Chapter 796 2 national treasures

Looking at the treasures in this pavilion that mainly displays Tang Dynasty cultural relics, Jin Muchen felt that his saliva was about to flow out.

As an antique lover, this is the first time he forgot his disgust for the Japanese after entering this museum, but really began to appreciate the treasures in front of him for the first time.

In fact, most of the Tang Dynasty cultural relics in this exhibition hall are mainly pottery. After all, although the appearance of porcelain has already begun in the Northern Wei Dynasty before the Tang Dynasty.

But until the Tang Dynasty, the porcelain did not develop to the climate that it was later. Porcelain began to flourish, starting from the Song Dynasty.

Therefore, most of the utensils in the Tang Dynasty were still mainly pottery. After all, in that era, the Chinese people were still in the exploratory stage of firing porcelain, and they had not yet reached the stage of mass production.

And Tang Sancai is actually one of the earliest prototypes of porcelain. For a long time after the founding of the People’s Republic of China, there was no Tang Sancai in China.

In fact, this kind of thing was not very popular among Chinese people at first, because this kind of thing, unlike porcelain, many were fired into ornamental devices and placed in the living room to enjoy.

Most of the Tang Sancai in the Tang Dynasty were used as funeral utensils, so after many Tang Sancai were dug up, they were not very popular with the people at that time.

So before the founding of the People’s Republic of China, there were a lot of Tang Sancai in circulation on the market, but the price was always cheap, so at that time, a large number of Tang Sancai were looted overseas by the Japanese or Europeans and Americans.

So for a long time after the founding of the People’s Republic of China, the collection of Tang Sancai in China has always been in a state of zero.

At that time, after the research of foreign archaeologists, they came to the conclusion that the seemingly rough and simple Tang Sancai was not so easy to burn. It would be a great test of craftsmanship and skills to make such a Tang Sancai. Yes, the most important thing is that the coloring on this Tang Sancai pottery is very difficult.

To use one of the mixed ingredients to spread on the Tao Pi. Then take it to the kiln to burn, after adjusting the temperature several times, and finally after the kiln changes, three colors can be fired on this pottery. This is a very difficult technique.

Moreover, the ratio of the pigments, and the control of the firing furnace temperature, no one has been able to figure it out even now. The most important thing is this process. It seems to have disappeared after the Tang Dynasty.

This is why the porcelain of the Song Dynasty could not be colored until after the appearance of pastels in the Ming Dynasty.

For example, in the Ge kiln in the Song Dynasty, although several colors can appear on the porcelain, it is purely based on the change of furnace temperature, and the resulting kiln changes are not caused by the blended pigments. from. This kind of color change is obviously different from the color change in Tang Sancai.

It was not until the foreign archaeologists demonstrated this point that Chinese archaeologists and collectors realized that Tang Sancai was not an ordinary funerary vessel as we usually understand it, but a kind of fine art.

At that time, many experts in the field of archaeology were still annoyed and lamented that there was no more Tang Sancai in China. This situation has only been in the past two decades. The ancient capital of Chang’an underwent several renovations of the old city, and then a lot of new Tang Sancai were dug out of the ground one after another, and it became much better.

But this does not change the reality that a large number of our national treasures are lost overseas.

Just like the one that Jin Muchen saw in the Tokyo National Museum today. Three-color double dragon ear bottle, this thing is very remarkable.

This ear bottle can be more than 30 centimeters high, with a thin neck. There is a peony flower on the body of the bottle. The two handles are shaped like a double dragon absorbing water, and the workmanship is exquisite and beautiful.

The most important thing is the double dragon handle. It has been basically confirmed that this double dragon ear bottle is definitely a utensil used by the royal family back then, and it is very likely to be the tomb of a certain emperor in the Tang Dynasty.

To know the ancient tomb of the emperor of the Tang Dynasty, the fate of the emperor is no better than that of the emperor of the Han Dynasty.

After the Anshi Rebellion, the Tang Dynasty’s national strength declined, warlords were divided, and wars broke out frequently. At the end of the period, there were continuous civil uprisings. In the end, it was overthrown by Huang Chao, who had to become a salt dealer because he failed to be admitted to the civil service. ruled.

When Huang Chao’s rebel army occupied Chang’an, not only did they almost kill all the descendants of the Li family’s royal family, but they also turned over the tomb of the Li family emperor many times.

If it wasn’t because Wu Zetian’s tomb was buried too secretly, it is estimated that her fate would not be better than Cixi’s.

After Huang Chao, the Five Dynasties and Ten Kingdoms period, the darkest period in Chinese history, followed, so the tombs of the emperors of the Tang Dynasty can be preserved to this day, and there are few.

Today, Jin Muchen was shocked to see this Tang Sancai double-dragon ear bottle at the Tokyo National Museum.

He had seen quite a few Tang Sancai unearthed in China in the last ten years, but none of them could be as imposing as the one he saw today.

