Handan has a history of 3,100 years of founding, and 8,000 years ago gave birth to the early Neolithic magnetic mountain culture. During the Warring States period, Handan was the capital of the Zhao State, and the Han Dynasty shared the reputation of the "Five Metropolises" with Luoyang, Linzi, Nanyang and Chengdu. Linzhang County, Handan was successively the capital of Cao Wei, Ran Wei, Former Yan, Eastern Wei, and Northern Qi.
From 386 BC when Zhao Zhang, the Marquis of Zhao Jing, moved the capital to Handan from Zhongmu to 228 BC when Zhao Qian, the king of Zhao Youmiao, was captured, Handan developed into the political, cultural and economic center of the Zhao State at that time, and was also the largest industrial and commercial city and an important military strategic place in the north at that time.
Located at the northwest junction of today's Congtai District and Yongnian District of Handan City, the imperial mausoleum of the Zhao Kingdom, one of the Seven Heroes of the Warring States Period, is a national key cultural relics protection unit and is the oldest royal tomb in Hebei Province and even China.
The seven tombs of these five mausoleums are believed to have been the tombs of the seven Zhao kings of Zhao Jinghou, Zhao Chenghou, Zhao Suhou, Zhao Wuling, Zhao Huiwen, Zhao Xiaocheng, and Zhao Mourning Xiang.
The tombs of King Zhao have been stolen repeatedly, and the stolen cultural relics have been sold to the United Kingdom, Canada and other countries, and some of the national first-class cultural relics recovered are now stored in the Handan Museum.
01 Basic Overview
The Handan Museum was established in 1984, formerly known as the "Long Live the Victory of Mao Zedong Thought handan Exhibition Hall" founded in 1968.
In July 1984, the Handan Museum was established and shared with the exhibition hall the main building. In August 1986, the Handan Exhibition Hall was abolished and the Handan Museum was retained.
Handan Museum was founded in 2008, with a total height of 35.5 meters, covers an area of about 12,000 square meters, and has a total construction area of 30,679 square meters, which is divided into 1 underground floor, 6 floors above ground, and an exhibition hall area of more than 15,000 square meters.
The first floor of the museum is a comprehensive service hall for the audience and a youth experience center; the second floor is a temporary exhibition hall; the third floor is a basic exhibition of Handan history and culture, showing the development process of Handan from ancient times to the present, comprehensively reflecting the process of Handan's history, culture and social change, and is a comprehensive understanding of Handan and the cultural window of Handan; the fourth floor is three unique thematic exhibition halls such as Cizhou Kiln Exhibition, Ancient Buddhist Statue Stone Carving Exhibition, and Ancient Coin Exhibition. The fifth and sixth floors are equipped with cultural relics protection laboratories and office and scientific research rooms.
The three walls of the central hall on the first floor are also inlaid with three forged bronze murals of "Light of Magnetic Mountain", "Hufu Riding Shooting" and "Jian'an Wind Bone", with an area of 210 square meters, which reflect the three important periods of Handan's history and culture. In the center of the hall, there is also a group of bronze horse carvings based on bronze horses excavated from the tomb of King Zhao, which is magnificent.
At present, the museum is equipped with five basic exhibitions, including "Magnetic Hill Culture" from the Neolithic Era, "Zhao Culture" from the Zhao And Han Dynasties, "Chinese Cizhou Kiln Porcelain" from the Northern Dynasty to the Song and Yuan Dynasties, "Tomb of Princess Ruru" from the Northern Dynasty, and "Handan Ancient Stone Carving Art" from the Tang and Song Dynasties.
02 Permanent exhibitions
--- "Gandan" style ---
"Gandan" style - handan history and culture basic exhibition draws on the characteristics and important historical facts and cultural achievements in the historical development of Handan, traces the ancestors of Handan in this ancient land according to the clues of time, and uses diligence and wisdom to open up and create the history of Handan, which is divided into 4 exhibition halls and 9 units.
