Yunluo is very talented in coaxing girls. He takes the little fish baby around, looking for something that can make Yan Chenyu happy. In the museum, there is no need to worry about not having good things to see.⊙w.

Taking the Tang Dynasty ladies' figurines as the main line, 97 pieces of fine cultural relics (sets) closely related to the life of women in the Tang Dynasty, such as gold, silver, jade, porcelain, textiles, etc., are selected. This shows the spiritual outlook of ladies in the Tang Dynasty, allowing the public to more intuitively understand all aspects of women's lives in the Tang Dynasty, and appreciate the magnificent and graceful social atmosphere of the Tang Dynasty.

The exhibition reproduces the rich, graceful, luxurious and plump style of ladies in the Tang Dynasty, and praises the open and inclusive Tang Dynasty prosperity. It further promotes the long-lasting and splendid Silk Road culture, promotes the open, inclusive, and win-win Silk Road spirit, guides modern culture, and creates our happy life with an uplifting and uplifting spirit, and jointly builds our beautiful home.

The Tang Dynasty was the heyday of the feudal society in China. It had a prosperous economy, developed culture, and frequent foreign exchanges. The rulers had a broad mind, made friends with friends, neighbors and friends, and integrated foreign cultures, which achieved a vast and glorious Tang culture. Under such a social background, the lives of ladies in the Tang Dynasty showed an unprecedented open state.

Women in the Tang Dynasty, especially the noble women living under Chang'an City, always stood in the fashion preface of all areas of women's life in the Tang Dynasty. They were not only enthusiastic about politics and pursued themselves, but also decorated their beautiful life with gorgeous clothes, gorgeous makeup and exquisite accessories.

They calmly appeared in the streets, riding horses, hunting, feasting, playing ball... They were involved in all aspects of social life in the Tang Dynasty and made great contributions to the prosperity and development of Tang culture.

The silver incense is made of round balls, made with hammering, cutting, polishing, riveting and other processes. Through hollowing, the flower ornaments are fabric-shaped tangled patterns. They are carried with them. The silver incense balls are the best work of gold and silver crafts in the Tang Dynasty. The main body is composed of two hemispheres clamped together, and a small shaft is installed at the junction.

The rest are made of tightly buckles, which are firmly bonded and easy to open and close. Two concentric rings and an incense burner are installed at get off work. Each component uses a symmetrical live shaft joint wall to make use of the mechanical balance caused by the concentric and live shafts to ensure that the incense burner can remain in a horizontal state no matter how the sphere rotates.

It is not that sprinkled with spices, but that silver-smoked balls are representative works that combine superb craftsmanship and technology.

The toad Jade Rabbit Moon Palace mirror is rounded on the mirror, with a shiny look on one side and pattern decoration on the other side. There is a big tree in the middle. There is a pounding medicine jade rabbit on the left, and the flying fairy Chang'e and a toad on the right.

That is, Chang'e's flight to the moon. Chang'e's flight to the moon is a beautiful and moving myth, and it is also one of the themes often expressed in various artistic creations. According to legend, Chang'e secretly ate the immortal medicine and flew to the Moon Palace to become a toad, becoming a moon spirit. Some of them are Chang'e flying to the Moon Palace to accompany the toad, Chang'e in the mirror is beautiful and cute, with a long dress fluttering, and is like flying in the sky and running to the moon.

It expresses the image of Chang'e in the minds of the Tang people. The round mirror surface and semi-relief pattern content form a complete picture of the Moon Palace.

The female music figurines of the air chaises, painted by the female music figurines of the air chaises: The female music figurines wear a hooded hat on the head, a green round neck, narrow sleeves robe, a strap on the waist, and pointed high boots on the feet. They ride on the horse and pedal, and hold the air chaises sideways with both hands. They are one of the players of the horse band. They reveal black hair behind the chaises, and are obviously female musicians with plump cheeks and red lips. If you pay attention to the dancer, you will play.

Music in the Western Regions was very popular during the Tang Dynasty. From the royal family of high-ranking officials and nobles to the people, there were dances and singing everywhere. A team of female music figurines unearthed in the Tang Dynasty, which were the followers figurines when the nobles traveled to show their status and luxury.

