<ul><li><span style="font-size:20px;">人面魚紋彩陶盆</span></li><li><span style="font-size:20px;">1955年出土于陜西西安半坡遺址</span></li><li><span style="font-size:20px;">現(xiàn)存中國國家博物館</span></li><li><span style="font-size:20px;">用途：兒童甕棺的棺蓋</span></li><li><span style="font-size:20px;">禁止國外出展文物</span></li></ul><p class="ql-block"><span style="font-size:20px;">古代半坡人在許多陶盆上都畫有魚紋和網(wǎng)紋圖案，這應(yīng)與當(dāng)時的圖騰崇拜和經(jīng)濟(jì)生活有關(guān)，半坡人在河谷階地營建聚落，過著以農(nóng)業(yè)生產(chǎn)為主的定居生活，兼營采集和漁獵，這種魚紋裝飾是他們生活的寫照。</span></p> <p class="ql-block">A valuable piece of pottery was made about 10,000 years ago, which is called Painted Pottery Basin with Fish and Human Face Design.</p><p class="ql-block">It is not a real basin for washing. It is a lid of an urn in which dead children were stored. </p> <ul><li><span style="font-size:20px;">玉琮王</span></li><li><span style="font-size:20px;">1986年出土于杭州余杭反山墓</span></li><li><span style="font-size:20px;">現(xiàn)存浙江省博物館</span></li><li><span style="font-size:20px;">祭祀的禮器</span></li><li><span style="font-size:20px;">禁止境外展出文物</span></li></ul><p class="ql-block"><span style="font-size:20px;">玉琮王通高8.9厘米，上射徑17.1厘米至17.6厘米，下射徑16.5厘米至17.5厘米，孔內(nèi)徑3.8厘米，器形外方內(nèi)圓，是已發(fā)現(xiàn)的良渚玉琮中最大、最重、刻紋最精美的一件。</span></p><p class="ql-block"><span style="color:rgb(25, 25, 25); font-size:18px;">浙江省文物考古研究所相關(guān)負(fù)責(zé)人表示，在發(fā)現(xiàn)玉琮王之初，考古人員并未過多關(guān)注玉琮上的紋飾。在它被送往文物庫房進(jìn)行編號、拍照之后，考古人員才發(fā)現(xiàn)，玉琮王上竟刻畫著頭戴羽毛發(fā)冠、騎在神獸之上的“神人獸面”圖案。</span></p> <p class="ql-block">YuCong, or “Jade Cong”, which is a jade tube with a round inside and square outside, is an ancient ritual article. It can prove that Chinese civilization has existed for at least 5000 years.</p><p class="ql-block">The YuCong was discovered in a tomb on Fanshan Hill. Now you can visit and observe it in Zhejiang Province Museum. The rare YuCong king was excavated from the Neolithic period in liangzhu State. </p> <ul><li><span style="font-size:20px;">青銅立人像</span></li><li><span style="font-size:20px;">1986年于三星堆遺址出土</span></li><li><span style="font-size:20px;">現(xiàn)存于四川省三星堆博物館</span></li></ul><p class="ql-block">青銅立人像，距今已有3000多年歷史，是中國發(fā)現(xiàn)的距今最久遠(yuǎn)、最高大、最完整的青銅立人像。被譽為“世界銅像之王”。</p> <p class="ql-block">The picture above is one of China’s ancient brine figure statues, which was found the largest and the earliest of its kind so far in Sanxingdui in Guanghan, Sichuan Province.</p><p class="ql-block">It’s priceless and can’t be exchanged as a national treasure, it was also exhibited in Britain. </p><p class="ql-block">Because of its upright figure and exquisite clothing, some experts believe that he was a wizard, while others think that he was an acclaimed king.