Chapter 1212 The main burial chamber with many treasures

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However, for the 'tap stone', a great invention that brings together the wisdom of ancient craftsmen, Liu Dong did not stop to appreciate it.

After directly using the relics Yuanguang to put the entire white marble door carved with the dragon pattern, and the 'tap stone' with the top door into the mustard seed space, the situation in the back room also appeared clearly in front of Liu Dong's eyes.

"I said that as the longest reigning emperor in the entire Northern Yuan Dynasty and barely the most accomplished generation of emperors, there shouldn't be no good things in this tomb, it turned out to be in this backroom!" Liu Dong's face showed excitement.

In Liu Dong's view, the backrooms are mainly divided into two parts.

Part of it is the coffin bed that occupies more than half of the back room and is used to store the coffin of the tomb owner. The other part is naturally the space outside the coffin bed.

On a coffin bed made entirely of bluestone and polished with three red lacquered wooden coffins, but not completely decayed, are placed. On the coffin bed space around the coffin, there are all kinds of fine porcelain, lacquered wood ware commonly used in the court, as well as funerary goods such as gold, silverware, and jade jewelry.

And the reason why Liu Dong, who is accustomed to seeing treasures and has many high-grade cultural relics in his hands, is excited is also to find that these porcelains placed in the back room are real fine products.

Among them, he is very familiar with the 'to the positive type' and 'to the large' Yuan blue and white, the Yuan Dynasty egg white glaze, the glaze red Yuan Dynasty imperial kiln, the gold grabbing five-color ware, the monochrome glass glaze imperial kiln cherished porcelain, and a small number of five famous kilns of the Song Dynasty, almost all the types of Yuan Dynasty imperial kilns recorded in history, can be seen here. Although there are more than 30 pieces of Yuan Qinghua, there are no more than 10 pieces of other types.

But the whole world adds up to only one or twenty. Even less of the top imperial kiln porcelain of the Yuan Dynasty. To be able to see so much here. It's already precious.

Just like the royal blue glaze gold color, the Yuan Dynasty high-temperature monochrome glass glaze ruby red, because of the rarity of raw materials, the number was scarce at that time, and now almost in addition to the Forbidden City, and several world-class museums and collections, there are less than ten pieces in the world.

Of course, the reason why the imperial kiln of the Yuan Dynasty was in addition to the Yuan blue and white. The reason why it is so rare is also because the tombs of the emperors and ministers of the Yuan Dynasty are too deep and too secretive!

In the case that more than 80% of the antiques in the antique market are unearthed from tombs, there are few high-level and top-level aristocratic tombs found in the Yuan Dynasty, and the Yuan Dynasty has existed for only a hundred years, so it is understandable that the imperial kiln of the Yuan Dynasty is so rare.

The tomb of Yuan Zhaozong's 'Er's only Jin * Aiyu Zhilitra' may be the only tomb of an emperor of the Yuan Dynasty discovered by Liu Dong.

However, for this honor, Liu Dong didn't care at all. And he is not an archaeologist, all he cares about is the treasure and value of cultural relics. As for the historical information hidden in it, it is better to leave it to the historian to have a headache.

Liu Dong counted it briefly. Together with the five famous kilns of the Song and Jin eras, as well as the imperial porcelain of the Yuan Dynasty, there are a total of 168 pieces!

Not much. But there are more than 10 million absolute pieces, absolute first-class cultural relics, and even national treasures!

However, although these porcelains are precious, they are not the most precious funerary goods here. Rather, it was placed in front of the coffin bed for something on the table.

This is a large offering table with a length of more than 3 meters, a width of about 1 meter, a height of 90 centimeters, gilded throughout, red sapphires inlaid on the edges and four table legs, a semicircular carved wolf head at the four corners of the table, and a dragon-shaped relief in the middle.

In addition to the 'butter lamps' made of nine gold cups placed side by side, there is also an ornate gilt saddle, a golden bow embossed with wolf totems, and three gold tablets of different heights.

On the tablet in the middle, with a knife and axe chisel, there is a bit of thin gold style of Han and Mongolian two characters engraved with "Emperor Zhaozong of the Great Yuan Dynasty 'Er's only Jin * Aiyu Zhi Litra' spiritual position!" "The remaining two slightly shorter ones are naturally the queen and concubine of Yuan Zhaozong!

In addition, the golden bow and saddle are engraved with the name of Yuan Zhaozong's '孛儿 only Jin * Ai Yu Zhi Litra', which is obviously something he used or cherished during his lifetime.

In Liu Dong's opinion, bows and saddles are more precious than most of the imperial kiln porcelain here, because they are unique. And it's also an imperial instrument.

In addition, in addition to the offering table and the things on the offering table, there were also more than a dozen decayed lacquered wooden boxes in the open space outside the coffin bed, and in the boxes that were fortunate to be preserved, Liu Dong found the common imperial and queen clothes of the Yuan Dynasty.

Including 11 kinds of summer clothes and 15 kinds of winter clothes of the emperor, as well as the 'Gu Gu crown' worn by the imperial concubines of the Yuan Dynasty, that is, the kind of clothing with long hats, a total of 17 kinds.

