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Yunluo is very talented at coaxing girls, and with the baby fish is to go around, looking for things that can make Yan Shenyu happy, and there is no need to worry about not having good things to see in the museum. Pen ~ fun ~ pavilion www.biquge.info

With the Tang Dynasty female figurines as the main line, 97 pieces (sets) of fine cultural relics closely related to the lives of women in the Tang Dynasty were selected, such as gold and silverware, jade, porcelain, textiles, etc. It shows the spiritual outlook of the ladies of the Tang Dynasty, so that the public can more intuitively understand all aspects of the life of women in the Tang Dynasty, and appreciate the magnificent and graceful social atmosphere of the Tang Dynasty.

The exhibition reproduces the rich, graceful, luxurious and plump style of the ladies of the Tang Dynasty, and praises the open and inclusive prosperity of the Tang Dynasty. We will further publicize the long-standing and splendid Silk Road culture, carry forward the spirit of openness, inclusiveness and win-win cooperation, take modern culture as the guide, and create our happy life with a high-spirited spirit to jointly build our beautiful homeland.

The Tang Dynasty was the heyday of the feudal society in China, with a prosperous economy, developed culture, frequent foreign exchanges, and the rulers with an open mind, making friends and friends, good neighborliness and friends, and eclectic exotic cultures, achieving a myriad of meteorological and brilliant Tang cultures, and in such a social background, the lives of the ladies of the Tang Dynasty presented an unprecedented state of openness.

The women of the Tang Dynasty, especially the aristocratic women living under the city of Chang'an, always stood in the fashion preface of all fields of women's life in the Tang Dynasty.

They calmly haunt the streets and alleys, riding horses, hunting, feasting, and playing ball...... He was involved in all aspects of social life in the Tang Dynasty and made great contributions to the prosperity and development of Tang culture.

The twig pattern silver incense is made of a round ball, which is made by hammering, cutting, polishing, riveting and other technologies, and the flower decoration is a fabric-like twig pattern through hollowing. It is a burner of incense that you carry with you. The silver smoked ball is the best piece of gold and silver handicrafts in the Tang Dynasty, the main body is composed of two hemispheres buckled together, and a small shaft is installed at the joint.

The rest of the part is made of tightly fastened child and mother buckles, which are firmly combined and easy to open and close, and two concentric rings and an incense bowl are installed inside the work. Each component is connected to the wall by a symmetrical movable shaft, and the mechanical balance caused by the concentricity and the movable shaft ensures that the incense bowl remains level no matter how the sphere rotates.

It is not a sprinkling of spices, but a masterpiece of the combination of craftsmanship and technology.

Toad Jade Rabbit Moon Palace Mirror, the mirror surface is round, one side is light, the other side is decorated with patterns, and the middle is a big tree. On the left side of the tree there is a jade rabbit pounding medicine, and on the right side of the tree is the flying fairy Chang'e and a toad.

That is, Chang'e to the moon. Chang'e running to the moon is a beautiful and moving mythical story, and it is also one of the themes often expressed in various artistic creations, according to legend, Chang'e stole the elixir of immortality, flew to the moon palace to become a toad, and became a moon spirit, some are Chang'e flying to the moon palace to be accompanied by the toad, Chang'e in the mirror. Beautiful and lovely, with a long robe fluttering. Do the state of flying to the moon.

It shows the image of Chang'e in the minds of the Tang people, and the round mirror and the semi-relief pattern content constitute a complete picture of the Moon Palace.

Female figurines of the female musicians, painted horseback riding and playing the female figurines: The female figurines wear a hat on their heads, a green round-necked narrow-sleeved robe, a belt at the waist, and pointed-toe boots. Riding a horse and pedaling, leaning sideways with both hands in the air, he is one of the players of the equestrian band. Black hair is revealed behind the hood, apparently a female musician, with plump cheeks and red lips. If you pay attention to the dancer, you will play.

During the Tang Dynasty, the music of the Western Regions was very popular, up to the dignitaries and nobles of the royal family, down to the common people, there were dances and songs everywhere, the Tang Dynasty unearthed a team of female figurines, which were the entourage figurines of the nobles when they traveled, in order to show their status and luxury.

