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

With Tang Dynasty ladies figurines as the main theme, 97 pieces (sets) of fine cultural relics closely related to the lives of Tang Dynasty women were selected, including gold and silver wares, jade wares, porcelain wares, textiles, etc. The exhibition shows the spiritual outlook of Tang Dynasty ladies, enables the public to more intuitively understand all aspects of Tang Dynasty women's lives, and appreciate the magnificent and graceful social atmosphere of the Tang Dynasty.

The exhibition reproduces the rich, graceful, luxurious and plump style of Tang Dynasty ladies, and eulogizes the open and inclusive prosperity of the Tang Dynasty. It further publicizes the long, splendid and magnificent Silk Road culture, promotes the Silk Road spirit of openness, tolerance and win-win cooperation, takes modern culture as the guide, and creates our happy life with an uplifting spirit and jointly builds our beautiful home.

The Tang Dynasty was the heyday of China's feudal society. It was a time of prosperous economy, developed culture, and frequent foreign exchanges. The rulers had an open mind, made friends widely, maintained good relations with neighbors, and absorbed foreign cultures, thus creating the magnificent and brilliant Tang culture. Against such a social background, the lives of Tang Dynasty ladies showed an unprecedented and open state.

Women in the Tang Dynasty, especially the aristocratic women living in the city of Chang'an, always stood at the forefront of fashion in all areas of women's lives. They were not only enthusiastic about politics and pursued self-realization, but also decorated their beautiful lives with gorgeous clothes, gorgeous makeup and exquisite accessories.

They moved leisurely in the streets and alleys, rode horses, hunted, feasted, played ball... and were involved in every aspect of social life in the Tang Dynasty, making great contributions to the prosperity and development of Tang culture.

The silver incense ball with twined flower pattern is a round ball made by hammering, cutting, polishing, riveting and other crafts. It is hollowed out and decorated with fabric-like twined flower patterns. It is a portable incense burning tool. The silver incense ball is the best work of gold and silver crafts in the Tang Dynasty. The main body is composed of two hemispheres buckled together, with a small shaft installed at the joint.

The rest of the parts are made of tightly buckled snaps, which are firmly connected and easy to open and close. Two concentric movable rings and an incense burner are installed inside. Each component is connected to the wall of the device by a symmetrical movable axis. The mechanical balance created by the concentricity and the movable axis ensures that the incense burner can remain horizontal no matter how the ball rotates.

Instead of scattering spices, the silver smoked balls here are a representative work that combines superb craftsmanship and technology.

The mirror is round, with one side plain and reflecting the face, and the other side decorated with patterns. In the middle is a big tree. On the left of the tree is a jade rabbit pounding medicine, and on the right is the flying fairy Chang'e and a toad.

That is the picture of Chang'e flying to the moon. Chang'e flying to the moon is a beautiful and moving mythological story, and is also one of the themes often expressed in various artistic creations. According to legend, Chang'e stole the elixir of immortality, flew to the Moon Palace and turned into a toad, becoming a moon spirit. Some pictures show Chang'e flying to the Moon Palace and accompanied by a toad. The Chang'e in the mirror is beautiful and lovely, with long flowing clothes, and is flying to the moon.

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

Figurine of a female musician playing the konghou, painted figurine of a female musician playing the konghou on horseback: The female musician wears a futou hat, a green round-necked narrow-sleeved robe, a belt around the waist, and pointed high boots. She is riding a horse and stepping on the stirrups, leaning sideways and holding the konghou in both hands. She is one of the performers of the horseback band. Black hair is exposed behind the futou hat, obviously a female musician, with plump cheeks and red lips. She seems to be paying attention to the dancers while playing.

Western music was very popular during the Tang Dynasty. From high-ranking officials and royal family to ordinary people, there were dances and songs everywhere. A team of female musicians were unearthed in the Tang Dynasty. They were the entourage of the nobles when they traveled, to show their status and luxury.

They leisurely walked in the streets, rode horses, hunted, feasted, and played ball games. 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.

