Zhang Tianyuan and Wang Zhengjun sat in this position, and they could clearly see the busy crowd below, as well as those antiques of various formats.

Seeing this, Zhang Tianyuan naturally felt a sense of pride in his heart, and he said excitedly: "Elder Wang, you didn't feel wronged when you came to my museum to be the director of this museum, did you?"

To be honest, every time I think about this, I feel that I am not qualified, such a large museum, such a rich collection, such a profound museum, my qualifications, really nothing!"

Wang Zhengjun is such an old person, naturally he will not shoot Zhang Tianyuan's ass at will, he said this, it was naturally because he had a reason to say so, it was because he thought so in his heart.

In terms of floor area, among private museums, Zhang Tianyuan's HRE Museum is definitely the largest, even compared with the National Museum, it is comparable. In terms of the quantity and quality of the collection, it can definitely beat any private museum, compared to the HRE Museum, it is not inferior at all, and many things, even the HRE Museum cannot be compared.

In the ceramic exhibition hall, represented by Longshan black pottery, Yuan blue and white Guiguzi downhill pots, multiple sets of enamel porcelain, Chenghua Doucai chicken bowl cups, Song Ge kiln blue glazed sunflower petal mouth plate, Yongzheng pastel olive bottles, etc., have formed a variety of ceramic grandviews from prehistoric culture to Ming and Qing cultures.

Not only is there a relatively sound system, but most of them are high-quality. Because in addition to these rare pieces, there are also a large number of broken ceramics that he brought back from France and England. Among them, there are many precious ceramic products such as Tang Sancai and Yuan blue and white.

Overall, the HRE Museum has nearly 100,000 pieces of ceramics. The total volume ranks first among private museums in the world, including more than 800 first-class items. There are about 20,000 pieces of second-class products, and more than 10,000 pieces of ceramic specimens collected from nearly 200 kilns across the country.

The collection here can be said to be extremely extensive. Throughout the history of Chinese ceramics, it takes into account pottery and porcelain, official kilns and private kilns. The characteristics of the collection are especially reflected in the ceramics from the Three Kingdoms to the Tang Dynasty, Yuan porcelain, imperial kilns in the middle and late Qing Dynasty, porcelain for court furnishings, purple sand ware, large-scale porcelain with multiple glazes, production materials of Qing imperial kilns, porcelain from folk kilns of previous dynasties and archaeological excavation materials.

During the period of the Three Kingdoms and the Jin Dynasty and the Northern and Southern Dynasties, the green glaze of the Three Kingdoms of Eastern Wu and the plastic barn jar: the structure is complex, the production is fine, and there is an exact age, which is an important material for studying the development and evolution of the barn. The blue glaze upturned lotus statue is a rare masterpiece of celadon in the Northern Dynasties, and less than ten pieces have survived. And there are two of them in the HRE Museum!

The lead yellow glaze green color lotus petal pattern jar opened the precedent of the Tang Sancai process, and there are only less than five pieces in existence, and there is one in the HRE Museum.

In the Tang Dynasty, the blue-glazed eight-sided vase of the Yue kiln is very similar to the secret color porcelain unearthed from the underground palace of Xifeng Famen Temple. It should be the same as a rare secret color porcelain. Tang Qing glazed phoenix head dragon handle pot absorbs the Persian style of modeling, with celadon as the texture is extremely rare, and it is a precious object of cultural exchanges between the East and the West.

Tanglushan kiln porcelain waist drum has a beautiful shape and colorful glaze, which is one of the only two complete flower porcelain waist drums in the world, and the other one is displayed in the Imperial Palace Museum.

Song Dynasty porcelain can be said to belong to the peak period of porcelain, Song Ru kiln azure glazed string pattern bottle and Ru kiln azure glazed bowl each survived less than five pieces, Song Ding kiln white glaze child pillow survived less than six, and there is one in the HRE Museum.

Other treasures include Song Guan kiln blue glazed string pattern bottle, Jun kiln moon white glaze halberd zun, Ge kiln fish ear furnace, Song Longquan kiln blue glazed phoenix ear bottle, Dengfeng kiln pearl ground carved tiger pattern olive bottle.

to the Yuan Dynasty. Naturally, I have to say that Yuan blue and white, Yuan blue and white glaze red carved lid jar will be two different glaze color in one vessel, the fusion of hollow, sculpture, stacking and other decorative techniques in one, only four pieces survived. Blue glaze depiction gold is a rare Yuan Dynasty blue glaze ware. It is even more rare that the gold color is undamaged. Yuan blue glazed white dragon pattern plate is also rare, and only four pieces of the same type of ware have survived. And there is one in each of the HRE museums.

In order to get these things, Zhang Tianyuan used all kinds of means. Except for what he had previously spent money on, what he had bought in his antique shop. The rest were basically brought back from Europe.

The porcelain of the Ming Dynasty is also a must, and the famous products include the Doucai chicken bowl cup, the Doucai grape pattern goblet, the colorful hollow cloud and phoenix pattern bottle, and the white glaze Dharma statue of the Mingdehua kiln. The statue of Mingde white glazed Guanyin is a classic work of porcelain sculptor He Chaozong.

Ming Yongle blue and white hand cup is a famous product of Yongle Dynasty. So far, it is known that there are six hand-pressed cups with Yongle years, and four of them are in the imperial palace collection. The other two are all in the HRE Museum.