They calmly haunt the streets, ride horses, hunt, feast, and play ball. He was involved in all aspects of social life in the Tang Dynasty and made great contributions to the prosperity and development of Tang culture.

Yunxiang clothes, the costumes of the ancient society of China, take the practicality and solemnity of men's clothing as the theme, and the romantic and colorful style of single women's clothing has also led a generation, and the Tang Dynasty ladies' clothing is one of the most colorful chapters. In the early stage of development, inheriting the customs of the Han and Wei dynasties and the Northern Dynasties, it was dominated by small clothes and long skirts, with darker colors, less powder, and simple ornaments.

In the middle period, Hufu prevailed, and the dress was colorful, and accessories such as hairpins were bright and dazzling; In the 300 years of development of the Tang Dynasty, the ladies' clothing with its many styles, gorgeous colors, innovative decorative techniques and elegant and gorgeous style, became the most dazzling branch of ancient Chinese clothing fashion.

Men's female figurines play the pipa and ride the female figurines and the female figurines are painted and the female figurines are painted, women wear men's clothing, which is another feature of women's clothing in the prosperous period of the Tang Dynasty, women wear men's clothing, which has appeared in the early Tang Dynasty, and in the middle and late Tang Dynasty, aristocratic women often wear men's clothes to travel, and women wear men's clothing in the palace at the earliest, and then gradually spread and popularize to the people, and are deeply loved by the majority of women.

Wearing a hood, wearing a round-necked robe, and wearing leather boots on the feet were the popular attire of Tang Dynasty men from the emperor to the common people for 300 years, but the women of the Tang Dynasty broke the shackles of the Nuo family and used it to pursue novelties, boldly innovate, and fully show themselves.

Painted arched female figurines, the heads of the female figurines are slightly slanted, combed and thrown in a bun, and the face is ruddy. Juanxiu's eyelids are braised in fine ink, the transparent smoke stares ahead, slightly upturned, with a sweet smile, wearing a round-necked white-bottomed talent narrow-sleeved shirt, her hands hidden in Xiuzhong's arch against her chest, orange and yellow shawls, embroidered with various flowers, from the front abdomen to the back of the back of the droop to the back of the legs.

The red skirt is tied at the lower part of the chest, and a foot is visible through the skirt. It makes people feel that it is not a static figurine, the body is slightly twisted, the right shoulder is slightly raised, lined with bright eyes, smiling red lips, ruddy face, with a shy and provocative demeanor, it is really "charming and glamorous", although it has been a thousand years, the image is still brilliant.

The symbol of the Shuangbo Museum, the statue of Fuxi Nuwa, is a red circular sculpture with an extra head above it. Fuxi Nuwa is a human head and a snake body, and the two of them are married and reproduced, which is the source of the "descendants of the dragon".

In the "shared space" on the second floor of the Shuangbo Museum, there is a Tang Dynasty racing boat (dragon boat), which was unearthed in 1960 in the Jiajiang River in Hanshiqiao Township, Yangzhou. The ship is 13.65 meters long, 0.75 meters wide and 0.65 meters deep. Made from whole nanmu.

According to the historical records of the Tang Dynasty, Yangzhou customs, every year the Dragon Boat Festival should be held on the riverside tributaries of the "lotus picking dragon boat show", tens of thousands of spectators, very lively. The dragon boats made in Yangzhou are not only exported to all over the country, but also pay tribute to Beijing.

There is also a National Treasure Hall in the Double Museum. The exhibition hall only displays a Yuan Dynasty Ji blue glaze white dragon pattern plum bottle exhibits, which is the treasure of the Shuangbo Museum.

Ji blue glazed white dragon pattern plum vase belongs to the large utensils in the blue glazed porcelain of Jingdezhen kiln in the Yuan Dynasty, the shape is beautiful, the blue glaze is bright and pure, and the white dragon in the abdomen surrounds the bottle body, which has a strong artistic appeal, reflecting the highest firing level of Jingdezhen kiln in the Yuan Dynasty.