It may also be because there are too few such treasures in existence, and there are not too many records left by the Tang Dynasty court, so even Japanese who have studied the history of the Tang Dynasty would not dare to conclude that this is Tang Sancai. The double dragon ear bottle is the tomb of an emperor in the Tang Dynasty.

It is precisely because of this reason that this Tang Sancai double-dragon ear bottle was not rated as a Japanese national treasure.

However, for the experienced Jin Muchen who has the golden eyes that can distinguish jewels and jewels, when he saw the mellow and noble aura and the yellow light of the royal family that flickered on the double dragon ear bottle, he was already It is concluded that the bottle must have been dug out from the tomb of a certain Tang Dynasty emperor.

Of course, he must have buried the answer in his heart and won’t say it out. If he wants to talk about it, he has to wait for this bottle to get his hands, and then keep a low profile for a while, and then talk about it when the time is right.

After reading this double dragon ear bottle, he came to the front of the beautiful white copper windmilled sea inkstone mirror. The identity of this mirror is quite unusual.

Because this bronze windmilled sea inkstone mirror is rated as a Japanese national treasure by the Japanese, one of the eight top Chinese cultural relics.

The reason why this bronze mirror with sea inkstone pattern is rated as a national treasure of Japan is because this bronze mirror has been identified by experts as the beloved concubine of the famous Tang Taizong and Empress Zhangsun.

According to historical records, this bronze mirror was a custom-made gift for Empress Zhangsun when Li Shimin specially found someone to give her a custom-made gift.

Not to mention the front of the mirror, even after more than a thousand years, it is still smooth and flat, with every detail visible.

On the back, there are four symmetrical immortal mountains carved. In the middle of the immortal mountains is a Famen Town. In the other gaps, there are all kinds of beautiful sea inkstone patterns.

It is said that the meaning of Li Shimin’s creation of this bronze mirror was that he hoped that his eldest grandson would enjoy the health and beauty forever, and hope that this bronze mirror would bring good luck to the eldest grandson.

It’s a pity that his wishes are good, but the reality is cruel. In the end, the eldest grandson of the queen still failed to live to the age of forty, and went to the west of the crane at the age of thirty-five.

Later, the Tang Dynasty declined, the warlords were divided, and the city of Chang’an was burned several times. Li Shimin’s tomb was not much better, and it was dug up many times.

At that time, this bronze mirror was lost to the people, and it has been circulated among the people until the Qing Dynasty, when it was collected in the imperial palace.

However, in the late Qing Dynasty, the national strength was weakened, and the royal family was also incapable of protecting itself. Many of the royal treasures of the year also flowed into the people.

In the end, this bronze mirror was brought back to Japan by Yamanaka Singjiro of the Yamanaka Chamber of Commerce in Japan, and later donated to the Tokyo National Museum.

Speaking of the Yamanaka Chamber of Commerce and Yamanaka Singjiro, to the Japanese, he is a national hero, but to the Chinese, the Yamanaka Singjiro is completely a thief, robber, and cultural relic in the name of a businessman. dealer.

In the 1920s, this Shanzhong Chamber of Commerce was once active in the capital, and the Jinmen generation specialized in dealing with the old and young of the Manchu Qing Dynasty, mainly to buy the treasures in the hands of the old and young of the Manchu Qing Dynasty.

Strong buying and strong selling is common. If you encounter hard bones, you will use extraordinary measures. Anyway, your reputation is bad.

And later, the tentacles went deep into the Qinxi generation, and they specially stole the ancient Buddha statues and other cultural relics there, which are notorious ones anyway.

There are many stone Buddhas in the Tokyo National Museum, stone statues and so on, all of which were made upside down by this grandson.

Anyway, Ya is a microcosm of the Japanese robbers in those days~www.readmtl.com~ It is precisely because there were countless **** like this Yamanaka Singjiro in those days that there is a collection of Chinese cultural relics known as 100,000 in the Toyokan today.

After reading this bronze mirror, Jin Muchen was in no mood to continue to look down at these Tang Dynasty cultural relics, but turned around and walked to an exhibition hall at the back.

And this exhibition hall is from the Song Dynasty to the end of the Yuan, Ming and Qing Dynasties, and the main treasures displayed in this exhibition hall are the porcelain that the Japanese looted from China.

And this exhibition hall is also the top priority in the Oriental Museum. Even if the Tang Dynasty-themed exhibition hall in front is the favorite of Japanese archaeologists, if it is precious, it must be the exhibition hall that displays porcelain. Deservedly the most precious.

Like the Chinese, Japan likes ceramics very much, especially the ceramics before the Yuan Dynasty. To put it bluntly, it is Song porcelain, because the image of Song porcelain on Japan is very far-reaching, and it can even be said that the cultural input from the Tang Dynasty has an image of Japan. Not much in comparison.

If the cultural import of the Tang Dynasty allowed the Japanese to lay a cultural foundation, and the import of porcelain in the Song Dynasty, it can be said that the life of the Japanese has been completely changed. (To be continued.) Enable new URL