The best way to understand a city is
Enter the local museum
Only after understanding the museum
can you dare to evaluate a city
Today, we will take you to Hancheng Museum
explore the unknown historical city
—— Ancient City Three Temples Scenic Area (AAAA)
Jiaqing Imperial Written by Lin Zexu's Book of Zhonglie Strong Kejie Inscription Carved Stone
Jiaqing Imperial Written by Lin Zexu's Book of Zhonglie Strong Kejie Inscription Carved Stone
Jiaqing Imperial Written by Lin Zexu's Book of Zhonglie Strong Kejie Inscription Carved Stone: Lin Zexu's calligraphy learning from Liu Gongquan, Yan Zhenqing. Yan's body is strong and upright, and Liu's body is handsome and upright. He integrates Yan Liu and finds his own way, setting a new unique style. The brushwork is sharp, with a delicate spirit in its strength, and the structure is dignified and flat, giving people a sense of firmness and integrity.
Han Glaze Manor Pottery Tower
Han Glaze Manor Pottery Tower: This Han Glaze Manor Pottery Tower is square, with a height of 155 cm and a width of 43 cm. It is covered with green glaze throughout. The building is an imitation wood structure and is located in the center of the square courtyard. Corner towers are built on all four corners of the courtyard wall. The front door opens with a hip-sung fang style. The entire building consists of a five-section set to form a double-eaved hip-mounted large tiled roof four-story building. The door is open on the front of the ground floor, and the roof is supported by two brackets and brackets on the roof. The second floor top is supported by a two-chamber bracket supporting the corridor around the third floor. The third and fourth floors open doors and windows on all four sides, and the upper floors are all windows on all four sides. The walls and corridor railings around the building, and geometric patterns such as carved rice characters and lattice lattice are carved. The building structure of this Han glaze pottery manor is accurate and realistic, giving people a sense of beauty, generosity and sturdiness. It is a microcosm of the actual Han Dynasty architecture and fully reflects the superb architectural craftsmanship of ancient my country.
This rare pottery was unearthed in 1985 at the infrastructure construction site of the former Finance and Taxation Bureau in the northeast of Taishi Street and Renmin Road Cross. It reflects the high identity and social status of the tomb owner before his lifetime, and has high historical value for studying the self-sufficiency of the natural economy and the closed manor life of our feudal society. It also has high scientific and artistic value for studying the superb pottery and handicraft development level in my country's Eastern Han Dynasty.
"Liang Yixi Ping" city gate
"Liang Yixi Ping" city gate minus: bluestone, rectangular, with four large characters "Liang Yixi Ping" engraved. This stone carved city gate was originally inlaid on the west gate of Hancheng County. It was engraved in the 13th year of Chongzhen in the Ming Dynasty, which means that the northwest of Hancheng is Liangshan, which stretches across the north and south, like a natural barrier. And its legend lies in its premiere. During the peasant uprising in the late Ming Dynasty, Li Zicheng led his troops to cross the Yellow River through Hancheng eastward and overthrew the Ming Dynasty northward. Later, he failed to return to Shaanxi to pass Hancheng, and carved off the "Ming Chongzhen Year" on the Shimen Tie and engraved his own year name "Jidan, the first year of Yongchang in Dashun". This is such a dynasty name, which is unique in the country. The Chinese History Museum has its rubbings collection, and the Dashun Dynasty lasted only 15 months.
Longmen Mountain full picture stone carving
Longmen Mountain full picture stone carving: mountains, rivers, temples, pavilions, towers, all of which are delicate and smooth. With its extensive and profound text descriptions and majestic graphic pictures, it represents as many as 16 attractions in Longmen Mountain, which is quite rare in China and is one of the best in ancient pictures. Carved during the Guangxu period, the old Longmen Scenery should be recorded, providing a basis for recreating the Longmen Scenery in the future.
