However, Liu Dong had no intention of stopping to appreciate the great invention of 'Jirai Stone', which brought together the wisdom of ancient craftsmen.
After directly using the relic Yuan Guang to put the entire white marble stone door engraved with the dragon pattern and the 'automatic stone' on the top door into the mustard space, the situation in the back room clearly appeared before Liu Dong's eyes.
"I said that as the emperor who reigned the longest in the entire Northern Yuan Dynasty and was barely the most accomplished, there shouldn't be any good things in this tomb. They were all placed in the back room!" Liu Dong's face showed.
A look of excitement.
According to Liu Dong, the back room is mainly divided into two parts.
One part occupies more than half of the back room and is used to store the coffin bed of the tomb owner's coffin. The other part is naturally the space except the coffin bed.
On the coffin bed which is completely made of bluestone and polished, there are three wooden coffins made of red lacquered wood but not completely decayed. On the coffin bed space around the three coffins, various exquisite porcelains are placed.
, as well as lacquered wooden wares commonly used in the palace, as well as gold and silver wares, jade jewelry and other funerary objects.
Liu Dong, who was accustomed to seeing treasures and having many high-end cultural relics in his hands, was excited because he discovered that the porcelain placed in the back room was the real masterpiece.
Among them are the "Zhengzheng" to large-scale "Yuan blue and white" that he is very familiar with, Yuan Dynasty egg white glaze, underglaze red Yuan Dynasty imperial kiln, gold-grabbing multi-color wares, single-color glass glaze imperial kiln treasures, and a small amount of the five major Song Dynasty porcelains
Famous kiln wares, almost all types of Yuan Dynasty royal kiln wares recorded in history, can be seen here. Although there are more than thirty pieces of Yuan blue and white, there are only ten or twenty pieces of other types at most.
But there are only about ten or twenty pieces in the whole world, or even less, of the Yuan Dynasty's top royal kiln porcelain. Being able to see so many of them here is already extremely precious.
Just like the sapphire blue glaze and gold multicolor, the Yuan Dynasty high-temperature single-color glass glaze ruby red, due to the rare raw materials, was scarce in quantity at that time. Today, it is almost only collected in the Forbidden City and a few world-class museums.
There are less than ten in the world.
Of course, the reason why the imperial kilns of the Yuan Dynasty are so rare except for Yuan blue and white is because the tombs of the emperors and ministers of the Yuan Dynasty were buried too deep and too secretly!
Since more than 80% of the antiques on the antique market come from tombs unearthed, and there are few tombs of high-level and top nobles found in the Yuan Dynasty, and the Yuan Dynasty only existed for a hundred years, it is not surprising that the imperial kilns of the Yuan Dynasty are so rare.
Got it.
The tomb of Emperor Zhaozong of the Yuan Dynasty, "Bo'er Ji Jin * Ai You Shi Li Tala", may be the only tomb of a Yuan Dynasty emperor discovered by Liu Dong.
However, Liu Dong doesn't care at all about this honor. And he is not an archaeologist. What he cares about is the treasure and value of cultural relics. As for the historical information hidden in it, it is better to leave it to historians.
Liu Dong simply counted. Including the five famous kiln wares from the Song and Jin dynasties, as well as the royal porcelain of the Yuan Dynasty, there are a total of 168 pieces!
It’s not much. But it’s definitely worth tens of millions per piece, it’s definitely a first-class cultural relic, and even a national treasure!
However, although these porcelains are precious, the most precious funerary objects here are not them. Instead, they are the things placed on the table in front of the coffin bed.
This is a large altar table that is more than 3 meters long, about 1 meter wide, and 90 centimeters high. It is entirely gilded, with rubies and sapphires inlaid on the edges and four legs. There are semicircular carvings of ferocious wolf heads on the four corners of the table, and a dragon-shaped relief in the middle.
In addition to the 'butter lamps' made of nine gold cups arranged side by side, what is placed on the table is also a gorgeous gilt saddle, a gold bow embossed with a wolf totem, and three gold tablets of different heights.
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On the middle tablet, carved with a knife and axe, in Chinese and Mongolian characters with a somewhat thin gold style, it is inscribed with the words "The spiritual tablet of Emperor Zhaozong of the Yuan Dynasty, 'Bo'er Ji Jin * Ai You Shi Li Ta La'!"
The remaining two slightly shorter ones are naturally the empress and concubine of Yuan Zhaozong!
In addition, the name of Emperor Zhaozong of the Yuan Dynasty, "Bo'er Ji Jin * Ai You Shi Li Tala", is engraved on the golden bow and saddle. It is obvious that these were things he used or cherished during his lifetime.
In Liu Dong's opinion, bows and saddles are more precious than most of the imperial kiln porcelain here because they are unique. Moreover, they are also used by the emperor.
In addition, in addition to the offering table and the things on the offering table, there are also more than a dozen decayed lacquered wood boxes placed in the open space besides the coffin bed. In the boxes that were fortunate enough to be preserved, Liu Dong discovered the common emperors and empresses of the Yuan Dynasty.
clothing.
Including the emperor's 11 kinds of summer clothes and 15 kinds of winter clothes, as well as the "獟獟冠" worn by the imperial concubines of the Yuan Dynasty, that is, the kind of clothing with long strip-shaped hats, a total of 17 kinds.
Of course, neither the emperor's summer clothes nor winter clothes, nor the concubine's clothes were completely preserved. Even if Liu Dong used the relic Yuanguang, he still could not save the silk fabrics that had long since decayed due to poor preservation.
