To understand a city, start with a museum. Today I will take you to the Liyang Museum, introduce you to a few treasures, listen to the wonderful stories behind it, and taste the brilliant civilization of China like "full of stars".
Spring and autumn golden melon seeds
Spring and Autumn Golden Melon Seeds are national third-class cultural relics, 0.9 cm long, 0.6 cm wide, 0.3 cm high and weigh 1.7 grams. It was picked up and handed over by farmers in Jiuxian County at the water conservancy site when it was dredged and excavated in the winter of 1975 when the Liyang Middle River was excavated and excavated. Behind this precious cultural relic is the story of Shi Zhennu, who is well known in Liyang.
Folk legend has it that from Nandu to the old county area, some people have repeatedly picked up golden melon seeds. In 1992, the "Liyang County Chronicle" recorded: "In 1925, a farmer in Qingfeng Wei's wooden coffin hoeed mulberry land to get a golden melon seed, which was rumored to be Wu Zixu's reward for Shi Zhen's investment. "This golden melon seed in the Liyang City Museum was unearthed in the old county, and the excavated cultural relics in the shape of the golden melon seed are only known at present, which is an important witness to this history, reflecting the ancient style of the ancestors of Liyang who sacrificed their lives to take righteousness and faith and righteousness, and left a strong mark for the history and culture of Liyang."
Song Dynasty Glass Four Gods
The Green Dragon, White Tiger, Suzaku, and Xuanwu are also known as the "Four Gods" or "Four Spirits".
White tiger
Green Dragon
Xuanwu
Among the ancient cultural relics, many of them are about the theme of "four gods", among which the four gods of glass excavated in February 1978 in the two Song Dynasty brick chamber tombs in Zhongmei Village, Zhuzhen Town, Liyang, can be called the best of the four gods theme cultural relics. These two brick chamber tombs, according to the epitaph of one of the tombs, know that the owner of the tomb is named Li Bin, died in the sixth year of the Northern Song Dynasty (1091), and the other is the tomb of his wife Pan, so the second tomb is also known as the tomb of Li Bin and his wife. The owner of the tomb, Li Bin, was a rich man who was "accumulating tens of thousands of dollars" at that time, and many glass vessels including architectural models, four gods and beasts, and statues of human figurines were unearthed in the tomb, most of which are now stored in the Zhenjiang Museum. One of the four gods of glass, including the Green Dragon, the White Tiger and the Xuanwu, is collected by the Liyang Municipal Museum.
Warring States copper tools
In August 1992, the acquisition station of Nandu Town, Liyang City, collected a Warring States copper tool, which is now a second-class cultural relic, and is collected in the Liyang City Museum. The characteristics of the Warring States copper tools are briefly described as follows: the length is 15.6 cm, the width is 7.4 cm, the height is 0.9 cm, there are serrations, complete, and it has certain value for the study of the production tools of Wuyue culture. The discovery of this bronze tool shows that agricultural cultivation in the Liyang area during the Spring and Autumn And Warring States periods was very prosperous.
During the Spring and Autumn Period and the Warring States Period, Liyang Water Conservancy Construction developed rapidly, which provided the necessary conditions for the development of agricultural production. It is said that in the late Spring and Autumn Period, Wu Zixu excavated the earliest artificial canal in Liyang, the Xu River. The excavation of warring states copper tools reflects the new progress of agricultural production in The Liyang region during the Spring and Autumn Period and the Warring States Period.
Neolithic stone with handle
Excavated in May 1978 in the Gushahe Ancient Road in Liyang, it is a national first-class cultural relic. The vessel is 32 cm long, 18.5 cm wide and 6.2 cm high, and consists of two parts: a stone hammer and a wooden handle. The stone is a segmented stone, rectangular on the front and segmented in the upper part of the back, with smooth grinding throughout, neat edges and angles, and the use of crack marks on the edge.
In 2007, a stone with a handle was also excavated at the Liangzhu Cultural Site in Yuhang South Lake, Zhejiang Province. The entire Liangzhu cultural region, including southern Jiangsu and northern Zhejiang, has been excavated with the same structure of stone with a handle (axe), which provides reliable physical evidence for the handle of such stone tools, and the tenon and tenon structure of the stone tungsten (axe) handle method was indeed widespread at that time. The excavation of the stone hammer with a handle provides important data for the study of human production and life in primitive society, and is of great significance to discuss the level of development of productive forces in primitive human society.