stone pier, floating carving
Qing Grand Secretary Cao Zhenyong sent Hancheng Taifu to Wang Jie return to his hometown
Qing Grand Secretary Cao Zhenyong sent Hancheng Taifu to Wang Jie return to his hometown
Qing Grand Secretary Cao Zhenyong sent Hancheng Taifu to his hometown to his hometown to his hometown to his hometown to send gold and ink folding fan: the main bone of the fan is inlaid with ebony, the fan is paper-like, and the two-sided gold is pasted, and one side of ink writes five-character poem. The main bone is 28 cm long and the fan center is 16 cm wide. There are 18 pieces in total. The two outer sides are inlaid with silver wire, which is as thin as hair. It is in the palace seal script, with 33 lines of regular script, a total of 68 sentences and 340 words. The shaft end is embedded with a ruyi pattern. The fan text is signed as "The leap month of Jiaqing Guihai, and the grandfather of Hancheng, the grandfather of the Grand Tutor of the Kingdom of Hancheng, and the grandfather of the old man who came back and asked for his return. Cao Zhenyong was born in the late family." It also attached a seal of "Lisheng" and should be the font of Cao. This fan was a gift given by Grand Secretary Cao Zhenyong when Wang Jierong returned to his hometown (March 1803)). It has been two hundred years since then.
The five-character poem on the fan was written by Cao Zhenyong for his mentor Wang Jie. He cordially and enthusiastically praised Wang Jie's noble qualities of loyalty, integrity as an official, and self-discipline. At the same time, it also expresses the friendship and parting between the writer and Wang Jie. Cao Zhenyong was from Anhui. He served as editor, academician, grand clerk, and minister of military affairs in the Qianlong, Jiaqing and Daoguang dynasties. He is knowledgeable, cautious and upright, and is the Jinshi selected by Wang Jie.
This folding fan was donated by Mr. Zhang Xibin, Zhangjiaxiang, Jincheng District, Hancheng City in 1999. According to the donor, he discovered and purchased the fan when he was visiting the market fifty years ago, and it has been treasured for more than half a century. This is a relic that Wang Jie cherishes very much and is an important physical historical material for studying Wang Jie. The fan is magnificent, the calligraphy is meticulous and formal, dignified and respectful, and can be regarded as a treasure.
Qing Dynasty "Zhu Zi Family Instructions" interlude
Qing Dynasty "Zhu Zi Family Instructions" interlude: the height is 208.5cm, the center of the screen is 160cm long, the width is 130cm, the seat height is 98cm, and the width is 143cm. It was collected in Qingshui Village, Hancheng in 1985. The screen frame is engraved with ten thousand characters, and the front screen is engraved with wooden boards. The front screen is engraved with wooden boards. The famous calligrapher Guo Jun, a famous calligrapher in Hancheng during the Daoguang period, is also known as "Zhu Zi's Family Instructions". The literal is gold-plated, and the back is painted with phoenixes playing with peonies. The screen seat is inlaid with three-way bat-patterned openwork ribbon rings. The underside of the belt ring is covered with water teeth and embossed with flower and grass patterns. The base is on both sides of the base, and the front and back are openworked with cloud dragon patterns. "Zhu Zi's Family Instructions" was written by Zhu Bailu, a Neo-Confucianist in the late Ming and early Qing dynasties. Its content is aimed at self-cultivation and family management. Its content is encouraged to be thrifty, respect the elderly and love the young, and be harmonious with neighbors. It is of great educational significance. It is used as a decoration for the heart of the screen to further demonstrate the fine tradition of the Chinese nation in paying attention to ethics and education. The entire screen is well-made and magnificent, and is a masterpiece that integrates calligraphy, painting and wood carving art.
"Zanyuan Xi'an" plaque
"Zanyuan Xi'an" plaque: According to "Baochun Pavilion Collection•Biography of Wang Wenduan Gong": "In the 59th year of Qianlong, Jiayin, seventy years old, October Duke's birthday, I was given a gift to the imperial book 'Zanyuan Xi'an' plaque, "List of the name of Yunguan, the grand scholars, the steps of the elders bring the great New Year' couplet, Fanxi Infinite Life Buddha, inlaid with jade as It is made of wood, 269 cm long and 135 cm high. It is surrounded by protruding carved ribbons, decorated with two dragons playing with beads and floating clouds, setting off the power of dragons and skyscrapers. The inner side is decorated with books, swords, and Ruyi, which are all perfect. The big characters on the plaque are like a bucket, engraved with Yin and Yang, the upper and lower characters are like fists, the yang patterns are engraved with blue characters on a golden background.
