Liu Dong no longer had the intention to pay attention to the situation of the white man who was monitoring him, because this kind of surveillance had no impact on his next actions.
After returning to the tent, Liu Dong glanced at Wukong who was lying motionless, then jumped into the deep black hole that appeared in front of him.
Before those ghosts and snake gods who covet the underground tomb take action, Liu Dong must take the lead and take away everything inside.
After about 50 meters deep underground, Liu Dong finally found the edge of the tomb.
Looking at the diamond wall in front of him, which was completely made of bluestone and imitated in the style of Han tombs, Liu Dong couldn't help but sigh: "No wonder there are no traces of the tombs of more than a dozen emperors of the Yuan Dynasty. Even the tombs of many ministers cannot be found. They are buried.
It's so deep, there are no signs on the surface, and it's a vast prairie with sparsely populated areas. It would be really weird to find it."
In China, and even in the world of archaeology, tombs from the Yuan Dynasty are incredibly rare. Not to mention the tombs of emperors, even the tombs of many Yuan Dynasty ministers have rarely been found.
So many people suspected that the so-called secret treasures of the Yuan Dynasty Mongols were cremations. Of course, this is just a guess. The existence of the mausoleum in front of him obviously made Liu Dong understand that Yuan Dynasty tombs did exist, but they were difficult to find.
After calming down his chaotic emotions, Liu Dong waved his hand and used the relic Yuan Guang to open a two-meter square hole in the Vajra wall, then jumped in.
Due to various considerations, Liu Dong did not go through the main entrance of the tomb, but broke through the diamond wall and entered an ear room.
After briefly looking at the ear chamber, which was less than 30 square meters, and the corpses of cattle, horses and sheep that had turned into white bones, Liu Dong walked to the southeast corner.
After putting away the heavy stone blocking the door and passing through a narrow tomb passage that was one meter wide, two meters high and less than 3 meters long, Liu Dong entered a main tomb passage that was nearly twice as large as the previous tomb passage.
After walking nearly 30 meters along this main tomb passage, Liu Dong came to a tomb with a flat octagonal dome and a flat edge. The entire shape of the tomb was similar to a yurt, but it was larger. The height was over 5 meters, and the area was not small.
It is over a hundred square meters. Moreover, the whole body is made of bluestone with a length of 52 cm and a width of 30 cm. The seams are made of loess mixed with glutinous rice. It is extremely strong.
However, compared to the building materials, Liu Dong admired the exquisite murals that covered almost the entire tomb and still maintained bright colors.
The content of the mural is a war. Judging from the style and color of the battle armor of both sides, it is obvious that one side is the army of the Yuan Dynasty and the other side is the army of the Ming Dynasty.
Whether it was the braided jacket worn by the Yuan Dynasty army commander or the red infantry armor worn by the Ming Dynasty soldiers, Liu Dong was very familiar with it.
However, judging from the contents of the murals on the walls, the Yuan army won this war.
And this is a matter of course. No one is stupid enough to paint a mural of a failed war in his tomb.
In addition to the exquisite murals, there are also many porcelain and pottery funerary objects placed in the open space of the tomb.
These ceramics include statues, pots, bowls, cups, lamps, etc., but most of the porcelain is rough and the quality is not very good. In addition to the ceramics, there are also fired figurines of men and women, horses, cattle, sheep, pigs and other animals.
There are pottery figurines of six animals, as well as pottery such as tripods, pots, jues, guis, statues, ox statues, plates, tables, and stoves that clearly bear the shape of sharp weapons from the Warring States period.
Taking two steps forward, Liu Dong casually picked up a blue and white porcelain bowl with a dragon pattern from the ground. He turned it over and saw that the four-character inscription "Da Yuan Xuan Guang" appeared on the circle.
Generally speaking, porcelain from the Yuan Dynasty rarely has a guarantee. In fact, this was true not only in the Yuan Dynasty, but also in the Song Dynasty and the Tang Dynasty.
Of course there are exceptions
For example, the porcelain used by the court in the Tang Dynasty usually has the word "ying" on the base. On the porcelain used by the palace in the five famous kilns of the Song Dynasty, the name of each palace and even the user's name will also appear on the base.
However, although these funds exist, they are not regulated as they were during the Ming and Qing Dynasties.
However, the existence of this blue and white dragon-patterned bowl also allowed Liu Dong to understand who the owner of this tomb was.
Emperor Zhaozong of the Yuan Dynasty was the second emperor of the Northern Yuan Dynasty, and his reign title was Xuan Guang.
Speaking of which, this Yuan Zhaozong is also a representative figure who knows his way back from the lost way and the prodigal son who returns without paying for his money.
When he was young, Yuan Zhaozong, like the last emperor of the Yuan Dynasty, Yuan Huizong, Tuohuan Timur, was addicted to Tantric Buddhism and was extravagant. He favored traitors and sycophants. It was not until he was driven back to the grassland by Zhu Yuanzhang's Ming army that the former crown prince of the Yuan Dynasty truly
He learned from his mistakes, learned from his mistakes, and tried to restore the Central Plains and revive the Yuan Dynasty.
Furthermore, taking the meaning of Du Fu's poem about the Northern Expedition, "The Zhou and Han Dynasties were rejuvenated, and Xuan Guang was a wise man," he changed the reign name to Xuan Guang, hoping to become a monarch who would rejuvenate the country like King Xuan of Zhou and Emperor Guangwu of Han.
