if relics could talk

Li Bai waved his sleeves without leaving a cloud behind.

The narrator is also off work.

The dome light went out, a beam of chasing light came down, and the lonely silence in the museum returned.

However, the silence lasted only a few seconds, and soon became lively again.

"Suffocated me."

"It's so noisy today, why are they talking so much?"

"Then they have long mouths, so they can speak just if they want to."

"Fortunately, I have a glass cover outside to protect me, otherwise I feel like a few brats are going to take me down and throw me down!"

"We all carry thousands of years of history on our backs, so we can't smash it!"

"Fortunately we're in the museum..."

The cultural relics have been holding back all day, and after the museum is closed, they finally have the opportunity to chat.

Someone in the audience laughed.

There are also some parents who are educating the children around them: "The cultural relics exhibited in the museum are all national treasures, and there are thousands of years of history behind them. Even if there is no glass cover, you can't mess around with them. Do you understand?"

Li Yiming whispered to Qin Yi beside him: "Every line seems to have a meaning."

Tao Le's original idea was that some viewers might feel offended because of this, and not all children are bear children.

But in fact, Tao Le also thinks so in his heart. No child is born with a bad child. The bad child is because of the bad parents. The ignorant indulgence will only make the child have wrong ideas. In their eyes, maybe even these national treasures are free. Broken toys.

So there must be proper guidance.

Qin Yi smiled, only he knew how Tao Le could not sleep all night when he was writing the script, struggling with a line.

While the cultural relics were chatting, a burst of music suddenly sounded.

The scrolling subtitles have begun to popularize science: This is an audio recording of the chime bell of Marquis Yi of Zeng in 1986. The instruments played are from the 4th century BC. It was jointly recorded by Hubei Provincial Museum and China Record Corporation. The collection time was in the early morning of March 1986, 3. From 29:4 am to 6:6 am on April 18th, the indoor temperature was 440 degrees Celsius, and then the domestic tuning fork was recorded, A equal to [-] Hz.

There are children who can't read at the bottom, but they have already started to learn musical instruments, and they can hear it immediately, and they are excitedly sharing with their parents: "It's the sound of chime bells!"

Also, some foreign friends who are interested in Chinese culture are admiring: "This musical instrument must have a long history."

Music knows no age and no borders.

This is why Tao Le chose the second unit with the chime bell of Marquis Yi of Zeng as the theme cultural relic.

"Shhh! Brother is starting to perform."

The chime bell of Zenghouyi can bear the title of "big brother" among the cultural relics.

Yong Zhongdao: ""Mencius Ten Thousand Chapters" says that those who gather great achievements have the sound of gold and the vibration of jade."

Changxin Gongdeng also said: "The "Preface to Tai Shigong" says, etiquette is used to be courteous, and joy is used to make peace."

Long Liuyu with animal face pattern followed, saying: "The Analects of Confucius says that prosperity comes from poetry, establishment comes from rituals, and success comes from music."

Changxin Gongdeng added: "The "Shangshu" says that the octave is harmonious, there is no phase to compete with each other, and God and man are in harmony."

With a "snap", a beam of lights in the corner suddenly lit up, just hitting an area on the stage that was still dark just now. The commentator, who had already been off work, appeared from nowhere, and suddenly appeared under the light on the line. Like a teacher in class, he still holds a pointer in his hand, puts on his glasses, and starts "class".

""Mencius" is a classic work of Confucianism. It was written by Mencius and his disciples Wan Zhang and Gongsun Chou in the middle of the Warring States period. It was first seen in Zhao Qi's "Mencius Inscription": "This book is also written by Mencius, so it is always called "Mencius" '."

The commentator pushed his glasses and continued: "The Yongzhong that spoke just now comes from the chime bells of Marquis Yi of Zeng. The tomb of Marquis Yi of Zeng was excavated in 1978. The owner of the tomb is named 'Y', who was the king of Zeng Guo in the Warring States Period. Zeng Guo is a history book. The "Suiguo" recorded in the above is within the scope of today's Suizhou City, Hubei Province, so it is very appropriate to introduce "Mencius" from the Warring States Period from the Yongzhong of the Warring States Period!"

Immediately, someone in the auditorium got the cultural relics of the speech just now and the basis of the classics they quoted.