The first chapter of the plaque: "October of the 49th year of Qianlong"; the second chapter: "Gived to the Grand Secretary Wang Jie". The characters are as big as fists and are engraved with sun patterns. The four characters "Zan Yuan Xi'an" are like a big bucket, engraved with Yin hugs the Yang. In the upper part is the seal carved "Ba Zheng Mao Nian's Treasure".
"Fu Sui Yanxi" plaque
"Fu Sui Yanxi" plaque: "Baochun Pavilion Collection•Biography of Wang Wenduan Gong": "In the ninth year of Jiaqing, at the age of eighty, the Duke and Mrs. Cheng were in the same eyebrows as each other, and the emperor ordered the governor Fang Gong Weidian to personally bring the imperial poem "The purple is shining brightly in Hancheng, and the sea house is added to the crane. The land is close to the western pond and the stars are bright and the southern divine is brilliant; the two dynasties adjust the tripod and the literary thoughts are bright, and the longevity is grand. The virtue and career are long and the Qi are filled with Jian Valley, and the Qi is celebrated with the Chang Geng. The imperial pen is plaque 'Fu Sui Yanxi', with the Brahma copper Amitabha Buddha, inlaid with jade Ruyi, beeswax beads, coral crown, python robe embroidered in the leather, and silk and satin are used to make a living, and it is thought that the Duke's life is long." "Fu Sui Yanxi" combined means wishing Wang Jie and his wife happiness and peace.
Imperial poetry plaque
Imperial poetry plaque: The plaque is made of wood, 257 cm long and 135 cm high, and the surrounding belts are concave. It is decorated with the method of painting with seals and color, and the upper part is decorated with two dragons playing with pearls and the lower part is decorated with the sea water rising sun. The inner relief symbolizes the continuous pattern of the two-sided characters that are constantly rich and noble. The plaque has a big fist, engraved with sun patterns, literally gilded, and gold characters on blue background, solemn and serious.
His poem: The brilliance of purple shines in Hancheng, and the sea house adds cranes to win.
The land is close to the west pond and the fortune is increased, the stars are bright and the south are bright and crystal clear;
The two dynasties are tuned into the tripod, and the eight dynasties are at the same time, the longevity is grand.
virtue and career have been built for a long time, and the eternal celebration of the Chang Geng will be celebrated.
is signed as: I will give you a poem about the 80th birthday of Grand Secretary Wang Jie. Imperial pen in autumn in Jiazi.Two imperial seals were added, one was "the treasure of Jiaqing imperial pen" and the other was "the ancient poem was heard and the etiquette was passed down by the heart".
roots carved
It is 1.8 meters high, 1.76 meters wide, and weighs more than 300 kilograms. It is carved from a complete walnut tree roots used by folk artists. There are mountains, rivers, pavilions, towers, birds and beasts, and figures with different expressions on it. What is interesting is that the author uses the natural shape of the tree roots as a support and carves out a story of the story of the eighteen miles of farewell, the old man fishing, the shepherd boy pointing at the apricot flower village from afar, and the fisherman bravely advancing, which cleverly combines movement and stillness, far and near, roughness and subtlety, making people feel endless aftertaste. In 1985, it was exhibited in Beijing for nearly half a year. The audience was amazed and was known as the "king of root carvings" and "a rare treasure".
Tang character story bronze mirror
Tang character story bronze mirror: also known as "Three Le Mirror" or "Confucius Q&A Mirror". The decorative theme on the back of the mirror appeared in the late Tang Dynasty. One person stood on each side of the mirror button, one held a stick in his right hand, the other held a piano in his left hand, and the right arm was raised, which looked elegant and similar to a dance posture. There is an inscription "Confucius's Question and Answer to the Enlightenment" in the vertical grid above the mirror button. The mirror composition is simple and fresh. The subject is taken from the interesting words about Confucius traveling to Mount Tai in Liezi: One day, Confucius traveled to Mount Tai and met Rong Qiqi. When he saw him singing with a deer fur and a zither, he asked, "Why are sir so happy?" Rong Qiqi replied, "There are many things that make me happy. People are born with all things, but I am a human being. This is a joy: between men and women, men are superior to women, and I can be a man. This is another joy: In life, some people have not seen the sun and the moon, and they have died when they were in cradles, and I am ninety. This is the three joys." From this record, it can be seen that the person holding the stick is Confucius, and the person holding the piano is honored and wondered. This theme is filled with a strong Taoist thought of enjoying heavenly pleasure and adapting to nature. At that time, people used this subject as a mirror to fully reflect people's thoughts and life mentality at that time.
