. For example, more than 700 pieces of lacquer ware were unearthed from three Han tombs in Mawangdui, Changsha, including small lacquer daggers, large plates with a diameter of 53 cm and large pots with a height of 58 cm. The wine vessels commonly used in the Han Dynasty were mostly lacquer ware. The wine vessels were used to hold wine, the ladle was used to pour wine, and the ear cup was used to drink wine. Lacquerware was mostly made of wood, but there were also linens made of raw lacquer. It was resistant to moisture, high temperature, and corrosion. It also had gorgeous colors and various decorative methods. There were exquisite colored paintings, needle-pricked cone paintings, and gold and jade inlaid ornaments. The shape was elegant. Although no specific cultural relics were mentioned in terms of bronze ware, bronze wine vessels had been developed before the Han Dynasty, and some bronze craftsmen would imitate the lacquer ware process to make bronze ware. Porcelain wine vessels also existed in the development of wine vessels in the Han Dynasty. As social productivity developed, they were gradually replaced by other materials. Gold, silver and jade wine vessels were also part of the wine vessels of the Han Dynasty, reflecting the richness of the wine vessels at that time. <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>
What level of cultural relic is the Han Dynasty seal?
The Han Dynasty seal was a national first-class cultural relic.