</p> <ul><li>名稱：何尊（國寶級文物）</li><li>出土地：陜西省寶雞市陳倉區(qū)賈村鎮(zhèn)</li><li>出土年代：1963年</li><li>尺寸：高38.5cm，口徑28.8cm</li><li>禁止境外展出文物</li></ul><p class="ql-block">賈村鎮(zhèn)西街的陳家老二，在一場大雨之后，在院后挖掘倒塌的窯洞時意外發(fā)現(xiàn)了一件古銅器。陳家人不知其價值，在清理干凈泥土之后，用于裝盛糧食。1965年8月，因經(jīng)濟(jì)拮據(jù)，陳家老大將銅器以30元錢的價格賣給寶雞市的一家廢品收購站。同年9月，寶雞市博物館的職工在廢品收購站將其發(fā)現(xiàn)并搶救運回博物館。</p><p class="ql-block">1975年， 中國文物局準(zhǔn)備將新出土的文物送國外展出，陜西就將此文物送到北京。專家在文物除銹處理時發(fā)現(xiàn)了何尊內(nèi)部的底部有122個銘文漢字，其中有“宅茲中國”和“德”的字樣。這是已知最早刻有“德”字的容器。此前古人用“得”字表示得到的得，同時也表示道“德”的“得”。兩個得字的分家，表明周代要用心治國，以德治國的理念。因此這個何尊成為響當(dāng)當(dāng)?shù)膰鴮?。?022年開始成為永不在境外展出的文物。</p><p class="ql-block">何尊名字的來源于何姓貴族制造的尊。</p> <p class="ql-block">In 1975, the Chinese Cultural Heritage Administration prepared to send the newly unearthed cultural relics to be exhibited abroad. Shanxi Province sent this He Zun to Beijing. During the professional treatment of cultural relics, the expert found 122 inscribed Chinese characters at the base inside the container, and also found its value. Now the He Zun is a national treasure cultural relics and one of the heritage forever banned from being exhibited abroad.</p> <ul><li>東漢擊鼓說唱陶俑（<span style="font-size:18px;">國家一級文物）</span></li><li>1957年出土于四川省成都市天回山東漢崖墓，為東漢明器。</li><li>現(xiàn)藏于中國國家博物館</li></ul><p class="ql-block">東漢擊鼓說唱陶俑高56厘米，以泥質(zhì)灰陶制成，頭上戴幘，兩肩高聳，著褲赤足，左臂環(huán)抱一扁鼓，右手舉槌欲擊，張口嘻笑，神態(tài)詼諧，動作夸張，活現(xiàn)一俳優(yōu)正在說唱的形象。</p><p class="ql-block">東漢擊鼓說唱陶俑被稱為“漢代第一俑”，是一件富有濃厚民間氣息和地方風(fēng)貌的優(yōu)秀雕塑作品。</p> <p class="ql-block">The tomb figurine provided entertainment in the afterlife, which is reputed as the “No 1 Figurine of the Han Dynasty.”</p><p class="ql-block">Paiyou performers, usually of low social status, were skillful at cracking jokes and teasing, similar to the clown in modern drama.</p> <ul><li>長信宮燈</li><li>1968年于河北省滿城縣，中山靖王劉勝妻竇綰墓中出土。</li><li>禁止出境展覽文物</li></ul><p class="ql-block">宮燈燈體為一通體鎏金、雙手執(zhí)燈跽坐的宮女，神態(tài)恬靜優(yōu)雅。燈體通高48厘米，重15.85公斤。長信宮燈設(shè)計十分巧妙，宮女一手執(zhí)燈，另一手袖似在擋風(fēng)，實為虹管，用以吸收油煙，既防止了空氣污染，又有審美價值。</p><p class="ql-block">1971年，美國前國務(wù)卿亨利· 基辛格訪華時表示中國人太了不起了，早在兩千年前就有了環(huán)保理念。這件文物可能是世界上最早的環(huán)保燈。</p> <p class="ql-block">The Changxin Palace Lamp is listed as one of the cultural relics prohibited from being taken out of the country for exhibition.</p><p class="ql-block">What makes it unique is that 2000 years ago, people already incorporated environmental concepts. Intriguingly, her right arm also acts as an exhaust pipe. The candle smoke flows through her arm into her hollow body where water is stored, which dissolves soot and prevents the lamp from polluting the indoor air. </p><p class="ql-block">Former United States Secretary of State Henry Kissinger said that the cultural relic was probably the world’s earliest eco-friendly lamp when he visited China in 1971. </p> <ul><li>洛神賦圖</li><li>顧愷之</li><li>東晉</li></ul><p class="ql-block">洛神賦圖是顧愷之的第一幅根據(jù)文學(xué)作品曹植的《洛神賦》改編的絲綢長卷，它開創(chuàng)了中國畫傳統(tǒng)長卷的先河。