中國幣制的演變發展歷經風雨，清代咸豐朝是我國歷史上繼王莽之后，又一幣制混亂時期。咸豐統治時期，正是大清王朝的多事之秋，內有太平天國運動興起，外有英法聯軍步步侵略，然而清政府稅收猛減，餉需繁重，銅路梗塞，國庫空虛，更是雪上添霜。《光緒順天府志》載：“咸豐三年，軍旅數起，餉需支拙，東南道路梗阻，滇銅不至，刑部尚書周祖培，大理寺卿恒春，御史蔡紹洛先后條陳錢法，請改鑄大錢，以充度支”。咸豐帝令戶部落實鑄大錢之議，于咸豐三年(1853年)五月，先鑄當十錢一種，錢文“咸豐重寶”，重量六錢，規定與制錢相輔而行。此后鑄大錢之舉一發不可收，蔓及全國29個鑄錢局，自此錢法大亂。
The evolution and development of China's monetary system has gone through storms. Xianfeng Dynasty in Qing Dynasty is another chaotic period of monetary system after Wang Mang in History of our country. During Xianfeng's reign, it was the eventful autumn of the Qing Dynasty, with the rise of the Taiping Heavenly Kingdom Movement and the step-by-step invasion by the British and French allied forces. However, the tax revenue of the Qing government was drastically reduced, the demand for reimbursement was heavy, the copper road was blocked, and the national treasury was empty, which made it worse. < < Guangxu Shuntian Fu Zhi > > contains: "Xianfeng three years, the number of troops, reimbursement needs to be compensated, the southeast road is blocked, and Yunnan copper is not available. Zhou Zupei, minister of punishments, Qing Hengchun, Dali Temple, and Cai Shaoluo, the censor, have made money laws one after another, so please change and cast a lot of money to pay for it.". Xianfeng Emperor ordered the Ministry to implement the proposal of casting big money. In May of the third year of Xianfeng (1853), it was first cast as a kind of ten money. Qian Wen "Xianfeng Heavy Treasure" weighed six money, and the regulations were complementary to making money. Since then, the act of casting a lot of money has been unstoppable, and it has spread to 29 national money casting bureaus. Since then, there has been chaos in money law.
繼咸豐“當十”錢出籠后，當年即先后增鑄“當五十”、“當百”、“當五百”、“當千”四種大錢;次年又馬不停蹄地接著鼓鑄其它較小面額的制錢，從而迅速形成了由“當四”到“當千”14品大錢組成的幣值格局。總體而言，咸豐大錢版式之復雜，為歷朝所罕見，馬定祥父子和徐淵先生編寫的《咸豐泉匯》一書，共刊載不同版別咸豐方孔錢4000余種，且還不包括散落在民間收藏者手中不同版別的咸豐錢。《東華錄》載：“當五百與當千大錢于咸豐四年二月始鑄，然大錢一出，盜鑄蜂起，雖禁以棄市之律，不能止，不得不逐步停鑄，乃于同年七月即停鑄收回當五百當千大錢，并不能行用矣”。可見當五百當千大錢因民間通行不暢，貶值嚴重而減少鑄額。直到咸豐九年(1859年)，清政府不得不徹底停鑄大錢，并把咸豐當五十以上大錢兌換回收，不再流通。是謂咸豐大錢版式紛雜卻鑄額不多，其祖錢，母錢及樣錢，均為極難得之物。
After Xianfeng's "Dang Shi" money came out, it successively added four kinds of big money: "Dang 50", "Dang 100", "Dang 500" and "Dang Qian"; In the following year, other smaller denominations were continuously minted, thus rapidly forming a currency pattern consisting of 14 items of big money from "Dang Si" to "Dang Qian". On the whole, the complexity of Xianfeng's big money format is rare in the past dynasties. The book Xianfeng Quanhui written by Ma Dingxiang and his son and Mr. Xu Yuan published more than 4,000 kinds of Xianfeng Fangkong coins in different editions, and did not include Xianfeng coins in different editions scattered in the hands of folk collectors. "Donghua Record" contains: "When 500 and 1000 big money were cast in February of Xianfeng four years, when the big money came out, the thief cast bees. Although the law of abandoning the market was forbidden, it could not be stopped, and the casting had to be stopped gradually. In July of the same year, the casting was stopped and the 500 and 1000 big money was recovered, which could not be used". It can be seen that when 500,000 yuan of money is not freely passed by the people, the depreciation is serious and the casting amount is reduced. Until the ninth year of Xianfeng (1859), the Qing government had to completely stop casting big money, and exchanged Xianfeng as more than 50 big money for recycling, and no longer circulated. It means that Xianfeng's big money layout is complicated, but its casting amount is not much, and its ancestral money, mother money and sample money are all extremely rare things.
