Nanjing sets up cultural relic protection buffer zone
In the protection of historical and cultural cities, Nanjing faced the contradiction between modern architecture and historical buildings and cultural relics. In order to coordinate the contradiction between urban construction and cultural preservation, Nanjing set up a cultural relic protection buffer zone. The so-called " buffer zone " referred to the " architectural control zone " and " style coordination zone " around historical buildings and cultural protection units. In addition to cultural relics above the municipal level, historical and cultural resources such as district-level and district-controlled cultural relics, modern excellent buildings, former residences of celebrities, ancient and famous trees, etc. were also witnesses of urban development and carriers of urban cultural characteristics. However, they lacked legal and legal protection because they did not meet the standards of cultural relics. Some important historical blocks and scenic areas were also blocked by uncoordinated buildings due to the lack of strict control of the surrounding scenic spots. On the one hand, Nanjing designated buffer protection zones for cultural relics and resource points. On the other hand, according to the Protection Plan of Nanjing Historical and Cultural City, it initiated the protection plans for environmental protection zones such as Zhongshan Mountain, Qixia Mountain, Niushou Ancestral Hall, Chaotian Palace, Nanbuting, Yihe Road and other 10 historical and cultural zones. In the buffer zone around these areas, mountain cutting and mining are prohibited. The style, height, volume and color of new and reconstructed buildings and other facilities must be coordinated with the cultural relics buildings, and the design plan must be approved by the competent department of cultural relics. At the same time, the protection of cultural relics was further extended. The protection scope of district-level and district-controlled cultural relics units was defined piece by piece, and the historical buildings themselves and the necessary style coordination areas were protected. The environmental renovation and construction around the cultural relics scenic spots also had corresponding external land space control and guidance requirements, so as to coordinate with the style and atmosphere of the core scenic spots and buildings. Read more exciting novels for free
Cultural relic restoration and protection 300 words
The restoration and protection of cultural relics was a professional field with far-reaching significance. It covered many aspects of work and meaning. In terms of professional knowledge and skills, this major taught the basic theoretical knowledge of cultural relics archaeology, including the application of cultural relics protection materials, material analysis, and restoration operation skills. Students need to master multi-disciplinary knowledge, such as cultural relics, history, etc., and have the ability to make, repair, and protect cultural relics such as paper, porcelain, and bronze. From a meaningful point of view, cultural relics were historical witnesses. Restoration could reproduce their style and details, providing physical information for historical research. It helped to inherit and promote national culture, allowing cultural treasures with regional and historical characteristics to continue, and stimulating national pride and identity. The artistic value of cultural relics could also be preserved through restoration, allowing future generations to appreciate the essence of ancient art. At the same time, the repair process could promote the development and innovation of related technologies, forming cross-research in materials, chemistry, physics, and other fields. In addition, the restored cultural relics also had a positive effect on cultural tourism and economic development. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
What is a cultural relic?
Cultural relics are the general term for all valuable material relics left over from the historical development of human society, created by humans or related to human activities. Its basic characteristic is that it must be created by humans or related to human activities, and it must be a part of the past that has become history and cannot be recreated. Different countries have different titles, meanings, and scope of cultural relics, and there has not been a unified definition. The term "cultural relic" in China was basically the same as the concept of tangible cultural heritage in the world. In China,"cultural relic" was first seen in Zuo Zhuan. The "cultural relic" mentioned in the Tang Dynasty and Song Dynasty referred to the relics of the previous generation, which was close to the modern meaning. The concept and content of antiques in the Republic of China period were more extensive. After the establishment of the People's Republic of China, a series of laws and regulations to protect cultural relics followed the concept of "cultural relics". In addition, cultural relics have the characteristics of material (resource), epochal (historical), irreplaceable, non-regenerative, individual differences, and durability. They have historical value, artistic value, cultural value, and scientific value. According to the grading standards of cultural relics, they can be divided into first-class cultural relics, second-class cultural relics, third-class cultural relics, and general cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic brother
I'm not sure what specific questions you want to ask about cultural relics. You can give me some more specific questions, such as the definition of cultural relics, classification, introduction of specific cultural relics, and so on. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Pavilion hairpin cultural relic
Among the cultural relics of the pavilion hairpin, the more famous one was the golden hairpin of the pavilion figure of the Ming Dynasty. This was a set of rare hairpin cultural relics unearthed in the tomb of Zhu Houye, the king of Mingyi, and his first concubine Wang and second concubine Wan in Nancheng County, Jiangxi Province. Among them, there was a pair of pavilions with golden hairpins excavated from the tomb of King Yizhuang. They were three magnificent pavilions. It was said that they were modeled after the buildings of King Yizhuang's residence. There were small people in the pavilions. These golden hairpins reflected the exquisite carving and engraving standards of the time, using the traditional metalwork technique called tired silk. These hairpins were now collected in the National Museum of China. They were the embodiment of the superb skills of ancient Chinese craftsmen. This kind of pavilion gold hairpin was very popular among the noble women of the Ming Dynasty. Nine pavilion gold hairpins, including the one mentioned above, were found in the tomb of King Yizhuang. The novel " Gilded Palm " is equally exciting. Everyone is welcome to click and read it!
