The Paper learned that on October 8, the "Harmony China" exhibition will be exhibited outside the Liaoning Provincial Museum. As the largest special exhibition in the history of Liaoning Museum, it aims to interpret the cosmic view, view of the world, view of the world, view of s

"Harmony China" exhibition site

Curator talks about the source of "Harmony" and "Harmony of Man and Heaven"

The curator of this exhibition, Liu Ning, Secretary of the Party Committee and Deputy Director of the Liaoning Provincial Museum, and Second-level Researcher, introduced to The Paper today that the "Harmony" culture has a long history in China, contains extremely profound connotations, is rich in extremely profound philosophical thinking and Chinese wisdom, reflects the value pursuit and character characteristics of the Chinese nation, is the essence and most valuable concept of Chinese traditional culture, and is also a tenacious bond that maintains China's five thousand years of history without interruption. The word "harmony" appears for the first time in "Mandarin·Zhengyu". "It is the one who can unite the five religions to protect the people" ("Five religions" refer to "father's righteousness, mother's kindness, brother's friendship, brother's respect, and son's filial piety"). It is to integrate five different human ethics teachings and implement them in society, so that the people can live in peace and harmony. The idea of ​​harmony is widely reflected in many aspects of ideological theories such as the Yin and Yang and the Five Elements Theory. For example, the core of the idea of ​​harmony in "Yi Zhuan" is the opposite unity of yin and yang. The order of the four seasons and the harmony of heaven and earth is not the highest goal it pursues. The highest goal it pursues is the unity of man and heaven and earth, and is the "unity of man and nature".

"Harmony China" exhibition site

"Harmony China" exhibition site

"The planning of this special exhibition took about 5 months, and the exhibition was divided into 'Heart of man and nature', 'people', 'harmonious but different', 'harmonious and harmonious nations', each part has two units under it. The exhibition brings together more than 400 cultural relics from 22 cultural and museum units across the country. The cultural relics on display are characterized by cross-time, space, region, and variety." Liu Ning said in an interview with "The Paper·Ancient Art", "In the exhibition, we comprehensively use painted pottery, bronze, porcelain, silk embroidery, calligraphy, painting, Ancient books, stele rubbings, gold and silver ware and other cultural relics explain the themes and mark the directions based on their respective eras and cultural backgrounds. With the help of heavy artifacts, fine calligraphy and paintings, and sequels of calligraphy and calligraphy, the "harmony" culture is interpreted through the beauty of cultural relics in the macro historical context. Based on the diverse and high-tech exhibition methods such as rich picture and text links, digital scene creation, and interactive experience. Instructions reflect the long history of the "harmony" culture in China and the Chinese wisdom contained. "

" Walking on the exhibition hall, we can find that at the beginning of each part of the exhibition, we quoted a document as an outline for the exhibition part. For example, in the "harmony of man and nature", we quoted a sentence in "Zhuangzi·Nei Psalm·Qiwu Theory": "Heaven and earth are born together, and all things are one with me". The outline quoted in the first unit of the first part of the first part, "When you look up, you look at the image in the sky, when you look down, you look at the law in the earth, and when you look down, you look at the text of birds and beasts, and take the body in the body and things far away. So we start to write the Eight Trigrams to understand the virtues of gods and to look at the feelings of all things" comes from the "Book of Changes". In terms of specific display, we reflect the relationship between man and nature from several groups such as the patterns of nature, the shape of birds and beasts."Liu Ning further introduced, "Based on such exhibition conception and planning, relying solely on the collections of Liaobao is not enough, so we only use the 'Bird and Beast Shape' group to display small jade pieces from the Western Zhou Dynasty collected by the Guo State Cemetery Museum in Sanmenxia, ​​Henan Province. This type of jade is particularly rich in shape, including elephants, tigers, cormorants, deer, rabbits, parrots, swallows, etc. Including we also borrowed the "Angry Birds" that was previously popular all over the Internet in , the Shanxi Museum . From prehistoric to , Shang and Zhou , there are many animal-shaped jade artifacts, which basically imitate the animal body, vividly and full of the wisdom and imagination of the ancients. Moreover, animal themes have always been the theme content of Chinese traditional culture, extending in various historical periods, reflecting the resonance between man and nature. "

Bronze Cultural Relics Owl Exhibition Scene, the last unit of the exhibition "Helping and All Nations", also has two units: "Exchange and mutual learning, and the four seas are one family", "New with the ancients, and beauty is long-lasting". The former mainly focuses on ancient Silk Road culture, while the latter uses enamel, textiles and cultural relics related to the Olympic theme to reflect the new era connotation, expression and vitality of harmonious culture. "It can be said that the theme of "harmony" in this exhibition is reflected in all aspects, not only the embodiment of the exhibition's combination of exhibits, but also the embodiment of time, space and region. "Liu Ning said.

"Harmony China" exhibition site

It is reported that this special exhibition is co-organized by the State Administration of Cultural Heritage and the Propaganda Department of the Liaoning Provincial Committee of the Communist Party of China, hosted by Liaoning Provincial Department of Culture and Tourism (Liaoning Provincial Cultural Relics Bureau), Liaoning Provincial Public Cultural Service Center, Liaoning Provincial Museum, Shanxi Museum, Jilin Provincial Museum, Nanjing Museum, Henan Provincial Culture The Institute of Physical Archaeology, Hunan Museum, Shaanxi History Museum (Shaanxi Provincial Cultural Relics Exchange Center), Gansu Provincial Museum, Ningxia Hui Autonomous Region Museum, Xinjiang Uygur Autonomous Region Museum, Liaoning Provincial Cultural Relics and Archaeology Research Institute, Liaoning Provincial Library and other 22 domestic units will be co-organized, and will be held for three months.