Handan is west of Taihang, with lofty mountains, shallow hills, and valleys and valleys and valleys and ladders; east across the plain, the Yellow River Gudao, Zhang, Fu, Huan, and Wei rivers crisscross each other, which is one of the important birthplaces of human civilization. In the Paleolithic period, there are new bridge ruins, and the Neolithic Magnetic Hill agricultural civilization is splendid. The Shang culture originated and developed in the Zhanghe River Valley, and Handan was the capital of the Zhao State during the Warring States period, and it was a famous commercial capital in the Han Dynasty. At the end of the Han Dynasty, the city of Yicheng rose, and during the Southern and Northern Dynasties of Wei and Jin, it was successively the capital of the six dynasties of Cao Wei, Later Zhao, Ran Wei, Former Yan, Eastern Wei, and Northern Qi, and prospered for nearly four hundred years.
The Sui and Tang dynasties descended, the big name flourished through the canal, the shape of the and the magnetic stranglehold won the growth, and the iron horse of the Jinge disturbed the clouds of history. Song Jin Yuan Ming and Qing Dynasties, Guangping and Daming Road Houses stood side by side, cultivating and reading heirlooms. At the end of the Qing Dynasty, the railway was penetrated, the new learning gradually flourished, and the industry and mines were slightly slight, which was the beginning of the revival of modern Handan. During the Republican period, modern industry marched with difficulty, and the national crisis became increasingly imminent. The flames of the War of Resistance Against Japanese Aggression burned all over southern Hebei, and the sons and daughters of Handan made contributions to the establishment of New China and the rejuvenation of the nation in the old revolutionary area.
--- Handan Ancient Stone Carving Art Exhibition ---
In the form of single statue cultural relics, restored landscapes and pictures, the exhibition focuses on the stone carvings and statue art from the Northern Dynasty to the Song Dynasty in Handan. The exhibition is divided into four parts.
Part I: Northern Dynasty Iconography
The development of Buddhism in Yecheng began as early as the Sixteen Kingdoms period, and the later Zhao, Ran Wei, and Former Yan successively built the capital Of Yicheng, which made Buddhism gradually develop and grow in Yicheng, and the art of Buddhist statues also gradually developed. During the Northern Wei Dynasty, with the excavation of Yungang and Longmen Grottoes, the art of statue-making further penetrated into the folk, and a number of Northern Wei monolithic statues appeared in Handan. During the Eastern Wei and Northern Qi dynasties, the Buddhist statue art of Yicheng reached its peak, and the Xiangtangshan Grottoes were excavated, and a large number of exquisite Han white jade single statues appeared at the same time.
The Art of Buddha Statues in the Northern Wei Dynasty reached the first flourishing period in history, and the Northern Wei statues represented by the Yungang Grottoes and the Longmen Grottoes affected the Yicheng area, with Emperor Xiaowen moving the capital Luoyang as the boundary, the early performance was "thick and calm", and after the relocation of Luoluo, the style of "Xiu Bone Qing Statue" was expressed.
In 534, Northern Wei split into Eastern Wei and Western Wei, and the area of Yicheng was Eastern Wei, which in turn became the political center of Eastern Wei. Influenced by the Longmen Grottoes, the mainstream style of the Eastern Wei statue is the "face for hate carving, cut for rongyi" of the bone Qing statue, but in the scope of Yicheng centered, has begun to show a new style, the statue body is strong, the style of yin carved double-line clothing pattern gradually matured, laying the foundation for the formation of the "Northern Qi style".
After a brief transition of the Eastern Wei Dynasty, the Northern Qi statue changed the thin style of the early period, the statue as a whole became clean and pure, the face was rich and full of charm, especially in the expression of the clothing pattern, influenced by the painter Cao Zhongda's "Cao Yi out of the water" painting style at that time, the clothing pattern was sparse and close, so that the character image exuded inner vitality in the sparse and plain, thus creating the "Northern Qi style" in the history of Buddhist statue art.