Yunxiang Clothes, the clothing of ancient Chinese society, is based on the practicality and solemnity of men's clothing. The romantic and colorful style of single women's clothing also led a generation, and the Tang Dynasty ladies' clothing is the most colorful chapter. In the early stage of development, it inherited the customs of the Han, Wei and Northern Dynasties, mainly small clothes and long skirts, with darker colors, less makeup, and simple accessories.

In the middle period, Hu clothing was popular, with brightly colored dresses and accessories such as hairpins. In the late Tang Dynasty, plumpness was considered beautiful for ladies, and they wore wide clothes and skirts with intricate decorations. During the 300 years of development in the Tang Dynasty, ladies' clothing became the most dazzling wonder in ancient Chinese clothing fashion with its numerous styles, bright colors, innovative decorative techniques and elegant and gorgeous style.

Women in men's clothing is another feature of women's clothing during the prosperous Tang Dynasty. Women wearing men's clothing had already appeared in the early Tang Dynasty. In the middle and late Tang Dynasty, aristocratic women also often wore men's clothing to go out. Women wearing men's clothing was first popular in the palace, and then gradually spread and became popular among the people, and was deeply loved by the majority of women.

Wearing a fu hat, a round-necked robe, and leather boots was the popular attire for men in the Tang Dynasty for 300 years, from the emperor to the common people. However, women in the Tang Dynasty broke the shackles of the family and used the pursuit of novelty, bold innovation, and full expression of themselves. This way was the inevitable result of the Tang Dynasty's strong national strength and broad and open culture.

The painted figurine of a lady standing with her hands folded, her head tilted slightly to one side, her hair combed in a bun, her face ruddy, her eyebrows drawn with fine ink on her delicate eyelids, her transparent eyes staring forward, slightly tilted up, with a sweet smile, she is wearing a round-necked, white shirt with narrow sleeves, her hands hidden in front of her chest, an orange-yellow shawl embroidered with various flowers, draped from her abdomen to her back and down to her legs.

The red skirt is tied under the chest, and one foot can be seen through the skirt. It makes people feel that this is not a static figurine, but a slightly twisted body, with the right shoulder slightly raised, and bright eyes, smiling red lips, rosy face, and a shy and flirtatious look, which is really "seductive and beautiful". Although it has been a thousand years, the image is still radiant.

The logo of the two museums - the statues of Fuxi and Nuwa - are red round sculptures with an extra head on top. Fuxi and Nuwa both have human heads and snake bodies. They got married and reproduced, which is the origin of the "Descendants of the Dragon".

In the "Shared Space" on the second floor of the two museums, there is a Tang Dynasty racing boat (dragon boat), which was unearthed in Jiajiang, Hanshiqiao Township, Yangzhou in 1960. 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 wood.

According to historical records of the Tang Dynasty, it was a custom in Yangzhou to hold a "lotus-picking dragon boat race" on the riverside tributaries every Dragon Boat Festival, with tens of thousands of spectators and a lively atmosphere. The dragon boats made in Yangzhou were not only sold far and wide, but also presented as tribute to the capital.

There is also a National Treasure Hall in the Shuangbo Museum. The exhibition hall displays only one Yuan Dynasty blue-glazed plum vase with white dragon pattern, which is the treasure of the Shuangbo Museum.

The royal blue-glazed plum vase with white dragon pattern is a large-scale blue-glazed porcelain from the Jingdezhen kiln in the Yuan Dynasty. It has a beautiful shape, bright and pure blue glaze color, and a white dragon on its belly that surrounds the body of the vase. It has a strong artistic appeal and reflects the highest firing level of the Jingdezhen kiln in the Yuan Dynasty.

There are only three such plum bottles handed down in the world. One is an old collection of the imperial court and is now in the Summer Palace. Another is in the Guimet Museum in Paris, France. Both bottles are damaged, but the one in the Yangzhou Shuangmiao Museum is the largest and has the most exquisite decoration.