Multiple national treasures jointly interpret the "Hehe" culture

The exhibition plans to exhibit 402 cultural relics and ancient books related to "Hehe" culture (436 single pieces), including 88 first-class cultural relics, 197 cultural relics are exhibited for the first time in Liaoning Province, and 121 cultural relics are borrowed (177 single pieces). Among them, "The Picture of Dong Yuan, the Five Dynasties, the Picture of Jingshankou, Xia", "The Picture of the Thousand Characters of the Cursive Writing of Emperor Huizong of the Northern Song Dynasty", "The Picture of Qiu Ying, the Picture of the River in the Qingming Festival in the Qingming Festival", "The Picture of Xu Yang, the Picture of Gusu, the Picture of Ricci in the Ming Dynasty", "The Picture of the Legend of the Imperial Arts in the Qingming Festival" National treasure-level cultural relics in the Liao Museum, such as "Tang Lanting Preface (Yellow Silk)" in the Hunan Museum, "Jin Zhang Yuwen Ji Returning to Han" in the Jilin Provincial Museum, and "Golden Rose Gold Silver Plate of the East Roman Gifted Silver Plate in the Gansu Museum, will also be unveiled in the exhibition.

hooked vortex pattern painted pot Neolithic Hongshan Culture Diameter 13.2, Base diameter 12, High height 49.2 cm Unearthed tomb No. 6, Tomb No. 4, the second location of the Niuheliang site The collection of the Liaoning Provincial Institute of Cultural Relics and Archaeology

As early as the Neolithic Age, the Hongshan culture distributed in the Xiliao River Basin has gone through a 1,500-year development process with its nature of harmonious coexistence with nature and an open mind of extensive communication with neighboring areas. The pottery for sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacrificial sacr The unique Hongshan cultural painted pottery. The use of painted pottery derived from cultural factors in the neighboring area in the spiritual field reflects that the Hongshan ancestors had a high tolerance for foreign culture. The hooked vortex-shaped colored pottery on this exhibition is clay red pottery, with black color on the ground. The tucked mouth, round lips, wide shoulders, bulging belly, small flat bottom, vertical bridge-shaped ears on the abdomen, round disc-shaped lid, and half-ringed hands at the top. The cover body is decorated with heavy circle patterns, and the urn body is decorated with three-circular hooked vortex-shaped belts.

Three-color glaze printed Tai Chi picture holding pot Liao Tonghe height 21, diameter 3.7, base diameter 10.8×8.9 cm. The Liaoning Provincial Museum has

three-color glaze printed Tai Chi diagram holding pot. The body of the pot is flat and round, round mouth, crank, tubular short flow, and ring foot. The body is gray and white and flash red, and white powder is hung.The whole body is covered with yellow, green and white glaze. The water ripples, and there is a belt of wishful clouds floating above. The handle is covered with ribbon patterns, and the base of the flow is like a mouth-shaped opening of the cow's head. The same raised patterns are printed on both sides of the pot body, and a lotus in the center is decorated with Tai Chi graphic patterns, which outlines the aesthetic artistic conception of "starting from nature and carrying it in the way of heaven". This pot is ingeniously designed, exquisitely made, unique patterns and richly decorated. It is a masterpiece among Liao Dynasty ceramics.

Xiajing Mountain Pass Picture (partial) Five Dynasties Dong Yuan Note: The long scroll is attached to the end of the article and the appreciation of

This volume depicts the scenery of the mountains and rivers in the south of the Yangtze River. The river water winds among the mountains, lush grass and trees, and the beautiful landscape of the mountains and rivers in the south of the Yangtze River is fully displayed through the dots, dyes, and rubbing. The first one is a book written by Dong Qichang of the Ming Dynasty, and the last one is written by Ke Jiusi, Yu Ji, and others in the Yuan Dynasty. It is an extremely exquisite work in Dong Yuan's paintings handed down from generation to generation.

Dong Yuan, whose courtesy name was Shuda, was from Zhongling (now Nanjing, Jiangsu). He served as the deputy envoy of Beiyuan during the Middle Emperor of the Later Tang Dynasty, so he was called "Dong Beiyuan". He was good at painting landscapes and created the "pseudo-nature" Jiangnan landscape painting style. He was a representative painter of "Nanzong" landscape painting.

Taibai Mountain Picture Scroll (partial) Yuan Dynasty Wang Meng

Taibai Mountain Picture Scroll (partial) Yuan Dynasty Wang Meng

Wang Meng, whose courtesy name is Shu, and his nickname is Huang Heshanqiao, was from Wuxing (now Huzhou, Zhejiang), and was a grandson of Zhao Mengfu . The style of painting was deeply influenced by my grandfather, and it was innovative and unique. Later generations collectively called it the "Four Yuan Schools" together with Huang Gongwang, , Wu Zhen , and Ni Zan.

Taibai Mountain Picture Scroll (Partial) Yuan Dynasty Wang Meng

This picture is depicted in Taibai Mountain and surrounding scenery in Yin County, Zhejiang Province. Here, the mountains are stacked and endless, with small bridges and flowing water, and high arches and long bridges. The whole article uses a lot of brushwork, and is stained with cinnabar and green flowers. It has superb techniques and unique styles.

Tang copy Lanting Preface (yellow silk) Part of Hunan Provincial Museum Collection Note: Appreciation of long scrolls at the end of the article

This volume was originally named "Lanting Preface" written by Chu Suiliang. The main text is made of silk, yellow-brown, also known as "yellow silk". Under the "Shiwen" at the end of the main text, there are two red seals: "Fu Seal" and "Zi You". The first in front of the volume is the two words "Mobao" written by Dong Qichang, a famous calligrapher and connoisseur of the Ming Dynasty (remaining). There are many seals in the volume of calligraphy and painting connoisseur Xiang Yuanbian of the Ming Dynasty. At the end of the volume, there are , in the Ming Dynasty, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , html

Although this volume of Tang copy "Lanting Preface" is not a copy of Chu Suiliang, it is not easy for to be passed down to this day as a calligraphy work of in the early Tang Dynasty . It is precisely because of its existence with other Tang Dynasty copy "Lanting Preface" that we can still understand the calligraphy style of the early Tang Dynasty while feeling the artistic charm of Wang Xizhi and .

