[Continued] The third unit of the Weizhou Museum, "Cultural Relics Weizhou", was introduced earlier. The footsteps of the times have gone through the Liao Dynasty, and the next step will be the Jin Dynasty (1115-1234) established by the Jurchens 900 years ago. ).
This showcase introduces the cultural relics of the Jin Dynasty in Weizhou. The top left is a map of China from the Southern Song Dynasty, and the right side introduces the rise and development of the Jurchen nation.
Iron cauldron of the Jin Dynasty.
Bronze mirrors, bronze coke buckets, and bronze washers of the Jin Dynasty.
This three-legged copper washing pattern with lotus fish pattern is clear and vivid. It is a rare treasure and it is worth stopping to watch.
The picture on the left tells the story of Tian Zhuo's gift of Yan poems. Tian Zhuo, a native of Yuxian County, Hebei Province, was a well-known official in the Jin Dynasty. In the fifth year of Mingchang, he became a Jinshi. For seven years, he joined the army outside the Great Wall. In the fourth year of Taihe, he served as an observation judge in Luzhou, and served as an observation envoy on Shandong Road. In order to save the demise of the Jin Dynasty, he went through hardships all his life, nine lives and one death, and Xingding died in office in three years. I once felt the love and righteousness of the swallows on Liangshang, and wrote the famous work "Poems to Swallows": After a few years of hardships and dangers outside the Great Wall, whoever said that the black clothes flew like this. Facing Lupi, you know what you can do, and at night, you cast your house and depend on each other. You pity me and talk to each other frequently, and I don't hide my heart when I recall you. Tomorrow the west wind will be beating and beeping, you should go first and where will I go.
Porcelain from the Jin Dynasty in the showcase.
The Jin Dynasty porcelain vases, pottery jars and an epitaph unearthed in Yuxian County are displayed in the showcase.
This is the one on the far right.
There are still cultural relics from the Jin Dynasty in this showcase, on which are white glazed porcelain bowls and plates from the Jin Dynasty.
The cultural relic on the left side of the lower row is a text brick.
This is a certificate for buying and selling land. I have seen paper, woodcut, and iron coupons before, but this is the first time I have seen one carved on bricks.
On the lower right is a small earthen coffin.
From this showcase, the pointer of time points to the Yuan Dynasty. White porcelain pots from the Yuan Dynasty are displayed in the showcase, as well as copper coins from the Northern Zhou Dynasty, Sui and Tang Dynasties to the Yuan Dynasty.
This is a showcase focusing on the cultural relics of the Yuan Dynasty.
The picture on the left above the showcase introduces the rise and development of the Mongolian Dynasty, and the picture on the right introduces Zhao Bingwen. Kublai Khan, the first emperor of the Yuan Dynasty, had two Han officials with the word "Bing" in their names. They helped the Yuan Dynasty create "hardware" and "software" respectively. One is "hardware designer" Liu Bingzhong, who designed Yuan Dadu, and the other is "software designer" Zhao Bingwen, who designed the rules, rites and music system of the Yuan Dynasty.
The booths on the left side of the showcase are mainly white-glazed porcelain, and it can be seen that the artistic peak of Song Dynasty porcelain production has passed.
But the porcelain of the Yuan Dynasty also has its characteristics, after all, society is still developing.
There are several pieces of porcelain on the booth in the middle that are worth taking a good look at. One is the blue-glazed and flower-picked porcelain jar in the middle, which is exquisitely carved and can be called a boutique. And the porcelain bowl on the upper right corner. Everyone knows the five major official kilns of the Song Dynasty, and this one is a product of the Jun Kiln.
On the booth in the center of the showcase are mainly cultural relics of metal equipment.
The silver tripod, the silver pot, the silver pot, and the silver box are all very exquisite and precious, but the one next to the silver pot is the NB one on this booth.
It is this clam cup inlaid with silver. Multiple clam shells of different sizes are connected into a whole with silver rings, making it look like a "cup" and a "cup", which is quite luxurious.
On the rightmost booth of the showcase is the Yuan Dynasty silverware discovered in Yuxian County in 1991. There are many types, but I am most specific about the "Jade Bowl with Flower Mouth and Silver Circle" on the left side of the small booth in the middle.