Zhou Beast Face Pattern Father Yi Zun
Zhou Beast Face Pattern Face Pattern: Goblet-shaped Zun, Western Zhou, bronze texture, 25 cm high and 21.1 cm diameter. Bottom diameter 13.9 cm. Round, extravagant mouth, bulging belly, and ring foot. The shape is simple and generous, which not only removes the thickness of the late Shang Dynasty vessels, but also distinguishes it from the short and fat in the middle of the Western Zhou Dynasty, so it looks fresh and beautiful. Two convex ring patterns are decorated at the bottom of the neck and the upper part of the ring foot of the device, which separates the body and bottom of the device to add a bit of balance and stability beyond the elegant appearance. The main belly is decorated with Taotie patterns, with long-crowned bird patterns opposite to each other. The patterns are fine, clear lines, skillful engraving, regular without losing the rigidity, and smooth rather than disorder. This instrument not only has beautiful shapes and gorgeous patterns, but also has the eight-character inscription "Cooperating Father Yi□ Baozun □" engraved in the center of the inner bottom. The inscription records the fact that it is a deity for his father B. Whether it is shape or pattern, this utensil provides a certain basis for the dynasty of the Shang and Zhou bronzes to varying degrees, so it has considerable artistic value and historical value.
Song Chenni Guo Inkstone
Song Chenni Guo Inkstone: Song Dynasty Chengni Inkstone, 16.2 cm long, 9.4-9.8 cm wide, 3.1 cm high, the whole is rectangular, the pond surface is oval, one end is low and sloped, with straight edges around and concave bottom, with the inscription "Chenni Guo Inkstone" in the middle. According to the inscription, the inkstone should be a Guozhou Chengni Inkstone. The Chengni inkstone is made of fine clay that has been cleaned as raw materials, so it has a delicate texture, does not dry up water, does not ice when it is cold, and does not damage the ink without damage to the hair. Its moisturizing and water is comparable to the stone ink. Due to different sources of raw materials and different firing time, Chengni inkstone will also show different colors such as eel yellow, crab shell green, mung bean sand, and rose purple. Chengni inkstone generally pays attention to patterns and shapes. The lines of the utensils are concise, the shapes are imitated, and the image is vivid and vivid, which makes people feel funny. Guozhou Chengni inkstone is one of the four famous inkstones in history. According to the Shanzhou Chronicles, "Guozhou Chengni inkstones were all tributed in the Tang and Song dynasties. They were as beautiful as jade, and they were as hard as bells and chimes. They were hard but not dry. They were caresed like children's skin. They did not consume ink and accumulated ink. The special kiln transformation process made Chengni inks colorful." Emperor Qianlong of the Qing Dynasty also praised him as "praying like a stone and raising salivation" and regarded it as a national treasure. The inkstone is simple and generous in shape, and is actually a treasure among the four treasures of the study.
