the first god

Chapter 122 Confrontation (seeking a monthly ticket!)
Although "Killing the Gods Ten in a Row" is set as a competition game, it is only a quiz on archaeological expertise after all. There are no game controllers or keyboards and mice. There are only two remote control boards, which were handed over by the students in front, and handed over to Ruan Fanghua and Ma Yun respectively. Teng hands.

The eight wrap-around large screens have been divided into two, and two names appear: Ma Yunteng on the left and Ruan Fanghua on the right.

Below the person's name is a gray animation character set uniformly by the system, with male and female distinctions.

The first is to choose a character identity and a weapon.

There are only five fixed identities: scholar (talented woman), chivalrous man (chivalrous woman), fast catcher, thief, and imperial envoy.

There are a wide variety of weapons, in addition to the traditional [-] weapons, there are also very strange weapons that have appeared in various film and television dramas.

Ma Yunteng chose a scholar, and his weapon was a flying sword in a fan. The originally static gray portrait quickly turned into the appearance of an ancient white-clothed talented man waving a folding fan gracefully. That portrait is obviously Ma Yunteng.

The fan is shaking, the eyes, hands and feet are moving, the background is the mountain scenery, and they are slowly moving to the Yuxian Bridge in the Taohuayuan Scenic Area.

Ruan Fanghua chose a thief. The original static gray portrait quickly turned into a red-clothed female thief holding crescent moon knives. That portrait is obviously Ruan Fanghua.The hair accessories are plain, and the waist-length hair dances with the wind. It is not messy, but has a sense of lightness and elegance.

The background is also a mountain view, but the angle of the mountain view is slightly different from that of Ma Yunteng. Obviously, he came from another place, and the destination is also Yuxian Bridge in Taohuayuan Scenic Area.

A few seconds later, the two met on Yuxian Bridge.

The female thief Ruan Fanghua waved the crescent knife in her hand, fiddled with it, and took the lead in asking questions.

"Student Ma Yunteng should know about the excavation of the Hongshan cultural settlement site in Weijiayingzi, Chifeng. There are 32 house sites excavated in this site, large and small, with two groups of different orientations. There is very good preliminary work. After full investigation, The basic point was established and the theoretical distribution was made.

"With this basis, some sampling excavations can be carried out, both random and focused. The former is helpful to understand the general distribution of the remains, and the latter can get some key insights. Combined with sampling excavation, the same working time and excavation area, we can get more archaeological information.

"However, I always feel that something is missing. In this regard, I would like to ask Ma Yunteng to talk about my views."

This is an archaeological practical question. If you have not paid attention to the Weijiayingzi site, and have not carefully understood it, you will naturally not be able to answer it. Even if you are blind, you will not be able to start.

Ruan Fanghua happened to study the excavation of this settlement carefully last semester. She had a conversation with the sisters in the 502 dormitory last week. The other four girls didn’t know the news at all, so she used it to test Ma Yunteng.

I hope Ma Yunteng has not paid attention to the excavation of this settlement.

Ma Yunteng didn't think about it, and answered almost instantly.

"For the excavation of settlements, the overall layout is very critical. In fact, when excavating any site, we hope to understand the overall layout. However, it is often unrealistic. Who will give you the funds? And archaeologists are required to preserve it for the future. Therefore, a thorough and comprehensive excavation is not advocated, in order to obtain an overall understanding, it should be combined with a large area of ​​exposure and carry out sampling excavation.”

"If there's something missing. I think maybe it should be called 'microarchaeology' work."

"Just like when we study a stone tool, after understanding the general characteristics, we need to pick up a magnifying glass or even a microscope to observe it in detail. It is impossible to observe every house site in detail, but select a few typical ones. I think it is still necessary to conduct microscopic research on the site, and it will allow us to discover some information that has never been seen before."

"For example, the earth platform next to the stove, the group of utensils in some house sites, or the burned living surface, etc. More attention should be paid to such remains, the shape of the utensils dumped, the soil samples and residues in the utensils , residues on living surfaces, etc. are the objects of concern, and we can float and sieve all accumulations.”

"This kind of microscopic research is like the criminal investigators who solve the case treat the crime scene. It is unrealistic and unnecessary to study all the remains in detail. We need key information, so we must have key research on key scenes. That is to say, detailed Don’t miss any clues anywhere.”

"Compared with archeology 100 years ago, the important progress of contemporary archeology is not only that we now have many advanced scientific and technological methods, such as dating technology, animal archaeology, plant archaeology, geological archaeology, etc. Great progress in theory. Before archaeological excavations, full theoretical research is needed on the settlement form, livelihood, and relationship with the environment of the Hongshan Culture.”

"Research that includes analogies can also be carried out, mainly experimental and ethnoarchaeological work, such as the production and use of pottery and stone tools, the collection of raw materials, and the construction of buildings can be compared with experimental and ethnoarchaeological work. It is most appropriate to implement it during the field period."

"When examining archaeological materials, we need to look at the formation process of the site. From raw materials to production, then to use, storage, disposal, recycling, and then to burial, natural transformation, etc., archaeological materials are finally taken by us. It is found that the impact of this series of processes on archaeological materials cannot be regarded as a blank. Archaeologists must understand the formation process of archaeological materials in order to draw scientific conclusions, just like criminal investigators who solve crimes must understand the formation process of the scene, otherwise No credible explanation could be drawn."

"We can now fully reveal a scene, but we still need to study the formation process of this scene, and how man-made and natural reasons played a role in it."

"Actually, I still have some opinions to talk about, but if I continue to talk about it, I'm afraid it will delay everyone's rest time! So be it."

Ruan Fanghua's double knives flicked twice in the air, and she could only give up with regret.

Ma Yunteng shook his fan, but the flying sword hidden in the fan did not show up, and he started to ask questions directly.

His first question concerns both ancient warfare and ancient daily life.

This question seems quite simple.

"Please, Ruan Fanghua, tell me about the origin of Tang Dynasty carriages!"

"The development of chariots is very complicated. The chariots discovered in the early stage are not necessarily horse-drawn chariots, but may also be sheep carts, ox carts, or even carts pulled by people. I am afraid that we should treat them differently. The chariot and horse pits seen in domestic archaeological excavations The earliest relics are from the late Shang Dynasty, and the more important archaeological discoveries of the chariot pit in this period are Yin Ruins, Xi'an Laoniupo Site and Tengzhou Qianzhangda."

"Although this is the earliest pit for chariots and horses found in archaeological discoveries, it cannot be said that the origin of the chariots of the Tang Dynasty was in this period, because the crafts of the chariots discovered by the Late Shang Dynasty are already quite superb, and the shape is relatively uniform. It can be seen that, This period is already a relatively mature period for Tang Dynasty carriages."

Ruan Fanghua felt that this must be a smoke bomb, a smoke bomb that made her take it lightly.

With a half-smile, she habitually rubbed the soft long hair above her right ear.

(End of this chapter)