The third unit "Cultural Relics of Weizhou" is divided into two parts. The front part is "Great Treasures", which tells the stories that happened in Weizhou by time and shows the prosperous material civilization of Weizhou in the Sui, Tang, Liao, Jin and Yuan Dynasties. Next, enter the second part - "Relics of the Brahma Realm", which focuses on introducing the historical and cultural relics related to religion in Weizhou. In this part of the exhibition, many "treasures of the town hall" will be displayed in front of everyone.
On the adjacent panel is an oil painting, which is a scene of Zhang Yun, an official from Yu County, accompanying Kublai Khan's mother to visit Xiaowutai Mountain. From the Northern Wei Dynasty to the Yuan Dynasty, the authorities were very fond of Buddhism.
There is a group of sculptures in the exhibition hall, telling the story of Shi Xingjun, an eminent monk in Weizhou, and his "Dragon Kan Hand Mirror".
In the exhibition hall, the underground palace of Nan'an Temple Pagoda in the ancient city of Weizhou was restored. There is also a thrilling story about this underground palace where more than 100 precious cultural relics were unearthed. In March 2011, the Yuxian police received a report that the underground palace of Nan'an Temple was stolen. When the police intervened, the underground palace had been looted.
Judging from the case materials released by the police, a group of thieves rented a small courtyard on the north side of the pagoda at a high price, and made a vertical hole about 3 meters deep in the east end of the south wing closest to the pagoda, and then turned to the temple pagoda underground palace. The direction excavated 12 meters into the underground palace. The gang of thieves slept during the day and dug holes at night, and the dug soil was piled up in the yard nearby. According to the on-site investigation by the police, the diameter of the entrance of the robbery hole is about 70 centimeters.
Fortunately, the case was discovered in time. After six months, it was successfully solved in October 2011, and all 109 stolen cultural relics were recovered. In 2011, the underground palace of Nan'an Temple Pagoda was rediscovered. More than 100 precious Buddhist cultural relics were unearthed in the underground palace. This is another great discovery of a series of Buddhist cultural relics unearthed in my country after the cultural relics unearthed from the underground palace of Famen Temple in Fufeng.
In the restored Nan'an Temple Pagoda's underground palace, a "treasure of the town hall" of the Weizhou Museum - "Xumizuo Double-Eaved Golden Stupa" was exhibited. There are four exquisite murals on the four walls of the underground palace. Unfortunately, there is a glass cover at the entrance of the underground palace, and the light in the underground palace is very dark. Although I brought a small flashlight to watch carefully, the glass cover is reflective and it is difficult to take clear photos.
This golden relic tower is a hexagonal tower of Sumizuo, with two floors. The base of the tower is inlaid with relic bottles, and there are relics inside. There is a door on the front of the golden pagoda, windows on the opposite side, and the four heavenly kings are engraved on the other four sides. Tasha consists of hollowed out orbs and three layers of phase wheels. The pearls and gemstones are connected in series with silk ropes, and hang down from the tower brake to the flying horns of the double eaves, making the whole look jewel-like and resplendent.
In the two showcases next to it, many exquisite cultural relics related to religion are exhibited. The showcase on the left is mainly porcelain, and the right is a wooden pagoda.
On the booth in the middle of the showcase on the left, there is a "treasure of the town hall" of the Weizhou Museum - a celadon porcelain wash. This pea-blue celadon porcelain wash is a cultural relic of the Song Dynasty, unearthed in Yu County in 1975. The caliber is 11.2cm, the height is 7cm, the bottom diameter is 4cm, the lips are rounded, the mouth is closed, the belly is round, the lower abdomen is straight, and the bottom is slightly concave.
The Song Dynasty was a period when hundreds of flowers were blooming in China's porcelain industry, and the craftsmanship of porcelain production was perfect. This celadon porcelain wash is generous and dignified in shape, like beautiful jade, and is a treasure among Northern Song porcelains.
Two black-glazed kiln-shaped porcelain bowls were displayed on the rightmost booth of the showcase. Kiln-changing glaze, as the name suggests, is an unexpected glaze color effect in the firing process of utensils. Because the glaze contains a variety of coloring elements, through oxidation or reduction, the porcelain may show unexpected glaze color effects after it comes out of the kiln. These two kiln-changed porcelain bowls are a bit like the kiln-changed amber porcelain bowls of the Jizhou Kiln.
In the showcase on the right is a woodcut and painted pagoda.