Epitaph of the Old Baifujun of the Tang Dynasty
Epitaph of the Old Baifujun of the Tang Dynasty: Unearthed in April 1986 in the Tang Dynasty tung Tomb in the northwest of Xijinpen Village, Sudong Township. It is now collected in the Hancheng Museum. The epitaph is made of sand and gravel, and the cover is covered with bucket shape. The top is engraved with three lines and nine characters: "Epitaph of the Old Baifujun of the Tang Dynasty". The four slopes are engraved with the twelve zodiac signs of the beast's head and human body, three on each side, and two consecutive patterns are engraved with vertical lines around the four vertical lines. The bottom is square, with a side length of 42 cm. The surrounding vertical lines are engraved with vivid images of the four gods of Vermilion Bird, Xuanwu, Qinglong and White Tiger. The plane is an epitaph inscription, with wired grids, 18 lines, and 45 characters of work. Bai Jingzong, the owner of the epitaph, is the same clan as Bai Juyi, a poet of the Tang Dynasty. Bai Jingzong's great-grandfather and Bai Juyi's great-grandfather are both Bai Wen. According to the epitaph, Bai Jingzong was born in the third year of Yuanhe (808) of Emperor Xianzong of Tang Dynasty, which was 36 years later than Bai Juyi, and is undoubtedly the younger generation of Bai Juyi. In addition, the Hancheng Museum also contains epitaphs of Bai Gongji, the father of Bai Jingzong, which plays a very important role in studying the genealogy of Bai Juyi and his Bai family.
The running script of the top scholar Wang Jie of the Qing Dynasty
The running script of the top scholar Wang Jie of the Qing Dynasty: on paper, mounted, 329 cm long and 136 cm wide, with the inscription "Yu Weng Tai’s close relatives and Weng's regular characters" and "Marriage Late Wang Jie". The entire work has a sparse layout, free and easy brushwork, a handsome and elegant style, elegant and colorful, and magnificent. It shows the other side of Wang Jie's calligraphy style. Wang Jie, from Miaohou Village, Hancheng, has a name called Weiren, and her nickname is Xingyuan, with alias Weitang, Baochun, and his posthumous name is Wenduan. In the 26th year of Qianlong's reign (1761), he was appointed as the top scholar, appointed as the Hanlin editor, promoted the lecturer, moved to the cabinet for five times, served as the government, served as the assistant minister of the five ministries of official, ritual, military, punishment, and engineering, the Minister of War, the Left Censor, the Minister of Military Affairs, and the Chief Master of Shangshufang. He was ordered to ride a horse in Zijin City. In the 52nd year (1787), he was appointed as the Grand Secretary of Dongge and became the chief minister. In the forty years of his reign, he held a 12-time lecture and was appointed as the chief examiner of the township and the commemorative examination, and obtained 1,290 scholars. He painted a portrait twice in Ziguang Pavilion and awarded the title of Prince Taibao and Prince Taifu of Jin. In the seventh year of Jiaqing (1802), he resigned from his post due to illness and returned to his hometown the following year. Wang Jie was an honest and honest official, and Jiaqing imperial poem praised it as "Standing a temple with straight road and returning to Hancheng with clean wind and sleeves."
Neolithic bone shovel
Neolithic bone shovel: Neolithic age, animal femur, one end is the joint head, the other end is the blade, the blade is sharp. The entire bone shovel is 15.5 cm long and the blade is 2.2 cm wide, and it is well preserved. The Neolithic site behind the Hancheng Temple was unearthed. The site is located in the east of Miaohou Village, Jincheng District, with a total area of about 60,000 square meters. A total of 10 ash pits and 4 cellars were cleared. A large number of stone tools, pottery and bone tools were unearthed together. Among them, the stone tools include stone axes, stone sickles, stone rods, stone mortars, and stone millstones. There are carbonized grains and powder adhesions in the grinding disc recesses. The bone device has a shovel, cone, needle, knife and fish hook. It is small in shape, finely made, and the sharp edge is smooth and sharp, like this device. The pottery includes sandy red pottery jars, pottery jars with tobacco on the outside, mud red pottery bottles, bowls, cups, pottery pottery pottery pottery, etc., which belong to the Yangshao culture in the mid-Neolithic Age.
Song Cizhou Kiln Poetry and Prose Porcelain Pillow
Song Cizhou Kiln Poetry and Prose Porcelain Pillow: Song Dynasty, porcelain, 44 cm long, 19.3 cm wide, 10.2 cm high, unearthed at the construction site of Hancheng Mining Bureau in May 1984. The pillow looks rectangular, with both ends in shape and slightly curved inward. The pillow surface is slightly larger than the pillow, with a slightly concave center of the surface, and a small hole on the right side of the pillow. The pillow has a white glaze base color. The pillow is divided into three parts with double black lines on both sides, with a longer middle. A five-character poem with black glaze is written vertically with two lines: "The wood tip is cold before it is felt, and the earth's veins are warm," and the black glaze grass leaves are patterned on both sides. In summary, this pillow has a unique shape, simple and elegant patterns, full of poetry and painting, giving people a beautiful enjoyment. Cizhou Kiln is one of the famous kilns in the Song Dynasty. Its products are mainly white porcelain, black porcelain and white ground underglaze black and brown color. The utensils are mostly decorated with pictures and poems drawn with brushes, and the content and themes are full of lifelike atmosphere and have a strong folk color.
