Bronze wine cup cultural relic
As a traditional drinking vessel, the copper wine cup had a certain representation in the field of cultural relics. From a historical point of view, copper wine cups of different periods had unique craftsmanship and cultural implications. For example, there was a wine cup made of bronze, like a bronze pot made to please Xi Shi. Although it was called a pot, it was also a wine vessel similar to a wine cup. It was about 28 centimeters high and had a diameter of nearly 12 centimeters. It was carved with exquisite dragons, reflecting the craftsmanship and aesthetics of the time. There were also some antique pocket-sized copper wine cups, such as the copper wine cups from the Republic of China. They were 4.3 centimeters tall and 3 centimeters in diameter. They were pocket-sized and small, round and square. In ancient society, the use of copper wine cups was also related to status. Being able to use copper wine cups was often a symbol of status. With the passage of time, the copper wine cup continued to evolve in terms of material, shape, and use, and became an important cultural relic for studying ancient social life, etiquette culture, and the development level of the handicraft industry. Read more exciting novels for free
Bronze Wine Cup
There were many kinds of cultural relics, such as the antique copper wine cups produced by Yiwu Small Commercial Market in Zhejiang Province, which were sold as old objects, but actually had no historical value; there were also returned gold-plated copper wine cups; the bronze sacrificial cups of the Western Zhou Dynasty unearthed from the tomb of Marquis Yi of Dantu in Zhenjiang, Jiangsu Province, were shaped like rhinoceroses, and their uses were related to banquets and punishments. Unearthed in 1978 in the Spring and Autumn Chu Tomb (Zigeng Tomb) of Xiasi, Xichuan County, Henan Province, the Cloud Pattern Bronze Seal is one of the treasures of the nine major towns of Henan Museum and one of the cultural relics that are prohibited from being exhibited abroad. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic bronze lion
Bronze lions could be used as cultural relics in many ways. There was a bronze lion in the Ming Dynasty. It was 100 centimeters high, with a square base 26 centimeters high and 78 centimeters wide. It was made by the government. The whole was realistic. It had a square mouth, a slender body, and a strong backbone. The base was cast with the words "Made by Hongwu Xin Wei Jin Fu". The lioness protected the cubs, and the male lion stepped on the embroidered ball. It was now collected in the Shanxi Folk Museum. There was a gilded bronze lion in the fifth generation. It was made by investment casting technology. It was ferocious and lifelike. It was 50 centimeters high and 83 centimeters long. It squatted with its head raised, its front legs upright, and its hind legs bent. In July 2010, it participated in the "Source of Chinese Civilization-Henan Cultural Relics and Treasures Exhibition" held in the Tokyo National Museum. In the Qing Dynasty, there was a bronze lion that was originally located at the entrance of the Qichun Garden in Yuanmingyuan. It was used to guard houses and ward off evil spirits. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Bronze jar cultural relic
The bronze jar cultural relics had different representatives in different periods. For example, the horse button and horse ear double-connected copper pot unearthed from the tomb of Nanshangen in Ningcheng County, Chifeng City during the Spring and Autumn Period; the copper pot dug by a farmer surnamed Liu in Fufeng County, Shaanxi Province, which had been used as a chamber pot for many years but was actually a top national cultural relic; the bronze tripod and copper pot dug by Sun Benli in Fugou, Henan Province during the Warring States Period; and the copper pot named "Phoenix Pattern Fang Lei" in the late Shang Dynasty that was bought by experts from the museum of Wuhan City for 3 yuan. These bronze jars had unique historical and cultural values, which were of great significance to the study of the culture of the corresponding period. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic bronze ox tripod
The bronze ox tripod was an early bronze ware of the Western Zhou Dynasty with unique characteristics. It was 31cm tall (the replica was 26cm tall) and was now in the University of Pennsylvania Museum. The tripod had a round belly, upright ears, and column feet. The body was decorated with three sets of animal faces, the bottom was filled with fine thunder patterns, the feet were decorated with embossed animal faces, and the lid button and double ears were decorated with three pairs of cow heads. It was novel and rare, and the lid was engraved with the word "Niu". In addition, there was a cow tripod in Fengrun that was regarded as the treasure of the town and county. It was unearthed in the old Confucian Temple in the county town during the Jin Tianqing period and was collected in the Confucian Temple. The cauldron was made of bronze. There was a rectangular folding ear on each side of the upper part. There were clouds and thunder patterns on the outside of the cauldron's belly. Three legs of the cauldron were cast on the bottom of the belly. Between each leg was cast a cow's head facing outwards. The cauldron weighed 55 catties. There are 41 inscriptions on the inner wall of the tripod: "Wei Jiawu August Bingyin Emperor, if you study the ancient artifacts of the Song Dynasty, you will be able to make the ox tripod and put it in the Taishi room to enjoy the peace of the gods. Only the emperor's time room will last forever." According to the inscriptions in its stomach, it should be made and placed in the Imperial Palace in the year of Xiao Jianyuan (AD 454) of the Northern and Southern Dynasties. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Seven-tone cup cultural relic