Lanting Collection Preface Scroll (partial) Ming Dynasty Zhu Yunming Wen Zhengming Paper Running Script Color

Lanting Collection Preface Scroll (partial) Ming Dynasty Zhu Yunming Wen Zhengming Paper Running Script Color

Lanting Collection Preface Scroll (partial) Ming Dynasty Zhu Yunming Wen Zhengming Paper Running Script (partial) Ming Dynasty Zhu Yunming Wen Zhengming Paper Running Script (partial) Ming Dynasty Zhu Yunming Wen Zhengming Paper Running Script He has color

Zhu Yunming, whose courtesy name is Xizhe, is from Changzhou (now Suzhou, Jiangsu). Because of his strange appearance, he ridiculed himself as ugly. Because of his right hand, he also called himself Zhishan. It is called " Zhu Jingzhao ". He is good at poetry and prose and is very good at calligraphy. He is known as "Four Talents of Wuzhong" together with Tang Yin, Wen Zhengming and Xu Zhenqing. In his early years, he was meticulous in regular script and learned from Zhao Mengfu and Chu Suiliang, and followed the "Two Kings" from Ou and Yu. cursive mastered Li Yong, Huang Tingjian, and Mi Fu. He had profound skills and was particularly concerned about changes in his later years, and his character was full of strength.

Wen Zhengming, whose original name was Bi (or Bi), was named Zhengming. He was 42 years old and used his name as Xing, and his name was Zhengzhong. from Changzhou County. In the second year of Jiajing (1523), he was awarded the post of the Hanlin Academy as an tribute student to take the Ministry of Personnel Examination as an examination. In the fifth year of Jiajing (1526), ​​Wen Zhengming resigned from office and returned home, specializing in creation. Wen Zhengming is well-versed in poetry, literature, calligraphy and painting, and is known as the "Four Greats". He and Shen Zhou jointly created the "Wu School". In the history of painting, together with Shen Zhou, Tang Yin and Qiu Ying, they are collectively known as the "Four Masters of Ming Dynasty". In literature, he is known as the "Four Talented Men of Wuzhong" together with Zhu Yunming, Tang Yin and Xu Zhenqing.

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This painting depicts Tao Yuanming's "Returning to the Return" in total, with nine sections. There are three sections in Li Zai, three sections in Ma Shi, one section in Xia Zhi, the original work of the first section and the eighth section have been lost. These two sections are supplemented by painters of the Qing Dynasty painting academy.

picture scroll of the filial piety (partial) Southern Song Anonymous Silk Color Collection

picture scroll of the filial piety (partial) Southern Song Anonymous Silk Color Collection

picture scroll of the filial piety (partial) Southern Song Anonymous Silk Color Collection

picture of the

picture of the filial piety (partial) Southern Song Anonymous Silk Color Collection

picture of the filial piety is drawn according to the Confucian classic "Filial piety", with eighteen chapters, with the right calligraphy and left painting. This volume is recorded in the Qing Dynasty, including "Gengzi Suixia Records" and "Shiqu Baoji Chubian" and other works. They are all considered to be written by Chu Suiliang and and Yan Liben paintings. They are now identified as written by people from the Southern Song Dynasty. Judging from the word "avoid taboo", there is no shortage of strokes for both words "Jing" and "Rang", but Chapter 16: "Shen" lacks strokes for the word "Shen", avoiding the taboo of Zhao Ling of Emperor Xiaozong of the Southern Song Dynasty, and Chapter 17: "Kang" also lacks strokes. It can be seen that this volume was first written during the reign of Emperor Xiaozong of the Southern Song Dynasty.

Quick chapter volume Yuan Dynasty Zhao Mengfu (partial) Paper Cursive

Quick chapter volume Yuan Dynasty Zhao Mengfu (partial) Paper Cursive

" Quick chapter " was written by Huangmen Lingshi You during the reign of Emperor Yuan of the Western Han Dynasty (48 BC to 33 BC). This book is a book that teaches children to learn literacy, increase their knowledge and broaden their horizons in ancient China. It was often used as a literacy textbook and common sense textbook in ancient times. books that taught children to read in the Han Dynasty, such as " Cangjie Chapter ", " Xunzang Chapter ", "All General Chapter", and "Pangxi Chapter" have all been lost, and only "Jijiu Chapter" has been passed down. The whole book is composed of three-character, four-character and seven-character rhymes. Three and four words rhyme each sentence, while seven words rhyme each sentence for recitation. The chapters describe various names and objects, such as surnames, names, beauty, food, clothing, subjects, utensils, insects, fish, clothing, music, as well as palaces, plants, animals, diseases, medicines, official positions, law, geography, etc., which are not only designed for literacy, but also the meaning of spreading knowledge to meet actual needs. The original book may have been written in official script. In the Eastern Han Dynasty, the chapter cursive was popular, and calligraphers like to write in cursive script. In the Wei and Jin Dynasties, Zhong Yao , Suo Jing , Lady Wei , and Wang Xizhi all had manuscripts, but none of them were passed down. Only the manuscripts of the Wu Kingdom imperial elephant were passed down. This book is divided into 32 chapters. According to legend, the Huangxiang manuscript is 3l chapters, and the written by Emperor Taizong of Song is 34 chapters. Different characters in this article also have slight similarities and similarities. Due to the reason of sub-chapters, some people call it "Qijiuzhe".

Thousand Characters Volume Song Zhao Ji (partial) Paper Cursive

Zhao Ji, the eleventh son of Emperor Shenzong of Song, brother of Emperor Zhezong of Song , and the eighth emperor of the Song Dynasty. He has been successively named Suining King and Duanwang . When Zhezong died of illness in the first month of 1100 AD, he had no son, so Empress Dowager Xiang made him the emperor in the same month. The second year was changed to "Jianzhong Jingguo". Huizong created a calligraphy font that was later called "slim gold style". He loved painting flowers and birds to create his own "court style". He is one of the rare artistic geniuses and all-round talents in ancient times.