Pictures of sages in history
Pictures of sages in history: Qing Dynasty, silk-born portraits. Fine brushwork coloring, a total of 114 blessings, each with a length of 47.5 cm and a width of 42 cm. All framed. According to the "Dacheng Tongzhi", there are 114 people who worshipped the Confucius Temple, including the sages, sages and scholars. The 114 portraits in the collection are consistent with the number of sages and sages and titles of the Confucius Temple, which are slightly different.Among them, 21 people have portraits, some have titles in the Song Dynasty, but they are not given a sacrifice to the Confucius Temple. This may be due to a slight change since the Song Dynasty.
Respecting Confucius and Confucianism throughout our country's history for more than two thousand years. At the beginning of Zhenguan in the Tang Dynasty, temple households were set up to serve as sacrifices to Confucius. In Zhenguan, another 22 people were granted a sacrifice to the Confucius Temple in one year. In the 27th year of Kaiyuan in the Tang Dynasty, 82 famous scholars from the Han, Three Kingdoms, Wei and Jin Dynasties were granted the title of Duke and Marquis since the Warring States Period. The Song and Yuan dynasties also added additional titles, forming a number of 114 people.
Stone sculpture exhibition
China's stone sculpture art has a long history and can be traced back to the Neolithic Age. With the introduction of Buddhism, rulers who believed in and advocated Buddhism spent huge sums of money to dig caves and carve Buddha statues, which led to the rapid development of Buddhist stone carving art. During the Wei, Jin, Southern and Northern Dynasties, with people's belief in Buddhism and Taoism, a large number of single-body stone sculptures and grotto stone sculptures increased day by day. During the Ming and Qing dynasties, stone carving decorations were popularized in traditional residential buildings, and were mainly used in local and components of residential buildings, ancestral halls, temples, archways and other buildings. The types include door lintels, drum-holding stones, stone pillars, horse-mounting stones, pillar foundations, horse-tie piles, etc.
Hancheng has a long history and rich cultural relics, and it is said that "Guanzhong cultural relics are the most Hancheng". This exhibition is a group of stone carvings selected from the many stone carvings in our collection. They are mainly constructed of religious figures and houses. On the one hand, it reflects the rich folk culture and religious culture of Hancheng, and from different aspects, it also displays the exquisite stone carvings in the Wei, Sui, Tang, Ming and Qing dynasties in Hancheng area, which has high historical and artistic value.
Historical and Cultural Relics Exhibition
In the 5,000-year civilization history of the Chinese nation, there is a magical and dazzling intersection, that is, the famous historical and cultural city of China - Hancheng. This pearl on the bank of the Yellow River is like the daughter of the mother river, inheriting too many of the mother's cultural genes. The heavy and distant history is so mysterious: the Yumen Cave 50,000 years ago, the Neolithic ruins scattered in the sky, the "Huaxia Ancestral Dragon" Dayu Chisels the Dragon Gate, the "Guigong Lan Hall" of the feudal emperors, the magnificent ancient buildings, the quiet and elegant ancient city of the Ming and Qing dynasties known as "Little Beijing"... Among these deep and long-lasting historical "wheel tracks", our exhibition is just a few representative historical moments seized in the long history of Hancheng, which are used to outline the outline of this historical and cultural city, trying to lift the mysterious veil of the daughter of the Yellow River...