公元1100年，北宋皇帝哲宗駕崩，其弟趙佶做了皇帝，成為北宋年間第八任皇帝——宋徽宗。崇寧年間(1102-1100年)始鑄流通錢幣，有崇寧通寶、崇寧重寶和崇寧元寶三種。崇寧通寶當十型，錢文為徽宗親書，所以又為御書錢。該錢文書法清秀骨瘦，鐵劃銀鉤，是徽宗趙佶瘦金書體存留世間的真實顯現。宋徽宗貴為一國君王,治國雖無方, 但他在書法上卻獨辟蹊徑,自創“瘦金書” ,為一代書法宗主.并將此書體文字鑄于錢上。“崇寧通寶”及是活例.宋徽宗更因鑄錢精絕,而于王莽并稱“錢法二圣”。
In 1100 AD, Emperor Zhezong of the Northern Song Dynasty died, and his brother Zhao Ji became the emperor, becoming the eighth emperor of the Northern Song Dynasty-Song Huizong. During the reign of Chongning (1102-1100), coins in circulation began to be cast, including Chongning Tongbao, Chongning Chongbao and Chongning Yuanbao. Chongning Tongbao is the tenth type, and Qian Wen is the pro-book of Huizong, so he is the imperial book money. This Qian Wen calligraphy is handsome and thin, with iron strokes and silver hooks, which is the true manifestation of the thin gold calligraphy style of Huizong Zhao Ji remaining in the world. Song Huizong is the king of a country. Although he is not good at governing the country, he has a unique way in calligraphy, creating his own "Thin Gold Book", which is the patriarch of a generation of calligraphy and casting the style of this book on money. "Chongning Tongbao" is a living example. Song Huizong is also called "Two Sages of Money Method" in Wangmang because of his excellent casting of money.
文中崇寧通寶，錢體厚重，青銅質，銹色古舊，包漿醇厚，品錢文四字飽滿，寄廓接緣，“寶、寧”二字冠點長且向左傾；長點“崇”；斜丁“寧”；高走“通”等，將宋微宗的書法靈韻體現得淋漓精致，實在是不可多得的精品，價值不菲。此枚“崇寧通寶”銅錢經歷了數百年歲月的侵蝕之后品相依然保存完好，些許的氧化瑕疵更為其增添了許多風韻。此幣正面鑄字跡清晰深俊，銅材優良，呈淺紅黃色，錢文精美，沒一絲一毫拖泥帶水。文字雕工精湛、字口深峻,如斧削刀切,錢文舒暢,富有神韻。看到如此精妙絕倫的藝術品錢幣，我們也不由得贊嘆古人智慧之無窮，技藝之高超！
In this paper, Chongning Tongbao is rich in money, bronze, rusty and old, and the patina is mellow. The word "Qian Wen" is full and connected with the border. The word "Bao and Ning" has a long crown and leans to the left; Long point "worship"; Oblique Ding "Ning"; Taking "Tong" and so on, the calligraphy spirit of Wei Zong of Song Dynasty is embodied in a dripping and exquisite way, which is really a rare high-quality product with high value. After hundreds of years of erosion, this copper coin "Chongning Tongbao" is still well preserved, and some oxidation defects add a lot of charm to it. The front casting handwriting of this coin is clear, deep and handsome, the copper material is fine, it is light red and yellow, the Qian Wen is exquisite, and there is no trace of sloppiness. The carving work is exquisite, and the words are deep and steep, such as axe cutting and knife cutting. Jennifer, Qian Wen is full of charm. Seeing such exquisite art coins, we can't help admiring the wisdom and skill of the ancients!
精品玉枕賞析
我國是一個玉石之國，玉在中國的歷史上十分特殊，人們堅信在其絢麗斑斕的色彩和溫潤純潔的質地背后，還隱藏著一種靈性，使玉不但可以辟邪，還可以與冥冥間的神靈相通。幾千年來在中華民族中形成了全民族愛玉、崇玉、尊玉的民族心理。玉及其制品一直為人們所鐘愛。它的美表現在光潔滋潤、顏色均一、柔和如脂。“玉枕紗廚半夜涼初透”見李清照的《醉花陰》。China is a country of jade. Jade is very special in China's history. People believe that behind its gorgeous colors and warm and pure texture, there is a kind of spirituality behind it, which makes jade not only ward off evil spirits, but also communicate with ghosts and spirits. For thousands of years, the national psychology of loving, worshiping and respecting jade has been formed in the Chinese nation. Jade and its products have always been loved by people. Its beauty is shown in its smooth and moist, uniform color, soft as fat. See Li Qingzhao's "drunken flower Yin"。
在古代，上至皇帝，下至百姓都喜歡睡玉枕，是什么原因讓他們這么喜歡睡玉枕呢。玉為枕而腦聰，古代皇帝就喜歡用玉做枕頭，像中國古代長壽的皇帝都久用玉枕。而且像《本草綱目》也有對玉保健作用的介紹。據盛寶自然博物館李盛炳館長介紹，玉石枕頭在中國古代并不罕見，中國歷代醫家認為，“因頭為精明之府，髓海之所，十二經脈，精華之血，六腑清陽之氣皆上注于頭”，所以有“不覓仙方覓睡方”的說法，養生名家比較注重枕頭的材質和高、低、軟、硬及透氣度，以玉石制成的枕頭有清熱瀉火、疏通經絡、安神降壓作用。In ancient times, from the emperor to the common people, they all like to sleep on jade pillows. What makes them like sleeping on jade pillows. Jade for pillow and brain Cong, ancient emperors like to use jade pillow, like the ancient Chinese emperors of longevity have long used jade pillow. And like "compendium of Materia Medica" also has an introduction to the health function of jade. According to Li Shengbing, director of the Museum of natural treasures, jade pillows are not uncommon in ancient China. China's successive physicians believed that "the head is the shrewd house, the marrow sea, the twelve meridians, the essence of blood, the Qi of six organs and the Yang of the Qing are all on the head". Therefore, there is a saying that "no looking for the square to find the sleeping side". The pillow made of jade has the functions of clearing away heat and purging fire, dredging meridians and collaterals, calming nerves and lowering blood pressure.