Part II: Sui and Tang Dynasty Statue Art
After more than two hundred years of division between the Northern and Southern Dynasties, the Sui Dynasty unified China. Emperor Yang Jian of sui lived in Buddhist monasteries from an early age, so after his regime stabilized, he decreed the restoration of Buddhism nationwide. The Biography of The Continuing High Monk Shi Mingfen records that "Renshou (601 604) issued an edict and ordered the pagoda to be placed at the Cizhou Grotto Temple." Although Yecheng lost its favorable position as a political center in the Sui Dynasty, its influence as a Buddhist center did not weaken.
In the Tang Dynasty, the art of Buddha statues entered a mature stage in the social and artistic environment of "big and prosperous", which not only continued the customs since the Southern and Northern Dynasties, but also appeared many types of Buddhist statues with richer content and more skilled skills, and the art of Buddha statues reached its peak.
Part III: Statues of the Five Dynasties of the Song Dynasty
At the end of the Tang Dynasty, social contradictions and ethnic contradictions deepened, the central eunuchs monopolized power, local feudal towns were divided, and the country moved toward division, and five generations and ten kingdoms appeared in succession. Due to the frequent wars and fires in the Central Plains, social unrest, and the later Zhou Dynasty Emperor Chai Rong's edict in the second year of Xiande (955) to destroy Buddhist temples and ban Buddhism, more than half of the Buddhist temples in the world were abolished, and most of the Buddhist murals in major monasteries were destroyed. At this time, the Buddhist statue art basically inherited the old style of the late Tang Dynasty, but it clearly showed the shape of decadence and decline. In the Song Dynasty, Buddhist statue art tended to be realistic in terms of creative techniques, and the character modeling was further lived and secularized. After experiencing the peak of the Tang Dynasty, the art of stone carving in the Song Dynasty gradually declined.
Part IV: The Art of Northern Dynasty Scripture Engraving
The large-scale engraving of Buddhist scriptures on the stone wall began as early as the Beixiangtang Grottoes, and in the fourth year of the Northern Qi Tiantong (568), Tang Yong, the founding duke of Jinchang County, said in the Gushan Grottoes that "the Dharma Treasure is the one to which it is returned, thinking that The Xiangxiang is bad, the Simple Strategy is not long, the gold is difficult to find, and the leather paper is easy to extinguish." Therefore, "Send the seal of the Seven Places, open the Letter of the Seven Treasures, visit the Book of the Lotus, the Trace of the Silver Hook, and as the voice says, do all the famous mountains." Thus creating a large-scale history of engraving Buddhist scriptures in China.
--- Cizhou kiln porcelain display ---
Cizhou kiln is a famous folk kiln in northern China, located in the territory of Ci County and Fengfeng in the south of present-day Hebei Province, so named after the ancient cizhou. Here in the late Northern Dynasty, the celadon kiln field was founded, the Sui and Tang Dynasties were ordinary folk kilns, and the Song, Jin and Yuan dynasties entered the era of decorative ceramics, and the decorative varieties and techniques were rich and colorful. In the Ming and Qing dynasties, Pengcheng was the porcelain capital of the north. During the late Qing Dynasty and the Republic of China, Pengcheng Kiln introduced blue and white and multicolored crafts. The prosperity of blue and white and multicolored decorative arts in the late Qing Dynasty and the Republic of China continued to write the new glory of Cizhou kiln.
Part I. Opening Prologue
During the Northern Dynasty, Yecheng became the political and economic center of northern China, and this special geographical location and natural resources made the Zhangfu River Valley on the western outskirts of Yecheng begin to produce porcelain, creating the earliest celadon kiln farm in the north. These celadon carcasses are thick and thin, glazed with blue-gray or blue-yellow, and half of the mouths have makeup soil, and the utensils are thick and exquisite.