The whole body of the plum vase with white dragon pattern and blue glaze is covered with blue glaze, which is thick and lustrous, with a smooth and stable glaze surface and a glaze color as blue as the deep sea. The abdomen is engraved with a "dragon chasing a pearl".

A dragon chases a flaming orb. The white dragon circles around the bottle, its head tilted upwards, its neck slender. Its long mane flutters, and its horns slightly tilted back. Its eyes are protruding, its mouth is open and its tongue is sticking out, revealing its sharp teeth. Its lips are curled up on the upper and lower jaws, and its limbs are long and strong, as if it is marching in a big stride. Its outstretched limbs have three claws on each limb, and the fingertips are very sharp...

The space around the dragon is decorated with four floating flame-shaped clouds, which highlight the majestic momentum of the dragon soaring in the vast sky. Overall, the main decoration of the white dragon and the flame orb and the auxiliary decoration of the four flame-shaped clouds complement each other.

The cloud dragon and the precious bead are covered with blue-white glaze. The two glaze colors are in sharp contrast, like a mighty, majestic, and fierce dragon roaring in the blue sky. The eyeballs embellished with blue glaze are particularly prominent against the background of the blue-white glaze, which has an artistic effect of adding the finishing touch. The decorative effect is excellent and has a strong artistic appeal. It is a representative masterpiece that fully reflects the superb porcelain-making level of Jingdezhen Kiln in the Yuan Dynasty.

This plum vase was originally lost among the people and has been passed down for countless generations in an ordinary family in Yangzhou. The elders sweep the dust, wipe it, and take good care of it every day, and never show it to others. My mother was afraid that the vase would be harmed, so she painted it black with ink.

The son of this family was afraid of earthquakes and sold the bottle to a cultural relic store in Yangzhou for 18 yuan without telling his mother. It is a miracle that a fine porcelain from the Yuan Dynasty has been preserved so intact after being passed down among the people for 600 years. It is now worth 360 million yuan and has become the treasure of the Yangzhou Museum.

"Guangling Tide - The Story of Ancient City Yangzhou" is the basic display of the museum, with a display area of ​​2,300 square meters, an exhibition line length of 580 meters, and 856 cultural relics on display. It uses the city stories of Han City in the Spring and Autumn Period, Guangling City in the Han Dynasty, Tang City, Song City and Ming and Qing City, and uses sculptures, pictures, real objects and other forms to concisely and clearly outline the main line of Yangzhou's historical development, and also reflects the general trend of China's historical development.

The exhibition "Guangling Tide" adopts the latest design concept of information grouping and hierarchical communication in the design of display content. The whole exhibition is based on rivers, lakes and seas, with the Han, Tang and Qing dynasties as the highlights, and the five major cities in Yangzhou's history as the main line, forming a harmonious whole with a clear structure.

The exhibition is divided into five units, each with its own focus. The classification description is concise and plain. The entire display uses the color element of willow as the basic tone, showing the cultural characteristics of "green Yangzhou city walls are Yangzhou". The use of ancient nanmu color as a secondary color tone implies the profound heritage of Yangzhou's history.

There is no mistake in the poem, post, content, and read the book on 6, 9, and bar!

The organic combination of long and short arcs and straight lines in the exhibition hall's plane and facade symbolizes the continuous history of Yangzhou, which is full of infinite vitality and vigor. The exhibition respects historical facts and the logical structure of the exhibition, makes a reasonable plan for the space volume, fully considers the space share of the three periods of Han, Tang, Ming and Qing dynasties, and takes the key points to lead the two ends, so that the exhibition space forms a continuous, orderly, relaxed, and ups and downs rhythm.

Under the premise of ensuring smooth flow, special attention is paid to the situational setting of specific space.

Yunluo was very interested in Emperor Yang of Sui. To be honest, being able to destroy a dynasty in such a short period of time was really an extraordinary thing. Yan Chenyu was very quiet and sweet, just holding Yunluo's hand.