They calmly appeared and roamed in the streets, riding horses, hunting, feasting, and playing ball. They were involved in all aspects of social life in the Tang Dynasty and made great contributions to the prosperity and development of Tang culture.

Yun Xiang Clothes, the clothing of ancient Chinese society, was themed in the practicality and solemnity of male clothing. The romantic and colorful style of single-female clothing has also led the generation, while the clothing of ladies in the Tang Dynasty was the most colorful chapter. In the early stages of development, it inherited the customs of the Han, Wei and Northern Dynasties, mainly with small clothes and long skirts, with darker colors, less pink and simple decorations.

In the middle of the Tang Dynasty, Hu clothing was popular with bright colors, and accessories such as hairpins were bright and dazzling; in the late Tang Dynasty, ladies regarded plumpness as beauty, broad dresses and complex decorations. In the 300-year development process of the Tang Dynasty, ladies' clothing became the most dazzling and bizarre fashion in ancient China with its numerous styles, bright colors, innovative decorative techniques and elegant and gorgeous styles.

The women's clothing and women's figurines played the pipa and rode the horse. The women's figurines were painted and handed over the ladies' figurines. Women's clothing was another feature of women's clothing during the prosperous Tang Dynasty. Women's clothing appeared in the early Tang Dynasty. In the middle and late Tang Dynasty, noble women also often wore men's clothing. Women's clothing was first popular in the palace, and later gradually spread and popularized among the people, and were deeply loved by women.

Wearing a squid head, a round-necked robe and leather boots was a popular outfit for men in the Tang Dynasty from the emperor to the common people for 300 years. However, the way women in the Tang Dynasty broke the shackles of the Nuo family and used them to pursue novel things, boldly innovate, and fully demonstrated themselves was the inevitable result of the strong national strength and broad culture in the Tang Dynasty.

The painted lady figurines are handed down, the head of the lady figurines is slightly tilted, and the bun is combed and rosy, with a rosy face. The beautiful eyelids are curved with fine ink, and the transparent smoke is staring forward, slightly raised, showing a sweet smile. They are wearing round-necked white-backed talented narrow-sleeved shirt, with both hands hidden on Xiuzhong's chest, an orange-yellow shawl, embroidered with various flowers, from the front abdomen to the back to the back.

The red skirt tied with the lower part of the chest, and a foot was visible through the skirt. It made people feel that they were not a standing figure. The body was slightly twisted, the right shoulder was slightly raised, and the bright eyes were set against the smiling red lips, the rosy face, and the shy and provocative expression. It was really a "colorful and charming person". Although it has been a thousand years, the image is still radiant.

The hallmark of the Double Museum - the statue of Fuxi and Nuwa, a red circular sculpture, each with an extra head above. Fuxi and Nuwa are both human heads and snakes. They are married and reproduce. This is the source of the "successor of the dragon".

In the "shared space" on the second floor of the Shuangmu Pavilion, there is a Tang Dynasty ferry boat (dragon boat) unearthed in 1960 in Jiajiang, Hanshiqiao Township, Yangzhou. The boat is 13.65 meters long, 0.75 meters wide, and 0.65 meters deep. It is made of a whole piece of nanmu.

According to historical records of the Tang Dynasty, Yangzhou customs, the "Playing of Competing and Picking Lotus Dragon Boats" is held on the tributaries by the river every year on the Dragon Boat Festival. The audience is tens of thousands, and it is very lively. The dragon boats made in Yangzhou are not only sold to all places, but are also tribute to the capital.

There is also a national treasure hall in the Shuangbu Pavilion. The exhibition hall only displays one exhibit of the Yuan Dynasty blue glaze white dragon pattern plum vase, which is the treasure of the Shuangbu Pavilion.

The blue glaze white dragon pattern plum vase is a large utensil among the blue glaze porcelain of Jingdezhen kiln in the Yuan Dynasty. It has beautiful shapes, bright and pure blue glaze color, and the white dragon on the abdomen surrounds the bottle body. It has strong artistic appeal and reflects the highest firing level of Jingdezhen kiln in the Yuan Dynasty.