This volume of calligraphy was copied by Huizong in cursive script, written in "Thousand Characters" in "Xuanhe Renyin" (1122), at the age of 40. "Thousand Character Text" was originally a textbook for children's literacy in history. During its circulation, it was also used as a text for artistic creation by calligraphers of different eras.

Thousand Character Volume (partial) Tang Dynasty Ouyang Xun Paper Running Script

Thousand Character Volume (partial) Tang Dynasty Ouyang Xun Paper Running Script

Thousand Character Volume (partial) Tang Dynasty Ouyang Xun Paper Running Script

Ouyang Xun, whose name is Xinben, was from Linxiang County, Tanzhou (now Changsha City, Hunan). The son of Ouyang He . He was a resident of the Yin Dynasty, a member of the Ministry of Education, and a member of the Prince of the Prince, and a bachelor of the Hongwenguan. He was appointed as a man in Bohai County and was in charge of compiling "Arts and Literature Gatherings".Ouyang Xun is proficient in calligraphy and is known as the "Four Great Masters of in the Early Tang Dynasty" together with Yu Shinan , Chu Suiliang and Xue Ji.

"Thousand Characters" is an article written in a thousand different characters by Emperor Wu of Liang in the Southern Dynasty. Four words and sentences are rhymes for coinciding, which is easy to memorize and used as a children's enlightenment reading book. It has become popular since the Tang Dynasty and is still circulated today.

Preface volume of wood chicken collections Song Dynasty Wen Tianxiang (partial) Paper cursive

Wen Tianxiang, whose first name was Yunsun, whose courtesy name was Song Rui, and whose nickname was Wenshan . People from Luling, Jiangnan. He was sentenced to the jail 4 Ganzhou . The Yuan army invaded the south, fought against the stubborn enemy, was defeated and captured, and was executed calmly. Before leaving, I wrote "Song of Righteousness" to show that my determination and righteousness are respected and loved by future generations. He is good at calligraphy, and his calligraphy is from "Chunhuage Tie". He learns from the Two Wangs. He has the charm of the Jin people and is well-known in cursive script by famous Tang people, but also has his own unique style. He has written "Wenshan Collection" and "Wenshan Poetry Talk".

"Preface to the Collection of Wood Chicken" was written by Wen Tianxiang in response to the request of his fellow villager Zhang Jiang. Muji means "Zhuangzi Dasheng Chapter". The article explains the opinions on academic research and emphasizes that learning should be difficult and strict. You must first learn the Book of Songs and then read the Selected Works of Wen to gain faster.

"University or Question" manuscript Zhu Xi (partial) on paper running script

"University or Question" manuscript Zhu Xi (partial) on paper running script

Zhu Xi, whose courtesy name is Yuanhui, his nickname is Hui'an, his posthumously named Wen, and his name is Zhu Wengong . His ancestral home is Wuyuan County, Huizhou Prefecture, Jiangnan East Road (now Wuyuan, Jiangxi Province), and was born in Youxi, Nanjianzhou (now Youxi County, Fujian Province). A famous Neo-Confucianist, thinker, philosopher, educator, poet in the Song Dynasty, a representative figure of the Fujian school, and a master of Confucianism. The Buddha called it Zhu Zi . Zhu Xi is the only one who was not a disciple of Confucius who worshipped Confucius and was ranked among the twelve philosophers in Dacheng Hall. Zhu Xi was a student of Li Tong, a disciple of Cheng Hao and Cheng Yi. He served as the prefect of Nankang, Jiangxi, Zhangzhou, Fujian, and the governor of Zhejiang. He was a clean and upright official and was able to build a college. The official was appointed as the attendant and lecturer of Huanzhang Pavilion, and gave lectures to Emperor Ningzong of Song. He has written many works, including "H Collection of Chapters and Sentences of the Four Books", "Explanation of Tai Chi Pictures", "Explanation of the General Stories", "Reading Book of the Zhouyi", and "Chuci Collection of Notes", and later generations have compiled "The Complete Collection of Zhu Zi", "The Collection of Zhu Zi Yu Xiang", etc. Among them, "Collected Notes on the Four Books" became the standard for textbooks and imperial examinations.

"The University or Question" is Zhu Xi's work interpreting "The University", which is in line with "The University Chapter and Sentence". It is published in Volume 14 of "Zhu Zi Yu Li". Because it adopts the question and answer form, it is called "or question". After Zhu Xi wrote "The Great Chapter and Sentences", he was afraid that scholars still did not understand it, so he wrote this to explain his doubts. He claimed that "Chapter and Sentence" is like the footnote of the "Great Learning", and the "Article" chapter is "a footnote of the footnote". The teaching staff "have read the main text of the "Great Learning" carefully and read the "Chapter and Sentence" carefully. He did not want to read the "Article" and waited until there was any doubt before he could read it."

The Western Zhou Dynasty Guoguo Bo Qupainted Tripods The tomb of Prince Guo in M2011, Sanmenxia City, Henan Province was unearthed in 1991. The Guoguo Museum in Sanmenxia City has

in a group of 7 pieces, with similar shapes and patterns and similar sizes, and should be a group of tripods. All have a narrow mouth, a narrow edge folded upward, a straight ear, a hemispherical abdomen slightly bulging, a flat bottom, thick and short hooves, concave inner side of the foot, and warts under the foot. The edge is decorated with C-shaped, eyeless curved patterns, abdomen are decorated with wave patterns, and heavy ring patterns on the ears. This group of objects is solemn and elegant, and is well-made, and is an empirical material for the Western Zhou Dynasty's tripod system.

is located at the end of the cauldron, the belly is deeper than the former, and the patterns and shapes are rougher, which is suspected to be cast at the same time as the former.

" Analects of Confucius·Xueer ": "The use of rituals is the most important thing." The ritual and music system of the Western Zhou Dynasty was mainly reflected in the configuration of bronze ritual vessels, with strict hierarchical regulations. During sacrifices, banquets, and burials, the corresponding number of tripods and guis is arranged according to the user's identity. The emperor has nine tripods and eight guis. The princes and ministers have decreased in turn, with distinction between high and low, and they cannot be overruled. The ritual and music system is conducive to the harmony and stability of the relationship between the Zhou king and the princes, and social harmony is the original intention of the sages to make rituals and music.

