Oriental Collection of Tokyo National Museum

China Cultural Relics Collected by Toyo in Tokyo National Museum.

The Oriental Pavilion is divided into three floors. The first floor displays precious Egyptian cultural relics, including mummies, early Buddhist relics in India and Gandhara (now India and Pakistan), archaeological relics unearthed in Southeast Asia and West Asia, and so on. The author is most interested in the special exhibition named "China Sculpture" in Hall 1. There are 26 cultural relics from the Southern and Northern Dynasties and the Tang Dynasty. Most of them are stone buddhas from Xi Anbaoqing Temple in Shaanxi Province, China, Zhangzi County in Shanxi Province, Yungang Grottoes in Shanxi Province and Xiangtangshan Grottoes in Hebei Province. For example, there were three Buddhist shrines in Baoqing Temple in Tang Dynasty, Tathagata statues in Cave 2 1 in Tianlongshan Grottoes, and a few gold and copper statues in Sui Dynasty. Among them, from 703 to 704 AD, the six stone Buddha statues in the temple can even be named, such as the eleven Guanyin temples built by De Gan, the three Buddha temples built by Yao, the three Buddha temples built by Gao Yangui, the three Buddha temples built by Li, the three Buddha temples built by Wei Jun and so on, which are of great historical research value.

In addition, there are some special topics on the first floor of the Oriental Pavilion, which show the cultural origin between China cultural relics and Southeast Asian cultural relics. Such as bronze drums, such as blue and white porcelain. From the 6th century BC to the Han and Tang Dynasties, the display of bronze drums evolved to the Ming and Qing Dynasties, and from southern China to Southeast Asia (taking Indonesian as an example), the changes and diversity of bronze drums were described. The exhibition of blue and white porcelain shows that 15 to16th century Vietnamese "stained porcelain" was influenced by blue and white porcelain in Jingdezhen, China. Of course, it was not only Southeast Asia that was affected, but also Japan in the Edo era (1603- 1876). Although Vietnamese dyed porcelain is not as beautiful as the white and bright blue of China blue-and-white porcelain, and its decorative description is a little clumsy, the gray-blue directly rendered on the gray-white tire soil gives people a simple and warm impression. As for neighboring Japan, China's blue and white porcelain has been highly respected in history, so that it began to imitate production later. Honolulu Art College once held a conference called "Trade, Taste and Transformation: Jingdezhen Porcelain for Japan", 1620- 1645) showed the outside world how China has been good at trade and cultural exchange for a long time. Steve Little, Dean of the College, said: "Porcelain, like religion (Buddhism) and painting, is one of the three tools to spread China's thoughts and creativity. It was exported from China to Japan. " However, the coexisting fact is that since the late Ming Dynasty, with the decline of China's national strength and the closed-door policy at that time, savvy Japanese even gradually broke China's monopoly on European porcelain exports in maritime trade. For example, the blue-and-white porcelain of "Yiwanli Burning" in Japan is engraved with the bottom payment of "Daming Jiajing Year System" and "Daming Wanli Year System" to confuse westerners. There is a saying about how the blue and white porcelain technology was introduced to Japan. From 1592 to 1598, Toyotomi Hideyoshi of Japan launched two wars of aggression against Korea, plundering a large number of ceramics and porcelain makers from Korea, which played a vital role in the firing of Japanese blue and white porcelain.

The second floor of the Oriental Pavilion can be called "China Pavilion". There are five exhibition halls, four of which are "Archaeology of China" and the other is "Painting and Calligraphy of China". The first showroom of "Archaeology of China" is an early cultural relic unearthed from the Neolithic Age to the Han Dynasty.1* *11exhibits, covering bone artifacts, stone tools, pottery, jade, bronze and other varieties. Pottery parts include red pottery ear pots of Qijia culture unearthed in Gansu and Qinghai, China, brown pottery with different shapes (2200 BC-BC 1600), white pottery beans of Shang Dynasty unearthed in Yinxu, Anyang, China (BC 13 BC10/century), and western pottery. China, black pottery and red pottery with sand unearthed in Yizhou, Hebei Province during the Warring States Period (5th-3rd century BC), and glazed pots unearthed in Shouxian County, Anhui Province, China. , has a clear historical context and complete vertical extension. As for jade articles, there are Yufu, Yubi, Yuhuan and jade ornaments from 5000 BC to 3000 BC, jade knives from Erlitou culture (2000 BC), gluttonous jade, Longyu, jade fish and Jade Bird from Shang and Zhou Dynasties, and glazed statues inlaid with jade and Longyu during the Warring States Period. There are many kinds of metal cultural relics in the Oriental Museum. Take weapons as an example, there are bronze cymbals and spears in the Shang Dynasty, and bronze swords in the Spring and Autumn Period and the Warring States Period, such as iron swords with copper handles in the pre-Han period of the Warring States Period unearthed in Yunnan Province and Sichuan Province in China, and gold-plated silver-copper knives unearthed in Xingping County, Shaanxi Province, China. As for the typical ritual vessels and sacrificial bronzes, there are a certain number of displays on the second floor of the Oriental Pavilion, no matter whether they are exquisite knights and priests or large statues and ding with inscriptions.