顧以連環(huán)畫的方式呈現(xiàn)了一個凄美的人神之戀故事。</p> <p class="ql-block">The 6-meter handscroll "Nymph of the Luo River" is considered the first Chinese painting adapted from a literary work. Painted by Gu Kaizhi and presented in the manner similar to a comic strip, it tells the bittersweet love story of a man and a goddess.</p> <ul><li>鹿王本生圖 </li><li>位于敦煌莫高窟</li><li>北魏時期</li></ul><p class="ql-block">九色鹿原形象創(chuàng)作于北魏時期，是敦煌莫高窟壁畫《鹿王本生》的九色鹿王。“鹿王本生”說的是釋迦牟尼前世是九色鹿王，他在恒河救下一個險將要溺水的人、差點遭受出賣的九色鹿的故事。故事宣揚正義，歌頌偉大而高尚的品德，譴責(zé)忘恩負(fù)義的邪惡靈魂，進(jìn)一步宣揚善有善報、惡有惡報的思想。</p> <p class="ql-block">This artwork takes the form of a horizontal scroll with the story unfolding from both ends and converging in the middle. It consists of multiple scenes depicting various stages of the story, all seamlessly connected to create a coherent narrative.</p> <p class="ql-block">In the murals of the Northern Wei period in Dunhuang, Jataka stories are an important theme. Jataka stories refer to the countless events and experiences in the past lives of Siddhartha Gautama, who would later become the founder of Buddhism. “The Story of the Nine-Colored Deer King” is just one of them. </p> <ul><li>十二生肖俑</li><li>陜西歷史博物館 </li><li>唐代 </li></ul><p class="ql-block">身著袍服站立的獸首人身十二生肖俑流行于唐代。擺放在墓室的四壁，按子午方向排列，同時也可以表示時間，隨葬入墓希望十二時辰的神靈輪流執(zhí)勤守護(hù)墓主人，祈求墓室永固。</p> <p class="ql-block">The twelve zodiac figurines currently housed in the Shaanxi History Museum retain the heads shaped like the animals they represent, yet their bodies have taken on a human form. They are draped in the wide-sleeved robes popular during the Tang era and stand erectly on circular platforms. Their heads are slightly raised, expressions solemn, resembling the dignified scholars standing in court. </p> <ul><li>《祭侄文稿》</li><li>顏真卿</li><li>唐代</li></ul><p class="ql-block">這是追祭侄兒顏季明的草稿。共二十三行，凡二百三十四字。這篇文稿追敘了常山太守顏杲卿父子一門在安祿山叛亂時，挺身而出，堅決抵抗，以致“父陷子死，巢傾卵覆”、取義成仁之事。</p><p class="ql-block">此稿是在極度悲憤的情緒下書寫，不顧筆墨之工拙，故字隨書家情緒起伏，純是精神和平時工力的自然流露。故稱天《祭侄文稿》是極具史料價值和藝術(shù)價值的墨跡原作之一。</p> <p class="ql-block">"Draft of a Requiem to My Nephew" stands out. Written in 758 AD, the piece commemorates his cousin, Yan Gaoqing, and nephew, Yan Jiming, who fell by enemies’ swords when fighting to put down a rebellion.</p> <ul><li>汝窯</li><li>河南汝州</li><li>北宋</li></ul><p class="ql-block"> 宋徽宗的一夢天青，成就了汝瓷。</p><p class="ql-block"> 為了做出“雨過天青”的顏色，工匠們用盡各種方法，來實現(xiàn)徽宗的夢。他們在燒制釉色獨特的汝窯瓷，選瑪瑙石入釉，才使汝瓷呈現(xiàn)出汁如堆脂、面若美玉、瑩潤純凈、素雅高貴的皇家之氣。