Different conditions will appear on the comb, and the color difference is very obvious. In some extreme cases, it can even appear white or black.

This is the real reason why people with mounds always bring big roosters to visit graves.

It is also an inside story that cannot be disclosed in the industry. Official workers cannot disclose it, so as not to encourage the tomb robbing industry, and tomb robbers will not disclose it, lest they teach their apprentices to starve to death.

And at this moment.

The comb of this big rooster has not changed in any way, and it is still full of vitality. It can be preliminarily judged that although the air behind the wooden door has an inexplicable aroma, it should not contain deadly toxins.

"It shouldn't be a big problem, Dian Wei, just come with me and take a look."

Wu Liang finally relaxed a little and walked towards the wooden door carrying the diamond umbrella again.

This time it was Dian Wei who was following closely behind. Dian Wei just kicked over and the wooden door opened completely with a harsh "squeak".

Wu Liang waited quietly for a moment, and after confirming that there were no traps inside the door, he cautiously reached in and observed the layout inside with the dim light of the Suihou Pearl.

This is another separate tomb.

The tomb chamber is only about ten square meters, with no decorations around it. Only a large double-eared copper tripod over one meter high is placed in the middle.

A lot of patina has grown on the edge of the bronze tripod, and around the patina, there are a lot of fluffy green hairs, which look a bit like moss and a bit like some kind of mold. It's hard to tell for the time being.

besides.

This tomb is not the end of the tomb, because Wu Liang found a wooden door of the same specifications on the wall facing him...

"80% of this fragrance comes from this copper tripod. I wonder what is in it?"

Wu Liang pondered for a moment, and finally waved to Dian Wei, "The two of us will go in first to check, and the rest of us will wait outside the door for the time being."

After settling in this way, Wu Liang experimented for a while and finally stepped into the tomb.

No traces of traps have been found here yet, but in order to prevent the trap from appearing before, Wu Liang would use the diamond umbrella to hit the stone slab at the next foothold every step he took, and judge the situation under the stone slab by the sound transmitted back.

Even if he may not be able to hear it perfectly, Bai Jingjing can still help. Even if she is outside the tomb, she can still make accurate judgments easily from such a distance.

By doing this, Wu Liang came to the big bronze tripod quite smoothly.

He was not in a hurry to explore the inside of the bronze tripod, but chose to first look at the patterns engraved on the outside of the bronze tripod. These patterns are usually the key basis for archaeology.

It is different from most bronzes in the Spring and Autumn Period when Qi Aigong lived.

The decorative pattern on the edge of this bronze tripod is not the commonly used cloud and thunder pattern or heavy ring pattern. What Wu Liang saw was a more complex one... It seemed to be a variety of vegetation branches and leaves. The patterns of these vegetation branches and leaves were in a more complicated pattern.

Arranged closely together, it does not give people a messy feeling, but instead shows another kind of harmonious beauty.

Wu Liang couldn't help but feel a little confused.

It's not that the craftsmanship of making bronzes in the Spring and Autumn Period couldn't achieve such decorative patterns, but that similar patterns have never been found on bronzes discovered later, especially on large bronzes. Therefore, these patterns are somewhat different in Wu Liang's eyes.

It's a little bit unexpected, but also a little bit novel.

Of course, it is undeniable that it is indeed more difficult to carve such a pattern than the cloud and thunder pattern or the heavy ring pattern, and it is basically impossible to use a mold to pour it directly, otherwise the details of the vegetation and branches will not be reflected.

This should be regarded as a very important discovery for the archaeological world in later generations and is worthy of in-depth study.

besides.

What is the significance of using this kind of decorative pattern that is similar to the branches and leaves of plants is also worthy of further study, because any pattern on the ancient bronzes of the Celestial Dynasty is meaningful, even the simplest edge decorative pattern, each has its own explanation, and this

The decorative patterns of plant branches and leaves...Wu Liang had no reference, so naturally he couldn't tell what its significance was.

With such questions.

Wu Liang slowly turned to the wider side of the bronze tripod. On the outer wall of this bronze tripod, in addition to the patterns of vegetation and branches and leaves on the edge, he saw two opposite... birds in the center.

This kind of bird pattern is not as simple as those on the bronzes of the Shang Dynasty, nor is it as majestic and majestic as the mythical birds on the bronzes of the Zhou Dynasty. The wings and tail are quite regular.

It looks ordinary, not much different from the flying birds you can usually see.

But I have to admit it.
Chapter completed!