Celebrity Exhibition
Hancheng is a brilliant pearl facing the Yellow River. The Yellow River has a profound cultural heritage, a long history, rich cultural relics, rich in nature, and abundant talents. From ancient times to the present, there have been famous sages in the ages, emerging one after another. During the Ming and Qing dynasties, there were more than 1,400 Jinshi, Juren and Gongshi, and the Qing dynasties were all complete, and there were countless scholars and martial artists. All dynasties have all been well-known in civil and military affairs, and they are honest and honest in government and have outstanding achievements in politics. There are many people who love them, and some are outstanding and famous at home and abroad. To this day, urban and rural residential houses still retain the inscriptions showing off their fame and fortune, such as Ming Jing, Jinshi, Top Prize, Dengke, Shike, Wenkui, Sima, Taishi, Waihan, Neihan, County Magistrate, County Bo, Huang Tang, Zhongxian, Shima Gaoxuan, Father and Son Censor, etc. In the past, there were huge plaques of "The Extraordinary Area", "The Scholars' Style", "The Households Can Seal" and "The Four Territories Will Return", which are all symbols of the true portrayal of the land spirit and the heroes of Hancheng.
In history, world cultural celebrities emerged in Hancheng, including the prime ministers of the three dynasties, the Grand Historians of the Father and Son, the Censor of the Father and Son, the Prefectures of the Father and Son, the General of the Grand Historian, the Governor of the Grand Historian, the Governor of the Grand Historian, the Governor of the Brothers, and the Brothers Waiting Lang. There was once a story about "one mother and three Jinshi, one wins one tribute student", but now there are "one family, four sons and three Tsinghua" that have been praised.
Stone Lion Dragon Pillar Exhibition
Hancheng has a long history and rich cultural relics. It is said that "Guanzhong Cultural Relics are the most Hancheng". Among the many cultural relics collected by the Hancheng Museum, there are a large number of exquisite stone carving and stone carving art works. These stone carving and stone carving works not only have exquisite carving craftsmanship, but also play an extremely important role in reflecting the history and historical materials at that time, and have high historical and artistic value.
This exhibition is a group of stone carvings selected from the stone carvings we have collected from the museum, mainly from the tomb stone carvings, stone lions, and horse tie piles. It reflects the rich folk cultural characteristics of the Weibei region of Shaanxi from one side.
Ancient Plaque Art Exhibition
Hancheng is a national historical and cultural city with a particularly strong folk culture. In recent years, the Hancheng Museum has collected many cultural relics that reflect folk life customs, among which ancient plaques and door lintels account for a large part.
plaque is a commercial language unique to the Chinese nation and a cultural symbol. It is a comprehensive art work that integrates Chinese language, Chinese calligraphy, traditional Chinese architecture, and carving, and combines thoughtfulness and artisticity. It is widely used in prominent locations in palaces, archways, temples, business names, houses and other buildings, conveying information on imperial power, culture, figures, beliefs, commerce and other information to people.
The plaques exhibited in this exhibition room are all wooden plaques and are divided into four categories. These plaques reflect a strong traditional cultural color by taking literary works, citing idioms and allusions, attaching beautiful myths and legends, or using celebrity inscriptions, etc., expressing blessings and goodwill, repaying gratitude, or showing the owner's cultural beliefs, etc., which plays a very important role in our modern people's critical inheritance of traditional culture.
Book Painting Exhibition
"Three Temples" Scenic Area (Museum) Geographical location
Visiting instructions
1. Please buy tickets consciously.
2. Abide by public order and do not make loud noises when visiting. It is recommended that you set the mobile phone to mute it to avoid affecting your visit and others.
3. People with disheveled clothes and private pets, dangerous goods, and alcoholics are not allowed to enter.
4. Take care of the facilities in the museum, please touch the cultural relics and exhibits and climb over cultural relics and historical sites.
5. Please do not take photos in the exhibition hall without permission.
6. Maintain a beautiful scenic area environment, and do not trample on the lawn or climb ancient and famous trees.
7. Smoking, spitting, or throwing paper confetti or debris are strictly prohibited.
8. Please help us to maintain the visiting order and tourism environment in the scenic area.
Transportation Guide
Bus route:
1. Hancheng Railway Station takes No. 101 to Nanguan (the terminal station for fare of 1 yuan), and transfers to No. 102 diagonally opposite.
station three times to the entrance of Dongxue Lane, and you can reach the Confucian Temple in 3-5 minutes.
2. Travel line.