</p> <p class="ql-block">The Song Dynasty was a golden age in the history of China’s porcelain industry. Ru Kiln is the most famous of the five great kilns.</p><p class="ql-block">The above photo was taken by me when I visited the British Museum.</p> <ul><li>《千里江山圖》</li><li>王希夢</li><li>宋朝</li></ul><p class="ql-block">《千里江山圖》是中國十大傳世名畫之一，由北宋畫家王希孟在18歲時用半年時間畫成。不同于黑白色調(diào)的水墨畫，該畫因用石青石綠色的礦物質(zhì)顏料繪成而得名，絢麗的青綠色調(diào)交織描繪著千里江山的錦繡恢弘。</p><p class="ql-block">王希孟（1096年—1119年），中國宋代畫家，擅作青綠山水。北宋政和年間18歲入文書庫，即當(dāng)時的宮廷畫院，數(shù)次獻(xiàn)畫但水平不高。宋徽宗指導(dǎo)其畫技，半年后王獻(xiàn)了一幅圖，被宋徽宗賜予宰相蔡京。</p> <p class="ql-block">Depicting the scenery of beautiful mountains surrounded by vast rivers, the 12-meter-long scroll is the only work by Wang Ximeng, who was a teenager, that has been passed down to the present.</p> <p class="ql-block" style="text-align:right;">蔡京為此畫寫的跋文</p> <ul><li>金絲翼善冠（又名：金絲翼善冠或金絲蟠龍翼善冠）</li><li>明十三陵博物館</li><li>萬歷四十八年前后（1620年）</li><li>明十三陵定陵</li></ul><p class="ql-block">金冠又稱金絲翼善冠，由三部分組成，前屋、后山和兩角。前屋指的是帽殼部分，工匠是用“編燈籠空兒”的方法，從上至下細(xì)金絲手工編結(jié)而成，由于工匠的技藝純熟，編的花紋不僅空檔均勻，疏密一致，而且中間無小結(jié)，看上去薄如輕紗，半圓形的帽山上挺立著兩個狀如兔耳的金絲網(wǎng)片，即兩角。后山的正前方是精彩的二龍戲珠圖案。目前金冠在我國僅此一頂，堪稱國寶。</p> <p class="ql-block">The crown is woven with 852 strands of gold wire and weighs only 826 grams. It featured two rabbit-ear-shaped gold wire meshes, with a large pearl sit between them. Two dragons, shaped from gold wires, appear to play with pearl atop the crown.</p> <ul><li>《荷花雙鳧圖》</li><li>八大山人</li><li>明代</li></ul><p class="ql-block">兩石安排頗見匠心，一高一低，一大一小，一仆一俏，一邊角一中下。畫中的荷葉數(shù)柄，高可過人，有濃有淡，形態(tài)各異，錯落有致。雙鴨各占一石，各行其是，且都具有犀利的喙和大大的白眼。這是八大山人描繪鳥類眼睛的特征：白眼。畫作描繪了夏日河塘邊上的景色，就是一幅極有意境的“白眼佳作”。</p><p class="ql-block">此畫雖為荷塘小品，但頗有范寬大山大水的雄渾氣魄，一石可當(dāng)一山之用，數(shù)荷可見千里荷塘之概，大氣磅礴，神可奪人。</p> <p class="ql-block">This picture shows one large and one small stones; two ducks stands on stones separately; several lotus; and a large open space in the middle. There is no interaction between the two birds, but both are painted with razor-sharp beak and large rolling eyes.</p> <ul><li>《孤禽圖》</li><li>八大山人</li><li>明代</li></ul><p class="ql-block">《孤禽圖》一作，雖然著墨不多，卻是莫名的打動人。白紙上只有一只黑色的鳥側(cè)身獨腳站立，弓背縮脖，標(biāo)志性的白眼透露出一股冷漠倔犟和孤高與不羈。</p> <p class="ql-block">On the white paper of the painting, there is only a black bird standing side ways with one leg on the ground. It hundred back and struck neck reveal a sense of aloofness, stubbornness, and an air of being independent and unrestrained. The characteristics white eyes of the birds convey a hint of coldness and determination.</p><p class="ql-block"><br></p><p class="ql-block"><br></p><p class="ql-block"><br></p><p class="ql-block"><br></p><p class="ql-block"><br></p>