Focus on the "Painted Seven Buddhas Upward Lotus Seat Single-story Wooden Pagoda" in the middle, which is another "treasure of the town hall". This is a cultural relic of the Liao Dynasty, with a height of 26.6cm and a bottom diameter of 13.5cm. It was unearthed in 2011 from the underground palace of the Nan'an Temple Pagoda. The whole pagoda is made of wood, with Xumizuo, the upper layer is Yanglian, the lower layer is covered lotus, the middle is hollowed out, the lotus petals are painted with red and blue colors, and there are recesses in the Yanglian seat, the tower body is inserted into it, the tower body is hexagonal, and standing Buddhas are painted on each side , with a headlight, the top of the tower is a cover, carved with Dougong and tile ridges, the tile surface is blue, the eaves are red, the Dougong is painted in red, blue and green, the tower seat is Yanglian, and the Tasha is incomplete.
This kind of wooden pagoda, after thousands of years of vicissitudes and robbery, is still in good wood and bright in color, which is a blessing.
In the next showcase is the wood-carved and painted Buddha statue unearthed from the Pagoda of Nan'an Temple. This is the booth on the left side of the showcase.
There is a painted seated Buddha on the central stand. On both sides are painted wooden statues of Bodhisattvas.
Judging from the introduction materials of the exhibits, the painted seated Buddha and the painted rosette are two cultural relics, but the combination of the two is very harmonious.
On the booth on the right side of the showcase is a wooden painted statue of the Heavenly King.
The next showcase mainly introduces the metalware unearthed from the underground palace of Nan'an Temple Pagoda.
Above the booth on the left is a bronze shrine to Thousand Buddhas, on the left below are tortoiseshell hairpins and glazed agate beads, and on the right is a bronze plaque decorated with six-character mantras in Sanskrit. They are all cultural relics of the Liao Dynasty.
Here are the artifacts from the middle stand. The one above is the "Silver Stupa with Double Eaves on the Lotus Seat of Xumi", which contrasts brilliantly with the "Golden Stupa with Double Eaves on the Lotus Seat of Xumi" seen in the underground palace. .
The "Seven Buddha Bronze Plaque" in the middle of the booth below is also worth a closer look. The seven Buddhas have different expressions and are finely cast, which is a masterpiece.
Above the booth on the right is the "Seated Silver Buddha Statue with Golden Backlight on the Lotus", which is finely carved and can be called a fine product. Below, from left to right, are the "Pure Silver Bowl with High Ring of Flower Mouth", "Flat Copper Plate with Flower Mouth", "Long-Neck Silver Screen with Cover", "Gold-Gold Long-Neck Silver Relic Vase", "Gold-Gold Lotus Vajra Pestle" , "silver relic bottle with gourd-shaped hairpin and chain". And the "silver relic vase with gourd-shaped hairpin and chain" on the left back seems to be the relic vase inlaid in the "Golden Relic Pagoda with Double Eaves at Xumizuo".
The next showcase exhibits Buddha statues from the underground palace of Nan'an Temple.
On the booth on the left side of the showcase are the eleven-faced gilt-bronze standing statue of Avalokitesvara from the Ming Dynasty, the lacquered bronze statue of Sakyamuni Buddha from the Ming Dynasty, and the bronze Buddha statue on a lotus seat from the Qing Dynasty.
On the left side of the middle booth is a gilt-bronze statue of sitting Buddha from the Qing Dynasty, and on the right side is a gilt-bronze statue of Sakyamuni Buddha preaching from the Ming Dynasty. In the middle is the "treasure of the town hall" ranked fourth in the Weizhou Museum - the Weishi statue of Zhu Ye in the fifth year of the Northern Wei Dynasty Taiping Zhenjun. This is a cultural relic from the Northern Wei Dynasty more than 1600 years ago. It is 35cm high and was discovered in the original Shifeng Temple in Yujian Village, Huangmei Township, Yuxian County in 1982. The Northern Wei Dynasty was a dynasty that strongly advocated Buddhism. The court and families had a trend of offering Buddha statues. This stone statue was made offerings by "Zhu Yewei". Carved from taupe sandstone, this stone statue shows the enlightened Buddha sitting on a rectangular seat. Spiral hair on the top of the head, long round face, long mouth and narrow eyes, slightly closed eyes, raised mouth corners, drooping shoulders and big ears. The demeanor is stable and composed, giving people a sense of charity and harmony.
On the right side of the showcase are three four-faced Buddha stone statues from the Liao Dynasty. Although they are all four-faced Buddhas, their styles are very different.