"Which cultural relic was it that quoted "Tai Shi Gong's Preface" just now?"

The person who asked the question immediately lowered his head and began to look up information on the Internet on his mobile phone, as if he was competing with the commentator on the stage to see who could give the answer earlier.

"It's the Changxin Palace Lantern!"

The audience finds out the answer before the narrator.

But the narrator continued: "Changxin Palace Lantern, a cultural relic of the Western Han Dynasty, is now in the Hebei Museum."

""Historical Records" was written in the Western Han Dynasty."

"A lamp illuminates an era. This court lady of the Western Han Dynasty has slender eyebrows and round face. She wears a scarf on her head and wears a deep skirt. She sits on her feet. For more than 2000 years, she has never moved a step , but set off from the Western Han Dynasty, bringing a distant beam of light.”

At this time, a huge Changxin Palace Lantern suddenly appeared in the sky.

It is displayed in front of the audience in all directions and from all angles.

Regardless of every corner of the theater, all audiences can clearly see the Changxin Palace Lantern.

A woman stepped onto the stage from the side of the stage, walked to the center of the stage, and sat down in front of the Changxin Palace Lantern under the glass cover.

She wears a scarf on her head, wears a deep skirt with a curvy skirt, and sits on her feet. Even her makeup is exactly the same as that of the court lady of the Western Han Dynasty in the cultural relics of Changxin palace lanterns.

The chase light on the commentator goes out.

The woman of the Western Han Dynasty began to speak: "I am the burial object of Dou Wan, the grandniece of Emperor Wen of the Han Dynasty. I was found in the Han tomb on the Lingshan Mountain in Sanhuali, Mancheng County, Hebei Province in 1968. When the scattered copper components in the tomb were reconstructed After the combination, I was finally restored to my original appearance."

"I was used in the bathroom of Changxin Palace, and the name of the current 'Changxin Palace Lantern' is derived from it. I once lit the dark night of the Han Dynasty, a treasure, and a beautiful woman. You and I."

The woman holds up the base with her left hand, and the wide sleeve of her right hand hangs down naturally, clasping the tray and becoming a lampshade.

There are two shading sheets on the lamp panel, and a handle is provided on the side of the panel, which can control the illuminance and angle of the light between opening and closing and turning.

Both "Historical Records" and "Shangshu" were written in the Western Han Dynasty, and the contents of these two books were introduced by the Changxin Palace Lantern in the Western Han Dynasty, and they really complemented each other.

The Western Han woman who introduced the Changxin Palace Lantern got up and left, and the projection in mid-air suddenly turned into the animal-mask-patterned Longliuyu who just introduced "The Analects of Confucius".

The "Longliu Yu with animal face pattern" now in the Shanghai Museum is the most precious and rare piece of bronze Yu, and this cultural relic is known as a relic against the sky in the Spring and Autumn Period; because there are three "true" on the cultural relic. "Dragon", one is in Yukou, one is in Yugai, and the other is in Yushou.

Some children have already discovered the clues.

"Mom, what's on it?"

The introduction was already displayed on the scrolling screen next to it, and the child's mother told him: "It's a dragon."

But the child shook his head and said, "Dragon doesn't look like this at all!"

At this time, the commentator who changed into Hanfu reappeared.

"The image of modern Chinese dragons has been improved from generation to generation, and the dragons in the Spring and Autumn and Warring States Periods are relatively early. That is to say, the three dragons on this cultural relic are dragons from the early Chinese culture. Zhonglailong also has wings."

"Since there is a dragon on the cultural relic, does it mean that it is the property of the princes or the emperor? In fact, it is not. It can even be said that this cultural relic is a 'fake', but this fake is imitated by the ancients of Baiyue in the Spring and Autumn Period. Because of its long history and exquisite utensils, this beast-faced dragon-shaped yu is more precious than many bronze yus from the Shang and Zhou dynasties."

The children in the auditorium let out a clear "oh".

"However, this piece of cultural relic archeology experts have not been able to reproduce it so far. Except for the eyes and ears of the animal mask pattern on the cultural relic, they are all made of lines very similar to Thunderlane. Of course, it can be reproduced by the lost wax method. come out, but after the engraving, it can be seen at a glance that it is a fake, and it is completely not up to the feeling of being fake like other engraved cultural relics, and the engraving is meaningless."