Only three of this type of plum vase have been passed down from generation to generation. One is a palace collection and is currently in the Summer Palace. One is stored in the Jimei Museum in Paris, France. Both bottles are damaged. Only the Yangzhou Double Museum has the largest shape and the most exquisite patterns.

The white dragon pattern plum vase of Jilan is covered with Jilan glaze. The glaze is thick and moist, the glaze is uniform and stable, and the glaze is blue like the deep sea. The abdomen is carved with "Bearing Dragon Pattern".

A dragon chases a flame bead. The white dragon surrounds the bottle body, with its head tilted upwards, and its neck is slender. The long mane flutters, and its horns are slightly raised. The long eyes protrude, open their mouths and stick out their tongues, revealing sharp teeth, upper and lower jaws and lip tiles, and the limbs are long and thick, and they are walking in a large step. The extended limbs, each limb has three claws, and the fingertips are very sharp...

The space around the dragon uses four fluttering flame-shaped cloud patterns to set off the majestic momentum of the dragon soaring into the sky. Overall, the main pattern, the white dragon and the flame beads and the auxiliary pattern, complement each other.

Yunlong and the pearls are covered with blue-white glaze. The two glaze colors are contrasted clearly and strongly, like a mighty, majestic and fierce dragon that is dotted in the blue sky for thousands of miles. The eyeballs embellished with blue-glaze are particularly prominent against the backdrop of blue-white glaze, which plays the artistic effect of finishing the dragon. The decorative effect is excellent and has a strong artistic appeal. It is a representative fine product that fully reflects the superb porcelain-making level of Jingdezhen Kiln in the Yuan Dynasty.

This plum bottle was originally left among the people and has been passed down in an ordinary family in Yangzhou for countless generations. The elders swept the dust every day, wiped it carefully, and never showed it to others. My mother was afraid of being hurt by this bottle, so she painted its whole body with ink to black.

The son of this family was afraid of the earthquake and told his mother that the bottle was sold to the cultural relics store in Yangzhou at that time for 18 yuan. A fine porcelain piece of Yuan Dynasty that has been kept so complete for six hundred years is really a miracle. It is now worth 360 million yuan and has become the treasure of the Yangzhou Museum.

"Guangling Chao--Ancient City Stories of Yangzhou" is the basic exhibition of the museum. It has an exhibition area of ​​2,300 square meters, a length of 580 meters, and displays 856 cultural relics. It uses the city stories of Hancheng, Guangling City of Han, Tangcheng, Songcheng and Ming and Qingcheng in the Spring and Autumn Period, and uses sculptures, pictures, physical objects, etc. to concisely and clearly outline the main line of Yangzhou's historical development, and also reflect the general trend of the historical development of China.

"Guangling Chao" adopts the latest design concept of information grouping and hierarchical dissemination in the design of the exhibition content. The entire exhibition is based on rivers, rivers and seas, with the three periods of Han, Tang and Qing dynasties as highlights, and the five major cities in the history of Yangzhou as the main line, forming a harmonious whole with a clear structure.

The exhibition scores five major units, each unit has its own emphasis. The grading description is concise and plain. The entire display uses the color elements of willow trees as the basic tone, expressing the cultural characteristics of "the green Yangcheng silhouette is Yangzhou". The use of ancient nanmu color as auxiliary tone means the profound heritage of Yangzhou's history.

The exhibition hall is flat, and the organic combination of the long and short arcs and straight lines on the facade symbolizes the continuous history of Yangzhou, full of infinite vitality and vitality. The exhibition respects historical facts and the logical structure of the exhibition, makes reasonable plans for the volume of the space, fully considers the space share in the three periods of the Han, Tang, Ming and Qing dynasties, and uses the focus to lead the two ends, so that the display space forms a continuous, orderly, moderate, and ups and downs.

While ensuring smooth flow, focus on the situational setting of specific spaces.