Part II: Historical Peaks
In the more than 1,000 years of firing history of Cizhou kiln, it reached its peak in the Song and Jinyuan periods. In the Northern Song Dynasty, there were many famous kilns, and the Cizhou kiln successfully used Chinese painting techniques for porcelain painting, and created and burned the fine product of the Cizhou kiln - white ground and black flowers. Jin Dynasty, became the collection of Cizhou kiln system. In the Yuan Dynasty, Cizhou kiln porcelain was dominated by white and black flowers, and the content was extremely rich, at this time, it began to burn tribute porcelain for the imperial government, and exported overseas as a commodity.
Part III Northern Porcelain Capital
Pengcheng kiln became the firing center of Cizhou kiln in the late Yuan and early Ming dynasty. Folk have "Qianli Pengcheng, Rijin Doujin" and "There is Jingde in the south and Pengcheng in the north". In the Ming and Qing dynasties, Pengcheng kiln mainly produced bowls, plates, pots, cylinders and other civil porcelain, and once fired large wine vessels such as bottles, jars and altars for the imperial government. The decoration of this period is still dominated by white and black flowers, but it is not as grand and exquisite as the Song and Yuan dynasties, but it is more concise and smooth.
Part IV: Appreciation of Grace and Customs
At the end of the Qing Dynasty, the Qing government implemented the New Deal and adopted a series of new measures such as revitalizing industry and rewarding industry and commerce, which had an important impact on Pengcheng's porcelain industry. With the improvement of the porcelain industry, Pengcheng kiln has made comprehensive improvements in tire quality, glaze color, decoration and molding, firing process and other aspects. Since then, traditional craftsmanship techniques have begun to withdraw from the historical stage, and blue and white flowers have replaced white and black flowers, injecting new vitality into the Cizhou kiln.
--- World ---
In Chinese history, the forms of coins are even more diverse, including shell coins, copper coins, gold, silver, paper money and so on. In the long history of Handan, it has witnessed the issuance of precious currencies such as Gandan knife cloth, Changping five-baht, Fuchang Tongbao, And Ji'nan Bank Coin, and Handan is also one of the birthplaces of the renminbi.
Unit 1 Currency Spring and Autumn
It displays various cultural relics from the Shang and Zhou dynasties to the currencies of the Warring States countries, the Qin and Han dynasties, the square hole round coins of the past dynasties, the silver ingots of the Qing Dynasty, the silver bills, the modern mechanism currency and the paper money, telling the great history of China's monetary development for thousands of years.
Unit 2 Handan Spring Rhyme
It mainly shows the currencies issued in the Handan area in history, including various cloth coins and sword coins issued by the Zhao State during the Warring States period; the second part of the Northern Dynasty currency includes the Yong'an Five Baht, Changping Five Baht, Five Elements Dabu and other Northern Dynasty currency, as well as the Fuchang Yuanbao issued by the pseudo-Qi regime at the turn of the two Song Dynasties; the third part is all kinds of currency issued by the Ji'nan Bank before the founding of New China, and there are restored ji'nan bank sites and stone printing machines for printing currency.
Unit 3 Kong Fang Rhymes
It is divided into several parts of currency humor, money calligraphy, minting tiangong, and green ant folklore, showing more connotations of politics, economy, culture, folklore and so on in various historical periods contained by the currency itself, supplemented by touch animation to show the minting process of currency, and to enhance the audience's understanding of numismatic knowledge in various forms of games.
03 Treasures from the museum's collection
--- Gold and Silver Tu Yu Dajue Wine Bottle ---
The bottle is divided into two parts, the plate and the bottle, and the whole body is gilded with silver and gilded. The bottle cover is raised, the three suzaku on the top are spreading their wings to fly, the two sides of the wine bottle abdomen are carved with the first ring of the dragon shop, and the wall of the wine bottle adopts the technique of thin line engraving, depicting the flowing clouds, birds and beasts, running deer, feather people, the Queen Mother of the West, the waiter, the strange flowers and grasses and other fairy realm pictures, the bottom of the bottle is decorated with bears as three legs, the decoration is the same as the foot of the board, and the bear body and the head are inlaid with agate, turquoise, crystal, etc.