Unearthed cultural relic hairpin
Many exquisite hairpins were unearthed during archeological work. For example, a Sanskrit gold hairpin was unearthed in Wangjia Village, Changzhou, Jiangsu Province. It was 12 centimeters long, 5.8 centimeters wide, and weighed 31 grams. The golden hairpin of the pavilion figure unearthed from the tomb of Zhu Houye, King Yizhuang of the Ming Dynasty, was amazing. It was 5.5 cm wide, 8.5 cm long, 15 cm long and weighed 119.15 grams. It was collected in the Jiangxi Province Museum. There were exquisite pavilions, pavilions, flowers and trees on the hairpin. The top of the pavilion was a hexagonal double-eave, with pearls on the top, fans on the six sides, and statues outside the door. The craftsmanship was exquisite and shocked the archaeological community when it was unearthed. The treasure of the Nanjing Museum, the "Golden Cicada Jade Leaf" hairpin, was unearthed from the family tomb of Zhang Anwan, a scholar in the Hongzhi year of Dr. Wu Ming in Wufeng Mountain, Suzhou. It was the only one unearthed in China. The gold content of the golden cicada was 95%, the thickness of the cicada wings was only 0.2 mm, and the jade leaf was made of Hetian sheep fat jade from Xinjiang. There was also the Dragon Head Gold Hairpin unearthed in Henan, and the Tang Hairpin collected by the Zhou's Silverware Museum in Luoyang. They were also exquisite hairpin-type cultural relics. The novel "Gilded Palm" is equally exciting. Everyone is welcome to click and read it!
Cultural relic restoration camera
In the restoration of cultural relics, cameras could be used to collect basic information about cultural relics. For example, in the Cultural Protection Laboratory Building of the Cultural Protection Department of the Nanjing City, high-definition cameras were like "doctors" taking the pulse of cultural relics. The staff would use them to take photos and record the damaged forms of the original cultural relics. In the cultural relic restoration hall of the Sanxing Dui Museum, the Central Radio and Television Station set up an intelligent robot camera that could shoot from multiple angles to show the beauty of the revival of newly unearthed cultural relics. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Description of the cultural relic bowl
There were many types of bowls as cultural relics, each with its own characteristics. There are bowls now collected in Lishui City Celadon Museum, straight mouth, round lips, arc belly, circle foot, green glaze, gray color, no glaze on the outer bottom is vermilion, some inner bottom is also printed with the word "Gu", the word outside two circles string pattern, the periphery is decorated with water grass pattern, the outer wall of the abdomen is decorated with comb pattern. In 1973, a seemingly ordinary but precious bowl appeared in a cultural relic store in Beijing. When the old lady brought it over, the bowl was thick, blue and white glazed, and it was stained with a strange smell. The bottom was printed with the words "Ming Xuande Year". It was identified as a blue glazed bowl fired in Jingdezhen official kiln during the Ming Xuande period. It was a rare treasure. The golden bowl used by Emperor Qianlong was now stored in the Forbidden City in Taibei, China. It was made of high-purity gold. The material was precious and the craftsmanship was exquisite. The inside of the bowl is plain, the outside of the bowl is decorated with flower and leaf patterns with silk pinching technique, and the gap is decorated with gold beads. Ming Chenghua Doucai Chicken Jar Cup was sold at Sotheby's Hong Kong on April 8,2014 for 281.24 million Hong Kong dollars. It was a wine cup used by Emperor Chenghua. The shape was exquisite and small, and the porcelain wall was as thin as cicada wings. The pattern was made with Doucai technology. First, the outline of the pattern was drawn with blue and white fine lines, then glazed and fired into the carcass at high temperature in the kiln. There were no more than 20 existing treasures in the world. There were also Longquan kiln pink bamboo hat bowls, glazed green with pink, crystal clear like jasper, shaped as a large open, small circle foot, like an inverted bamboo hat. Two pieces were collected in the Guangyuan Grotto Research Institute and exhibited in the Guangyuan City Museum. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Is the reservoir an immovable cultural relic?
