Taking 40 million cultural relics home is not called private sharing, but safekeeping
It was unreasonable to explain that taking 40 million yuan worth of cultural relics home was "custody" and not "private sharing". According to normal logic, cultural relics should be properly kept in specific cultural relics management sites, not in private homes. This kind of explanation was similar to the sophistry of some officials when faced with similar problems, such as the explanation of private distribution of economic housing as "saving fuel" and the explanation of disaster relief as "taking back money given to the wrong person". These explanations did not hold water in terms of logic, experience, and common sense. It exposed the possible hegemony and privilege consciousness behind such explanations, as well as the insult to the public's intelligence. Read more exciting novels for free
Over 10 million cultural relics
According to the incomplete statistics of the United Nations, more than 10 million China cultural relics were lost overseas. There were more than 164,000 cultural relics from China (excluding overseas private collections) in more than 200 museum in 47 countries around the world. According to the statistics of the Chinese Cultural Relics Society, the number of Chinese cultural relics lost overseas had exceeded 10 million. However, I'm not sure if the "cultural relics of more than ten million" you mentioned specifically refers to cultural relics of more than ten million in a certain aspect (such as value, quantity, age, etc.). If you can clarify the question, you can answer it more accurately. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
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"!
Collection of cultural relics
Cultural relics collection was a field that involved many aspects. From the perspective of the ownership of cultural relics, there were cultural relics in the collection. These were items of cultural value collected by museum, library and other cultural relics collection units. Without approval, no unit or individual was allowed to transfer the cultural relics in the collection. The legal representative of the cultural relics collection unit was responsible for the safety of the cultural relics in the collection. There was also a large collection of cultural relics among the people. Folk collections were considered a useful supplement to national collections. There were a large number of collectors in the country. Their dedication and persistence over the years had protected cultural relics from being lost to a certain extent. They were an important force in protecting and inheriting Chinese culture. However, there were also some problems in the private collection industry. For example, there were mixed practitioners, negative trading practices, and the quality of collectors was uneven. Despite this, there were still many private collectors who donated their collections to the state-owned museum every year. In terms of regional distribution, the six provinces and cities with the largest collection of cultural relics in the country were Beijing, Shaanxi, Shandong, Henan, Shanxi, and Jiangsu. The number of cultural relics owned by these six provinces and cities accounted for 55% of the national total. Among them, Beijing had 11.61 million cultural relics, accounting for 18% of the country's total. There were also 197 national first-class museum collections, including a large number of cultural relics of different levels, including the "Along the River During the Qingming Festival". Among them, 69 were national treasures, accounting for one-third of the country's total. In the process of collecting cultural relics, there were still some bad phenomena. For example, the Shanxi cultural relics collection store was exposed to be unqualified but collected and sold fake goods, cheating consumers. In addition, there were some materials related to the collection of cultural relics, such as the " Cultural Relics Collection Appreciation Dictionary', which provided reference for the collection and appreciation of cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Xinle cultural relics
There are many cultural relics in Xinle. In the Xinle site in Shen Yang, more than 1,000 important historical relics were cleared up, including stone tools (such as stone axes, stone knives, stone pestles, etc.), bone tools (such as bone stems, bone awls, bone arrowheads, etc.), pottery (such as cylindrical pots, carved high feet, etc.), wood carvings, etc. Among them, the "wooden bird" was especially precious. It was 38.5 centimeters long, 4.8 centimeters wide, and 1 centimeter thick. It had an exquisite shape, smooth lines, and simple knife techniques. It was determined that it was about 7000 years old and might be the emblem of the bird totem. Its large sculpture stood in the center of the municipal government square. Shen Yang also made a large sculpture of the "wooden bird" and placed it in front of the exhibition hall as a symbol of Xinle culture. It was also called the Sun Bird, which was the totem of the ancient ancestors. It would provide valuable information for the study of the history of China art. The pottery unearthed from Xinle site was handmade goods with red sand mixed in it. There were many kinds of pottery, such as tripod, Li, Wei, bowl, bowl, pot, pot, etc., engraved with the word "Zhi" and string pattern; there were also coal refined products, such as bubbles, earrings, spheres, etc.; as well as small objects made of agate and jade, such as stone arrows, stone leaves, jade beads, etc. In addition, there was the Xinle Mosque in Xinle City. This ancient Qing Dynasty building was listed as a provincial cultural relic protection unit and was announced on February 7, 2001. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural variety relics
In recent years, there had been many cultural variety shows that focused on cultural relics. For example,"National Treasure" received a very high score. In the second season, Douban scored 9.5 points. The dance beauty, styling and other elements in the program were deeply loved by the audience. After the program was broadcast, the derivative segments were widely spread on Social networks. Through a series of innovation, it showed the historical and cultural implications behind the cultural relics. "New, Forbidden City" also used the Forbidden City as the background and aimed at ancient cultural relics, allowing cultural relics to enter people's lives in a new way. "Friends of All Things" was an original cultural variety show with a total of six episodes. It revolved around the rare collections of the museum. The program invited actors to play the role of cultural relic restorers and museum interns, and through different plots, they would interpret the story behind the exploration of cultural relics. In the program, there would be different plot settings to attract the audience's interest. Then, it would enter the cultural relics display segment. Experts would discuss relevant knowledge with the audience according to different types of cultural relics, such as many issues related to bronze relics, including their importance, differences between China and the West, and reasons. This presentation method was both interesting and could let the audience understand the historical value of cultural relics. China National Treasures Conference (Season 3) set up a knowledge competition field, divided into 12 topics, covering bronze, painting, porcelain, architecture, music and other categories. From different aspects, familiar and unfamiliar information was used to stimulate the interest of audiences of all ages and showcase the excellent traditional Chinese cultural achievements. These cultural variety shows used different forms to dig out the materials behind the cultural relics. They used methods that were acceptable to young people in the new era to make the ancient cultural relics no longer cold and full of humanity and fireworks. It had educational significance for young people to return to tradition and pay attention to history and culture. At the same time, it also promoted the "cultural and cultural tourism" and made the local museum become an "Internet celebrity" attraction. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
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>