Yun Luo was very interested in Emperor Yang of Sui. To be honest, it was really amazing to be able to kill a dynasty in a short period of time. Yan Chenyu was very quiet and sweet, just holding Yun Luo's hand.

The Yangzhou Museum held the "The Relics of Popular Dynasty - Special Exhibition of Cultural Relics Unearthed from the Tomb of Emperor Yang of Sui". All the cultural relics exhibited this time came from the two tombs of Emperor Yang of Sui and Hou Xiao, including 135 pieces/set of cultural relics, including "golden bronze shop head", "chongding bells and chimes", "thirteen rings of gold and jade belts".

In order to show the glory and fall of the generation of emperors, Emperor Yang of Sui, the important relationship between Emperor Yang of Sui, Yangzhou and the Grand Canal, and thus reveal the important position of Yangzhou in the history of China. Therefore, the golden canal ripples were designed, hanging at the entrance of the exhibition hall. The canal ripples meant the contributions made by Emperor Yang of Sui to the canal. Emperor Yang of Sui made brilliant achievements in a short period of time, just like a "meteor".

"The Relic of the Meteor Dynasty" vividly summarizes the theme of the exhibition, with no lack of literary atmosphere. Emperor Yang of Sui made brilliant achievements, so he adopted the golden canal water ripples.

Yangzhou is a city born and prospered by the canal. Looking at the history of Yangzhou and China, historical figures are closely related to the Grand Canal. Among them are emperors, generals, literati, poets, great merchants, and international friends. They not only contributed to the digging, governance of canals, communication between the north and the south, and the development of economy and culture, but also had a huge impact on the direction and process of the history and culture of Yangzhou and even China. Emperor Yang of Sui was one of them.

In order to allow visitors to understand the overall picture of the tomb, the entire exhibition area is arranged according to the structure of the tomb, first the corridor, then the ear chamber and finally the main tomb chamber. After entering the venue, visitors will first see the "gilded bronze head", which is like knocking on the door of the tomb.

The archaeological site of the tomb of Emperor Yang of Sui has never been open to the public. In order to allow viewers to learn more about the tomb of Emperor Yang of Sui and the tomb of Hou Xiao, this exhibition will introduce the tomb structures of the tomb of Emperor Yang of Sui and the tomb of Hou Xiao respectively, focusing on displaying the corridors, ear chambers and main tomb chambers of the two tombs.

The corridor, ear chamber and main tomb of Emperor Yang of Sui and the corridor, ear chamber and main tomb of Xiao Hou were all equipped with a large number of rich pictures. The text introduction of the display board was even accurate to the numbers, and the cultural relics and regulations unearthed from the two tombs gave visitors the most intuitive understanding. It also showed the glory and fall of a generation of emperors, Emperor Yang of Sui, and the important relationship between Emperor Yang of Sui, Yangzhou and the Grand Canal.

In the center of the exhibition hall, under the dim light, two earth-colored sand tables are placed in the two display cabinets, which seem inconspicuous. In fact, these two sand tables are three-dimensional scene restoration models of the tomb of Emperor Yang of Sui and Xiao Hou's tomb, and even the unearthed locations of cultural relics are highly restored.

The tomb of Emperor Yang of Sui is a square brick chamber tomb with a tomb passage. The sand tray completely restores the tomb passage, corridor, main tomb chamber, east ear chamber and west ear chamber. The corridor of Emperor Yang of Sui is a double-layer coupon, with a flat brick sealed tomb door and a mat-shaped base, with an inner width of 1.7 meters and a inner length of 0.8 meters. The "Tomb Magazine of the Seven-Auspicious Emperor" that caused sensation in the world is found here.

Not far from the Tomb of Emperor Yang of Sui is Xiao Hou. The tomb is a tomb of a waist drum-shaped earth pit brick chamber, which consists of five parts: tomb passage, corridor, east ear chamber, west ear chamber, and main tomb chamber. The tomb is 13.6 meters long and 5.9 meters wide. The tomb is rich in burial cultural relics. Various types of pocket pottery, porcelain, and lacquer wood models are scattered in the sand table.
Chapter completed!