The blue and white blue Sanskrit halberd Falun lid jar is rich in religious meaning and is extremely rare. The yellow glazed gold color sacrificial ear jar and the blue glazed gold color cow pattern double series jar belong to the precious sacrificial vessels of the Hongzhi Dynasty, and the gold color has not faded, which is extremely rare. These things can be seen in the HRE Museum.

Of course, there are also some objects that are not expensive, but play an important role in the history of ceramics, since they are museums, they cannot be just high-quality products, but must be systematic. Although Zhang Tianyuan's ceramic exhibition hall is still a little empty, the number is still not enough, but at present, it is already very good, even if it is a specially opened ceramic museum, it may not have more things in him.

The bronze exhibition hall contains weapons, armor, ritual utensils and other things, although the number is not as good as that of ceramics, but it is also quite large. Among them, Zhang Tianyuan's Yin Tianzi Three Swords are the representatives, and together with the ones he brought back from Europe, they can definitely make tourists applaud.

At present, there are more than 3,000 bronzes in the collection of the HRE Museum, which of course does not include coins and bronze mirrors.

Among them, there are about 1,000 pre-Qin bronzes and more than 200 inscriptions.

Of course, such an order of magnitude cannot be compared with the Imperial Palace Museum, after all, the various types of bronzes in the Palace Museum account for more than one-tenth of the total number of Chinese and foreign bronzes, and the Forbidden City is the museum with the largest collection of Chinese bronzes in the world.

However, compared to ordinary private museums, the HRE Museum has an absolute advantage. In addition to the previous figures.

In addition, there are more than 3,000 coins of past dynasties, 900 bronze mirrors, and more than 2,000 seals.

Among these bronzes, the Shang Dynasty minister Yi Fangding should be regarded as a heavy vessel, and the inscription described in the grain giving is rare in the golden text, and it is one of the few bronzes that can be associated with divination.

Except for the Palace Museum, the only place you can find this thing is the HRE Museum.

In addition, there are two pieces of Shang Dynasty Qi Qi, second only to the Imperial Palace Museum, which is the longest inscription of the Shang Dynasty several bronzes, which preserves the important historical materials of the Shang Dynasty's aristocratic sacrifice and aristocratic life.

There is also the Shang Dynasty Sanyangzun, the largest existing bronze statue, although the shape is slightly different from the Sanyangzun of the Palace Museum, but the size is almost the same.

There is also a merchant beast face pattern ring, which is also one of the largest existing bronze rings. The Western Zhou Dynasty is the largest and most ornate bronze mustache in existence.

The inscription of the Western Zhou Dynasty Shi Yiding, which rarely records a military punishment incident, is a precious material for the study of legal history, and with similar collections of the Palace Museum, they can actually corroborate each other, which can solve many problems in the archaeological circle.

In addition, there are the Western Zhou Dynasty Dading, the Western Zhou Dynasty Taishi Yu, the Song Ding, and the Western Zhou Dynasty Biyun.

The inscriptions of these four vessels record the year, month, moon phase and dry branch day, and there are only more than 30 existing Shang and Zhou bronzes that record the four elements in this way, and there are only five in the Imperial Palace Museum, but there are four in Zhang Tianyuan's HRE Museum, which is definitely the most private museum.

The Spring and Autumn Lotus Crane Square Pot is not only gorgeous and lightweight, unprecedented, but also known as the "swan song of the Bronze Age", and is recognized by the State Administration of Cultural Heritage as a cultural relics prohibited from going abroad (territory) for exhibition. There is only one thing in the Palace Museum, and this one in the HRE Museum is still obtained from the collection of Napoleon VII, otherwise, Zhang Tianyuan is afraid that he can only rely on visiting the Palace Museum to satisfy his curiosity.

There is also the Warring States Banquet Hunting Water and Land Attack War Pattern Pot, this thing is not only complex and gorgeous, but also is an important information for the study of production, life, war, customs, architecture and other aspects of the Warring States Period, if it is combined with the collection of the Palace Museum, it can play a role in mutual corroboration, so that many problems that could not be solved can be solved easily.

Of course, Wang Zhengjun's contribution is a lot, Wang Zhengjun's original museum is mostly bronzes, and more of them are swords and weapons. It covers all kinds of bronze products from the Shang and Zhou dynasties to the Ming and Qing dynasties, although they are not high-quality products, but they are also dazzling.

Looking at these things, it is almost as if you are looking at a whole set of history, as if you have seen the swords and swords in history.

Originally, Wang Zhengjun still had some foreign weapons and armor, but Zhang Tianyuan did not let them be placed in the bronze exhibition hall, but put them in the foreign exhibition hall alone.

At this initial stage, Zhang Tianyuan still intends to focus on Chinese collections, so foreign exhibits can only be regarded as ornaments, and it is a bit nondescript to put them here.

For example, the bayonet sword used by the nobles in the Western Middle Ages for duels, and the spear used by knights on the battlefield to be several meters long, always feels out of place here.

The furnishings of this museum, naturally, should also pay attention to a beautiful one, if you put it there randomly, anyone can put it, what else do you want the designer to do?

Among domestic Tibetan friends, there are many interested in weapons collections, but there are not many who really like to collect, mainly because most of the swords and swords in China are considered contraband, even if they are antiques. Try to go out on the street with a pair of Persian Gulf scimitars, and it would be strange if the police didn't come to arrest you.

In addition to these things, Zhang Tianyuan also saw some strange bronzes. These bronzes are closely related to the private life of the ancients, and some are even closely related to "sex", although Zhang Tianyuan is not a junior brother now, and he doesn't feel blush when he looks at these things, but he is always a little embarrassed. (To be continued......)