Two independent showcases in the center of the exhibition hall display two exquisite cultural relics.
In the showcase on the left is a stone statue of Shakyamuni preaching, which is a cultural relic of the Ming Dynasty.
In the showcase on the right is the stone statue of the Thousand Buddha Pagoda. It is a seven-story pagoda with four sides. There are multiple Buddhist niches on each floor. called boutique.
Several larger stone carvings are on display in the exhibition hall against the wall.
On the left side of the booth is the "Sarcophagus with a Beast Ridge Cover" on the left, and the "Sarcophagus with a Letter Shape" on the right, both of which are cultural relics of the Liao Dynasty.
The three huge stone scripture pillars on the middle booth are all cultural relics of the Liao Dynasty. After thousands of years of vicissitudes, the characters on the stone scripture pillars are still clearly legible.
On the booth on the right is the "Sarcophagus with the roof of the Xumizuo Azure Dragon and White Tiger Palace", with green dragons and white tigers carved on the front and back.
In July 2001, 13 stone statues of Taoist figures from the Ming Dynasty were discovered in the Xuanzhen Temple site of "Sizheng Mountain" in the northwest of Wucha Village, Baicao Township, Yuxian County, as well as several inscriptions from previous dynasties. After receiving the report, the Yu County Museum rushed to investigate, cleaned up and excavated, and transported the stone statues back for preservation. Later, the scene of Xuanzhen Temple was specially restored in the new hall, and the 13 stone statues of Taoist figures were exhibited.
According to the records of the rebuilt stele, the site was called "Laoshan Temple" during the Chenghua period of the Ming Dynasty, and "Xuanzhen Temple" during the Longqing period. In the Qing Dynasty, it was changed to "Laoshan Temple", and it was destroyed in the Republic of China. Judging from the ruins, the Xuanzhen Temple is distributed in the three-level compound and in the caves on the mountainside. The vertical height difference between the front hall and the back hall is about 30 meters.
The stone statues discovered this time are about 1.1-1.4 meters high and are made of marble. There are three types: half-seated, standing, and cross-legged. The half-seated statue wears a patterned hat crown, vertical eyes, small mouth, wide ears, and long beard. It is dressed in a long court dress with wide sleeves, cloud-toed boots on its feet, and holds a wat in front of its chest.
In the early days of the seated statue, gold was applied to the whole body, and later brown paint was applied on the gold, and the collar and cuffs were painted with "standing powder" patterns. Sitting cross-legged like a bun and a robe, sitting cross-legged on a lotus seat, with the left hand above and the right hand below, as if holding something. This batch of Taoist stone statues are well-proportioned, serene, beautiful, gorgeously painted and finely carved.
The standing statue is painted with red, blue, blue, and green court clothes, and there are patterns on the collar of the leader and the court clothes, and the colors are bright. Wearing a crown, vertical eyes, small mouth, wide ears, long beard, holding a wat in front of the chest with both hands. There is also a standing statue with hair in a bun and no beard. The collar of the underwear on the chest is turned out, and the red wide-sleeved robe is painted on the body of the robe. The pattern of "five-colored clouds" is painted on the robe.
Although the thirteen stone statues have their own characteristics, slightly different expressions, and different clothes, they all have fairy spirit, well-proportioned proportions, serene expressions, delicate features, gorgeous paintings and fine carvings. Boutique. From the analysis of the figure's shape, clothing and the content of the rebuilt stele, it should be a Taoist statue enshrined in the Xuanzhen Temple in the Ming Dynasty.
Next is the fourth unit "The Castle World". This unit is divided into four parts: "Weiluo Tiecheng", "Weiluo Zhuangbao", "Weiluo Characters" and "Weiluo Humanities", showing the "Weiluo" in the Ming and Qing Dynasties. "The Castle State" has rich and colorful scenery and humanities.
The first part is "Weiluo Iron City". Weizhou has always been the northern border of the Central Plains Dynasty. In this part, it shows how Weizhou became an important military town, including the establishment of the Ming and Qing state capitals and the Ming Dynasty guard system.
This exhibition board is a city map of Weizhou in the Ming Dynasty.
The upper photo of this exhibition board is the existing 1,600-meter-long city wall of Yuzhou Ancient City, and the lower photo is the situation of the Wengcheng before the south gate of Yuzhou Ancient City.
The first large showcase of the fourth unit.