There are only three pieces of this kind of plum vase that have been handed down at present, one is the old collection of the palace, and the existing Summer Palace. One is in the Guimet Museum in Paris, France, and both bottles are damaged, but this one is the largest and most beautifully decorated in Yangzhou Shuangbo Museum.

Ji blue glaze white dragon pattern plum bottle is full of Ji blue glaze, the glaze is thick and moist, the glaze is uniform and stable, and the glaze is blue like the deep sea. The abdomen is depicted with a "pearl dragon pattern".

A dragon chases a flame orb. The white dragon surrounds the bottle with its head upturned and its neck slender. The long mane is fluttering, and the horns are slightly tilted back. The longan is protruding, the mouth is open and the tongue is out, the sharp teeth are exposed, the upper and lower jaws are curled around the lips, and the limbs are long and thick, showing a large walking shape. The outstretched limbs, each with three claws, and the fingertips are very sharp......

The space around the dragon is surrounded by four fluttering flame-shaped clouds, which set off the majestic momentum of the dragon soaring in the sky. On the whole, the main ornament of the white dragon and the flame orb are contrasted with the auxiliary ornamentation of the four flame-shaped clouds.

Cloud dragon, treasure bead green and white glaze. The contrast between the two glaze colors is bright and strong, as if the mighty, majestic, fierce dragon stands in the blue sky, the eyeballs decorated with blue glaze, under the background of the blue and white glaze, it is particularly prominent, it has played the finishing touch of the artistic effect, the decorative effect is excellent, it has a strong artistic appeal, it is a representative boutique that fully reflects the superb porcelain level of Jingdezhen kiln in the Yuan Dynasty.

This plum vase was originally lost among the people, and it has been passed down for many generations in an ordinary family in Yangzhou. The elders sweep the dust every day, wipe every time, take care of them carefully, and never show them at ordinary times. Fearing that she would be hurt by the bottle, her mother painted it black with ink.

The son of the family, fearing the earthquake, sold the bottle to a cultural relics store in Yangzhou at the time for 18 yuan from his mother. It is really a miracle that a fine porcelain of the Yuan Dynasty has been in the folk for 600 years and can be preserved so completely. Now it is worth 360 million yuan and has become the treasure of Yangzhou Museum.

"Guangling Tide - Yangzhou Ancient City Story" is the basic display of the museum, with an exhibition area of 2,300 square meters, an exhibition line length of 580 meters, and 856 pieces of cultural relics on display, with the city stories of Hancheng in the Spring and Autumn Period, Guangling City of the Han Dynasty, Tang City, Song City and Ming and Qing Dynasties, with sculptures, pictures, objects and other forms to concisely outline the main line of Yangzhou's historical development, and also reflect the general trend of China's historical development.

"Guangling Tide" adopts the latest design concept of information group and hierarchical communication in the design of display content. The whole exhibition is based on the river, river and sea, with the Han, Tang and Qing dynasties as the prominent points, and the five major cities in the history of Yangzhou as the main line, forming a harmonious whole with a clear structure.

The exhibition is divided into five sections, each with its own focus. The grading instructions are concise and unpretentious. The whole exhibition takes the willow color elements as the basic tone, showing the cultural characteristics of "green city outline is Yangzhou". The ancient Nan wood color is used as an auxiliary color, implying the profound heritage of Yangzhou's history.

The organic combination of the long and short arcs and straight lines of the exhibition hall and the façade symbolizes the continuous history of Yangzhou, full of infinite vitality and vitality. The exhibition respects the historical facts and the logical structure of the exhibition, makes reasonable planning for the space volume, fully considers the space share of the Han, Tang, Ming and Qing dynasties, and focuses on the two ends, so that the exhibition space forms a continuous and orderly, relaxed and undulating rhythmic rhythm.

On the premise of ensuring smooth circulation, focus on the situational setting of a specific space.

Yunluo is very interested in Emperor Yang of Sui, to be honest, it is really a great thing to be able to kill a dynasty in a short period of time, Yan Shenyu is very quiet and sweet, just holding Yunluo's hand.

