The decorative patterns on the cultural relics
There were many kinds of decorative patterns on the cultural relics and they had rich meanings. Taking the Central Plains as an example, in the early cultural relics, the decorative patterns were mostly based on the common animals and plants in nature. For example, the painted pottery vat "Stork Stone Axe Painting" in the Yangshao Culture was a pure animal pattern close to realism. In the Yangshao Culture Temple Digou period, it gradually became artistic bird patterns and decorative patterns. In the Xinzhai period and Erlitou culture, there were turquoise dragon-shaped utensils with dragon patterns or animal shapes. In the Shang and Zhou Dynasties, the patterns of Taotie, phoenix, dragon, tiger, etc. were popular. These patterns gradually changed from realism to art. In the Shang Dynasty, the mother Wu bronze tripod could be said to be decorated with clouds and thunder patterns, fish patterns, taotie patterns, etc. Cloud and thunder pattern was the general name for cloud pattern and thunder pattern. There were different techniques of expression. In the early Shang Dynasty, it could be used as the main pattern or the ground pattern. In the later period, the "three-layer flower" decorative style became popular and enriched the painting. In the Western Zhou Dynasty, it was rarely used as the main pattern. The fish pattern originated from witchcraft and totem culture, and later evolved into an auspicious pattern. The Taotie pattern was on the abdomen of the cauldron and other parts. It had the function of a political symbol and a sacrifice to heaven. Different cultural relics had their own characteristics. For example, in the surrounding areas of the Central Plains, such as the Dadiwan culture in the upper reaches of the Yellow River and the Banpo type of Yangshao culture around Shaanxi Province, there were many cultural relics and patterns of "human shape" or "human face", which formed a sharp contrast with the Central Plains. In addition, cultural relics such as the Han Woyang decorative plate also had unique patterns, which reflected the culture, beliefs, social development and other information at that time. Read more exciting novels for free
Auspicious Patterns of Cultural Relics
There were many kinds of auspicious patterns in the cultural relics and they contained rich meanings. For example, in the Ming Dynasty, the Yongle Greatsword embossed a carving of the divine beast guardian of Tibetan Buddhism, Qiong. In the early days, it was a golden-winged roc, and in the Ming Dynasty, it evolved into a lion. The picture of a Kirin giving birth in the painting of a Kirin giving birth in Meizhuang of the Qing Dynasty. The Kirin was an auspicious beast in ancient legends. The ancients regarded the Kirin as an auspicious sign. This pattern expressed the meaning of giving birth to a noble child early. The jade pendant of the Qing Dynasty was carved on a horse. It was shaped like a monkey riding a horse. Because the words "monkey" and "Hou" were homophonic, and "Ma Ma" originally referred to martial arts, it meant that one could gain fame by martial arts, meaning that fame was just around the corner. In the late Qing Dynasty, there was a golden lacquer wood carving of a human figure. The contents of the carving were such as a banquet, grapes and three squirrels. On the left and right sides, there was a person holding an official hat and nobility. The overall meaning was to be promoted to an official position and to have more children. The grapes symbolized the bumper harvest and wealth. The mouse was a child in the twelve hours, which meant "son". Together, it meant "many children","bumper harvest" and "wealth". On some of the crafts or embroidery, there were eight patterns of the Eight Immortals, consisting of a fish drum (or horsetail whisk), a sword, a flower basket, a fan, a gourd, a walking stick, a lotus flower, a jade plate, and a flute. Each of them was tied with a ribbon, representing the ritual implements held by the Eight Immortals, meaning that the Eight Immortals 'magical power could protect the owner of the artifact and make his wishes come true. The Eight Auspicious Patterns consisted of eight kinds of Tibetan Buddhist ritual implements: wheels, conches, umbrellas, canopies, flowers, jars, fish, and intestines. They could eliminate disasters and solve problems. They were very popular on artifacts during the Yuan, Ming, and Qing Dynasties. In Cui Bai's Painting of Peony and Egret of the Song Dynasty,"Egret Hibiscus" meant "a journey of glory","Egret Peony" meant "a journey of wealth", and "Egret Vase" meant "a safe journey". The pattern of "Three Yang Kai Tai" was usually a mother and a son with three sheep, which meant that evil would be dispelled and good luck would follow. "Five Blessings Holding Longevity" expressed the pursuit of longevity, wealth, peace, good virtue, and the end of life. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Han Dynasty decorative patterns
There were many types of decorative patterns in the Han Dynasty and they had rich meanings. - ** Geometric-pattern **: This was one of the more common patterns on Han Dynasty lacquer ware. Inspired by Yin and Yang, the Five Elements, and the doctrine of central power, it was often presented in continuous patterns, often with a square and a circle as the center pattern and supplemented by other patterns. It had the characteristics of rhythm, conciseness, clarity, and symbolism, including circles, triangular patterns, rhombus patterns, curved patterns, folds, round dots, spiral patterns, etc. In lacquer ware, the geometric patterns were mostly matched with natural landscapes, people, animals, and other decorative patterns. The geometric composition drawn on the shoulder, mouth, and ring had the function of separation, emphasizing repetition, and symmetrical. - [Natural landscape patterns]: The theme comes from the sun, moon, stars, clouds, thunder, rocks, mountains, rivers, vegetation, flowers, birds, fish, and beasts in nature, such as cloud patterns, cloud patterns, thunder patterns, mountain peaks, wave patterns, etc. Cloud patterns were popular during this period. They had the functions of separation, connection, and making up for the shortcomings of the pattern. They could enrich the content of the picture, integrate the various parts into one, make the overall image change, and also increase the liveliness and flexibility of the pattern. - Plant