Ancient relics The lotus crane square pot Tonggao 117 in spring and autumn.
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[Antiquities] Lotus Crane Square Pot in Spring and Autumn Period
Tonggao 117 mouth length 30.5 mouth width 24.9 cm
Excavation of Zheng Gong Cemetery in Lijialou, Xinzheng, Henan Province, 1923
Collected in Henan Museum
The first batch of cultural relics banned from exhibition abroad
The square pot is huge. On the double-layer carved lotus petal cover stands a flapping crane. The hollow double-ear is larger, with upper outlet, lower outlet and abdomen. The pot body is decorated with dragon pattern on all sides, and a flying dragon is cast at each corner of the abdomen. Two tiger receptacles were used under the feet.
The same thing happened in the Palace Museum, which is 122 cm high, 54 cm wide and 64 kg heavy. (There are differences in data from different sources, both of which are quoted from official websites.) In the list of the first batches of cultural relics banned from exhibiting abroad published by the State Administration of Cultural Relics, only the one from the Henan Museum is listed.
President Guo Moruo's comments on the pot in the photos:
This pot is full of strange traditional patterns, which can be stifled by the oppression of namelessness. It is the second layer of Zhou Pian-lie lotus petals on the pot cover, with plants as the pattern, which was used before the Qin and Han Dynasties. It is one of the only examples seen in the past. In the center of the lotus petal, a fresh and handsome white crane is restored, flying its wings, one foot alone, and its beak sounds like a desire, which is also a symbol of the spirit of the times. At the beginning, the crane broke through the great enlightenment of the ancient times and was hesitating to look at everything, trampling on the tradition under its feet, in order to fly higher and farther. In the early years of the Spring and Autumn Period, when it emerged from the semi-mythological period of the Yin and Zhou Dynasties, all social situations and one of the spiritual cultures were represented truthfully. A bird stands on the top, spreads its wings, looks at the sides of the pot, grabs the utensils, resists the two stings at the bottom of the pot, and is eager to try. The whole pattern has a centrifugal trend on the attachment of the huge utensils, which is the most sufficient symbol of the spirit of the times to strive for liberation and meet the dawn.