Zhengguo chime bell Spring and Autumn Pin bell The Zhengguo sacrificial site unearthed in Xinzheng City, Henan Province The Henan Provincial Institute of Cultural Relics and Archaeology has

bronze instruments, a group of 24 pieces, 4 pieces of bells and 20 pieces of bells, and 10 pieces of bells are divided into two groups, each group of 10 pieces.

bells are all convex buttons with a square and round shape, flat dance. There are semicircular outer frames on both sides and dance surfaces, with thirty-six pieces on the surface, and there are shades of outer frames, seal, seal and drum parts. The plain part is the plain part, the seal part is decorated with clouds and thunder patterns, and the drum part is decorated with the dragon pattern and round eye pattern. Flat in the mouth.

buttons and clocks are all trapezoidal flat square buttons, with tiles and flat dances. There are thirty-six pieces on the face. The Mei, Zi, seal and drum parts have Yin line patterns and outer frame patterns, plain faces of the stern part, cloud patterns in the seal part, and triangle patterns in the drum parts and cloud patterns.

The homophone phenomenon formed by the harmonious coexistence of different sounds is a natural phenomenon. Basic music theory reveals that octaves, fifth degrees, and large and third degrees are harmoniously condensed in homophone columns, and are selectively expressed by early instruments such as bone whistle, bone spring, pottery till, and pottery bells, which has cultivated people's auditory preferences. The first-tone, double-tone, three-degree interval structure of the Zhou Dynasty double-tone clock is a reflection of this preference. People compare the "sum of intervals" of natural phenomena to the "harmony but different" social concept, symbolizing the initial formation of the traditional Chinese concept of harmony.

"Book of Rites·Music Records": If you have the best music, you will not complain; if you have the best ritual, you will not fight. The chimes and chimes of the Zhou Dynasty were ritual instruments and were the carriers of "harmony" from natural phenomena to humanistic concepts.

Warring States stone chimes. In October 1988, the Warring States tomb was unearthed in Xibei Village, Chengguan Town, Yangxin County, Shandong Province. The Yangxin County Museum has

stone, with a set of 13 sides in total. When unearthed, the surface was accompanied by vermilion pigments, with unique shapes, regular edges and corners, and an orderly size. The sound of knocking was pure and semitone.

Southern Song Emperor Gaozong wrote Ma He's paintings of Zhou Song and the pictures of the Qing Temple (partial) Color on silk The collection of Liaoning Provincial Museum

This volume is based on ten poems and essays of "The Book of Songs·The Song of Zhou Song·The Song of Qing Temple". "The Song of Qing Temple" is a dance song for the Zhou Dynasty to worship the ancestral temples in the early Western Zhou Dynasty. It uses heavy lyrics and chapters to praise the merits of ancestors and pray for blessings to descendants.

This picture is written by Emperor Gaozong of Song Dynasty, "What is the Qing Temple" written by Ma He, the painting intention of painting, the left picture is written on the right, each of which is intersected with ten paragraphs, and the order is: "Qing Temple", "Wei Tian's Destiny", "Wei Qing", "Lie Wen", "Heaven's Works", "Hao Tian's Destiny", "I will", "Shima", "Shima", "Shen Jing", "Si Wen".

This volume is the best volume among the volumes of "Mao Shi Tu". The content of the picture is mainly sacrificial scenes, with groups of bronze ritual instruments such as tripods, gui, and calves, as well as musical instruments such as chimes. The atmosphere is solemn and solemn, and the "ritual and music system" of the Zhou Dynasty was shown in a colorful and colorful way.

This volume is not collected during the Song and Yuan dynasties. According to Wu Sheng's "Da Guanlu", "The three Song seals are not missing", but they are now unrecognizable. During the Yuan and Ming dynasties, he entered the Hongwu Palace and then returned to Zhu and Xiang Yuanbian for collection. The collection of Anqi and Liang Qingbiao in the Qing Dynasty was later collected by Anqi and Liang Qingbiao. It was recorded in the "Spectacular Life" of Gu Fu of the Ming Dynasty, "Daguan Lu" of Wu Sheng of the Qing Dynasty, and "Shiqu Baoji".

Ming Qiu Ying The map of the river along the Qingming Festival (partial) Color on silk The Liaoning Provincial Museum

This volume was painted in the Ming Dynasty. The "Shiqu Baoji" contains two copies of Qiu Ying's works, and this book is "Qiu Ying Shi's father's system". The painter reproduced the familiar customs and customs with vivid brushstrokes, reflecting the lively and joyful life of the people in the Jiangnan region. Through the prosperous commercial scene of "the goods store flows overflowing with gold chang"; the landscape paintings of the four Yuan styles hanging on the walls of the house; the children's Antu pictures in the "Children's Inner and Outer Pharmacy Medicine Room" reflect the development of the commercial economy in the Ming Dynasty, people's cultural taste and psychological hopes. It can also show the people's enthusiasm for life, their yearning for peace and well-being, and their prosperous life.

The picture scroll of Wen Ji Returning to Han (partial) Zhang Yu of the Jin Dynasty Colored silk Jilin Provincial Museum

This picture is the scene of Wen Ji Returning to Han. At the front, a Han man rode an old horse to lead the way, carried the full moon flag on his shoulders, bowed his head and shrank his head, walked in the wind and sand, and a horse was closely following him on the back. A few steps later were Cai Wenji, the center of the scroll, wearing a sable crown, a gorgeous beard outfit, leather boots, riding on a horse, holding a saddle bridge with his hands, staring at the front with his eyes. Behind Wen Ji were the groom and attendants who were escorting on horseback. In front, the two Han and Hu officials rode together. On the left, the Han Dynasty officials were wearing scarves and holding a round fan with fur in their left hand to cover the surface to avoid wind and sand. The Hu official on the right, wearing a leather hat, a long robe with a tight-sleeved lace, a wore a wristy on his waist, and was holding a sad face. He was stalking his horse, and the horse was also kicking his hooves and stumbled.There were five attendants following him, some wrapped around his arms, some carried bags, some carried falcons, and some carried felt blankets immediately. At the end of the picture, there is a warrior wearing a leather hat, a narrow-sleeved robe, a robe with an arrow on his waist, a erected eagle with his right hand, and a reincarnated with his left hand, driving the horse to chase the marching team, followed by a hunting dog.