In the reference materials, the seven-tone Kong pottery xun was mentioned. It was one of the oldest wind instruments in China, with a history of about 7000 years. This pottery xun was well preserved. It was exquisitely made and had a beautiful appearance. It was light greenish-gray in color and made a sound when struck. It was a national treasure and was now in the collection of the Xinzheng City Museum. Han Dynasty pottery, height 10 cm, abdomen diameter 8.3 cm, bottom diameter 5 cm, front five holes in a "V" shape, back two holes, diameter 0.4 - 0.5 cm, sharp on a circular blowing hole, diameter 1.5 cm, collected in Xinzheng City. In the earliest collection of poems in China, the Book of Songs, there was a record of Xun. In the history of music, Xun was mainly used for palace performances. However, no information about the cultural relic named "Seven Music Cup" was found. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic, Han Dynasty bronze mirror
Qi State Cultural Relic Bronze Axe
The information retrieved so far only mentioned the bronze tomahawk of the late Shang Dynasty unearthed in Subutun, Yidu, Shandong Province. It was now hidden in the National Museum of China and unearthed in 1965. This copper axe was cast in the late Shang Dynasty. It was huge in size, and both sides were engraved with the shape of a human face with an open mouth and angry eyes. The eyebrows, eyes, ears, nose, and mouth were all protruding, and the blade was straight. There were two holes on both sides, and there were doors on both sides. There was no more information about the other bronze tomahawk cultural relics of Qi State. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Yuanmingyuan cultural relic gilded bronze elephant head
The gold-plated bronze elephant head was excavated from the Imperial River at the site of the Great Palace Gate of the Old Summer Palace. It was a masterpiece of the royal ware of the Qing Dynasty. Its craftsmanship was exquisite, far surpassing the craftsmanship of the twelve zodiacs. The elephant's head had a long and curly nose, long teeth, and big ears. The overall shape was exquisite, the lines were smooth and natural, and the expression was serene and realistic. Although it had been eroded by time, it still shone golden under the light. When the archeological team excavated the cultural relics around the Dagongmen River in 2014, they accidentally found this elephant head wrapped in mud like a mud lump in the mud at the bottom of the river. After sending it to the laboratory and spending half a month cleaning it, its true appearance was revealed. Some scholars pointed out that it represented the highest level of gold gilding in China. Elephants were regarded as noble and auspicious symbols in China culture. The Yuanmingyuan archeological team speculated that the gold-plated elephant head might be part of an object (such as a tripod or furnace). It might be that the elephant head accidentally fell into the river when it was transported away. It had been kept in the Yuanmingyuan Ruins Park since it was excavated and appeared at an exhibition for the first time in 2017. The novel "Gilded Palm" is equally exciting. Everyone is welcome to click and read it!
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>
National Treasure Level Cultural Relic Bronze Running Horse
The bronze galloping horse was a bronze ware from the Eastern Han Dynasty. It was unearthed in October 1969 in Leitai Han Tomb, Wuwei City, Gansu Province. It is now stored in the Gansu Provincial Museum and is the treasure of the museum. It was 34.5 centimeters tall, 45 centimeters long, 13.1 centimeters wide, and weighed 7.15 kilograms. The bronze horse's three legs soared into the air, raising its head and neighing. The foot that landed stepped on the bird. It had many names. Its original name was Copper Running Horse. Because Guo Moruo believed that there was a swallow under the hooves of Copper Running Horse, it was named "Horse Stepping on Swallow". It was also known as Ma Chao Dragon Sparrow, Heavenly Horse Catching Crow, etc. The bronze galloping horse was regarded as a symbol of friendly exchanges between the East and the West. In 1983, it was identified as a symbol of China tourism by the National tourism Administration. In 1996, it was identified as a national treasure-level cultural relic by the expert group of the State Administration of Cultural Relics. In 2002, it was included in the first batch of precious cultural relics prohibited from being exhibited abroad by the State Administration of Cultural Relics. There was controversy about its name. It was originally named by Guo Moruo as "Horse Stepping on Flying Swallow", but because the image of the bird under the horse's hoof did not conform to the characteristics of the swallow (the tuxedo had slits, but the one under the copper galloping horse's hoof did not), most scholars did not accept this statement. There were also "Ma Chao Dragon Sparrow","Horse Stepping on Flying Falcon","Heavenly Horse Catching Crow" and so on. In terms of horse species, one theory was that Emperor Wu of the Han Dynasty introduced the "Heavenly Horse"(Ferghana Horse) from the northwest, and some scholars believed that its prototype was the "Purple Swallow Monkey" of Emperor Wen of the Han Dynasty. Its seemingly "straight turn" running posture was actually a kind of pace called "opposite side step". It was commonly seen on special horses that had undergone special training. It could reduce the jolt of the rider on the horse's back and was suitable for the uneven sand on the Silk Road. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>