Of course, whether it is the emperor's summer or winter clothes, or the concubine's clothes, they have not been completely preserved. Even if Liu Dong used the relics Yuanguang, he still couldn't recover the silk fabrics that had long since decayed because of poor preservation.

After Liu Dong collected all the funerary items except the coffin, including the Tantric Buddhist murals on the walls of the back room, he finally set his sights on the three-mouthed red lacquered coffin on the coffin bed.

And the first thing he was ready to do was the coffin of Yuan Zhaozong's 'Er's only catty * Aiyu Zhilitra' in the middle.

The coffin board is usually made of thick precious wood, so it is very heavy. In order to ensure that the precious funerary goods inside the coffin are not damaged, as well as the precious paintings depicted on the coffin, generally in the formal archaeological time, such as the opening of the museum, usually eight or nine people, and even with the help of machinery.

However, Liu Dong's relics and mustard seed space are more effective than any machinery.

With a wave of his hand, the dead lid of the coffin, which should have been nailed to the coffin, disappeared. And the first funeral item in the museum that appeared in front of Liu Dong was a complete and precious white wolf skin!

The Mongols usually see themselves as the offspring of eagles and wolves, and they worship both animals in particular. Moreover, since ancient times, animals such as white horses, white wolves, and white deer have been regarded as auspicious and gifts from the gods, both in China and Mongolia. Therefore, the appearance of a white wolf skin in the coffin of the emperor of the Yuan Dynasty was not unexpected by Liu Dong.

In order to avoid oxidation after contact with the air, he hurriedly repaired the white wolf skin with relics yuanguang, and after putting it into the mustard seed space, Liu Dong looked at the things below.

However, the following is not the bones of Yuan Zhaozong, but because the seal is relatively tight, the dragon brocade quilt with bright color is still bright, from the exquisiteness of the pattern, this is obviously from the royal silk tribute in the Songjiang area of Jiangnan!

After repairing with relics and restoring the toughness of these precious silk fabrics, Liu Dong uncovered a total of thirty-three layers before something different appeared.

Among these things, there are Tantric Buddhist statues carved from Hetian jade, as well as various jewelry made of red sapphires and diamonds, plus gold products with different shapes, such as gold furnaces, gold plates, gold cups, gold spoons, and gold chopsticks.

Although they are not very large, Liu Dong counted 168 Buddhist statues of various gems, jade, and gold, 367 gold utensils of various materials, and 422 pieces of jewelry!

After Liu Dong took these clean, and then uncovered the nine layers of gold quilts with exquisite patterns woven entirely with gold, the bones of Yuan Zhaozong's 'Er's only catty * Aiyu Zhilitra' finally appeared in front of Liu Dong.

However, despite that, it was not the bones that appeared in front of Liu Dong. Rather, it was a little shriveled, dressed in the costume of a Mongol emperor, with a gold mask on his face and gold-wire gloves on his hands, and only the faint white bones of the corpse could be seen through the gaps between the clothes.

The emperor of Yuan Zhaozong took the famous and distinctive 'Nashi Loss' technique of the Yuan Dynasty.

This is a new type of gold weaving technology based on the Han nationality gold weaving, combined with the ancient Persian gold technology and combining the advantages of the two. A more figurative interpretation can be explained as a kind of tapestry that uses gold threads to display patterns to form a resplendent effect.

It is precisely because of the combination of each other's advantages that the silk fabrics of the Yuan Dynasty are the most famous for weaving gold, which is called "Najin Stone" and "Weaving Gold Brocade".

On Yuan Zhaozong's corpse, whether it is clothing, or the belt around his waist, as well as gloves and boots, he is the product of this 'stone loss' technique.

Only the hat on his head and the gold mask on his face are real gold.

Although Tutankhamun's gold mask is famous for its beauty and treasure, Egyptians are not the only ones in the world who have their faces covered with gold masks after their deaths.

As far as Liu Dong knew, the nobles of the Liao Dynasty liked to attach gold masks to the faces of the deceased, but he did not expect that the Mongolian royal family also had this tradition.

And compared with the several gold masks of the Liao Dynasty that have been unearthed in China, the gold mask of Yuan Zhaozong is not much different in size, but it is more exquisite in comparison. For example, the eye area is inlaid with two bright top-quality sapphires!

The cheeks on both sides of the mask are engraved with seated statues of Shakyamuni Buddha pinching the Buddha's seal. Two wolf heads are carved on each of the two ears, and the wolf heads extend outwards to protect the two ears.

Generally speaking, there are important funerary goods in the coffin, which are placed on the left shoulder and right foot of the body. Therefore, after examining the corpse's costumes and golden masks, Liu Dong naturally searched these two places as well.

Soon he found a long black wooden box on the left shoulder of the corpse.

It may be that the coffin is tightly sealed, and the material is very good, this wooden box can still see smooth and shiny black lacquer, and it is also embossed with gold inlays of Mongolian warriors fighting on the battlefield.

Liu Dong looked at the pattern for a while, and then opened the box.

But when he saw the contents of the box, as well as the words engraved on it, his mouth immediately opened into an 'O' shape!

"My God, this can't be the legendary 'Sulu ingot', right?" (To be continued.) )

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