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【現代啟示錄】尋絕世寶典 挖陵驚醒永眠帝王
為了得到絕世寶典，
多年前，
大陸當局挖掘皇帝陵寢，
意外喚醒永眠的帝王。
就此，
無法解釋的事故，
一件接著一件發生。
百年陵區的神獸，被劈裂倒地。
守陵村的百姓，
重病、發瘋、暴斃、被雷劈死…..
卻阻止不了，
考古隊挖墳開棺。
更多精彩內容，請鎖定本週日(08/22)晚間10點，
東森財經57頻道，現代啟示錄。
#東森財經台
#現代啟示錄
#大陸
#考古
#皇帝
#帝陵
#守陵村
#寶典
#重病
#發瘋
#暴斃
#雷擊
#龍脈
#風水寶地
#明十三陵
#陳啟鵬
#楊登嵙
#三龍法師
【#話題】課本不教的中正紀念堂真正意義：這建築師，替「蔣夫人」說出了一些不能講的話…
關於中正紀念堂設計，當年曾有公開徵選設計圖比賽，但評選第一名因為「蔣夫人」一句「選中國式的就好」落馬，而如今設計圖的中國風外型、宛如皇帝陵寢的設計，也替蔣介石夫人蔣宋美齡說出了一些「不能講的話」.....
北京Vlog正式成為史上最難剪的片，所以還要再一陣子才能跟大家見面，先跟大家分享一下這次的北京行程！
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Day 1：北京首都機場→搭機場捷運到東直門站→滴滴打車去王府井（北京飯店諾金、海友酒店東單店）→（地鐵前門站）前門大街→晚餐四季民福烤鴨（推）→王府井散步
Day2：（地鐵4號線北宮門站）頤和園→（滴滴打車）圓明園→（滴滴打車）煙袋斜街→後海酒吧街→晚餐「蜀砂器串串香」(黑店)
Day3：（滴滴打車）雍和宮→（滴滴打車）景山→（黃包車）南鑼鼓巷→晚餐「咂摸」
Day4：早餐「慶豐包子鋪」(推)→（包車）明十三陵 定陵→（包車）慕田峪長城→（包車）家樂福大採購→晚餐東來順飯庄王府井店（滿好吃的涮羊肉）
Day5：故宮（紫禁城）→（包車）北京首都機場
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以下整理幾個小重點，讓預計要去北京的朋友參考參考
‣ 個人最推景點是定陵、慕田峪長城，慕田峪長城人少又好爬，最適合想要拍照的網美女孩們（八達嶺和居庸關都像菜市場，你們不會喜歡的）；定陵是中國唯一被官方開挖的皇帝陵寢，建議先看過它的紀錄片或讀它的歷史再去，會很有感觸。不過這兩個景點都在郊區（尤其慕田峪在遠郊）最推薦的交通方式是包車，安全又省事。
推薦我們的駕駛馮師傅（微信ID：wx13661055387）給大家，是個認真又細心的好師傅，收費也合理，畢竟中國很多黑車，大家還是找有口碑的。
‣ 紫禁城變得比本宮上次(2015年)回宮還複雜許多，要過很多安檢，購票也變成掃碼，所以一定要帶台胞證去，否則進不去！建議線上訂票再直接去取票，隨身行李盡量簡便；如果你也想穿古裝拍照（到底有幾個人會想啦）建議去雍和宮或景山拍，人比較少拍起來效果很好！
‣ 去中國可以用網卡，免翻牆就能直接連IG、YouTube！這次我們是用Daijobu的中港澳一卡通，隨插隨用很方便，也可以開漫遊，好處是可以吃到飽！
‣ 推薦幾個好用的App可以出國前先載：大眾點評（找美食或好店）北京地鐵（搭地鐵查詢如何搭乘）百度地圖（Google map在中國形同虛設，要用百度地圖）滴滴出行（大陸專用的Uber，超級好用，但現在似乎需要綁定實名認證的支付寶，如果有辦法支付的話，很建議下載來用）
‣ 有很多餐廳或景點一定要先查好是否還有營業，中國的店家和餐廳說消失就消失，哪怕你去年才去吃，今年去也可能整條街都消失了（北京最愛的無名重慶小麵店和滿福樓涮羊肉都沒吃到😭）最近北京在進行街道整治政策，很多小店都被迫移走了，所以一定要事先查好。
‣ 北京有很多歷史景點，建議先查過它們的故事，會有很多不同感觸，或者到比較大的景點（像是頤和園、故宮等可以租用官方導覽員，他們會專業導覽並詳細講解給你聽）
本次與本宮出行的奴婢若曦 稚嫻 Lavande還有感謝默默替我們紀錄一切的Joyce，因為她這次的Vlog素材相當豐富，敬請期待囉！！！剪到我已經快要人格分裂了！！到時候都給我看五遍！！！！！
必須體驗道地 #迦南島 #搖搖竹籃船
中越【會安古鎮】對岸，從會安碼頭搭乘船約30分鐘，#秋盆河 色美不勝收。
