I am rich in martial arts, but choose culture to win

At that time, the dinosaur fossil in the Tenglong incident was very good, and it was easy to see that it was a large crocodile rather than a dragon.

But more than 300 people who have experienced that incident all agree that it is definitely a dragon, not a crocodile.

Even when Deinosaur fossils were discovered later, they could find hundreds of differences.

Coupled with the mystery of the instant disappearance of the keel, the legend of Tenglong is still talked about.

In fact, there are almost no real fossils in the Natural History Museum of the Royal Museum of Ming Dynasty.

Zhu Fugui donated all the seven fossils discovered one after another to the [Capital Museum of Natural History] for a fee, and obtained cash from the [Capital Museum of Natural History], and bought many fakes with high degree of restoration.

Of course Zhu Fugui did this for a reason.

Because he found that not only was it completely legal and compliant, but he was also highly praised by the cultural authorities many times. He collected a lot of pennants and honorary certificates, and the cultural value was not consumed, but increased!

Others think that 500 yuan plus pennant is a blood loss, Zhu Fugui...

Well, 500 yuan is also a blood loss.

However, Ouyang, the curator of the [Capital Museum of Natural History], was very helpful and won as much compensation as possible for Zhu Fugui, an enthusiastic overseas Chinese.

In short, Zhu Fugui's current fossil reselling business is doing well, eating two things in one pot.

Zhu Fugui couldn't help clapping his hands and laughing when he saw that troublemaker Ivana was scared to death by a plaster cast.

This smile made Ivana stop her tears.

"Broken bones!"

She fiercely wanted to step forward to kick the Tyrannosaurus Rex's calf bone, but the Jin Yiwei soldier guarding the model grabbed her calf and lifted her upside down.

Zhu Fugui stepped forward and severely criticized: "Every plant and tree in the museum belongs to the property of the Daming royal family, and the Ming royal family represents the direction of advanced productivity and people's well-being, so you are destroying all Ming people!"

"If you break a blade of grass, I will deduct a month's salary from your father, so that you have no money to buy candy!"

Zhu Fugui restrained Ivana with vicious threats, and Yin Susu put on a red face without a teacher.

She hugged Ivana and listened with great interest to the narrator telling the story of this prehistoric giant.

In the end, Ivana got her wish and saw the panda she was thinking of.

Unfortunately, this is nothing more than a chow chow dyed in black and white.

Even so, Ivana and the other children were fascinated by it.

The narrator also introduced in a timely manner: "Children, do you want to hug a real giant panda? When Long Live God takes our army back to East Asia and Sichuan, we will be able to hug a real panda!"

After a while, the immature voice of "Back to East Asia, liberate Sichuan, capture Rolling alive, one person per person" sounded in the Panda House.

Compared with the natural museum that increases knowledge for children, the highlight of the museum is naturally the humanities and history museum.

Of course, if it is outrageous to use a chow lion to pretend to be a panda, then Zhu Fugui's misconduct in the history museum can no longer be described as outrageous, it can be said to be insane.

But Zhu Fugui himself has no psychological pressure on this.

History is a little girl who can be dressed up by others. I just used a little more blush. What's the fuss about?

My wife was also painted red all over back then!

Last night too...

Maybe because he was tired from playing with the "panda", Mo Bai had to take on the heavy responsibility of carrying the child.

But he is very energetic. After all, he came to the museum today mainly to see these precious historical relics.

Different from the nature hall with playful and lovely color schemes, once entering the area of ​​the history hall, a sense of dignified vicissitudes comes over us.

Like the Tyrannosaurus Rex restoration model, a rusty bronze cannon is placed at the entrance.

"The tool for killing the thief chieftain Nurhachi"

This is the introduction of this copper cannon.

In line with the principle of talking more and making mistakes, saying less and making mistakes less, Zhu Fugui designed the introduction very simply.

Otherwise, the unsolved case of bombarding Nurhachi would not stand up to scrutiny too much.