drawing on the upper left side of the painting "Ji Yingsi Zhang Yu's painting". The volume contains the written inscription written by Emperor Gaozong of the Qing Dynasty: "The picture of Wen Ji from the Song Dynasty returning to the Han Dynasty." The four words "Inner Palace Appraisal" are marked with the seals of "God" and "Qianlong Chenhan". Emperor Qianlong still had not finished his thoughts while appreciating the paintings, so he also wrote a poem on the volume to record it. At the end of the poem, two small square seals "Bide" and "Langrun". There are two seals of "Emperor's Book" and "Taowan's Record" on the front end, and one seal of "Wanli's Seal" on the back end, as well as Qianlong, Jiaqing , and Xuantong Collection Seals.

This picture shows the exchange between the early Chinese nation and surrounding ethnic minorities, especially nomadic peoples such as the Huns: on the one hand, from Wang Zhaojun to Cai Wenji, etc., were all people who worked hard for the peaceful development of the nation. They were also contributors to the Silk Road and were also an embodiment of the simple concept of family and country of the Chinese nation; on the other hand, the historical event of Cai Wenji's return to the Han Dynasty also showed strong cultural identity.

Hu people eat cakes and ride camel figurines. Sui Dynasty 45.7 cm high. The tomb of Huluche in Shagou Village, Taiyuan City, Shanxi Province was unearthed. The Shanxi Museum has

Camels stand on a rectangular pallet with their heads raised. There is a blanket between the peaks, carrying silk, leather and other items. A person sits on the skin, thick eyebrows, deep eyes and high nose, and a round felt hat on his head. The most interesting thing is that he is still holding a pancake in his hand, and he is eating while walking. He thinks that the journey is hard and he has to hurry up before he has time to rest. If we observe carefully, we will find that the cake in the hands of this Hu merchant was called "naan" locally, which is a food that can be stored for a long time. After it was introduced to the Central Plains, it was called "Hu cake". At that time, everyone from nobles to ordinary people liked to eat it.

The goods carried on the camel's back were textiles such as silk and silk in the trade at that time. This also shows that after the Hu merchants arrived in the Central Plains, they sold the gold and silver utensils, gems, spices and other goods they brought, and then took the local silk fabrics back, and the quantity was very large.

This figurine was discovered in Huluche's tomb in 2008. Hu Luche, the owner of the tomb, served as the official positions of Huang Yue, the Northern Qi Dynasty, the Prime Minister, and the governor of Shuozhou. The tomb is rich in burial objects, with a total of 328 items. Among them, there are many pottery figurines, including ceremonial figurines, female attendant figurines, musical and rider figurines, and warrior figurines, which show some life scenes of the tomb owner before his lifetime.

Three-color Hu people riding horses. The tomb of Prince Yide of the Tang Dynasty was unearthed. Shaanxi History Museum (Shaanxi Provincial Cultural Relics Exchange Center) was collected by

This Hu people wore a bull head, a green round neck, narrow sleeves, Hu clothes, deep eyes, high nose, thick beard, holding reins in both hands, sitting on the horse's back, with a small beast behind him. The horse's head is slightly raised, with a straight posture and a full spirit, and its limbs are standing upright on the four square platforms.

Tomb of Prince Yide is located in the north of Hanjiabao in the southeast corner of Qian County. It is the burial tomb of Qianling Mausoleum. Crown Prince Li Chongrun, Yide, is the eldest son of Li Xian, the Emperor Zhongzong of Tang Dynasty.

From July 1971 to May 1972, the tomb was excavated. The tomb has been robbed and more than 1,000 cultural relics have been unearthed. The discovery of guest pictures and Hu people figurines provided important physical information for us to study the integration of diplomatic politics and culture in the Tang Dynasty.

Printed cotton cloth Eastern Han Dynasty Remaining length 89 cm and width 48 cm Collection of the Xinjiang Uygur Autonomous Region Museum The Niya Ruins unearthed in Minfeng County, Xinjiang Uygur Autonomous Region

In 1959, Xinjiang archaeologists discovered a tomb from the late Eastern Han Dynasty (century AD) in the Niya Ruins in Minfeng County, Xinjiang. Two fragments of blue and white printed cotton cloth were unearthed from the tomb. One of the cotton cloth centers was missing, and only half of the naked feet and a lion tail were seen. Fortunately, there is a box about centimeters square in the lower left corner of it, with a half-body statue painted inside the box. The goddess should be Demeter, the goddess of harvest in the Greek mythology; the image in the center is a picture of a human and lion fighting each other, which is now very incomplete, leaving only one foot, a lion's tail and a lion's claw. From the direction of the foot, the man was rushing towards the lion, trying to subdue the lion.Evil-proof birds and colorful flower belts are also seen at the border. From the perspective of artistic style, this batik cotton may have been produced in the Maratu region of the Kushan dynasty in the 2nd to 3rd centuries AD.

The Demeter, human-little fighting and other works in this work originally belonged to Greek mythology, and the evil-repelling comes from Chinese art. Cotton textile, dyeing, and batik technology should originate in India. A large number of decorative patterns were very common during the Gandhara period, and the image style of naked characters belonged to the artistic characteristics of the Maratu region of the Kushan Empire. Therefore, this fabric is an extremely rare artistic treasure formed by bringing together many cultural elements and technologies in the East and the West.