迦南島尚未開發，相對原始的自然生態風光，密布著水椰林、檳榔樹，島上居民大多以捕魚及木雕維生。來到迦南島搭乘傳統 #竹籃船，穿越原始自然生態風光，體驗樂釣螃蟹趣。
碗公造型搖搖竹籃船，是越南中部漁民，在近海捕魚的一種交通工具，它輕巧且移動便利，雖然現在成了觀光的賣點。
又名簸箕船的搖搖竹籃船越南語 「CANO」，英文就直接叫它「basketboat（籃子船）」，據說古時候有一個朝代的皇帝，大興土木，修築陵寢，向人民課以重稅，下令每艘漁船多收30%的稅金，所謂上有政策，下便有對策，漁民於是發明這簸箕船，逃避稅收，不過這圓形的搖搖船，沒有一定的技巧可沒辦法向前行，一擼長槳，划著划著原地打轉，卻不會翻，倒是船上的觀光客 驚嚇破表，尖叫聲不斷呀！
星宇航空,越南岘港,自由行,會安
中越【会安古镇】对岸，从会安码头搭乘船约30分钟，#秋盆河 色美不胜收。
迦南岛尚未开发，相对原始的自然生态风光，密布着水椰林、槟榔树，岛上居民大多以捕鱼及木雕维生。来到迦南岛搭乘传统 #竹篮船，穿越原始自然生态风光，体验乐钓螃蟹趣。
碗公造型摇摇竹篮船，是越南中部渔民，在近海捕鱼的一种交通工具，它轻巧且移动便利，虽然现在成了观光的卖点。
又名簸箕船的摇摇竹篮船越南语「CANO」，英文就直接叫它「basketboat（篮子船）」，据说古时候有一个朝代的皇帝，大兴土木，修筑陵寝，向人民课以重税，下令每艘渔船多收30%的税金，所谓上有政策，下便有对策，渔民于是发明这簸箕船，逃避税收，不过这圆形的摇摇船，没有一定的技巧可没办法向前行，一撸长桨，划着划着原地打转，却不会翻，倒是船上的观光客惊吓破表，尖叫声不断呀！
Con đường trải nghiệm thiết yếu # Đảo Kamiami
Zhong Yue [Phố cổ Ai'an] đối diện bờ biển, bến tàu Jeong'an khoảng 30 phút, Bell, #Aki lưu vực chiến thắng Ailen.
Đảo Kanan vẫn chưa được phát triển, danh lam thắng cảnh tự nhiên tương đối nguyên thủy, lòng bàn tay được sản xuất dày đặc, cây cau, cá và điêu khắc cây trên đảo. Sự xuất hiện của truyền thống nội trú đảo Kanan.
Hãng hàng không Xingyu, Cảng Yeongnam, Du lịch miễn phí, Ai'an
明人畫出警圖
絹本 設色畫
縱：92.1公分 橫：2601.3公分
明人畫入蹕圖
絹本 設色畫
縱：92.1公分 橫：3003.6公分
這支盛大的皇家謁陵隊伍，由北京城得勝門出發，直至皇帝謁陵的目的地，離京城四十五公里外的天壽山，這裡是明朝歷代皇帝的陵寢區。
「出警圖」與「入蹕圖」雖是各自分開的二幅長卷，但是所繪的卻同是掃墓、巡視的過程，因而通常被合稱為「出警入蹕圖」。
畫家將皇室謁陵的整個時空歷程出發→抵達→返回，濃縮於二幅長卷之中。傳統觀賞「出警圖」是由右往左；「入蹕圖」則由左往右。「出警圖」繪皇帝騎馬，由陸路出京，「入蹕圖」畫皇帝坐船，走水路還宮。這兩幅圖卷不但是國立故宮博物院所收藏手卷畫作中最長的兩幅（「出警圖」的橫長有26公尺，「入蹕圖」更是超過30公尺），人物眾多，場面宏偉，更是歷代繪畫作品中少見的超級鉅作。
這二幅作品，均未署名作者姓名。但可以確定的是，得出動許多宮廷畫師的合力創作，才能完成這二幅佈局精采生動的鉅作。
Anonymous, Ming dynasty
Departure Herald Imperial Procession Leaving the Palace
Handscroll, ink and color on silk, 92.1 x 2601.3 cm
Anonymous, Ming dynasty
Return Clearing Imperial Procession Returning to the Palace
Handscroll, ink and color on silk, 92.1 x 3003.6 cm
In this handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou.
"Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour. Usually considered as a pair, they are collectively known as "Departure Herald and Return Clearing".
Encapsulated into both scrolls, the artists depicted the entire event over time and space from the departure, arrival at the destination, and return to the capital. The traditional means of viewing "Departure Herald" is from right to left, whereas "Return Clearing" is from left to right. "Departure Herald" represents the emperor riding a horse, taking land route from the capital, while in "Return Clearing", he is shown riding on a boat, taking a water route back to the palace.
These two scrolls are not only the two longest handscrolls in the collection of the National Palace Museum ("Departure Herald" measuring 26 meters and "Return Clearing" more than 30 meters in length), they represent a rare, enormous effort in terms of the number of figures and majesty of the scenery seen among surviving works of Chinese painting.
Neither of these two works were signed or sealed by the artists who painted them. However, judging from the style, content, and great effort, it most likely took a cooperative effort of many court artists in order to complete these two great masterpieces of imperial Chinese painting.
明人畫出警圖
絹本 設色畫
縱：92.1公分 橫：2601.3公分
明人畫入蹕圖
絹本 設色畫
縱：92.1公分 橫：3003.6公分
這支盛大的皇家謁陵隊伍，由北京城得勝門出發，直至皇帝謁陵的目的地，離京城四十五公里外的天壽山，這裡是明朝歷代皇帝的陵寢區。
「出警圖」與「入蹕圖」雖是各自分開的二幅長卷，但是所繪的卻同是掃墓、巡視的過程，因而通常被合稱為「出警入蹕圖」。
畫家將皇室謁陵的整個時空歷程出發→抵達→返回，濃縮於二幅長卷之中。傳統觀賞「出警圖」是由右往左；「入蹕圖」則由左往右。「出警圖」繪皇帝騎馬，由陸路出京，「入蹕圖」畫皇帝坐船，走水路還宮。這兩幅圖卷不但是國立故宮博物院所收藏手卷畫作中最長的兩幅（「出警圖」的橫長有26公尺，「入蹕圖」更是超過30公尺），人物眾多，場面宏偉，更是歷代繪畫作品中少見的超級鉅作。
這二幅作品，均未署名作者姓名。但可以確定的是，得出動許多宮廷畫師的合力創作，才能完成這二幅佈局精采生動的鉅作。
Anonymous, Ming dynasty
Departure Herald Imperial Procession Leaving the Palace
Handscroll, ink and color on silk, 92.1 x 2601.3 cm
Anonymous, Ming dynasty
Return Clearing Imperial Procession Returning to the Palace
Handscroll, ink and color on silk, 92.1 x 3003.6 cm
In this handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou.
"Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour. Usually considered as a pair, they are collectively known as "Departure Herald and Return Clearing".
Encapsulated into both scrolls, the artists depicted the entire event over time and space from the departure, arrival at the destination, and return to the capital. The traditional means of viewing "Departure Herald" is from right to left, whereas "Return Clearing" is from left to right. "Departure Herald" represents the emperor riding a horse, taking land route from the capital, while in "Return Clearing", he is shown riding on a boat, taking a water route back to the palace.
These two scrolls are not only the two longest handscrolls in the collection of the National Palace Museum ("Departure Herald" measuring 26 meters and "Return Clearing" more than 30 meters in length), they represent a rare, enormous effort in terms of the number of figures and majesty of the scenery seen among surviving works of Chinese painting.
Neither of these two works were signed or sealed by the artists who painted them. However, judging from the style, content, and great effort, it most likely took a cooperative effort of many court artists in order to complete these two great masterpieces of imperial Chinese painting.