The reservoir was not an immovable cultural relic. Immovable cultural relics included ancient cultural sites, ancient tombs, ancient buildings, cave temples, stone carvings, murals, etc., while a reservoir was a man-made or naturally formed project for the purpose of developing water resources, which was used to intercept and regulate river flow. The two concepts were different. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Antique, cultural relic, sword
Antiques and cultural relics swords had rich historical and cultural values. Judging from the craftsmanship of ancient swords, for example, the sword of King Gou Jian of Yue was the pinnacle of bronze swords, reflecting the superb level of bronze smelting technology at that time. In ancient times, the development of the sword had gone through many stages. From the embryonic form of the sword in the Neolith Age to the bronze sword in the Yellow Emperor period, to the bronze sword appearing again in the Spring and Autumn Period and becoming the mainstream weapon on the battlefield. Finally, as the iron smelting technology matured, the iron sword entered the historical stage. Ancient famous swords like the Clear Sable Sword had the characteristic of " cutting iron like mud " in ancient records. However, the " iron " here was not steel in the modern sense. There might be a certain degree of misinformation and exaggeration. There were also some swords with special historical significance, such as the loyal king Li Xiucheng sword, which had a unique historical story. It returned to the motherland after being lost overseas for 97 years and witnessed the historical events of the Taiping Heavenly Kingdom. The Yongle Sword was a product of the Ming Dynasty in 1420. It was the pinnacle of craftsmanship. The sword body was exquisite, and the scabbard and hilt were gilded. The sword body was engraved with the image of a Buddhist auspicious beast. However, in 1860, when the Anglo-French coalition forces burned down the Yuanmingyuan, it was plundered overseas. Now, it has become the treasure of the Royal Armament Bureau Museum. Although a China collector wanted to buy it back for a sky-high price of 1 billion, it was rejected. There were also some complicated situations in the collection of antique swords. For example, if someone brought a sword that was suspected to be Zhao Yun's sword, it was determined by experts to be a fake or not worth it. In addition, there were also some bronze antique swords on the market that were sold as antique collections for occasions such as birthdays and Christmas gifts. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Cultural relic clothing collection
The following are some works related to cultural relics and costumes: Shen Congwen's Talk on Cultural Relics and Costumes, and Traditional Colors of China: A Color Atlas of the Imperial Palace's Costumes. "Traditional China Colors: The book," Color Illustrations of the Palace Museum's Costume ", featured 220 rare pieces of clothing from the collection of the Palace Museum. It covered eight major modules, including formal wear, auspicious wear, casual wear, travel wear, military wear, casual wear, and accessories. There were 220 high-definition large pictures, including cultural relics, literature, and crafts. The color rings, patterns, and annotations were all included. The annotations included cultural relic numbers, background interpretation, cultural relic names, cultural relic size, cultural relic eras, color rings, and the color values of MCYK and Hongyan. At the end of the book, there was also a color spectrum of dynasty clothing. In the literary work " Dream of the Red Chamber," there was also a wonderful description of the details of clothing at that time. For example, when Wang Xifeng appeared," the colorful embroidery was brilliant, like a fairy. She was wearing a golden bun with eight treasures on her head and a pearl hairpin with five phoenixes hanging from the sun. She had a red gold dragon necklace on her neck. Her skirt was tied with a bean-green palace sash and a rose pendant. She was wearing a narrow red satin jacket with a hundred butterflies in gold, covered with a five-colored silk carved stone green silver mouse jacket. She was wearing a jadeite crepe skirt. From these descriptions, one could also see the aesthetic clothing of the upper class of the Qing Dynasty. In addition, there was also the " Sparrow Gold Furs " of Empress Dowager Cixi in the late Qing Dynasty. It was woven with expensive peacock feather thread and had a sleeveless round collar. It was composed of ten layers of silk embroidered pieces in the style of peacock feathers. The embroidered pieces were made of bright yellow satin, with golden and blue silk threads embroidered with sparrow feather eyes and peacock feather thread embroidered with feathers. The whole was emerald green. This embroidery method would show a colorful effect under the sun. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>