Gilded figure story pattern silver pot, 4th year of the Northern Zhou Dynasty, Ningxia Guyuan Museum Collection The joint burial tomb of Li Xian and his wife in Shengou Village, Nanjiao Township, Guyuan, Ningxia in 1983,

silver pot was unearthed from the long neck, duckbill flowing, with a slender upper abdomen, and a round drum , single handle, high ring foot seat. Two animal heads are cast at both ends of the pot handle and connected to the body of the pot. Put a portrait of a person with a deep eyes, high nose and a helmet and hat on top of it, facing the mouth of the pot. Each of the connecting parts of the neck, abdomen and base edges is decorated with beaded patterns for one week. Three groups of images of male and female characters were suppressed in one week. The three groups of characters' hair and clothes are carved with thin lines, and the lines are simple and smooth. The lower part of the ampulla is carved with thin lines for a surrounding water ripples. In the water ripples, two monsters chase each other towards each other, and the tail of the fish is thrown out of the water.

This pot is also called Hu Bottle. According to literature records, the first time was the Western Hu, that is, the Sogdians in Central Asia, to present Hu bottles produced in Fuqi (Roman Empire) as gifts to China, and it was around the beginning of the 4th century AD. The earliest Hu bottle discovered in archaeological period was during the Sixteen Kingdoms period, and it was very popular from the Northern Dynasties to the Sui and Tang Dynasties. This gilded silver pot unearthed from Li Xian’s tomb is of great significance to studying the relationship between the Eastern Roman Empire of Central Asia, Persia, and . No exactly the same artifacts have been found in the world.

Eastern Roman gilded silver plate 4th to 6th century AD Height 4.9 cm Height 31 cm Diameter Collection Gansu Provincial Museum The

silver plate unearthed from Beitan, Jingyuan County, Gansu Province was once gilded on the surface, but most of it has fallen off. The plate is full of embossed patterns. The pattern is divided into three areas: the outer circle is decorated with sixteen groups of grape-curved grass patterns, with birds and other small animals perched in between; the middle circle is a ring-shaped belt, and the inner twelve human avatars are arranged, each with an animal on the left side of each avatar; the center of the plate is a slightly raised circular area, and the pattern is a young man leaning on the back of a lion and leopard beast, which is the theme pattern of the silver plate. The beast sitting on the side of the round feet is a line of inscribed words, which is an important Roman cultural relic discovered on the Silk Road in China.

Panxin is decorated with this young man holding a stick and leaning on the beast. Scholars believe that it is Dionysus, the god of wine in the ancient Greek mythology. The text engraved on the silver plate is considered to be the Great Xia text, and is a Greek alphabet cursive manuscript used in the Kushan period of the Great Xia Dynasty. This gilt silver plate is a typical Eastern Roman style artifact, and its production date is approximately equivalent to the Wei, Jin, Southern and Northern Dynasties in my country. The Eastern Roman Empire maintained friendly exchanges with China in the early stages. According to the Book of Wei, the Eastern Roman Empire sent missions to visit Northern Wei three times. Perhaps this silver plate was a tribute left by the Eastern Roman envoy on the ancient Yellow River Ferry, or it may have been an exchange item carried by Western business travelers in that era.

Changsha Kiln Green Glaze Applique Dance Character Porcelain Pot Tang Height 18.2 cm Diameter 8 cm Base Diameter 10.2 cm Hunan Provincial Museum 1973 Unearthed from the water well of Siqian Street, Hengyang City

This pot has a small mouth and a bulging belly. The two series and the Shuixia are decorated with three molded decals, which are a man wearing Hu's outfit, with his chest covered with veil, and the folds are flowing. He stands on the futon, twists his body, and dances swaying. It should be Hu Tengwu, which was popular all over the country in the Tang Dynasty. One person plays the flute on the right and one person stands on the left. These patterns are related to West and South Asian cultures and are witnesses of cultural exchanges between China and foreign countries.

Changsha Kiln, also known as Changsha Tongguan Kiln, began in the early Tang Dynasty, flourished in the middle and late Tang Dynasty, and declined in the Five Dynasties. It lasted for more than 200 years. It is one of the three major export porcelain kilns of the Tang Dynasty in China, which is as famous as Zhejiang Yue Kiln and Hebei Xing Kiln, and is also the birthplace of the world's underglaze colorful ceramics. The Tang Dynasty was strong and the economy was prosperous, and Sino-foreign exchanges and trade were frequent.Porcelain had become the most common daily necessities in the Tang Dynasty. Therefore, many foreigners living in China at that time envied the use of porcelain by Chinese people. They were both enthusiasts of Chinese porcelain and foreign disseminators of Chinese porcelain. Chinese porcelain had become a popular commodity in foreign trade in the Tang Dynasty. With the development of maritime transportation in the Tang Dynasty and the improvement of navigation technology, conditions were created for the large-scale export of porcelain.

Hunting pattern gold square qi. Sui Dynasty. Gufengzhuang, Qingshan Township, Yanchi County, Huixia Autonomous Region, Ningxia Huixia Autonomous Region. The

gold plate was cast by the lost wax method. The layout has not been polished, but the pattern is clear. The person above the center of the card wears a feathered crown, wears armor, long boots, gallops on horseback, with bows full of tension, driving front and killing the back, and circulating among beasts of different sizes and postures. There is a warrior wearing armor and kneeling on the left and lower right sides of the card decoration. The picture shows the images of tigers, bears, leopards, barbs, pigs, elks and other beasts, and an image of a bird on the upper left.

There are inscriptions in the Wei stele style official script outside the rectangular frame on the back, with a total of 82 characters. Among them is the sentence "Good craftsmanship carves the structure, and this is a strange one". Fang Qi's explanation in "Ciyuan" is "a rare thing produced in the place", and it is unknown whether it was called "Fang Qi" at that time. In the inscription, "Han Lu Pan Po" refers to "good dog". The composition of the hunting pattern is similar to the common Persian silver plate and the carvings on the stone couch in the Anga tomb of the Northern Zhou Dynasty found in Xi'an. It is inferred that it may have been made by craftsmen influenced by Sassanian gold and silver craftsmanship or Sogdian painting art. Regarding its use, some archaeologists speculate that it may be the decoration of the chariot riveted. Since the purpose and naming of this cultural relic are still under research, it is currently named "Fang Qi" based on the content of the inscription.

