In order to explore the acoustic characteristics of chimes and the law of double tones, this paper takes the Chu and Han dynasties (206-202 BC) in this paper, Chimes are used as an example for analysis. Firstly, the characteristics of Chu and Han chimes were collected, the chimes were classified, and their materials and production techniques were studied. Then, the electronic scanner was used to observe the surface of the chime, and the acoustic test software was used to analyze the law of the two tones and draw the sound principle of the chime. The results show that the chimes of the Chu and Han dynasties are mainly shaped with wide mouths and uniform hanging methods, and the chimes are mainly made of bronze, tin and iron, so the pitch is higher. The spacing between chimes varies depending on the shape and size, so it is easy to resonate. In addition, there is a resonance gap between the main drum and the left and right drums of the chime, which prolongs the sound propagation distance of the chime. Therefore, the Chu-Han chime is the culmination of Chinese chime technology, and its acoustic characteristics are reasonable, forming a resonance between the main drum and the left and right drums, and forming a resonance between the chimes, realizing two-way sound, which has an enlightening effect on modern music teaching.
In order to further analyze the archaeological elements in Dunhuang murals, this paper takes the color, structure and material in Mogao Grottoes as an example. A high-definition microscope was used to observe the raw materials, blending, collocation, thickness, and other archaeological values of the colors in the murals, and then the infrared scanner was used to observe the distribution and narrative function of the colors and the narrative connotation in the murals was outlined. The results showed that the dyes in the Dunhuang murals were mainly iron hydroxide, zinc sulfate, calcium carbonate, copper sulfate and copper hydroxide, and the surface protective layers were iron oxide and alumina. The color fusion is high, with the presence of small oxide particles and no significant amounts of agglomeration. The thickness of the coating is about 3 similar to 4mm, which is caused by color overlap and color aggravation. The presence of long-distance development between the colors indicates that the chromatic aberration is minor and there are multiple transition colors. Therefore, there are many pure colors such as white, black, and yellow in Dunhuang murals, which are used to represent the narrative theme, the transition color is rich to represent the narrative process, and the multi-layer thickness is used to express the overlap of the narrative content, which has a enlightening effect on the color narrative influenced by animation.
In order to explore the contemporary value of the Central Plains bronze patterns and the innovative transformation of the ware, this paper takes the bronzes of the Shang Dynasty (1600 similar to 1046 BC) as the research object and analyzes them. Collect data on pre-Qin bronzes through the Internet, and use a microscope to observe the patterns, materials, shapes, and ingredient content of bronzes. The thermal condition of the bronzes, as well as the overall mechanical equilibrium, are measured by infrared observation instruments. The results show that the material of pre-Qin bronzes is mainly bronze, containing a small amount of tin, lead and iron, and a large amount of oxide layer on the surface. The bronze shape is an outer opening, and the patterns are mainly dragon patterns, phoenix patterns and cloud patterns, which are mainly used for blessings, and are mainly square and round. Infrared tests have found that the thermal equilibrium of the bronze is related to the thickness of the bronze material. Therefore, the pattern of pre-Qin bronzes is single, but the meaning is clear, and it has the functions of praying for blessings and cooking, which has an enlightening effect on the innovative design of modern culture and creativity and enriches the connotation of culture and creativity.
This paper discusses the relationship between percussion instruments and modern piano creation, as well as the archaeological value of percussion instruments, and takes Song Dynasty musical instruments as an example for analysis. First, the materials and surface characteristics of the drums, cymbals and hammers were observed with a high-definition microscope, and their materials were analyzed. The percussion instruments are then tested by an infrared scanner for their vocal position, vocal characteristics, and graphically drawn. Finally, the overall vocal position of percussion instruments such as drums, cymbals and percussion instruments was verified by 3D scanning, and their vocal characteristics were verified. The results showed that the main materials of drums, cymbals and beatings were bronze, brass, iron, tin, lead, etc., as well as pigskin and elm. Among them, the brass content of the copper cymbals is higher, and the bronze content of the striking is higher, so the sound effect is different. There are differences in the vocal characteristics of drums and cymbals, the former mainly expands the vocal range, and the latter concentrates the vocalization, so the vocal characteristics of the two are thick and crisp. In the process of vocalization, the percussion instruments of the Song Dynasty all exhibited homophony and resonance, indicating that the percussion instruments were reasonably designed. In addition, the percussion instruments of the Song Dynasty had insufficient vocal range, single vocal characteristics, and lack of transition, which needed to be combined with the piano, so it had an enlightening effect on the content, connotation, and performance mode of modern piano creation.
In order to explore the cultural connotation, artistic value and intangible cultural heritage role of shadow puppetry, this paper takes shadow puppetry in the Han Dynasty as the research object and uses modern testing tools to conduct research. First of all, the structure, shape, and material of shadow puppetry were observed with an electron microscope, and relevant literature was collected to classify shadow puppetry and find out the origin of its development. In addition, the mechanical balance software and infrared scanning equipment are used to test the overall structure and shape of the shadow puppet, and explore its archaeological value. The results show that the shadow puppets of the Han Dynasty were mainly made of pig skin, and the dyeing materials were iron sulfate, zinc oxide, iron oxide, and alum. The center of gravity of shadow puppetry is 1/3 and 2/3, which is convenient for the performance of opera, and the movements of shadow puppet play are mainly swaying up and down and moving forward left and right, but the modeling characteristics are obvious, which can enhance the vividness of the opera. Therefore, the shadow puppetry of the Han Dynasty can promote the development of Henan's cultural heritage products and enrich its cultural connotation.