As a soldier, Mo Bai immediately became interested and wanted to step forward to study the cannon carefully.

It's a pity that this cannon was covered by a huge glass cover, Mo Bai could only observe it from a distance, and couldn't see it clearly.

"Sure enough, the craftsmanship is still much worse than the new red cannon of the Army today!"

"Dr. Xing can transform such a primitive cannon into a powerful new type of cannon, he really is a remarkable person...Huh?"

Suddenly, Mo Bai noticed something strange, and quickly asked the guide beside him, "Mr. Tour Guide, why does there seem to be something on the base of this cannon?"

"Haha, sir, you are the first person to bring up this blind spot today. Are you a soldier?" the guide asked enthusiastically with a loudspeaker in hand.

"That's right, I'm serving in the army. As far as I know, copper cannons are very heavy, so they usually don't cast extra parts, right?" Mo Bai asked strangely.

"You are right. In fact, the part on the base was welded on later."

The guide explained, "His Majesty Emperor Liezong of the Ming Dynasty, who is the father of today's son, found this cannon from the ancestor's treasure house with the help of Lord Xing Jiuliu, the commander of Jinyiwei."

"At that time, this cannon was called the Shenwei General Cannon, but His Majesty Liezong felt that such a poor name was really sorry for Nurhachi's generation of heroes, so he specially cast a dog's head and renamed this cannon 'dog head guillotine cannon', which is not Manchu. Thieves above Prince Ansa level cannot enjoy it."

"When the cannon was brought here before, His Majesty came to see it once. At that time, His Majesty saw that the body of the cannon was already rusted and mottled, and he was very moved. He couldn't help but write a doggerel—"

"The dog's head cannon, bombard the old dog, dusty for a hundred years and stained with grime, I hope it will be restarted now, one cannon will send Daoguang, one cannon will send Lin Chief, and three cannons will send away shame and hatred!" Turkey" can be written out, so Daoguang can whip corpses...)

Chapter 134 History, Culture, Seven-Color Flame Conference

It is slightly different from most of the history and humanities museums in China in later generations.

In addition to focusing on the history of China itself, the Royal History Museum of the Ming Dynasty also has a variety of cultural relics from all over the world, showing the invincible spirit of the Ming Dynasty.

Among the cultural relics of China, there are a considerable number of various pottery, jade, and lacquer ware since the Longshan culture, and there are countless cultural relics from the Yin, Shang, Qin and Han dynasties.

It can be said that the porridge station welds each leading the way, feeding sugar and sending rounds is eclectic, and the defective products of various modern industries compete with each other, which is quite exciting.

But on the other hand, the cultural relics that Zhu Fugui asked Xiao Erhei to sort out in [Integrity Antique Store] are really not nonsense. They are basically replicas of major archaeological discoveries made by later generations.

Many people think that a person from the Song Dynasty must understand the Han Dynasty better than scholars from later generations, a person from the Ming Dynasty must understand the Tang Dynasty better than scholars from later generations, and even Sima Qian understands the Spring and Autumn Period better than scholars from later generations.

This notion is not necessarily correct.

In fact, due to the substantial improvement of archaeological capabilities, or to put it more vulgar, with the substantial improvement of the level of grave digging, and the convenience of document circulation, archaeology has been greatly improved since modern times. The understanding of past history is in many ways far superior to that of predecessors.

For example, the "Analects of Confucius" seen by Sima Qian is far less close to the original version of Confucius than the "Analects of Confucius" dug out of ancient tombs by later scholars.

Oracle's discovery is one such example.

Before the end of the nineteenth century, the ancient Chinese knew nothing about this ancient script of 3000 years ago.

In later generations, elementary school children all know that oracle bone inscriptions are the first writing in the history of the Chinese nation.

Similarly, there are Qinkeng terracotta warriors and horses. Before March 1974, farmers in Xiyang Village, Lishan Town, Lintong County, dug a well 3 kilometers east of the mausoleum and found life-sized terracotta warriors. The army is also unknown.

