It can be said that as long as they are nobles, they will usually be buried with bronze mirrors.
When the bronze mirrors were buried with them, they were not placed randomly, but had a special placement.
For example, next to the head, on the coffin, or even on the corpse.
Generally, when cleaning an ancient tomb, one would start from the belly and clean the dead soil down to the bottom, because there may be a bronze mirror on the chest.
If there is a bronze mirror, men and women can be distinguished.
Generally, the main burial objects are at the head, with porcelain covering the face, a pair of soul bottles placed in the first two places, a hidden stele on the wall above the head, and perhaps a wall cage behind the stele.
There may be wall cages on both sides of the shoulders, which can be used to determine the level of the tomb.
Don't dig the lower body unless it's a big tomb. There is nothing except coffin nails. A coffin covered with slabs of stone is naturally the best.
The above refers to the tombs of civilians or wealthy members.
Talking back to the mirror, the clouds are in the mirror again.
Originally refers to a bronze mirror, also known as a holding mirror, a soul-calling mirror, and a daughter's mirror.
It not only refers to the bronze mirror placed on the cover according to etiquette, but also has another meaning, which means that this mirror can speak and has something to say.
If someone understands mirror language, he can judge and deduce many situations based on the information in the bronze mirror.
The customs of each period are different. The number of mirrors varies depending on the number of daughters. Their financial resources are also shown on the bronze mirrors.
However, the Mirror Talk has been lost for a long time now, and there is no written explanation.
As for why Chen Wenzhe knew it, it must have come from the inheritance of the Sui Marquis Pearl.
There were so many ancient tombs that he visited in his dream. Many times, he remembered them deeply!
It was actually because during that period, every time he went to the tomb, he ended up being killed by various mechanisms in the tomb.
There are too many dead at this time, but it will not make him numb, it can only make his memory more profound.
Therefore, when it comes to the burial objects in tombs, he is really familiar with them.
Whether it's tomb robbing or archeology, it's really important to find out what items appear in an ancient tomb and where they are placed.
If you don’t know, how do you dig out the treasure buried underground?
This is actually more challenging for tomb robbers, because they often operate at night and have set times.
This can only allow them to find the most valuable treasure in the shortest time.
This is also a key factor that allowed Chen Wenzhe to know very well the placement of funerary objects in tombs.
In fact, it is not difficult to hunt for treasures in ancient tombs.
Especially for large tombs, there are regulations. The larger the tomb, the funerary objects are generally placed in the "ear chambers" on both sides of the main tomb chamber, that is, the small chambers on both sides.
Among the tombs, it mainly functions as a warehouse.
Of course, there will also be funerary objects around the coffin in the main tomb.
The owner's coffin contains mostly exquisite items, including seals, finger rings, court beads, jade pendants, etc. for men, as well as some miraculous artifacts such as jade cicadas and jade pigs.
For women, they carry jewelry, gold, silver, silk, etc.
Large tombs all have side rooms, where the owner's daily necessities are stored, including gold, silver, copper, jade, lacquer, porcelain, etc. The generals have swords, bows, arrows, and horse bones, and the civil servants have bamboo slips and utensils to play with.
"It's a bit scary to talk about this!" Wu San said with an unusual expression.
They, those who are trying to find a way out, are more concerned about this kind of thing. If they can avoid provoking it, it is best not to provoke it, so they really will not go to the grave.
As far as Wu San knows, even if they belong to a family of tomb robbers, there are rules for who goes to the tomb.
Gucheng
For example, if a father and son are together, then the son must be able to do it, but I cannot.
Not out of filial piety or filial piety, but out of pure distrust and for insurance.
Going to the grave is very dangerous. If my son is in danger, I will risk my life to save him.
Also, if something unexpected happens, the old man on the tomb will definitely not leave his son alone and run away.
If I go down to the tomb and leave my son to watch over it, then even I don’t know what my son will do when there is a problem.
Also, what should I do if I go on a treasure hunt down to the tomb and find a treasure that is too good, too precious, or too valuable?
I am definitely not willing to kill my own child, but what the child thinks above me cannot be tested often!
This is still father and son, what if they are brothers? What if there is no blood relationship?
"Boss Chen is very sincere, why don't we talk about something useful?" At this time, Lao Zhou changed the subject.
Lao Li said directly: "Let me make the payment!"
Starting from the Tang Dynasty and the Yuan Dynasty, more and more inscriptions were written on porcelain.
By the Ming Dynasty, especially after Hongwu and Yongle, inscriptions on porcelain had almost become standard.
What Lao Li is talking about is the tube style, which is the font and style of the inscription on official kiln wares.
The inscriptions of official kilns in each period abide by certain rules and reflect the unique style of the era. The text-type inscriptions are called "official style inscriptions".
But it should be noted that even for the same emperor, there will be great differences due to different years.
At present, the academic community lacks an official chronology, and although Jingzhen's is not complete, they definitely have the largest collection.
This can no longer be said to be dry information, but a real secret.
Since he is sincere, Chen Wenzhe can only tell some secrets that he has learned through inheritance.
For example, official kiln patterns refer to the patterns on official kiln wares. The patterns on official kiln wares in each period have certain formats, routines, and even drawings. They are obviously different from folk kilns and from previous dynasties.
Later generations, this kind of thing is called "official body pattern".
There is a truth in calligraphy and painting: it is easier to follow one's heart than to imitate.
Some data show that the craftsmen of the official kilns had a detailed division of labor. They had to calligraphy and painting the same pattern and text countless times, and they had pictures and text in their minds, and they wrote with spirit.
It turns out that Chen Wenzhe learned how to make porcelain through an immersive experience in his dreams. He did not just learn how to make one kind of porcelain, but how to make all kinds of porcelain.
For example, when he was studying basic porcelain making, he had learned not just the porcelain of one dynasty, but all the porcelain making of all dynasties.
If he systematically studies porcelain making, he will definitely understand the pattern changes on it.
But modern people have a clear division of labor no matter what they do, so naturally they don’t have Chen Wenzhe’s experience of taking charge of the overall situation and standing at the top to see all the small things.
You talk about style, I'll talk about decoration, because Chen Wenzhe knows too many decorations.
It turned out that he didn't sort it out, but now when he communicated with others, after a little thought, he came up with the typical characteristics of each dynasty from ancient times to the present.
After exchanging names and decorations, what other top-notch craftsmanship can be found on a piece of porcelain?
"Then let me talk about the porcelain body. This is the foundation of the foundation. All changes are effected on the porcelain body. This is also the most important."
After just a little hesitation, Lao Li started talking about the utensils of various dynasties, especially some classic utensils.
The bodies of porcelain are also different, and some are very strange, such as red bodies.
This phenomenon is often used in Yongle sweet white glaze, Chenghua red body porcelain, and late Ming Dynasty Dehua porcelain, which refers to the carcass being slightly red.
If the color is darker, it is called "ruby red".
There are also red bodies in the blue and white porcelain of the Tang and Song Dynasties, and there are also red bodies in the pottery before the Tang Dynasty.
Since the late Qing Dynasty, red soil has been scarce, so red body porcelain is rarely known.