" Fifty-six ethnic groups, fifty-six flowers, fifty-six brothers and sisters, fifty-six languages, all in one sentence, love my China, love my China, love" Fifty-six ethnic groups, fifty-six flowers, fifty-six brothers and sisters are one family, and fifty-six languages converge into a sentence: Love me, China, love me, China, love." This sentence came from Jia Baoyu's poem " Ode to Chrysanthemum " in " Dream of the Red Chamber." It expressed Jia Baoyu's love for his motherland. The meaning of this sentence was that fifty-six different ethnic groups each had their own flowers, fifty-six brothers and sisters were a family, and fifty-six different languages converged into a sentence to express their love for the motherland.
Fifty-six Flowers SongThere were a few songs related to "56 Flowers". "Fifty-six Nations, Fifty-six Flowers" was written by Gao Shouyan and sung by Liu Yuanyuan and Xiao Yan. The lyrics included "Fifty-six Nations, Fifty-six Flowers, Each Blooming in the Sun" and other content, reflecting the glorious history of our country's national unity and progress. There was also a song called "56 Flowers" sung by Feiyan. The lyrics included "56 flowers blooming under the blue sky, bathing in the sunlight, each shining brightly" and so on. In addition, Chen Yaoqi's "56 Flowers (Live)" was also related to "56 Flowers". Moreover, the lyrics of "Love My China","56 constellations, 56 flowers", were easily confused with the first two songs.
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Cultural relic water tankWater tanks had many manifestations in the field of cultural relics. For example, the Forbidden City had 308 iron tanks, copper tanks, and gilded copper tanks. They were called Menhai, Taiping tanks, or fire tanks. They were mainly related to the fire prevention of the Forbidden City. Their existence was related to the fact that most of the buildings in the Forbidden City were made of wood and were afraid of fire. These water tanks could usually be used to sweep the courtyard or put out small flames. They were also related to the concept of suppressing fire in the Five Elements culture. A large ceramic water tank was displayed in the August 1st Uprising Memorial Hall in Nanchang. The outer surface was engraved with patterns such as two dragons playing with pearls. It was now a national second-class cultural relic. In Guizhou Province, there was once a water tank made in the late Qing Dynasty that was identified as a cultural relic, but it was stolen by a suspect. In addition, there was a large water tank outside the East Hall of the Buddhist Temple. Some of these water vats had the value of cultural relics transformed from practical functions, while some had their own craftsmanship and historical background that made them cultural relics.
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Water terrine cultural relicThere were many types of water terrines. For example, the brown glazed water-drawing pottery jar of the Yuan Dynasty and the water-patterned pottery jar of Majiayao were cultural relics of the Stone Age. They were unearthed in Dongxiang, Gansu Province. They had a history of 5,000 to 4,000 years ago. They were mostly decorated with parallel curves. Most of them were descriptions of water patterns, which belonged to the wisdom of the ancestors of the Neoliths Age. Historians believed that the color painting of the pottery jar of Majiayao was the source of fine brush painting, which was now collected in Zhoukou Huawei Folk Culture Museum. In addition, the Three Kingdoms Water Ripple Pot was unearthed in Shuibei Village, Meishui Township. The mouth of the pot was slightly converged, the neck was short, the belly was bulging, and the flat bottom was flat. There were three water ripples on the shoulder. The body was rough and yellowish. The wheel marks were obvious, and the string had fallen off. It was a national third-class cultural relic. It was collected in 1984 and is now stored in the county museum.
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Flowing Water (Part Six)In the sixth episode of " A Long Way to Run Water," Rong Yudie lied that Pei Yan was a prince, and Wei Zhao sent people to release false news. Back then, when King Qi was killed at Moonset, Zhao Wu, the inner guard, witnessed this scene. Zhao Wu was later killed, and before he entered the palace, he married and had children. His wife died early, and his son had been in Nanling. The head of the palace, Tao Zizhu, reported this matter to Emperor Daliang Xie Che. Emperor Daliang was suspicious by nature and was brooding over Rong Yudie's sudden return to Qing Kang. Xie Che suspected that the Pei family was in contact with Fifth Zhao's son and was indignant. Once, Rong Yudie was skilled in both literature and martial arts. Pei Yan's father, Pei Zijing, and Xie Che both liked her. In order to win Rong Yudie's archery competition, Pei Zijing deliberately lost to Xie Che. However, as a prince, Xie Che had no right to directly choose the princess consort. He was sent to the front line to fight, so he entrusted Rong Yudie to Pei Zijing. In the end, Rong Yudie married Pei Zijing.
The more Xie Che thought about it, the angrier he got. He rushed to Marquis Jianding's residence overnight to find Rong Yudie and ask about the situation. When Marquis Sword Cauldron Manor's housekeeper Pei Yang saw Emperor Da Liang bringing people over, he hurriedly reported to Pei Yan and Rong Yu Die. Rong Yu Die knew that the person was not friendly and found an excuse to leave. Dong Lan advised Dong Juan to go to the garden to relax. When Pei Yan learned that Xie Che had come personally, he asked the Crown Prince Xie Chi to leave and then went to receive him. He brought Xie Che to the quiet room in the residence to wait for Rong Yudie. Jiang Ci strolled around and arrived outside the quiet room. He saw Pei Yan standing in the courtyard in a daze. Xie Che saw the portrait he had drawn for Rong Yudie in the quiet room, and his heart was filled with mixed feelings. Rong Yudie then came over and revealed to Xie Che that Pei Yan was her and Xie Che's son. Xie Che came out of the quiet room and comforted Pei Yan with a few words before leaving in a hurry. Pei Yan pretended that he couldn't hold his liquor and let Pei Yang entertain the guests. Xie Che was wary of the Pei family of Nanling. After Pei Zijing's death, Rong Yudie had sent Pei Yan to Xie Che as a hostage and even deliberately provoked internal strife in the Pei family to dispel Xie Che's wariness.
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