The photo on the upper right side of the showcase introduces several major historical sites left in the Ming and Qing Dynasties in the ancient city of Weizhou. These attractions will be introduced in my two-day travel notes.
This is the copper treasure roof of Zhuge Building in Guandi Temple, a cultural relic of the Ming Dynasty. But regarding Yuzhou Guandi Temple, I only saw it in the list of national key cultural relics protection units, but I couldn't find its address on the Gaode map, so did I go there. According to the information, Zhuge Tower used to be a building in Guandi Temple, but it has been destroyed now. But judging from this treasure top, it should not be very big.
On the top is the map of the ancient city of Weizhou in the Ming Dynasty, on the left side of the bottom is the building brick components, and on the right side is the wooden components, all of which are cultural relics of the Ming Dynasty.
Above are several streets and alleys in the ancient city of Weizhou, many of which we have already visited in the morning. For example, Shoubei Street, Caishen Temple Street, Gongdao Lane, Dongshaoyao Lane, etc. The stele below is the "Zan of the King of Wu'an" written and engraved by the magistrate of Weizhou in 1602, which was unearthed from the former residence of Wei Xiangshu.
The glass showcase turns a corner here. This showcase introduces the streets and houses of the ancient city of Weizhou.
While introducing the streets, alleys and folk houses, many Ming and Qing cultural relics collected by the people are exhibited. I will not give a detailed introduction to this part of the cultural relics. Please see the photos.
Introduce the gatehouse of the residential buildings in the ancient city of Weizhou. The wooden plaque with "Xingjian pines and cypresses" written on it was granted by the emperor in the 14th year of Guangxu, but I have not found any relevant information about why it was given and who it was given to. Judging from the words on the plaque, it seems to be a chastity plaque.
On the top is the poem "Overlooking the Yuhuang Pavilion" by Li Yuwang, a poet of the Qing Dynasty. Li Yuwang, courtesy name Touzhan, nicknamed Yicun, was born in Weizhou. Kangxi Xinmao Juren. Author of "Gong Yan Poetry Collection".
The fourth unit "The Castle World" starts from here to tell the second story "Weiluozhuang Castle".
Judging from its geographical location, the ancient city of Yuzhou will inevitably be labeled with two labels, one is "an important frontier town". It is precisely because it is located in the frontier and has always been harassed by the grassland people. In the middle of the Ming Dynasty, in order to defend against the harassment of the remnants of the Mongolian Yuan Dynasty, the villages of Weizhou, which were the key places, built forts one after another to defend themselves, forming the "Eight Hundred Villages of Weizhou". unique scene. Here, there is a complex of ancient buildings where there is a village and there is a fort, where there is a fort, there is a temple, and where there is a temple, there is a theater building. The map on the exhibition board is the map of Xuanfu in Ming Dynasty.
Another label of the ancient city of Weizhou is "the main road for business and travel". As the center of the north-south business road, Weizhou must also focus on defending.
It is precisely because of these two reasons that a large number of castles were built in Yuzhou, which also made Yu County the "county with the most ancient castles" in the "Guinness Book of the World".
The ancient dwellings, ancient castles, ancient theater buildings, and old streets all over the county have survived the wind and rain for hundreds of years, and most of them still retain their original appearance. The photos on the exhibition board introduce the current state of the existing castle.
Some laneways and gatehouses have been restored in the exhibition hall, and there is a wooden plaque on this gate.
In this part of the exhibition area, the long streets and short alleys and the well-arranged old houses and old courtyards of the Ming and Qing Dynasties are restored by using models and real buildings with a ratio of 1:1.
Among the two exhibition boards, the left one is the distribution map of various ancient castles in Yu County, and the right side is the shape of each ancient castle.
The characteristic dwellings in each castle are introduced on the exhibition board. Ancient dwellings are an important part of the diverse traditional culture of Yu County. The existing Yuxian folk houses have a long history, and some can be traced back to the early Ming Dynasty.
In the middle and late Ming Dynasty, a large number of decorative components of brick, wood and stone carvings appeared in residential buildings. In the early Qing Dynasty, due to the prosperity of the economy, the quality of the houses built by rich merchants and officials was improved again, with exquisite decoration and carving, and elephant heads and faucets became popular. This exhibition board introduces the exquisite brick carvings and wood carvings in the ancient castle dwellings.
The showcases are mainly porcelain collected by folks in the Qing Dynasty.
