My system is not decent

Chapter 1022 you come and I go
It can be said that as long as they are nobles, they will usually be buried with bronze mirrors.

When the bronze mirror was buried with it, it was not placed randomly, but had a special placement.

For example, around the head, above the coffin, or even above the corpse.

Generally, when cleaning an ancient tomb, it would start from the belly and go to the dead soil at 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 funerary object is on the head, with face-covering porcelain, a pair of soul bottles placed in the first two times, a dark stele on the wall above the head, and there may be a wall cage behind the stele.

There may be wall cages on both sides of the shoulders, which can be judged from the level of the tomb.

Don’t dig the lower body if it’s not a large tomb. There is nothing but the coffin nails. The coffin covered with slate is naturally the best.

The above refers to the tombs of civilians, or wealthy officials.

Back to the mirror, and the cloud flower mirror.

It originally refers to the bronze mirror, and it is also called the mirror of the bosom, the mirror of the soul, and the mirror of the daughter.

It does not only refer 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 the words of the mirror, based on the information of the bronze mirror, they can judge and deduce many situations.

The customs of different periods are different, and the number of mirrors varies depending on the number of daughters, and their financial resources are also displayed on the bronze mirrors.

It's just that the mirror talk has long been lost, and there has never been a written explanation.

As for why Chen Wenzhe knew, it must have come from the inheritance of Suihou's Pearl.

There are too many ancient tombs he visited in his dream, many times, he has a deep memory!

It was really because of that period of time, every time he went to the tomb, he ended up being killed by various mechanisms in the tomb.

There are many dead at this time, but it won't make him numb, it can only make his memory more profound.

Therefore, when it comes to the burial objects in the tomb, he is really familiar with it.

Whether it is tomb robbery or archaeology, it is really important to place what can appear in an ancient tomb and where it is placed.

If you don't know, how do you dig out the buried treasures?
This is actually more of a test for tomb robbers, because they often operate at night, and there is a specified time.

This can only allow them to find the most valuable treasure in the shortest time.

This is also a key factor for Chen Wenzhe to be able to clearly understand the placement of funerary objects in the tomb.

In fact, it is not difficult to hunt for treasures in ancient tombs.

Especially in the large tombs, there are regulations. In the larger ancient tombs, the funerary objects are generally placed in the "ear chambers" on both sides of the main tomb, that is, the small chambers on both sides.

In the tomb, it mainly plays the role of a warehouse.

Of course, there will also be funerary objects around the coffin in the main tomb.

Most of the master's coffins are fine products, and most of the men use seals, finger pulls, court beads, jade pendants, and some ghost artifacts such as jade cicadas and jade pigs.

Women carry jewelry, such as gold, silver and silk.

Larger tombs have side rooms, where the owner’s daily necessities are placed, such as gold, silver, copper, jade, lacquer porcelain, etc. Military generals have knives, bows, arrows and horse bones, and civil officials have bamboo slips to play with.

"It's a bit scary to communicate these things!" Wu San said with an abnormal expression.

Those who are out of business, they care more about this kind of thing. If they can avoid provoking it, it is best not to provoke them, so they really will not go to the grave.

As far as Wu San knows, even if it is a family of tomb robbers, there are rules for who goes to the tomb.

For example, if a father and son are together, then it is certain that the son can be released, but the father cannot be released.

It's not for filial piety or filial piety, but pure distrust, for insurance.

Going down to the tomb is very dangerous. If my son is in danger, I will go down to save him even if I try my best.

Also, if there is an accident, Lao Tzu above the tomb will definitely not leave his son alone and run away by himself.

If it was Lao Tzu who went to the tomb and left his son to watch over it, then even his Lao Tzu would not know what his son would do if he encountered a problem.

Also, what should I do if the treasure hunt in the tomb is too good, too precious, and too valuable?
His father is definitely not willing to kill his child, but what the child thinks above, really can't 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 say the money!"

Starting from the Tang and Yuan Dynasties, more and more inscriptions were made on porcelain.

By the Ming Dynasty, especially after Hongwu and Yongle, inscriptions on almost porcelain had become the standard.

What Lao Li is talking about is the pipe style, which is the font and style of the inscription on the official kiln.

The official kiln inscriptions of each period follow certain rules and reflect the unique style of the times. The characters are called "official inscriptions".

But it should be noted that even if the title of the emperor is the same, there will be great differences due to different years.

At present, the academic world lacks a chronology of official money, and although Jingzhen's side is not complete, they must have collected the most.

This can no longer be said to be dry goods, but a real secret.

Since he is sincere, Chen Wenzhe can only talk about some secrets he has obtained through inheritance.

For example, the official pattern, which refers to the patterns on the official kilns. The patterns on the official kilns in each period have certain formats, routines, and even picture books, which are obviously different from the folk kilns, and also different from the previous dynasties. For future generations, this kind of thing is "official body pattern".

There is a principle in calligraphy and painting: it is easy to follow one's heart and difficult to imitate.

Some data show that official kiln craftsmen have a meticulous division of labor. The same pattern and text have to be painted and painted many times.

It turned out that Chen Wenzhe learned how to make porcelain through the immersive experience in his dream. He did not learn the making of one kind of porcelain, but all the making of porcelain.

For example, basic porcelain making. When he was studying at that time, he had learned not only the porcelain of one dynasty, but all the making of porcelain in the past dynasties.

After systematically learning how to make porcelain, he will definitely understand the changes in the patterns on it.

Modern people have a clear division of labor no matter what they do, so naturally they don't have Chen Wenzhe's experience of controlling the overall situation and standing at the top to see all the mountains and small things.

When you talk about style, I will talk about decoration, because Chen Wenzhe has too many decorations.

It turned out that he didn't sort it out, but now he communicates with others, and after a little thought, he can point out the typical characteristics of each dynasty from ancient times to the present.

After the inscriptions and decorations have been exchanged, what top craftsmanship is there on a piece of porcelain?
"Then let me talk about the porcelain body. This is the foundation of the foundation. All changes are applied to the porcelain body. This is the most important thing."

After a little hesitation, Lao Li talked about the utensils of various dynasties, especially some classic utensils.

Porcelain bodies are also different, some of which are very peculiar, such as red bodies.

This phenomenon is often used in Yongle sweet white glaze, Chenghua red body porcelain, and Dehua porcelain in the late Ming Dynasty, that is, the carcass is slightly red.

Those with deep color are 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 pre-Tang pottery.

Since the end of the Qing Dynasty, red soil was scarce, so few people knew about red-bodied porcelain.

(End of this chapter)