Chapter 472
"What the hell is this."
Dou Sprouts turned pale and struggled to stand up from the ground.
Grandma Ke....
Grandma Ke....
Grandma Ke...
My eyes were filled with blood, and I stared at the three big blood-red characters on the stone slab.
"Fengzi!"
"Fengzi, don't scare me! Talk!"
Dou Sprout's hands were trembling and he kept patting my face, trying to wake me up.
My eyes were bloodshot, and my gaze moved as the corpse moved left and right.
Just like looking at a swinging clock during hypnosis, an illusion gradually appeared in my eyes. I saw the monkey holding the corpse on the belly. Suddenly I turned my head and opened my eyes. The monkey's eyes were like two black glass balls. Grinning at me.
"Wake up!"
"Wake up!"
Dou Sprout slapped me hard. The slap was so powerful that I immediately felt burning pain on my face.
After looking at it with a flashlight, I found that the hanging corpse was no longer shaking. The monkey mummy had its eyes closed, no black eyeballs, and no smile.
"Fengzi, what happened just now! Your eyes almost popped out! You don't know how scary it was just now!"
I kept gasping for air and my back was soaked. I pointed at the stone slab behind the body and said there was something wrong with it.
Dou Sprouts glared and said angrily: "What the hell! How dare you scare my brother!"
I watched in horror as Dou Sprout hugged the corpse's feet with both hands.
Douyazai lifted his feet off the ground, hugged the body's feet with both hands, and said, "Get the fuck down here."
"Bang!"
The iron chain broke and the body was pulled down by Dou Sprout.
I wanted to see clearly what was carved on the stone slab, but I twitched it with my hands and couldn't move at all. The dead monkey was hugged tightly.
Dou Sprouts came over to help, and it took a lot of effort for me to remove the slate.
After wiping away a thick layer of dust, a carving with a panoramic view gradually became clear. Ancient people did not have mobile phone USB flash drives. If they wanted to record and retain important things for a long time, they would usually use some wooden or stone carving boards to record them.
After looking at it carefully for a while, I frowned.
This should be part of a complete scene. There are many characters engraved on it, including men, women, old and young. One of the women engraved is obviously one size larger, which seems to indicate to future generations that she is the protagonist.
This woman was dressed in gorgeous clothes and had a crown on her head. She was holding hands with a man. It seemed like it was her big day.
The other carvings of men, women, and children basically all have smiling faces on their faces. Only one person sitting on the main seat did not smile. This person was carved with a tall figure, a beard on his chin, and a very expressive expression. I don’t know which craftsman made it, but just looking at the vivid knife work, it has surpassed the Yangzhou school of the same period and is more in line with Western realistic techniques.
I asked Douyazai to remove the stone slabs from the other two corpses.
Whoever did it, I had a vague feeling that someone was trying to tell me something.
Taking off the other two stone slabs, I laid the three stone slabs flat on the ground and reversed the order.
The second stone slab is carved with many bald monks. These monks are dressed in strange clothes. They are not like the practitioners in the Central Plains area. Although some monks hold rosary beads in their hands, they have tattoos on their faces and arms.
The woman who appears in the first carving board is lying on a round stone platform, with something in her mouth and a rope tied around her body. She is twisting and struggling. The sculptor has permanently fixed the scene of this woman's struggle on the stone board. .
When looking at the third slate, the picture changed again.
It was night, and many people were holding torches in the desert. Seven or eight people worked together to carry a vermilion-red coffin for burial. There was a long-haired man standing not far away, watching the scene in front of him. He raised his right hand, like It's something hidden in the cuffs.
I tried my best to connect the three scenes together, but I couldn't. Something was missing in the middle.
If the desert in the scene was here, the person lying in the coffin should be Jin Youzi, and it was Jin Along who buried him here.
What do those monks with tattoos and rosary beads do? Is the red painted coffin here?
I felt like I was at the end of my rope and wanted to know the secret.
We didn't care about the human corpses and monkey corpses, and the stone slabs were left in place. Douyazai and I continued to move forward.
I know this is not the main tomb chamber because I didn’t see any coffins. In addition, as long as such a high-grade iron-roofed tomb has not been stolen, there will definitely be high-grade funerary objects, and that’s what I want. .
The area of this tomb is far smaller than that of Jihou. I soon found the main tomb chamber. Except for the royal family in the Ming Dynasty, the main tomb chamber generally had no doors. The entire small room was dug out, much like the side ear chamber in the Western Zhou Dynasty.
When I entered the main tomb chamber, I shined a flashlight and it almost blinded me!
Burial objects!
A dazzling array of funerary objects!
The reflection of goldware, the reflection of porcelain, and the soft light of jade are scattered in every corner of the main tomb chamber. Many funerary objects are stacked on top of each other, leaving almost no room to stand!
In the southwest corner of the main tomb, there is a red lacquer coffin lying horizontally. The paint has partially peeled off. The bottom of the coffin is heavily painted with Ruyiyun, Feitian and Lotus in pure gold.
It is precisely because of the dry climate in Tengger that this colorful coffin can be preserved intact without falling apart.
I didn't expect this scene to happen suddenly.
