Looking at the treasures in the exhibition hall, which mainly displayed the cultural relics of the Tang Dynasty, Jin Muchen felt that his saliva was about to flow out.

As an antique lover, this was the first time he had forgotten his dislike of the Japanese after entering this museum, but it was the first time that he had really begun to appreciate the treasures in front of him.

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

However, until the Tang Dynasty, porcelain did not develop to the same climate as later, and porcelain began to flourish, starting from the Song Dynasty.

Therefore, most of the utensils of the Tang Dynasty were mainly pottery, after all, in that era, the Chinese fired porcelain, which was also in the groping stage, and had not yet been able to reach the point of mass production.

In fact, Tang Sancai is already one of the earliest prototypes of porcelain, and for a long time after the founding of the People's Republic of China, there was no Tang Sancai in China.

This kind of thing, in fact, was not very popular with the Chinese at the earliest, because this kind of thing, unlike porcelain, many of them were fired into ornamental vessels and placed in the living room to enjoy.

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

Therefore, before the founding of the People's Republic of China, there were a lot of Tang Sancai circulating on the market, but the price has not been expensive, so at that time, a large number of Tang Sancai were scavenged overseas by the Japanese, or Europeans and Americans.

So much so that for a long time after the founding of the People's Republic of China, the domestic Tang Sancai collection has been in a state of zero.

At that time, after the research of foreign archaeological experts, it was concluded that the seemingly rough and simple Tang Sancai was not so easy to fire. If you want to fire such Tang Sancai, it is a very test of craftsmanship and skills, and the most important thing is that the color on this Tang Sancai pottery is very difficult.

A mixture of ingredients is applied to the pottery, and then it is taken to the kiln to be fired, and the temperature is adjusted several times. Finally, after the kiln was changed, it was possible to fire three colors on this piece of pottery, which was a very difficult technique.

And the proportion of pigment mixing, as well as the control of the temperature of the firing furnace, even now, no one has been able to figure it out, the most important thing is that this process seems to have been extinct after the Tang Dynasty.

This is also why the porcelain of the later Song Dynasty has not been able to be colored. It wasn't until the Ming Dynasty that pastels appeared that they were able to really be fired, a kind of porcelain with many colors on it.

For example, the Yao change of the kiln of the Song Dynasty, although it can also be several colors on the porcelain, but it is purely due to the change of furnace temperature, and the kiln change is not produced by the prepared pigments. This color change, and the color change on Tang Sancai. But there is a clear difference.

It wasn't until foreign archaeologists demonstrated this point that Chinese archaeologists and collectors did not realize that Tang Sancai was not an ordinary burial vessel as everyone usually understood, but a kind of artistic masterpiece.

At that time, many experts in the field of archaeology were still annoyed, lamenting that there was no Tang Sancai in China anymore. In this situation, until the last 20 years, the ancient capital of Chang'an has carried out many renovations of the old city, and then successively dug out a lot of new Tang Sancai from the ground, it is much better.

But that doesn't change. The reality of the massive loss of our national treasures overseas.

For example, the three-color double dragon ear bottle that Jin Muchen saw in the Tokyo National Museum today, this thing is very remarkable.

This ear bottle can be more than 30 centimeters high, thin neck, there is a peony flower on the bottle body, and the two handles are shaped into the appearance of double dragons absorbing water, and the workmanship is exquisite and beautiful.

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

You must know that the ancient tomb of the emperor of the Tang Dynasty did not end up better than that of the emperor of the Han Dynasty.

After the Anshi Rebellion, the Tang Dynasty's national strength declined, warlords were divided, wars were frequent, and at the end of the period, there were continuous civil uprisings, and finally it was overthrown by Huang Chao, who had to be a salt dealer because he failed to be admitted to the civil service.

And when Huangchao's rebels occupied Chang'an, they not only almost killed all the descendants of the Li royal family, but also turned over the tomb of the Li family emperor I don't know how many times.

If it weren't for the fact that Wu Zetian's tomb was buried too secretly, it is estimated that her fate would not be better than Cixi's.

After the Yellow Nest, it was followed by the darkest period of the Five Dynasties and Ten Kingdoms in Chinese history, so there are almost few tombs of the emperors of the Tang Dynasty that can be preserved to this day.

And today to be able to see this Tang Sancai's double dragon ear bottle at the Tokyo National Museum, Jin Muchen is not to mention how shocking it is.

He has seen a lot of Tang Sancai unearthed in China in the past ten years, but none of them can only see this one so magnificently today.