Starting from this showcase, enter the third story "Wei Luo Characters", which introduces celebrities in Yu County.
Above the showcase are some pictures introducing some celebrities in Yu County. This is Wang Zhen (?—1449), a native of Weizhou in the Ming Dynasty. He was originally a failed scholar with a little knowledge of scriptures, and later became an instructor. It was too difficult to speak, so he eunuched himself into the palace and was good at observing people's wishes. After entering the palace, Emperor Xuanzong also liked him very much, so he appointed him as Donggong Julang to serve the crown prince, who later became Emperor Yingzong. In the 14th year of Zhengtong in the Ming Dynasty, Wala invaded on a large scale. Persuading Ming Yingzong to go on a personal expedition, he went to the Tumu Fort, where he met the Oirat soldiers. He was defeated, the whole army was annihilated, Yingzong was captured, and Wang Zhen was killed.
On the left is Yin Geng (1515-?), a poet of the Ming Dynasty. Zixin, nicknamed Shuoye, was born in Weizhou, Shanxi. In the eleventh year of Jiajing, he was a Jinshi, and the official went to Henan to prepare for the military affairs of the inspector. Because of being impeached, he was sent to Liaodong, so he was not used again. Because he grew up in the frontier, knew the frontier affairs, and deeply hated the lack of military equipment, he wrote eleven articles in "Saiyu", explaining the situation of captives and border defenses, in order to warn those in power. Shen Xiong, who wrote poems with boldness, wrote "Suo Ye Ji". On the right is Hao Jie (1530-1600), courtesy name Yanfu, nickname Shaoquan, from Weizhou, Shanxi. His father, Hao Ming, served as the censor. Hao Jie was admitted as a Jinshi in the thirty-fifth year of Jiajing (1556), and was appointed as a pedestrian. He was promoted to be a censor and governor of Liaodong, and fought against the Houjin soldiers together with Li Chengliang. The Wanli Dynasty was changed to the Minister of the Ministry of Industry in Nanjing.
In the exhibition hall, there are also rubbings of the stele of the imperial edict bestowed by the emperor on Hao Jie.
This is Ma Fang (1517-1581), courtesy name Dexin, alias Lanxi, from Weizhou, Shanxi. A famous general in the mid-Ming Dynasty. Ma Fang was born in a farming family and was taken away by the Tatars at the age of eight. After fleeing back to Datong, he served under the command of Zhou Shangwen, the general soldier of Datong. Ma Fang served in the Jiajing, Longqing, and Wanli dynasties. He made many contributions in the battle against the Tatars and was gradually promoted. In the seventh year of Wanli (1579), he returned home due to illness. In the ninth year of Wanli (1581), Ma Fang died at the age of sixty-four. Among the famous generals guarding the frontier in the Ming Dynasty, Ma Fang was a legendary figure. At that time, there was a saying that "Ma Fang is not as brave as Ma Fang". "History of the Ming Dynasty" stated that he "had hundreds of connections in size, dozens of wounds on his body, and a small number of hits. It is not a big victory. Dozens of ministers were captured, and there was no way to kill them. His reputation shocked the border areas, and he was the top general for a while." Some folk art and opera works also put his story on stage.
This is Wei Xiangshu (1617-1687), courtesy name Huanji, nicknamed Yongzhai, also named Hansong, from Weizhou. He was born as a Jinshi, and he was an official to Zuodu Yushi and Minister of the Ministry of Punishment. As a speech officer, Wei dared to tell the truth; as a capable minister, he made great contributions to pacifying the San Francisco rebellion; I went to the former residence of Wei Xiangshu in the ancient city of Weizhou this morning, but unfortunately it was not open for maintenance.
Dong Rucui (1592-1652), a native of Yu County, Zhangjiakou, Hebei. A well-known merchant tycoon in Weizhou. During the Shunzhi period, Dong Rucui judged the situation and took advantage of a big flood that destroyed the houses in the Xinmengzhuang market. People had no chance to go to the market for a while. He quickly set up a market in Nuanquan and provided free venues and accommodation for merchants who came here for the first time. , to solve the board and lodging, and open the door of convenience to the merchants who are far away, buy all the remaining goods for them, and let them go with the money. All of a sudden, merchants from all over the world came in droves, forming a bustling downtown. Dong Rucui won the market in Xinmengzhuang in one fell swoop. Since then, the market in Nuanquan has continued until now.
