"Style Lei" actually made a low-level mistake when designing and drawing Lu Chen Dun's drawings, which shows that contemporary archaeological techniques are far superior to those of the Qing Dynasty. What's going on here? If you want to know, let Xiaobian reveal the secret for you:
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Also known as the Forbidden City, the Forbidden City was the residence of the emperors of the Ming and Qing dynasties on the mainland to live and handle political affairs. Imperial palaces are always present, and any ceremonial activity must comply with various ceremonial regulations, so every time the celebration is held, the Luchen Dun of the Qing Palace will hang bronzes handed down from ancient times.
The architecture and ceremonial design in the Qing Palace were undertaken by the Lei family, so it was called "Style Lei". The members of the "Style Lei" family include Lei Fengfeng, Lei Jinyu, Lei Jiaxi, Lei Jiawei, Lei Jiarui, Lei Siqi and so on. It is no exaggeration to say that the buildings and royal projects in the Qing Court, such as the Imperial Tomb, the Yuanmingyuan, the Summer Palace, etc., almost all came from the Lei family, who were the treasure-level figures in the Ganpai architecture and an important inheritor of Chinese culture.
Lu Chen Dun's invention was actually just accidental, when Empress Dowager Cixi celebrated her sixtieth birthday, because there were many treasures and there was no place to put them, so the empress dowager, who loved luxury, ordered many special stone piers to be used to display treasures. In this way, Lu chen dun became an inherent architectural facility in the Qing palace. "Style Ray" has a very long family heritage and is very careful about doing things for the court. In order to facilitate the management of cultural relics, Style Lei personally drew a sketch of the display to present the emperor's appreciation, and marked the artifacts on Lu Chen Dun one by one. However, you can't imagine that in the bronze ware marked by the style lei, there is a very obvious error, an antiquity labeled as "strange beast bell", exposing the ambiguous attitude of the Qing Dynasty to archaeology.
According to archaeological experts, the "Strange Beast Bell" is a Cultural Relic of the Han Dynasty, manufactured from about 206 BC to 220 AD, its body through the button height of 44 cm, the upper width of 27 cm, the lower width of 17 cm, for the military percussion instrument. Elliptical body, large and small, the top is slightly smooth, surrounded by a turned lip, there is a tiger button, the tiger is open mouth,the body is decorated, and the lower mouth is straight. After tapping, the beast bell can make a crisp and pleasant metallic sound, and its sound can be transmitted to dozens of kilometers away, which has the effect of inspiring the hearts of the army.
However, archaeologists claim that when Style Ray named the artifacts in the palace, he did not carefully study the beast Bell. If the root cause is to come, the beast bell should be called "Hammer Yu". The "four golds" of the ancient music are the first, the "four golds" are Zhen Yu, bracelet, cymbal, duo, when they are hit, the sound is thunderous, echoing for a long time, it is said to boost morale, the earliest appeared in the Sichuan region, is its ancient Pakistani army must be the sound of the ringer. In June 1983, on the shore of the Huangshui River in Anle Village, Xinguan Town, Shimen County, Sichuan Province, 15 pieces of tin were excavated at one time, but unfortunately, all of these excavated cultural relics were seriously corroded and could no longer knock out the sound of the year.
As for why Style Ray would refer to "錞于" as "Big Bell"? In the Taiping Imperial Book of Quotations, it is recorded: "Those who are made of copper are shoveled in their image. On the nose of the beast, the inner syllable bell brass tongue, where the music vibrates and chirps." It is precisely because its external shape is particularly similar to a bell that it was called "big bell" by the Qing people, and indeed, this statement is completely inaccurate.
Speaking of this, it is not difficult for us to find that in fact, the epigraphic archaeology of the Qing Dynasty is not yet mature, in contrast, today's archaeological achievements are worthy of our pride and pride.
References: The Forbidden City, by Cao Jianwei, published by Beijing Publishing House
Wen xiucai, editor-in-chief of Wenlan Hairun Studio, written by: Special history writer: Changshan Zhao Zi worm