It may also be because the number of such treasures in the world is too small, and the accounts left by the Tang Dynasty court are not particularly many, so even the Japanese who have studied the history of the Tang Dynasty do not dare to conclude that this is the Shuanglong ear bottle of Tang Sancai in front of him is the tomb of an emperor of the Tang Dynasty.

It is precisely for this reason that this Tang Sancai Shuanglong ear bottle has not been rated as a Japanese national treasure.

However, for Jin Muchen, who has a pair of golden eyes that can distinguish jewels and treasures, and is experienced, when he saw the mellow and noble spirit and the yellow light that was constantly flashing on the body of this double dragon ear bottle, he had already concluded that this bottle must have been dug up from the tomb of a certain Tang Dynasty emperor.

Of course, this answer, he must be buried in his heart, and he will not say it, if he wants to say it, he will have to wait for this bottle to arrive, and then keep a low profile for a while, and then talk about it when the time is ripe.

After looking at this double dragon ear bottle, he came to the front of the beautiful white copper wind-milled sea inkstone mirror, the identity of this mirror is quite unusual.

Because this copper wind-milled sea inkstone mirror is rated as a national treasure by the Japanese, one of the eight top cultural relics in China.

The reason why this sea inkstone pattern bronze mirror is rated as a national treasure of Japan is because this bronze mirror, after expert identification, is the beloved concubine of the famous Tang Taizong and the love of the eldest grandson queen.

According to historical records, this bronze mirror was a customized gift for Empress Changsun when Empress Changsun celebrated her thirtieth birthday.

Not to mention the front of the mirror, even now, more than a thousand years later, it is still smooth and smooth.

The back is carved with four symmetrical fairy mountains, the middle of the fairy mountain is a Famen town, and the other gaps are all kinds of beautiful sea inkstone patterns.

It is rumored that the meaning of Li Shimin's creation of this bronze mirror was to hope that his eldest grandson Empress would be able to enjoy health forever and immortal forever, and hope that this bronze mirror could bring good luck to Empress Changsun.

It's a pity that his wish is beautiful, but the reality is also cruel, in the end, the eldest grandson queen still didn't live to be forty years old, and at the age of thirty-five, she drove to the west.

Later, the Tang Dynasty declined, the warlords were divided, and Chang'an City was burned several times, and Li Shimin's tomb was not much better, and it was dug up I don't know how many times.

This bronze mirror also fell to the people at that time, and then it has been circulated among the people until the Qing Dynasty, when it was included in the imperial palace and hidden.

However, in the late Qing Dynasty, the national strength weakened, and the royal family was incapable of self-preservation, and many of the royal treasures of that year also flowed into the people.

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

Speaking of this Yamanaka Chamber of Commerce and Yamanaka Jojiro, to the Japanese, he is a national hero, but for the Chinese, then this Yamanaka Jojiro is completely a thief, robber, and cultural relics dealer under the banner of a businessman.

In the twenties of the last century, the Shanzhong Chamber of Commerce was once active in the capital, the Jinmen generation, specifically 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.

It is common to buy and sell, and if you encounter a hard bone, then use extraordinary means, and your reputation is very bad anyway.

And later, he also penetrated his tentacles into the Qinxi generation, specializing in stealing ancient Buddha statues and other cultural relics over there, anyway, the notorious kind.

There are a lot of stone Buddhas in the Tokyo National Museum, and the stone statues and so on were all turned upside down by this grandson.

Anyway, Ya is a microcosm of Japanese robbers in those years, and it is precisely because there were countless bastards like this Yamanaka Dingjiro that there is a collection of 100,000 Chinese cultural relics in the Oriental Museum today.

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

And this exhibition hall is from the beginning of 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 looted and plundered by the Japanese from China.

And this exhibition hall is also the most important in the Oriental Museum, even if the Tang Dynasty-themed exhibition hall in front of it is the favorite of Japanese archaeologists, but if it is precious, it must be this exhibition hall that displays porcelain is the most precious in this museum.

Like the Chinese, Japan likes ceramics very much, especially ceramics before the Yuan Dynasty, to put it bluntly, Song porcelain, because Song porcelain is very far-reaching to Japan's image, and it can even be said that compared with the cultural input of the Tang Dynasty to Japan's image.

If the cultural import of the Tang Dynasty allowed the Japanese to lay the foundation of culture, the import of porcelain in the Song Dynasty can be said to have completely changed the lives of the Japanese. (To be continued.) )