Li Zhouwang (1668-1730), courtesy name Weimei and nickname Nanping, was born in Weizhou, Zhili Province of Qing Dynasty. Li Zhouwang was born in a famous family, and received a good education since he was a child. He first studied with Zhu Yuancheng, a famous teacher in Zhejiang, and then followed Wei Xiangshu to learn the science of enlightenment, body and practicality. In the thirty-sixth year of Kangxi (1697), Li Zhouwang became a Jinshi and was elected to the Imperial Academy. After that, he served as an education official for a long time. In the fifty-seventh year of Kangxi (1718), Li Zhouwang moved to the Imperial College to offer wine and became the principal of the highest institution.
Jia Liantang was born in Sujiabao Village, Yu County in 1851. Since childhood, he was intelligent, good at poetry and calligraphy. In the twelfth year of Tongzhi in the Qing Dynasty (1873), he was elected as a scholar, and in the second year of Guangxu (1876), he was elected as a scholar. In the fourth year of Guangxu (1878), he served as the county magistrate of Jixian County, Henan Province. After that, he was an official for more than 20 years. He was poor and clean, with only a few bookcases and thousands of books. He lived at home for three years, taught his children and grandchildren strictly, and personally wrote a plaque with "Faithful Heirloom" as a family motto. In the 30th year of Guangxu (1904), he died of illness at the age of 53.
Above the display cabinet is the introduction of celebrities, while below the display cabinet are some cultural relics on display. This is a pair of porcelain vases with pictures of colorful ladies, which are cultural relics of the Qing Dynasty.
This is a multicolored porcelain pen holder and printed porcelain pen holder from the Qing Dynasty.
This is a jade belt, the exact name is "sapphire hollow belt with pine deer pattern".
There are also many Qing Dynasty cultural relics collected by the people, so I will not introduce them one by one.
Strolling in the Ulzhou Museum, you often have the feeling of traveling through time and space. In the exhibition area of more than 10,000 square meters, every cultural relic is a code to trace back the history of Yu County.
A Ming Dynasty cotton robe is displayed in the middle showcase.
Several large portraits were displayed in several showcases in the exhibition hall. At this time, the Weizhou Museum had already opened, and a large number of tourists poured in. And our activities are about to start, I can only speed up my pace.
There are no records of these images, so only photos can be posted here.
Some calligraphy and painting works are displayed in these showcases. On the right is Feng Guohua's "Run Script Eight Screens" in the 13th year of the Daoguang reign of the Qing Dynasty. Feng Guohua's calligraphy is a school of its own, with bold, unrestrained, free-spirited, smooth and free strokes, and a trace of firmness and heroism in the strokes. But I did not find any information about Feng Guohua from Weizhou on the Internet. Although a calligrapher named "Feng Guohua" was found, he was modern and had nothing to do with Yu County.
Hanging in the center of the showcase is the last "treasure of the town hall" - Qing Kangxi's "Taiwan Proverbs Running Script Axis", which was written by Emperor Kangxi in 1700 AD. The provincial admonitions of the imperial system have not been promulgated to serve as a warning to all ministers." Open the scroll made of silk, and there are 200 characters in total in eight lines of running script.
There are more than a dozen stone carvings on display here, basically epitaphs.
Look at the "Happy News" from 160 years ago.
In the exhibition hall, the East Side Hall of a God of Wealth Temple in Xiayuan Village, Xiheying Town, Yuxian County (because Guan Yu, the God of Wealth is enshrined in the middle, so it is also called "Guandi Temple" in some records) was restored according to the actual proportion. During the three national surveys of cultural relics, cultural relic inspectors discovered a group of well-preserved murals of the "Hundred Works Picture" in the Qing Dynasty.
The God of Wealth Temple was built in the 53rd year of Kangxi in the Qing Dynasty (1714 A.D.). In the early Qing Dynasty, the unified political structure of internal and external enabled Feihukou and Jiugongkou in Yu County to restore their functions as ancient commercial roads, and commercial activities developed unprecedentedly. In the prosperity of Kangxi and Qianlong, the eight market towns in Yu County became the distribution center for material exchange inside and outside the customs and the starting point of Zhangku Avenue. Merchants gathered, the market was prosperous, and all industries were prosperous.
Xiayuan Village is located in the south of Xiheying Town, which is known as the "Flood and Dry Wharf". The folks regard Guandi as the god of Dharma protection and the god of wealth, and the merchants built the temple of wealth, entrusting the spiritual pursuit and spiritual comfort of prosperous business, prosperous financial resources, peace and smoothness.