The copper seal of the General of the Three Kingdoms
This partial general bronze seal is now in the Liyang City Museum, which is a national second-class cultural relic. In March 1971, it was excavated and collected by the noon dun production team of Shangxing Shangcheng Village in Liyang, and there were also celadon dog rings and incense scents from the Three Kingdoms period in the area, so it was inferred that the copper seal should also belong to the Three Kingdoms period.
Regarding cultural relics such as the "Partial General Seal", after the founding of New China, it has been found many times throughout the country, and its shape is mostly a turtle button but the material is different. The unearthing of many partial general seals should be related to the frequent wars at that time, the number of deputy generals in the army, and the great generals who presided over military affairs in combat could "set themselves up for partiality" ("Later Han Shu Geng Yi Biography").
Western Jin Dynasty Yue kiln celadon humanoid lampstand
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This collection of Yue kiln celadon humanoid lampstands in the Western Jin Dynasty is an oil lamp at that time, the lampstand is 16 .8cm high, the caliber is 8.5cm, and it is composed of three parts: lamp lamp, lamppost and lamp plate. The lamp is bowl-shaped and decorated with two strings on the outer rim. The lamppost is a sitting figurine, the head of the figurine is smiling, the sideburns have a beard, the head is treaded with a reticulated rolled hat, there are two ribbons hanging behind the head, the figurine wears a robe with a circle and a long stripe, the hands are placed on the chest, holding a rectangular utensil with a handle, and it is a common object used in the Wei and Jin Dynasties, that is, a fan. Judging from the overall appearance of the figurines, it is suspected that it is the shape of the Hu people at that time. The lamp plate is basin-shaped, with damaged broad edges and three animal-hoofed feet on the bottom of the basin. The glass texture of the lampstand utensils is strong, the glaze color is lustrous, and the blue is yellow.
This Yue kiln celadon lampstand is quite creative in shape, and the characters have a strong realistic meaning, reflecting the life interest of the scholar class during the Six Dynasties of Wei and Jin.
Ming Dynasty Rui Beast Jade Pei
This is a Ming Dynasty Rui beast jade pendant collected by the Liyang City Museum in Jiangsu Province, the Rui beast is 3.5 cm high and 3.7 cm long, the White Jade texture of the Hetian, the beast has a prominent chest and eyebrows, a large mouth, double horns on the top of the head, a raw whisker under the jaw, a strong limb, a deep flame-like pattern on the double hook on the hind limbs, and a small hole between the front paws to wear the belt. The jade worker outlines the beast through simple lines. In the ancient jade collection term, there is the term "coarse Daming", which refers to the clean and neat lines of the Ming Dynasty jade, which is informal, and is simple and rough compared with the jade of the Qing Dynasty, especially the Qianlong Period. The simple shape of this jade beast also reflects the characteristics of the era of "coarse Daming".
This collection of Rui Beast Pendant, jade quality and full shape, charm and agility, can be described as a good small piece of jade in the Ming Dynasty.
Ma Shijun calligraphy fan in the early Qing Dynasty
Ma Shijun (1617-1666), Zi Zhangmin, Yi zi Dian Chen, alias Kuang Ling, a native of Liyang, Jiangsu, was a jinshi (i.e. Zhuangyuan) in the eighteenth year of Qing Shunzhi (1661). Ma Shijun proposed to the Shunzhi Emperor in the court test that "the king of the world is a home, it is not appropriate to show similarities and differences, and he must donate the name of Manchu Han, and he will be able to rule with one heart and one heart." At the beginning of the Qing Dynasty, the Manchu and Han ethnic contradictions were still very acute, and Ma Shijun was able to make these remarks to the Qing court, so he was praised by the people of the world. In the third year of Kangxi (1664), he was promoted to a waiter and served as a examiner for the examination, and Kangxi died in Beijing in the fifth year (1666). Ma Shijun's life was erudite in history, and his poetry was especially good at calligraphy, painting and appreciation, and people called him "Two Right", that is, his calligraphy was like The Right Army Wang Xizhi, and his painting was like the Right King Wei. It can be called the first big one in the early Qing Dynasty.
This calligraphy work by Ma Shijun in the Liyang Museum is an illuminated fan, which is part of his "Ancient Xiang Zhai Ti".
For thousands of years, Liyang has been the dream in the hearts of countless literati and inkers. In the museum, there are many treasures hidden, and there are many wonderful stories behind the treasures. Xiaobian is also a layman, can not perfectly tell the unparalleled style inside, Liyang Museum is really great, I really recommend that you go to the museum to see, after visiting you will definitely love Liyang more
Source: Learning to strengthen the country, Rong Liyang