Patterns: During the Han Dynasty, there were patterns of grass, petals, trees, and related variations. These plant patterns were mainly used to set off or exaggerate the plot, decoration, and setting off. - ** Animal patterns **: For example, the cloud patterns, feathered figures, and star patterns found on the Han Dynasty brocade armguards. - ** Character Pattern **: Like the characters on the stone portraits of the Han Dynasty. In addition, there were also patterns such as " Five Stars from the East and China " on the brocade armguard with words, cloud patterns, feather patterns, star patterns, and other combinations. There were also designs like Fang Sheng's, which were made of two rhombus-shaped patterns stacked on top of each other. They appeared in the Han Dynasty, flourished in the Ming and Qing Dynasties, and were contemporary ornaments for ancient women. Furthermore, the patterns on the Han Dynasty's lacquer ware were layered, with the curved pattern as the main feature. The shape was simple, the pattern was exquisite, and it was full of light and elegant artistic characteristics. " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!
Cultural Relics 4
The "four possessions" of cultural relics referred to the necessary protection scope, marking instructions, establishing records and archives, and setting up special protection and management agencies around the cultural protection unit. In 1961, the State Council approved the publication of the "Temporary Regulations on the Protection and Administration of Cultural Relics" for the first time, and in 1982, the State Council promulgated the "Law of the People's Republic of China on the Protection of Cultural Relics" for the first time in the form of law. The Law of the People's Republic of China on the Protection of Cultural Relics, which was revised in 2017, also pointed out: "The people's governments of provinces, autonomous regions, and cities directly under the Central Government, as well as the people's governments of cities and counties, respectively, shall define the necessary scope of protection for cultural relics protection units, make signs and descriptions, establish records and archives, and set up specialized agencies or special personnel to manage them according to the circumstances. The scope of protection and the records of the key cultural relics protected throughout the country shall be reported to the cultural relics administration department of the State Council for the record by the cultural relics administration department of the people's government of the province, autonomous region, or directly under the Central Government. The "Four Haves" archives work of cultural relics protection units is the most critical measure for cultural relics protection units to effectively protect cultural relics and the most important foundation for cultural relics management according to law. The contents of the archives involve all aspects of cultural relics protection. The scientific, complete and detailed "Four Haves" archives can provide complete information for the cultural relics protection unit in the protection, utilization, management and publicity of cultural relics, and can also provide reliable evidence for the restoration of cultural relics accidentally damaged by the cultural relics protection unit. In terms of filing, the national cultural relics protection unit shall file according to the requirements of the National Key Cultural Relics Protection Unit Record Archives Work Code and the National Key Cultural Relics Protection Unit Record Archives Description. The provincial cultural relics protection unit shall refer to the requirements of the national cultural relics protection unit to file one by one. The municipal and county (district) level cultural relics protection units shall strictly be equivalent to the requirements of the national cultural relics protection unit to file. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
353 new cultural relics discovered in the cultural relics survey
Please clarify the question. For example, do you want to know the specific areas of these discoveries, the scope of the survey, or other related content? The novel " Gilded Palm " is equally exciting. Everyone is welcome to click and read it!
Rebirth Cultural Relics
The following were some recommendations for novels related to the cultural relic category: " The Reborn Cultural Relic Master,"" The Great Appraiser,"" The Antique Appraiser,"" The Golden Eye Appraiser of Antiques,"" I Can Repair Antiques,"" The Foreignland's Ace Appraiser,"" The World's Collection," and so on. These novels covered topics such as the identification of cultural relics and the restoration of cultural relics. They were suitable for readers who liked such topics.
Lovesickness in the cultural relics
The cultural relics contained many feelings of longing. For example, in the Book of Songs, Xiaoya, Yuanyang, the mandarin duck was compared to the love between husband and wife, and the "red bean" mentioned in Wen Tingyun's "Two Songs of Southern Songs" represented deep love. These literary works also echoed the cultural significance embodied in cultural relics. For cultural relics like the engraved silver box, the bottom of the box was engraved with a pair of men and women standing side by side and the words "two people of the same heart". It was as if one could see the scene of a man giving a powder box to a woman he liked a thousand years ago. It contained the love between a man and a woman. The Western Zhou jade pendant was two meters long. It was the only thing Marquis Mu of Jin cared about and doted on the second wife. It reflected the deep feelings between husband and wife. Even if they were separated by yin and yang, it contained the thoughts of the living for the deceased. The golden hairpin in the Suzhou Museum had witnessed the love between Sun Ce and Da Qiao. Now, it could also make people feel the yearning and nostalgia that spanned thousands of years. More than 4800 pieces of exquisite jewelry were unearthed from the tomb of the King of Mingliang Zhuang and his step-concubine, which witnessed the experience of the husband and wife living together. Behind their "living in the same quilt and dying in the same cave", there was also endless longing and attachment for each other. Had he not watched enough of Long Lovesickness 2? Hurry up and read the original work of "Everlasting Lovesickness 2: A Vow of Love"!