On the front of the east and west side halls are painted murals with Taoist themes, and the three great immortals are dignified and dignified. On the north and south gable walls on both sides, the murals are distributed in four rows and four columns, with a height of 2.2 meters and a width of 2 meters. Sixteen paintings are drawn on each wall, each 50 centimeters in length and width, and there are 64 paintings in total. The murals are composed of small paintings separated by ink lines. The content is different, and they are all inscribed with a brush in the upper right corner.
The murals cover a wide range of contents, including Jewelry Building, Garment Bureau, Renyi Dang, Herbal Drug Store, Book Studio, Bow and Arrow Shop, Money Bureau, Willow Ware Shop, Wine Vat Store, Reading Forest, Shave Room, Tobacco Cutting Shop, Mute Doctor Hall, Millet There are grain shops, gold and silver exchanges, singing ancient poems, special music, fireworks and cannon shops, urchins playing with goods, painting pictures, fat and meat, etc. The painting is based on the title of the list, and the characters are drawn vividly, vividly and lifelike. Its content includes the employment conditions of all walks of life in the society at that time, and truly reflects the state of life in the market and the colorful industry culture in the Qing Dynasty.
The murals have become an encyclopedia that records the people's livelihood in the Qing Dynasty, an important basis for textual research on people's lives in the Qing Dynasty, and precious materials for studying various aspects of the economy and society in the Qing Dynasty. Therefore, this precious cultural heritage was listed as one of the "Top 100 New Discoveries in the Third National Cultural Relics Census". There are many exquisite murals in many temples in Yu County, which makes Yu County the "county with the most ancient murals in temples" in the "Guinness Book of the World".
Next to the restored Caishen Temple, there is a plaque from the Jiaqing period of the Qing Dynasty 200 years ago.
The fourth part of the fourth unit "The Castle World" is "Wei Luo Humanities". "Where there is a village, there is a fort, and where there is a fort, there is a temple." It is common practice to build temples in Weizhou. At the end of the Qing Dynasty, there were more than 100 ancient temples in Weizhou, making it a real "temple museum".
This part focuses on introducing the "temples and palaces" in Weizhou.
The upper part of the display cabinet is the introduction of each "temple and palace", and the lower part is the cultural relics related to these "temple and palace".
The main hall and caisson of the main hall of Lingyan Temple are national key cultural relics protection units.
Jinhe Temple and Fengshan Temple.
Above is Chongtai Temple, the largest and best-preserved folk temple in Hebei Province, and a national key cultural relic protection unit. The lower left is the Gucheng Temple, which is also a national key cultural relic protection unit, and the lower right is the Maitreya Temple. These three temples are not in the ancient city of Weizhou. I did not make any plans for this trip, but I will definitely come again in the future.
The Ming and Qing cultural relics related to religion are displayed under the showcase.
The top of the second showcase in this part is still the introduction of each "temple and palace view".
On the top of the display cabinet are rubbings of the stele of meritorious deeds of the donors when the temple was rebuilt.
Below the display cabinets are cultural relics related to these "temple palace views".
Among the cultural relics are woodcut engravings of some books.
Scripture relics.
The theme of the third showcase is "The Spectacle of Shehuo". Yu County also has a "Guinness Best in the World": "The oldest folk art of tree flower-making tree flower in Yuxian County". The display board in the middle above the showcase introduces the iron flower.
The cultural relics related to these folk customs are exhibited under the showcase, ranging from the gongs, dharma horns, suona, and bells used in the social fire carnival, to the bronze mirrors, powder boxes, and dowry used by women to make up.
One of the five "Great World Guinness Bests" in Yuxian County is "the county with the largest number of ancient theater buildings".
Introducing local operas in Ulju.
Introducing the ancient theaters in various parts of Weizhou. The first photo in the upper left corner is the Changpingcang ancient theater we visited this morning.
The distribution map of Weizhou ancient theaters and the main types of ancient theaters.
A stage was restored in the exhibition hall, but I didn't have time to take a closer look, because our activities started on the first floor, and I'm going downstairs.
But so far, the content of the "Dai Wei Long Song" exhibition has basically been read, and in the end there are only one or two showcases and a few display boards.
The event has started, and then I will work with these "Yan Guoda people" to find the habitat of "Beijing Swifts" [to be continued]