In the porcelain showroom of China Archaeology, there are 33 pieces of glazed pottery from the Three Kingdoms to the Tang Dynasty (the firing temperature has not yet reached 1250 degrees Celsius, which is considered as early porcelain) and 43 pieces of porcelain from the Song Dynasty to the Qing Dynasty. Early porcelains included celadon deity pavilion pot, celadon ear pot, celadon lion pot, celadon swan pot and celadon lotus pattern plate produced in Guyuezhou kiln in the Three Kingdoms, Jin and Southern and Northern Dynasties, yellow glazed brown bowl, yellow glazed green brown bird pattern bowl, blue glazed pillow and blue glazed casket produced in Changsha kiln in Tang Dynasty, and a large number of tri-colored funerary objects in Tang Dynasty, such as tri-colored camels, tri-colored horses and tri-colored king figurines. Japanese prefer white glaze, blue glaze and black glaze, all of which are Gu Zhuo tones and have far-reaching artistic conception, and the display of Song Dynasty porcelain in Toyo Pavilion just illustrates the origin of this preference: Ding kiln white porcelain dish bottle, white porcelain lotus pattern bowl, white porcelain printed flower pattern wheel bowl, Yaozhou kiln celadon Tang grass pattern water injection, Jun kiln celadon Phoenix Tang grass pattern wheel bowl, official kiln celadon wheel bowl. Water injection with celadon pattern in Yuezhou kiln, celadon pot with Tang grass pattern in Longquan kiln, seven treasures pattern bottle with brown glaze peony and Tang grass, lotus pattern bottle with white glaze painted with iron in Cizhou kiln and plum blossom eye lamp in Jizhou kiln. The grass eye and the sky eye of the kiln were built. Wait a minute. When it comes to Tianmu lamp, we have to mention its origin. As we all know, Japanese "Tea Ceremony" is standardized, and its hall layout, tea making methods and tea sets are all modeled after China's "Tea Ceremony". Among them, the black tea bowl that must be used in the ceremony is called "Tianmuzhan". Tianmu Zhan, also known as "Tianmu Zhuyezhan", is said to be a monk studying in Kamakura (Southern Song Dynasty in China) who returned to China from the West Tianmu Mountain in China and Zhejiang. Tianmu teacup is actually porcelain made of black glaze. Dark blue stars are scattered on a dark background, forming beautiful patterns. These stars are surrounded by red, blue and green colors, and often change under the sunlight, which is also called "obsidian change". This black Tianmu teacup was introduced to Japan and was favored by local people. In Japan, all black glazed tea bowls are called "Tianmu teacups", so that later, "Tianmu" became synonymous with all black glazed utensils.

China people are most interested in viewing porcelain on the second floor of the Oriental Pavilion in the Yuan, Ming and Qing Dynasties, which is also "benefited" from the value propaganda in the domestic art market in recent years. It seems that Yuan Blue and White and Ming and Qing official kilns can be directly equated with sky-high prices. The porcelain of the Yuan, Ming and Qing Dynasties displayed in the Toyo Pavilion is almost a history of Jingdezhen ceramics development: a large plate with lotus pond pattern in Yuan Blue and White, a bowl with peony and grass pattern in Ming Xuande Blue and White,15th century bean (bucket) colored dragon pattern pot ("Tian" style),16th century Fahuage figure pattern pot and dragon blue and white figure pattern dragon. The multicolored fairy figure plate in Kangxi of Qing Dynasty, the pastel plum tree pattern plate in Yongzheng of Qing Dynasty (Yongzheng year), the blue flower red bat moire pot in Ganlong of Qing Dynasty (the Year of the Loong of Qing Dynasty), the red glaze bottle in Gan Long of Qing Dynasty (the Year of the Loong of Qing Dynasty),18th century blue glaze pastel peach tree pattern bottle, and so on. It can be seen that the reputation of "Millennium Porcelain Capital" is not in name only.

Besides, "Archaeology of China" has also created special exhibitions such as "Rhinoceros Horn in Qing Dynasty" and "China Lacquerware". Taking China Painter as an example, 6 pieces of 16 precious lacquerware from the Southern Song Dynasty to the Ming Dynasty were exhibited, such as the curved-wheel Tianmu platform in the Southern Song Dynasty, the black-painted-wheel flowerpot in the Southern Song Dynasty, the mother-of-pearl rhubarb flowerpot in the Yuan Dynasty, the black-painted rhubarb flowerpot in the Yuan Dynasty, the mottled ten-corner inkstone box on the pavilion in the Yuan Dynasty, and the liushui snail in the15th century. It is worth mentioning that there are 17 stone reliefs after the Han Dynasty in the corridor from the "China Archaeology" exhibition area to the "China Painting and Calligraphy" exhibition room. They come from Shi Xia Temple in Xiaotang, Jiaxiang County, Yutai County and Tianwang Temple in Shan Jinyang, China, and their historical value cannot be ignored.

Among the many precious cultural relics owned by the Tokyo National Museum, 87 national treasures and 6 10 important cultural properties designated by the Japanese government are the first, and some of these top cultural relics come from paintings and calligraphy in China during the Song, Yuan and Ming Dynasties. In the "China Painting and Calligraphy" showroom, only four works, Xiaoxiang Sleeping Volume by Li Sheng in the Southern Song Dynasty, Red and White Lotus Picture by Li Di in the Southern Song Dynasty, Snow Scene Picture by Liang Kai in the Southern Song Dynasty, and Picking up Pictures of Zen Machine Broken Cold Mountain by Indra in the Yuan Dynasty, won the title of "Japanese National Treasure". Other precious paintings include Crossing the Water in the Cave in the Southern Song Dynasty, Fishing Alone in the Cold River in the Ming Dynasty and Flower Map by Zhao in the Qing Dynasty. His calligraphy works include Huang Tingjian, Zhu, Zhao Mengfu, Badashanren and Zheng Xie. The third floor of the Oriental Pavilion mainly displays Korean cultural relics, and can also indirectly observe the profound influence of China's traditional culture on the historical development of the peninsula.