And swords such as Zhanlu, Chixiao, Tai'a, Ganjiang, and Mo Ye, in addition to a legendary story, have endowed China with good quality, and are also very sharp, able to cut gold and jade, and swing a sword to drop boulders.

There is almost no archaeological value in it, and the real meaning is not as good as a sword of King Goujian of Yue.

In the eyes of some archaeologists, scholars, and historians, this sword is the real first sword in China.

Liu Zhenhe continued reading the paper.

He saw a lot of bronze artifacts in the pictures of the paper.

These bronze utensils include cooking utensils, food utensils, wine vessels, water vessels, weapons, tools, etc.

There are many types of vessels, thick and dignified, the patterns are rich and rich, and some bronzes are also engraved with inscriptions.

Any one of them in an ordinary museum can be the highlight of the museum.

You must know that in the history of bronze, the Xia, Shang and Zhou dynasties are called three generations.

Most of the bronzes produced by the three generations are national actions, and they are extremely skillful, because the needs of the country and the workers are also doing their best, and the state is sparing no cost, focusing on the quality of the utensils, regardless of the cost.

Therefore, the three generations of bronze devices are all high-quality products.

Every bronze has a story to tell.

Each piece of bronze tells us something about that era.

For example, a bronze jue from the Xia Dynasty tells us that we have made wine in the Xia Dynasty.

Through the exquisite shapes, exquisite casting, and rich ornaments of bronze artifacts on the picture, Liu Zhenhe lifted the fog of that dusty history.

Reveal a glorious bronze civilization that lived in China's Yellow River valley more than 4,000 years ago.

Liu Zhenhe looked at the pictures of the bronzes on the paper with a pilgrim mentality like a pilgrim.

One bronze by one. Exquisite, under the illumination of the light, it reflects the bronze light. This kind of bronze light treasure seems to have a magical power, taking Liu Zhenhe back to the Xia Dynasty more than 4,000 years ago, and personally feeling the brilliant and glorious bronze civilization of the Xia Dynasty.

At the end of the thesis, the appearance of a picture once again gave him a huge surprise.

This is a four-legged square tripod, the shape is thick and elegant, the momentum is magnificent, and the ornamentation is beautiful.

There is a text below the picture of Dading.

Summer Queen. The height of the summit is 105.2 cm, and the length of the mouth is 112.5 cm. The mouth is 75.4 centimeters wide, weighs 721 kilograms, and the inner wall of the tripod is engraved with 21 lines of 458 characters.

"Another big vessel with such an inscription." Liu Zhenhe was pleasantly surprised.

Liu Zhenhe read the inscription.

This four-legged square tripod was cast during the reign of Xia Houhuai to commemorate and praise his father.

Liu Zhenhe thinks that the name of this tribute is very appropriate and appropriate for the contributor to name this tripod 'Xia Hou Zhu Ding'.

From the age, the casting work is meticulous, the ornamentation, and the number of inscriptions on the tripod. As well as the archaeological value contained in the tripod, there is no doubt that the Xia Hou Ding has surpassed Simu Wuding in the value and significance of cultural relics, and has become the first tripod in China.

Liu Zhenhe did not hesitate to praise him.

The words 'the treasure of the country, the artifact of Chinese civilization', 'the first sword of China', 'the first tripod of China', and 'the treasure of the museum' are used to describe the Yi Qi Pan, Qi Jian, Xia Hou Zhu Ding and the Xia Dynasty bronzes in the picture.

It can be said that the evaluation is very high. It is as high as an incomprehensible Cheng dù.

However, this sentence is not false at all, 'Yi Qi Pan'. 'Xia Hou Ding', 'Qi Jian', the Xia Dynasty bronzes in the picture are enough to deserve such an evaluation.

Liu Zhenhe can almost imagine that after the publication of this paper, it will trigger a tsunami-like impact in the international and domestic academic circles.

You must know that this is not an ordinary historical event of archaeological discovery, but a new understanding of an ancient civilization. Definition.

Liu Zhenhe glanced at the name of the contributor in the upper left corner of the first page of the manuscript, Chen Rui. This is a Chinese.

Liu Zhenhe took a deep look at the name and remembered it.

Liu Zhenhe took out his mobile phone.

I took a few pictures of the pictures of 'Yiqi Pan', 'Xia Hou Zhuding', and 'Qijian' on the paper.

Then, select a few contacts in your phone's contact list to send those pictures over.

Then, Liu Zhen and his whole body leaned back on the chair, closing his eyes and resting.

When I was reading the paper just now, my emotions fluctuated too much, and I spent too much energy-

Yenching University.

History class lecture hall.

On the podium, there stood a professor wearing a tunic with a white beard and hair, but a very strong spirit.

The professor's name is Wu Zhengyi, a professor of history at Yenching University, a famous historian, and a researcher at the Institute of History of the Chinese Academy of Sciences.

He once participated in the 'Xia, Shang and Zhou Dynasty Project'.

In terms of historiographical concepts and methods, he is the same as Liu Zhenhe, a school of ancient interpretation.

'Interpretation of the Ancient History' advocates the combination of the records of ancient books and the results of archaeology to reconstruct ancient history.

Professor Wu stood on the podium and said to the students below, "Students, turn to page 27, and in this lesson, we are going to talk about the concept of divine authority of the Chinese Dynasty for thousands of years.

In summary, "Fengtian carrier" and "divine authority of kings" are the concepts of the ancients about the mandate of heaven.

The concept of the 'Mandate of Heaven' existed in the Shang Dynasty a long time ago. For example, it is said that when King Wen of Zhou was in Qishan, there was a phoenix perched and chirping in Qishan, and the phoenix singing Qishan was an auspicious omen of Zhou Xingsheng.

After the establishment of the Zhou Dynasty, this set of concepts of the Mandate of Heaven was sorted out by Zhou Gongdan (Ji Dan) and became the legal basis for the establishment of the country.

Professor Wu gave a lecture on the podium, which was very vivid and interesting.

Under the podium, the students listened very carefully and attentively.

Suddenly, Professor Wu felt the mobile phone in his pocket vibrate.

Usually when I am lecturing, I am usually not disturbed by anyone, unless there is something very urgent.

The professor pulled out his phone.

After looking at the information, it was a message from Professor Liu Zhen and the professor.

The professor clicks on the message.

Here are a few pictures, the pictures are a bit small and not very clear.

The professor double-tapped the phone screen with his hand.

A clear picture appears on the screen of your phone.

This is a bronze plate,

Professor Wu only glanced at it, and his body froze as if he had been electrocuted, with a shocked expression on his face.

"This is Xia Seal!" Professor Wu almost exclaimed.

Then a huge surprise struck.

Professor Wu put the phone back in his pocket, turned to his classmates and said, "I'm sorry, students, I have something to do now, and I will study on my own in this class." After speaking, Professor Wu packed up the textbooks on the table and left the classroom in a hurry. (To be continued)

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