Of course the burial of the pottery figurines is known, but no one has ever imagined that the old man Zulong has collected so many, such excellent, and such a huge army of figures.

In the Royal Museum of Ming Dynasty, a small pit of Qin Terracotta Warriors is displayed.

Be it Mo Bai or some other visiting soldiers, they just looked at these old Qin soldiers from 2000 years ago through the glass.

At this moment, as if a long time had passed, the melodious Qin opera and ancient battle songs rang in the ears of these Ming soldiers.

At this moment, compared with the spiritual inheritance, the authenticity and falsehood of these cultural relics are actually not important.

Of course, in many ways, these things are true.

Because the real terracotta warriors were sealed up in Lishan, waiting for Ming to restore China and reappear them in the sky.

At that time, no one will have any doubts about the collection of the Daming Royal Museum. They can only firmly believe that these Tao Yongs were acquired by the Daming royal family from Lishan back then.

However, the imperial family of the Ming Dynasty at that time believed that the terracotta warriors were Chinese treasures, and further excavation should not be done until the excavation technology was not complete, so as to avoid damage to the wealth left by the ancestors.

This is actually a great regret in the archaeological work of later generations.

The terracotta warriors unearthed in the 70s actually had brilliant colors, but because of the poor cultural relic protection technology at that time, the surface color layer of the terracotta warriors was quickly oxidized and destroyed after they were unearthed, and eventually became a gray clay figurine.

Although the colorless terracotta warriors are also very magnificent, beautiful and breathtaking, they are not what they were originally after all.

Therefore, it is not only to find evidence for his fake cultural relics, but also to inoculate against the discovery of those real cultural relics in the future. Zhu Fugui introduced this detail to the visitors on the exhibition board.

Of course, specific place names such as Anyang in Henan and Lishan Town in Shaanxi will not be marked.

After all, these cultural relics have not been unearthed so far. If it is because of himself that they are patronized by those grave robbers who killed thousands of knives, then Zhu Fugui's crime will be serious.

The glorious and splendid history of China makes every visitor feel a sense of pride spontaneously.

This is the charm of culture, and this is the charm of cultural relics and historic sites.

Therefore, Chang Kaishen did not forget to sweep away the cultural relics of the Forbidden City when he was in Huwa Island. The Japanese invaders also transported a large number of cultural relics back to China, not to mention the cultural relics in the British Museum and the Louvre in France.

But now, things will naturally be reversed in the Daming Royal Museum.

When playing "Civilization 5", sending archaeologists secretly to other countries to excavate cultural relics, or preempting neutral cultural relics as his own cultural relics, has always been something that Zhu Fugui never tires of.

Of course, Zhu Fugui is not yet capable of berthing the Thames, bombarding the Arc de Triomphe, or going to the home of European bandits to rob cultural relics, but the Royal Museum of Ming Dynasty has already vacated a place for them.

Around the Huaxia Benbang Pavilion, there are a series of pavilions for near-fans such as Korea and Vietnam. Outside the near-fans are barbarian pavilions like Persia, and further away, there are animal pavilions.

This is in line with China's understanding of the surrounding world for thousands of years.

[Disclaimer: This is a restoration of respect for history, and does not represent my Ming Dynasty's foreign policy. Allies should not be surprised]

In order to avoid being surprised by the friendly nations, Zhu Fugui specially used the No. 5 pocket font to write the notice under the three block letters of "Animal House", which shows the broad mind of my Ming Dynasty to accommodate the world.

When you want to accompany the visiting heads of state and envoys to visit the garden in the future, those European friends who know etiquette and festivals will not have too many unnecessary associations.

In addition, among the various pavilions, the Japan Pavilion is quite special.

Considering that Tokugawa Aiqing, who lived a good life, donated two steam gunboats to himself before meeting him, Zhu Fugui still pinched his nose and counted them as the "Near Fan Hall".