After Liu Dong collected all the funerary objects except the coffin, including the Tantric Buddhist murals on the walls of the back room, he finally focused on the three red-lacquered coffins on the coffin bed.
And the first thing he was going to start with was the coffin of Emperor Zhaozong of the Yuan Dynasty in the middle.
The coffin boards are generally made of thick precious wood, so they are very heavy. In order to ensure that the precious funerary objects inside the coffin and the precious paintings painted on the coffin are not damaged, usually during regular archeology, such as opening a museum,
It is usually done by a single person, or even with the help of machinery.
However, Liu Dong's relic Yuan Guang and Mustard Seed Space are more effective than any machine.
As he waved his hand, the coffin lid that should have been nailed to the coffin disappeared. And the first funerary object in the museum that appeared in front of Liu Dong was a complete and extremely precious white wolf skin!
Mongolians usually regard themselves as the descendants of eagles and wolves, and they also particularly worship these two animals. Moreover, animals such as white horses, white wolves, and white deer have been regarded as auspicious since ancient times, both in China and Mongolia.
It is a gift from the gods. Therefore, the appearance of white wolf skin in the coffin of the Yuan Dynasty emperor was not beyond Liu Dong's expectation.
In order to avoid oxidation after exposure to air, Liu Dong quickly repaired the white wolf skin with the relic Yuan Guang. After putting it into the mustard space, Liu Dong looked at the things below.
However, what is underneath is not the remains of Emperor Zhaozong of the Yuan Dynasty, but a brocade quilt with a dragon pattern that is still bright in color because it is sealed relatively tightly. Judging from the exquisiteness of the pattern, this is obviously from the imperial silk tribute from the Songjiang area in the south of the Yangtze River!
After using the relic Yuanguang to repair and restore the toughness of these precious silk fabrics, Liu Dong uncovered a total of thirty-three layers before something different appeared.
Among these things, there are Tantric Buddhist statues carved from Hotan jade, as well as various jewelry made of rubies, sapphires, and diamonds, as well as various gold products with different shapes such as gold furnaces, gold plates, gold cups, gold cups, gold spoons, and gold chopsticks.
.
Although they are not very big, Liu Dong counted 168 Buddhist statues made of various gems, jade, and gold, 367 gold utensils of various materials, and 422 pieces of jewelry!
After Liu Dong took all these away and then uncovered nine layers of gold quilts that were completely woven with gold and exquisite patterns, the bones of Yuan Zhaozong's "Bo'er Zijin * Aiyou Shili Lala" finally appeared in front of Liu Dong
.
However, despite saying this, what appeared in front of Liu Dong was not a corpse. Instead, it was a somewhat shriveled figure, wearing the clothes of a Mongolian emperor, with a gold mask on his face and gold gloves on his hands. It could only be seen from the clothes
A corpse with faint bones could be seen in the gap between them.
Emperor Zhaozong of the Yuan Dynasty adopted the famous and unique technique of "taking stone away" from the Yuan Dynasty.
This is a new gold-weaving technology based on Han gold-weaving, combined with ancient Persian gold-adding technology, and integrating the advantages of both. It can be more vividly explained as a brocade that uses gold threads to display patterns to form a brocade with a magnificent effect.
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It is precisely because of the combination of the advantages of each other that the gold-woven silk fabrics in the Yuan Dynasty were the most famous, called "najin stone", also called "gold-woven brocade".
On the corpse of Yuan Zhaozong, both the clothing, the belt around the waist, gloves and boots are all products of this "lost stone" technology.
Only the hat on the head and the gold mask covering the face are real solid gold.
Although Tutankhamun's gold mask is world-famous for its exquisiteness and treasure, Egyptians are not the only people in the world who cover their faces with gold masks after death.
As far as Liu Dong knew, the nobles of the Liao Dynasty liked to attach golden masks to the faces of the dead. Unexpectedly, the Mongolian royal family also had this tradition.
And compared with several gold masks from the Liao Dynasty that have been unearthed in China, the gold mask of Yuan Zhaozong is not much different in size, but it is more exquisite. For example, the eyes are inlaid with two bright top-grade sapphires.
!
The cheeks on both sides of the mask are engraved with a seated image of Sakyamuni Buddha holding the Buddha's seal with his hands. Two wolf heads are carved in the round at the two ears, and the wolf heads extend outward, just protecting the two ears.
Generally speaking, there are important funerary objects in the coffin, which are placed on the left shoulder and right foot of the corpse. Therefore, after examining the corpse's clothing and golden mask, Liu Dong naturally searched for these two places.
Soon he found a long black wooden box on the left shoulder of the body.
It may be due to the tight sealing inside the coffin, and the fact that the material is very good. The smooth and shiny black paint can still be seen on this wooden box, and it is also embossed with gold-embedded patterns of Mongolian warriors on the battlefield.
After Liu Dong studied the pattern for a moment, he opened the box.
But when he saw clearly what was in the box and the words engraved on it, his mouth immediately opened into an 'O' shape!
"Oh my God, this can't be the legendary 'Sulu Ding', right?"
ps: Thanks to the book friend 'Ink Cartridge S Yinhuo' (two pieces), 'Lost Can Feng' (two pieces) and 'Dream Realm D' for their monthly support, and to the book friend 'Baby Panda' 'I will have your past with the wind in my life'