Yangzhou Museum held the "Relics of the Popular Dynasty - Special Exhibition of Cultural Relics Excavated from the Tomb of Emperor Yang of Sui". All the cultural relics on display came from the tombs of Emperor Yang of Sui and Empress Xiao in Caozhuang, including 135 sets of cultural relics such as "gilded bronze door knockers", "chime bells and chime stones", and "thirteen-ring gold and jade belt".

In order to show the glory and fall of Emperor Sui Yang, and reflect the important relationship between Emperor Sui Yang's fate and Yangzhou and the Grand Canal, thus revealing the important position of Yangzhou in Chinese history, a golden canal water ripple was designed and hung at the entrance of the exhibition hall. The canal water ripple symbolizes the contribution made by Emperor Sui Yang to the canal. Emperor Sui Yang made brilliant achievements in a short time, just like a "shooting star".

"The Remaining Glory of the Meteor Dynasty" vividly summarizes the theme of the exhibition and is full of literary flavor. Emperor Yang of Sui made brilliant achievements, so golden ripples of the canal were used.

Yangzhou is a city that was born and prospered because of the canal. Looking back at the history of Yangzhou and China, there are many historical figures who have a close relationship with the Grand Canal, including emperors, generals, literati, wealthy businessmen, and international friends. They not only contributed to the excavation and management of the canal, the connection of north-south transportation, and the development of economy and culture, but also had a huge impact on the direction and progress of Yangzhou and even China's history and culture. Emperor Yang of Sui was one of them.

In order to let visitors have an intuitive understanding of the whole picture of the tomb, the entire exhibition area is arranged according to the structure of the tomb, first the corridor, then the side chamber and finally the main tomb chamber. After entering, visitors will first see the "gilded bronze door knocker", which is like knocking on the door of the tomb.

The archaeological site of Emperor Yang of Sui's Tomb has never been open to the public. In order to allow visitors to have a more detailed understanding of the Tomb of Emperor Yang of Sui and the Tomb of Empress Xiao, this exhibition will introduce the tomb structures of the Tomb of Emperor Yang of Sui and the Tomb of Empress Xiao respectively, with a focus on the corridors, side chambers and main burial chambers of the two tombs.

The corridors, side chambers and main tomb chambers of Emperor Yang of Sui and Empress Xiao's tomb are all provided with detailed text materials accompanied by a large number of rich pictures. The text introductions on the display boards are even accurate to the numbers, and the cultural relics unearthed from the two tomb chambers and the regulations are introduced in detail, giving visitors the most intuitive understanding. It also shows the glory and fall of a generation of emperor Emperor Yang of Sui, and reflects the important relationship between Emperor Yang of Sui's fate and Yangzhou and the Grand Canal.

In the center of the exhibition hall, under the dim light, there are two earth-colored sand tables placed in two display cabinets. Although they seem inconspicuous, they are actually three-dimensional scene restoration models of the Tomb of Emperor Yang of Sui and the Tomb of Empress Xiao. Even the unearthed locations of the cultural relics are highly restored.

The tomb of Emperor Yang of Sui is a square brick chamber tomb with a tomb passage. The sand table fully restores the tomb passage, corridor, main tomb chamber, east side chamber and west side chamber. The corridor of Emperor Yang of Sui's tomb is a double-layer vaulted corridor, the tomb door is sealed with flat bricks, and the floor is paved with a mat pattern. The inner width is 1.7 meters and the inner length is 0.8 meters. The "Tombstone of the Former Emperor Yang of Sui" that caused a sensation in the world was discovered here.

Not far from the "Tomb of Emperor Yang of Sui" is the Tomb of Empress Xiao, which is a waist-drum-shaped earth pit brick chamber tomb consisting of five parts: the tomb passage, the corridor, the east ear chamber, the west ear chamber, and the main tomb chamber. The tomb is 13.6 meters long and 5.9 meters wide. There are rich burial cultural relics in the tomb, and various miniature pottery, porcelain, and lacquer wood models are scattered in the sand table.

Liking someone is never just one's own business. Yunluo is very considerate of Yan Chenyu's feelings, which makes Xiaoyu very fond of her. Only in this way can the feelings between the two of them blossom quietly. (To be continued...)