After all, 300 years ago, he submitted his submission to the court, and in the foreseeable future, Brother Tokugawa may "voluntarily" submit to the court...

Zhu Fugui is optimistic about the awakening of Tokugawa's younger brother.

There are many cultural relics in the Japanese Pavilion.

Except for Zhu Fugui's Ultraman terracotta figurines who were put in to let later scholars lose more hair, most of them are quite important cultural relics.

One is Ashikaga Yoshimitsu's vassal form.

The other is the famous "Golden Seal of the King of the Han Dynasty".

This pure gold seal of copper-nickel alloy has a square surface with a side length of 2.3 cm and a height of about 0.9 cm on the printing pad. There are serpentine buttons on the pad, and the whole body is about 2.2 cm high.

In fact, the authentic copy of the seal has now been unearthed for decades.

However, the news only circulated in a small area of ​​Fukuoka area, and Confucianist Kamei did some research on it.

At present, the golden seal should be in the hands of the local small lord Kuroda.

But no matter whether it was Kamei or Kuroda, they didn't look like some big shots by their names, and this gold seal naturally didn't cause any sensation.

In the 70s, before Kuroda's descendants donated it to the Fukuoka Museum, most people had never heard of this seal, and most of those who had heard of this seal thought it was a forged one. seal.

Until 1956, in the tomb of King Dian in Shizhai, Jinning County, Yunnan Province, and the ancient tombs of the Han Dynasty in Shanxi, a golden seal "The Seal of King Dian" was unearthed, which was bestowed by Emperor Wu of the Han Dynasty Liu Che to the king of Dian to taste the disease.

Regardless of the texture, font, button and size of this gold seal, it is the same as the gold seal of the "King of Han Wei Nu" unearthed in Japan.

In the eyes of the emperor of the Han Dynasty at that time, there was no difference between the kings of Yunnan and Japan, and it was reasonable to send the same gold seal.

So far, relying on the evidence of the seal of the king of Dian, there is basically no doubt about the authenticity of the gold seal of the Wonu king of the Han Dynasty.

In 1981, a seal of the princes of the Han Dynasty "Guangling King Seal" was found in Han Tomb No. [-] Ganquan, Hanjiang County, Yangzhou City. According to textual research, this seal was made by the same person as the seal of the Han Dynasty Wonu King. Not even a year apart.

The authenticity of the gold seal is basically settled.

In this era, of course Zhu Fugui would not leave the opportunity for the Japanese to grind and research, and directly smash a basket of evidence in their faces.

Next to the real objects and photos of these seals, there are also listed the records about Japanese slaves paying tribute to court congratulations in books such as "Book of the Later Han Dynasty: The Chronicle of Emperor Guangwu", "Book of the Later Han Dynasty: Biography of Dongyi", "Three Kingdoms: History of Wei Zhi, and the History of Japanese People" Record.

At least from the chain of evidence, it is definitely enough to form a closed loop.

Anyway, Zhu Fugui doesn't need all the Japanese to believe, as long as young people like Noichiro Morishita who are full of Showa spirit believe it.

Zhu Fugui saw that Shimura Yuichi and his friends, who were sent to draw manga by himself, cried and laughed at the gold seal, and finally worshiped it continuously.

Compared with the museums of near vassals in Japan and North Korea, the collections of barbarian museums and animal museums are relatively small.

Especially in the Europa exhibition area in the animal hall, except for a bunch of classical oil paintings such as the queen flirting with the coachman, Lincoln standing on the black slave to polish shoes, and Washington skinning Indians to make boots, there are very few cultural relics at present, waiting for the Ming Dynasty. Warriors fill them with trophies.

Because Zhu Fugui always felt that if he used the exquisite handicrafts of later generations to make up the number, he would put gold on the faces of these Europa barbarians. Who knows if their cultural relics were originally handicrafts.