Yangzhou Museum held a special exhibition of cultural relics unearthed from the tomb of Emperor Yang of Sui. The cultural relics exhibited this time are all from the two tombs of Emperor Yang of Sui and Empress Xiao in Caozhuang, including 135 pieces/sets of cultural relics such as "gilded copper shop", "chime chime" and "thirteen rings of gold and jade belt".

In order to show the glory and fall of Emperor Yang of Sui, the fate of Emperor Yang of Sui and the important relationship between Yangzhou and the Grand Canal, so as to reveal the important position of Yangzhou in the history of China. Therefore, the golden canal water ripples were designed, hanging at the entrance of the exhibition hall, and the canal water ripples imply the contribution made by Emperor Yang of Sui to the canal, and Emperor Yang of Sui made brilliant achievements in a short period of time, just like a "meteor".

"The Legacy of the Meteor Dynasty" vividly summarizes the theme of the exhibition, and there is no lack of literary atmosphere, Emperor Yang of the Sui Dynasty has made brilliant achievements, so the golden canal water ripples are used.

Yangzhou is a city born because of the canal and prosperous because of the canal, turning over the history of Yangzhou and China, and the Grand Canal has a close relationship with the historical figures, including many emperors and generals, literati and scholars, giant businessmen, international friends, they not only for the digging and management of the canal, communication between the north and the south, the development of economic and cultural contributions, but also to Yangzhou and even the history and culture of China to have a huge impact on the direction and process, Emperor Yang of Sui is one of them.

In order to give visitors a visual overview of the tomb, the entire exhibition area is arranged according to the structure of the tomb, starting with the corridor, then the ear chamber and finally the main burial chamber. After entering, visitors will first see the 'gilt copper shop', which is like knocking on the door of the tomb.

In order to give visitors a more detailed understanding of the tomb of Emperor Yang of Sui and the tomb of Empress Xiao, this exhibition will introduce the tomb structure of Emperor Yang of Sui and Empress Xiao respectively, focusing on the corridor, ear chamber and main burial chamber of the two tombs.

The tomb of Emperor Yang of the Sui Dynasty and the tomb of Empress Xiao have detailed text information with a large number of rich pictures display, the text introduction of the exhibition board is even accurate to the number, the cultural relics unearthed in the two tombs and the regulations are introduced in detail, giving visitors the most intuitive understanding, but also showing the glory and fall of a generation of emperors Emperor Yang of Sui, reflecting the fate of Emperor Yang of Sui and Yangzhou, and the important relationship between the Grand Canal.

In the center of the exhibition hall, under the dim light, two earth-colored sand tables are placed in the two display cases, which seem inconspicuous, but in fact these two sand tables are the three-dimensional scene restoration models of the tomb of Emperor Yang of Sui and the tomb of Empress Xiao, and even the unearthed positions of cultural relics are highly restored.

The tomb of Emperor Yang of Sui is a square brick chamber tomb with a tomb road, and the sand table completely restores the five parts of the tomb road, the Yong road, the main tomb room, the east ear room, and the west ear room. The corridor of the tomb of Emperor Yang of Sui is a double-layer coupon, the tomb door is sealed with flat bricks, the mat pattern is paved at the bottom, the inner width is 1.7 meters, the inner length is 0.8 meters, and the "tomb of Emperor Xu" that caused a sensation in the world is found here.

Not far from the "Tomb of Emperor Yang of Sui" is the tomb of Xiao Hou, its tomb is shaped as a waist drum shaped pit brick chamber tomb, composed of five parts: tomb road, Yongdao, east ear room, west ear room, main tomb room, the tomb is 13.6 meters long, 5.9 meters wide, the tomb is rich in cultural relics with the burial, and all kinds of pocket pottery, porcelain, lacquered wood models are scattered in the sand table.

Like a person, it's never just your own business, Yunluo takes care of Yan Shenyu's mind very much, so that the baby fish likes it very much, so that the feelings of the two people can quietly bloom. (To be continued.) )

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