At the bottom of the tray there is an inscription from the Book of Lishu: "Jianwu Twenty-three Years Shu County West Gongzao Ride on the Great Lord of Public Opinion Wine Bottle." It can be seen from this that this golden bottle is a masterpiece of the famous official building of the Han Dynasty - "Shu County's Western Workers". The word "multiplying public opinion" in the inscription indicates that this vessel was specially made for the imperial family by the Western Workers of Shu County. Such an exquisite wine bottle is the treasure of the town hall of Handan Bo.
--- Cockroach pattern horse head ear large bronze ---
This bronze jian is a national first-class cultural relic, the mouth edge is narrow, the neck is decorated with a pair of round carved horse head ring ears, the horse's mane is curly, extremely tense, the upper abdomen is decorated with a pair of animal head ears, the mouth edge is decorated with a silk cord pattern, the neck and abdomen are separated by convex string patterns, and the inside is filled with fine cockroach patterns. The object type of the instrument is large, well-cast, and the ornamentation is delicate.
Judging from the type and ornamentation, this piece should be an early Artifact of the Warring States, but it was unearthed in the tomb of the Prince of the Eastern Han Dynasty, indicating that as early as the Eastern Han Dynasty, this Ma Shou'er Large Bronze Jian became a former heavy instrument with great ornamental and collecting value, which was not only cherished by the owner, but also became a precious funerary product.
--- Through-carved Dragon Pattern Gold Medal Decoration ---
This rectangular transparent carved dragon pattern gold medal ornament, cast from gold and copper alloy, measured gold content of 40%, surrounded by a paisley pattern, the card face is carved with two dragon patterns, the two dragons are symmetrically distributed in the center of the card face, the head is inward, as a rising shape, the shape is realistic, the back sides have a belt-shaped nose, which is convenient for connection with fabric or leather belt stitches, and its upper border is engraved with a line of small and light text, which is suspected to be a pre-Qin inscription.
This gold medal ornament with a dragon pattern through carving is the product of the integration of agricultural civilization and nomadic civilization, and is a fine product of pre-Qin costumes and goldware, which has special historical and artistic value and is a national first-class cultural relic.
--- Bronze Horse ---
The three bronze horses excavated from the second mausoleum of the Zhao King's Tomb have different shapes, one is walking with the head up, one is standing with the head down, and the other is the shape of the low head foraging, the tails of the three horses are knotted, and the tendons are protruding, the limbs are developed, the back is plump, the hips are strong, and the horse's neck is strong, according to these characteristics, some experts infer that they are the shape of adult Mongolian war horses.
This is the earliest bronze horse with realistic art style found in China, about 400 years earlier than the famous "Ma Ta Fei Yan" of the Han Dynasty, which is a national first-class cultural relic and can be called a "national treasure".
--- Scale Tianlu Rack Iron ---
Scale Tianlu frame iron, the whole body is emerald green, the shape of the instrument is tall, thick, symmetrical and stable, the bracket handle is slender, there is a hole in the middle to insert the iron, and the top of the bracket is carved with "Tianlu". "Tianlu" is a legendary beast, which is a common Han Dynasty decoration, which means "Heavenly Blessing". The casting of this "Tianlu" uses a variety of techniques such as circular carving, relief carving, and line carving, and the concept is exquisite and natural, the shape is vivid, and the posture is cute. This iron handle also has 12 circles cast on it to represent the scale. Some experts believe that the artifact has the meaning of "holding authority to iron the world", and the function of ceremonial furnishings is more.
◇ Some of the information in this article comes from handan Museum
◇ The pictures not marked in this article come from the Internet, and the copyright belongs to the original author
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