此件玉枕為鏤空雕福壽喜漢白玉枕，其玉質絜白，細膩溫潤，整器材料之大，實為難得。上面鏤空雕有蝙蝠，喜字，兩頭刻有壽字，其寓意福壽喜，其工藝之精湛，功力之深可見一斑，玉器的鏤空雕刻是透雕工藝的一種。鏤空雕的工藝難度很大，它鏤空玉器的各個部位，使得雕刻花紋貫穿連通，面面相接，不但增強了玉雕作品的立體性，還能使玉雕作品更顯玲瓏剔透、富于層次感。要求作者施刀的功力、線與面的處理以及各種造型手段的變化，都必須切實服從主題內容的需要，使意、形、刀有機地融為一體。同時靈活運用沖、劃、切、刮等刀法和浮雕、透雕等表現方式，以及具有豐富內涵的東方藝術語 言，在造型的疏密虛實、方圓頓挫、粗細長短的交織、變奏中，表現精巧入微、玲瓏剔透的藝術效果，使作品產生音樂般的韻律和感染力，成為盈盈珍品。
This jade pillow is a hollow carved white jade pillow of Fushou Xi. Its jade quality is white, delicate and moist, and the material of the whole piece is really rare. It is carved with bat and happy characters, and the two ends are engraved with the word of longevity. The exquisite craftsmanship and the depth of skill can be seen clearly. The hollow carving of jade is one of the openwork carving techniques. The process of hollow carving is very difficult. It hollows out the various parts of the jade ware, making the carving patterns run through and connect with each other, which not only enhances the three-dimensional nature of the jade carving, but also makes the jade carving work more exquisite and exquisite, full of sense of hierarchy. It is required that the author's skill, line and surface treatment as well as the changes of various modeling means must obey the needs of the theme, so that the meaning, shape and knife can be organically integrated. At the same time, flexible use of punching, drawing, cutting, scraping and other methods of expression, relief, through carving and other forms of expression, as well as the rich connotation of the Oriental art language, in the shape of the density of virtual and solid, square and round ups and downs, the length of the interweaving, variation, the performance of delicate, exquisite and clear artistic effect, so that the works produce musical rhythm and appeal, become a Ying Ying Ying treasure.
鏤空雕福壽喜漢白玉枕
一件枕頭的材質可以是竹子、 木頭、青銅、陶瓷、玉石，還可以是絲織的，絲織的枕頭中有時還會用天然的香草做枕芯，讓主人伴著幽香入眠。這里我們要介紹的是玉枕。根據目前的考古資料，玉枕的使用主要集中在漢代，其他朝代使用的很少。原來漢代國力強盛，財力殷厚，王室中生前奢侈，死后厚葬之風盛行，漢人又繼承儒家“貴玉的思想”，信奉君子比德于玉，奉行君子無故，玉不去身，所以在陪葬中使用玉枕也不足為奇。此外玉器在漢代是一種奢侈品，只能為皇家貴族所擁有，用玉枕來陪葬，既可保持墓主人的尸體不腐朽，又可以彰顯墓主人的身份地位和財富。
A pillow can be made of bamboo, wood, bronze, ceramics, jade, or silk. Sometimes, natural vanilla is used as the pillow core in the silk woven pillow to let the host sleep with the fragrance. Here we want to introduce jade pillow. According to the current archaeological data, the use of jade pillow is mainly concentrated in the Han Dynasty, and rarely used in other dynasties. It turns out that the Han Dynasty had a strong national strength and rich financial resources. The royal family was extravagant before life and the custom of burying thick after death was prevalent. The Han people inherited the Confucian idea of "valuing jade", believing that a gentleman should compare virtue with jade, and that a gentleman should not go to the body for no reason. In addition, jade is a luxury in the Han Dynasty, which can only be owned by royal nobles. Jade pillow can not only keep the body of the tomb owner from decay, but also show the status and wealth of the owner of the tomb.