Description of cultural relics
The following are the descriptions of some of the artifacts: 1. ** Cloud Pattern Copper Five-Pillar Vessel **: The bottom is a square seat with a cavity. The four walls are slightly bulging. There are five columns on the top. The distance between the columns is equal. The height is about 31 cm. The five small columns are 16.5 cm high. There is a rectangular flat ridge below the column. There are double-hook cloud patterns on both sides of the flat ridge and around the square seat. 2. ** Golden Juice Bottle **: No specific details were mentioned, only that it was a golden bottle, a royal gold ware of the Ming Dynasty. 3. ** Northern Song Dynasty official kiln porcelain **: a total of 18 types, including octagonal ear vase, six-sided octagonal elephant head ring ear vase, ear long shin string pattern vase, pen holder, club double vase, three-legged string pattern double furnace, ring ear vase, string pattern long shin vase, long shin vase, three-plastic pattern gourd vase, phoenix head ring ear gallbladder vase, six-sided phoenix head ear gallbladder vase, big mouth gourd vase, four pieces of each type, etc. Each type had different glaze colors, such as fried rice yellow glaze, moon white glaze, oil gray glaze, sauce color glaze, fish roe pattern glaze, etc. The size varied from 11 cm to 18 cm. 4. ** Bronze Antler Crane from the Warring States Period **: It was only mentioned that it was unearthed from the tomb of Marquis Yi of Zeng in Suizhou, Hubei Province. The details of the shape were not described. 5. " Bronze pliers of the Warring States Period and Qin Dynasty ": The two parts are connected by a shaft nail. The handle can be held with one hand. The handle takes up two-thirds of the total. Its design uses the lever principle and is similar to modern pliers. 6. At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, red flowers and auspicious animals were engraved on the glaze. Open mouth, thick neck, deep belly, round bottom, round feet. 7. ** Military hold **: Long neck, a wide ridge protruding from the upper part of the neck, plump shoulders and abdomen, between the shoulders and abdomen, no handle, flat bottom. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Sichuan Cultural Relics, 1998, No. 1
The 1998 issue of Sichuan Cultural Relics mentioned Ya 'an's relevant content about the Yan Song Tomb, including its tomb structure, funerary objects, etc. It also included relevant research on Chen Hongshou's calligraphy in the Qing Dynasty, such as his calligraphy art, style and characteristics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural Relics 2013 Volume 1
He only knew that there was the first issue of "Cultural Relics" in 2013. From the reference materials, he knew that it was compiled by the Cultural Relics editorial board and published by the Cultural Relics Press. It was printed in 2013. It was a paperback 16-folo edition and sold for 5 yuan (Grade Nine). It was available in Beijing Chaoyang. The content was intact without any notes or lines, but there was no more detailed information about the content of the publication. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural Relics of Hainan
The following are some photos of Hainan's cultural relics: - In the Deep Sea Advanced Technology and Deep Sea (South China Sea) shipwreck archaeology exhibition in Yazhou Bay Science and Technology City, Hainan Province, replicas of exquisite cultural relics such as plum vases and pictographic pots were exhibited together with models of deep-sea scientific research ships and submarines, but no mention was made of whether there were photos of these cultural relics. - In the "Special Exhibition of Hainan Cultural Relics in the Palace Museum", 96 pieces/set of cultural relics were exhibited, including Huanghuali furniture, agarwood ornaments, tortoiseshell stationery, etc., such as Huanghuali wooden chair of Qing Dynasty, Huanghuali wooden painting table, Huanghuali wood carving pattern round table, coconut wood carving cloud bat pattern gold-inlaid inner bowl of Qing Dynasty, stone canal square inkstone of Qing Dynasty, silver-burned blue conch-style water governor of Qianlong style of Qing Dynasty, etc. Pu Xiaoxu, a reporter of Xinhua Agency, took photos of some cultural relics on August 31. However, it was unclear how these photos were publicly obtained. - In the exhibition of Su Shi's themed cultural relics held in the Hainan Province Museum, some of the items on display were rubbings of Su Shi's book, The Story of the Drunkard Pavilion, but no mention was made of the publicity of these cultural relics photos. - Although there was a description of the architectural features of the Meilang Twin Towers in Chengmai, Hainan, there was no mention of whether there were special photos of cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>