In the ancient Sanxingdui, a grand exhibition called "Chinese Treasures and Chinese Folk Cultural Relics Collection Theme Exhibition" has attracted widespread attention. Among them, the Sanxingdui jade on display attracted many audiences, but the museum's expert team pointed out that one of the three-dimensional jade arrays was a fake, which caused a controversy.
In the spring of 2017, the exhibition called "Treasures of China" brought together a large number of folk cultural relics, especially Sanxingdui jade, which was bustling in front of the Beijing National Culture Palace. The most eye-catching exhibit is a 313-centimeter-long "Sanxingdui Three-dimensional Jade Array", showing the scene of siege and defense of the city in ancient times. In addition, there are Sanxingdui dragon and phoenix swords, Han Dynasty jade carving military activity fortress, two Han Dynasty gilded bronzes, Tang Dynasty inlaid treasure gold and silver and other colorful cultural relics.
However, the exhibition has raised questions among experts. Museum experts point out that some of these Sanxingdui jade artifacts have obvious loopholes, such as a three-meter-long sword and a three-dimensional jade array. While private collectors insist on their authenticity, a team of experts has questioned the artifacts, arguing that they may be imitations.
In this controversy, a cultural relic named "Jade Horse Man" became the target of public criticism. This jade artifact presents a typical combination of Sanxingdui man and a horse, however, the information found through archaeology shows that no horse bones have been found in the Sanxingdui cultural relics, so it is likely that this jade artifact is a fake.
Archaeologists point out that the domestication of horses in the Central Plains began as early as the late Shang Dynasty. The Shang Dynasty oracle bone inscriptions record that the "Rong enemy" in the northwest was the first to use horse-drawn carriages for warfare, so the history of horses entering the Central Plains should be relatively late. However, the jade artifacts in the exhibition show the scene of the ancient Shu people riding horses, which is contrary to historical facts.
Each artifact is a witness to history and a story of the past. Therefore, the manufacture of fake artifacts is undoubtedly an irresponsible act. It is hoped that through the in-depth study of the authenticity of cultural relics, the true appearance of history can be restored and the real cultural relics can be protected from counterfeit and shoddy products.
Overall, the exhibition sheds light on the awkward situation faced by the collection of folk artefacts. The experts' doubts have raised concerns about the authenticity of Sanxingdui jade, and also made people more vigilant against counterfeiting in the field of cultural relics collection. It is hoped that through stricter identification standards and the intervention of professional teams, the authenticity of folk cultural relics can be ensured, so that the "bloodline" of these histories can be truly inherited.
Although the Sanxingdui jade exhibition caused a sensation, it also raised questions about its authenticity. In the long river of history, cultural relics are like witnesses of time, and we have the responsibility to protect their authenticity and let the historical context be clearly inherited. On the road to collecting cultural relics, authenticity is more important than a momentary show-off.
The Mysterious Truth of Sanxingdui Jade Revealed" profoundly explains the problems existing in the collection of Chinese folk cultural relics, especially the controversy over the authenticity of Sanxingdui jade. Although the exhibition, titled "Treasures of China", attracted a large number of visitors, the doubts of the museum's expert team made the whole incident even more eye-catching.
The essay begins by pointing out the theme and using words such as "unveiling" to create an atmosphere of mystery and exploration for the reader. Subsequently, the Sanxingdui jade artifacts in the exhibition were introduced in detail, especially the three-dimensional jade array that was alleged to be a fake, presenting readers with a rich and colorful historical picture.
Different from ordinary news reports, this article presents a serious academic attitude through the questioning and analysis of experts while stating the facts. This stance not only reflects the author's pursuit of historical truth, but also provides readers with a deeper space for thinking.
Of particular note is the author's archaeological explanation of why some jade artifacts are alleged to be fakes. By comparing the differences between excavated artifacts and exhibited artifacts, readers can more clearly understand the basis for expert questioning. This professional interpretation makes the article more convincing and credible.
For the discussion of the "Yuma people", the author uses historical data and points out the irrationalities in it. By tracing the history of horse domestication in the Central Plains, this paper concludes that the importance of the study of the authenticity of cultural relics is emphasized. Such a detailed analysis makes the reader's attention to the truth of the cultural relics more concentrated.
Finally, the article ends with a call for the preservation of the authenticity of cultural relics, creating a positive atmosphere for the whole article. By emphasizing the importance of authenticity, the author conveys to the reader a sense of responsibility to cherish the historical legacy.
Overall, this review provides in-depth reflection and analysis of the original text, affirming the merits of the article and putting forward some points that can be further expanded. By paying attention to the question of the authenticity of cultural relics, readers are entertained and at the same time get a deep reflection on history.
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