As an important area of ​​the ancient Silk Road, Ningxia region had a large number of merchants from Central Asia traveling here during the Wei, Jin, Southern and Northern Dynasties. This golden cultural relic witnesses the exchange and mutual influence of Chinese and Western cultures through the Silk Road.

Stone carved Hu Xuanwu’s tomb Gate Tang Dynasty The Tang Dynasty The Tang Dynasty was unearthed in 1985, the Tang Tomb of Jianziliang, Subusheng Township, Yanchi County, Ningxia Hui Autonomous Region. The Ningxia Hui Autonomous Region Museum has

Stone carved Hu Xuanwu’s tomb Gate in the center. Each stone door is covered with a bas-relief of the image of a Hu man, standing on a small round carpet with exquisitely woven carved, dancing in the two, swinging skillfully, elegant and graceful, with light and healthy body, with a quick and unrestrained dance, full of joyful and pleasant atmosphere of life. The surroundings are carved with cloud patterns, just like a dancer leaping into the clouds, creating an artistic effect of flowing like flying. The dance displayed by the dancers on the stone gate is Hu Xuan Dance. Hu Xuanwu, also known as Tuan Luan Xuan, Reunion Xuan, etc., was originally from Kangguo in Central Asia. After Hu Xuanwu was introduced from the Western Regions, he was loved by people of all ethnic groups in the Central Plains, especially by the upper ruling class.

According to the epitaph, the owner of the tomb belongs to the Sogdians in Central Asia, namely the He people of the "Nine Clans of Zhaowu". The Sogdians in Central Asia moved to Ningxia, which was related to the establishment of a banished prefecture in the Tang Dynasty to resettle the Turkic households. The Hu Xuan dance pattern in the tomb is the inheritance of music and dance art and the transplantation of cultural customs. Stone carvings of the themes of

were first discovered in the tombs of the Tang Dynasty in China. They are both physical materials that reflect the all-encompassing and integrated worldview of the Tang Dynasty, and are also precious materials for studying music and dance in the Tang Dynasty. They are recognized as national treasure-level cultural relics.

Yuan Brocade Hundred Birds and Phoenix Picture Scroll (partial) The collection of Liaoning Provincial Museum

Brocade Hundred Birds and Phoenix Picture Scroll is woven using multi-color silk threads, gold threads and peacock feathers. The image is mainly composed of phoenix birds, and other birds and flowers are distributed in a scattered manner. There are two consecutive groups of patterns. The birds have beautiful shapes, gorgeous color matching and superb weaving technology. They are one of the representative works of brocade weaving in the Yuan Dynasty.

The image content originated from ancient Chinese legends. According to legend, the phoenix bird was originally an ordinary bird, and used the fruits he had picked and accumulated to save other birds on the verge of starvation. To repay the kindness, these birds each gave the most beautiful feather to the phoenix, so the phoenix became the first of the most beautiful birds. The story embodies the survival principles of gratitude and mutual assistance among groups, harmonious coexistence and win-win cooperation. The story of hundreds of birds paying homage to the phoenix is ​​still widely circulated. Embroidery pieces on this theme are often hung when there are happy events in the people's homes.

Song Dynasty Kesi Zhu Kerou Camellia butterfly pictures. The Liaoning Provincial Museum

Zhu Kerou's "Collection of the Butterfly pictures" is based on the Song Dynasty's branch-like composition of flowers and birds. The main theme is the camellia and butterfly. The petal color application method and leaf shape are similar to the picture of Li Dihong hibiscus in the Song Dynasty. The painting manuscript of this work is nowhere to be found, and the existing work of kesi can give you a glimpse of the style of the original painting.

is weaved in blue, and the main object uses a blended line to express the natural color transition effect. The insect erosion is made of beige and brown lines to express the color changes with the technique of "knot"; the calyx is made of layers with length and short swatter; the part of the Zhuke soft seal is woven by the shuttle technique, forming the effect of neat longitudinal edges, seamless horizontal connections and square outer contours. The details of the petals are painted in the light-colored areas of the woven body, demonstrating Zhu Kerou's painting skills.

Song Dynasty kesi Zhu Kerou Peony Pictures The collection of Liaoning Provincial Museum

"Peony Pictures" uses flower and bird paintings as manuscripts to weave a blue ground, and a yellow peony branch is composed in a skyward style. The color is stained outward from the center of the flower, and the edges are brightened with white, which is consistent with the color application method used in Ma Yuan's painting of white roses in the Song Dynasty. Under the influence of the "studying things and seeking knowledge" in the Song Dynasty, painters even cultivated them personally in order to draw flowers with minimal exquisiteness. Under the wisdom and creation of people, "peony" "loves its beauty and is fortunate to others."

This piece has a red square seal with the lower left corner of the piece. The whole piece is woven tightly, with uniform background color, natural transitions of lines and soft colors. Emperor Taizong of Song established the "Hanlin Painting Academy" in the first year of Yongxi, and awarded the position of painters in the academy. However, the craftsmen engaged in weaving and embroidery have a low status, and the artists dare not sign, so they only copied the names of the original authors of the original painting. Zhu Kerou used the famous chapters on his works, which shows that he had a high status at that time.

This piece has an inscription written by Zhang Xizhi during the Hongzhi period of the Ming Dynasty. "Shiqu Baoji Re-edited" records, with the seals of "Qianlong's Imperial Views", "Shiqu Detailed Appraisal", "Shiqu Baoji", and "Baoji Re-edited". There is a seal of "Ice Spring" and "The Prince of the Prince of the Painting" outside the heart of the painting. Later it was collected by Zhu Qiuqiong. There are seven pieces of handed down from the world that are publicly published with Zhu Kerou's name, and the manuscripts are all flower and bird paintings of the Song Dynasty.

Attachment: "Sun Jingshankou Waiting for Ferry" full volume appreciation

(suggested to enjoy horizontal screen)

Xiajingshankou Waiting for Ferry Picture 5th Generation Dong Yuan