Under the diligent rule of Emperor Zhaozong of the Yuan Dynasty, the political situation of the Northern Yuan Dynasty gradually stabilized. In the Northern Expedition of the Ming Dynasty in 372, the armies of Xu Da and Li Wenzhong were defeated. This war defeated the Ming army.
The vigor of the offensive saved the lifeline of the Yuan Dynasty, which was a major achievement under the leadership of Yuan Zhaozong.
However, the Yuan Dynasty was in trouble, and no matter how hard Yuan Zhaozong tried, he could not reverse the decline of the Northern Yuan Dynasty.
But it is undeniable that it was precisely because of Yuan Zhaozong's efforts in governing the country that the Northern Yuan regime existed for thirty-five years.
"It's a pity that this is the tomb of Yuan Zhaozong"
Looking at the unspectacular funerary objects around him, Liu Dong couldn't help but sigh.
An emperor who was defeated and retreated from the Central Plains, and lost his troops and territory, even if he was slightly prosperous in the mid-term, there would not be many valuable things among his burial objects.
Otherwise, the funerary objects that appeared in this front room should not be these rough porcelain and pottery, but the exquisite porcelain used by the Jingdezhen royal family.
However, even if these porcelains are not outstanding, Liu Dong has no intention of keeping them. Because museums and private collections are different, museum collections not only value high-quality products, but also pay attention to the complete pedigree of the collection.
This batch of representative porcelains from the Northern Yuan Dynasty can greatly enrich the collection of the Liu Dong Yuanming Museum.
Of course, Liu Dong also didn't miss the murals on the surrounding walls. These things are much more precious than the burial objects such as porcelain and pottery.
After Liu Dong finished cleaning the front room, he quickly followed the connected tomb passage to the middle room of the tomb. The architectural pattern of the middle room was the same as that of the front room, with a flat rimmed octagonal dome structure imitating the style of a yurt. However, the structure of the middle room was
The area is half larger than the front room, with a space of nearly 50 square meters.
Similarly, there are brightly colored murals on the walls of the middle room, but the content of the murals is no longer war, but scenes of ancient emperors going to court.
The one in the middle is the image of the Yuan Dynasty emperor wearing a hat with two braids hanging from his ears, wearing a yellow uniform and a gold belt around his waist, sitting on a dragon chair.
Below him are courtiers and officials with different appearances, but all wearing yellow clothes.
This is also a special feature of the costumes of the Yuan Dynasty. During the Yuan Dynasty banquets, all officials of the emperor had to wear clothes of the same color, which was called "Zhengsunfu", also known as one-color clothes.
In addition to the emperor and officials, there are also images of dancing girls, eunuchs and waiters on this mural. However, these people have a low status, so their images are much smaller than that of the emperor and officials.
In addition to the murals, the middle room also naturally contains funerary objects.
However, except for more than a dozen boxes of gold, silver, and some jewelry, which were considered a good harvest, other silks and satins were already decayed. Even Liu Dong's relic Yuanguang was difficult to repair completely.
“What a shame”
Looking at the books and paintings in several boxes that were almost rotting into dust, Liu Dong couldn't help but sigh.
When Emperor Zhaozong of the Yuan Dynasty, Bo'er Ji Jin Ai You Shi Li Ta La, followed the southern scholar Zheng Shen and studied Confucian classics such as the Book of Filial Piety when he was young.
Deeply influenced by the culture of the Central Plains, he is particularly fond of Song Huizong's thin gold body. He once collected many handwritings of famous artists from the Song Dynasty. It seems that these boxes of old papers that have decayed into ashes should contain Song Huizong's handwriting.
The calligraphy and paintings of Emperor Huizong of the Song Dynasty are now top-notch first-class cultural relics, and the better ones are almost considered national treasures.
Of course, no matter how unfortunate Liu Dong is, he will still be powerless when faced with a pile of dust.
Although the relic Yuanguang is magical, it is not omnipotent after all.
After calming down and collecting valuable funerary objects in the middle chamber, Liu Dong walked along the tomb passage toward the back chamber. As the main tomb chamber where the coffin of the tomb owner is stored, it has more defensive facilities than the front chamber and the middle chamber.
Although there was no trap, a thick white marble door blocked Liu Dong's path between the middle room and the back room.
Moreover, behind this heavy stone door, tapstone devices commonly used in the tombs of Chinese emperors were used.
The so-called tapstone is just a hard stone bar.
The explanation is simple. Generally speaking, when digging a tomb chamber, craftsmen will first make the upper and lower ends of the stone door shafts into spherical shapes, and then carve out a convex surface in the same part of the two stone doors at the same level as the door seam.
Then, on the stone pavement not far from the central axis inside the door, cut out a shallow groove in front and deep in back.
Before closing the stone door, people first placed the stone bar of considerable width in the groove on the ground, and slowly tilted it forward so that it contacted the stone door.
When people withdrew from the underground palace, the stone bar automatically pushed the stone door closed with the help of its own tilt pressure and the "ball" effect at the end of the door shaft, until its top fell into the convex grooves of the stone doors on both sides. This is
At that time, anyone who wanted to push the stone door open from the outside would only be wishful thinking.
It sounds very simple, but in the eyes of modern technology, something so worthless was indeed a great invention that contained the ingenuity of craftsmen and the ingenious application of many scientific principles in ancient times when productivity was underdeveloped. To be completed