The moment you step into the Luoyang Museum, it seems that through the tunnel of time and space, the oncoming bronze array is silently poetry in the glass cabinet. Those with green rust, the gong, the ding array into the Bronze Age matrix, the ding belly of the ding in the light and shadow, the prayer of the Shang Zhou priests through three thousand years of time and space condensed here. The moment the fingertip touched the glass of the exhibition cabinet, the sleeping "sons and grandchildren and grandchildren of the inscription" six words suddenly came alive, which made people feel that these objects are not only sacrificial rituals, but also the solemn commitment of the ancestors to eternity. Turning the corridor of the Bronze Age, the weather in Han and Tang Dynasty came. The mud-sculpted Buddha face unearthed at the site of Yongning Temple is half covered in warm yellow halo, and the missing face still flows the compassion injected by the Northern Wei craftsmen. The painted Tao Yongtai tomb of Princess Yongtai, the curly beard of Kunlun slaves and the towering fall horse of the maid constitute a wonderful time-space dialogue. The most breathtaking is the three-color black Hummer, the glaze like moyu flowing texture, can clearly touch the temperature of Datang Shengshi, the glaze condensed not only the skills of the three-color craftsman, but also the Silk Road camel ring, Luoyang as the gods swallowed all directions of temperament. In the deep corridor of the stone art museum, the statue of the Northern Wei Dynasty stands next to the Jing Building of the Tang Dynasty. The 20-pin rubbing pieces of the Longmen are spread on the plain wall into a long volume of calligraphy, and Fang Jun's Weibei and the smart Tang Yu alternately tell the secret of the evolution of the text. Standing in front of the stone in the East Han Dynasty to fight evil, this god beast strutted his head, solidifying the most simple imagination of the Han craftsmen. When the sunset slanted on its granite wings, suddenly read the image of "Phan Thun Hong, Wan Ruo You Long" in "Luoshen Fu", Originally rooted in the cultural genes of the land. As we walked out of the museum, Luoyang City was lit up by neon. The loess layer of Yingtianmen site intersected with modern glass curtain walls, and the traffic on Zhouwangcheng Square and the bronze horses of Tianzi Six Museum formed a wonderful chord. The city, which buried half of Chinese history underground, completed the dialogue between ancient and modern times with museum cabinets and fireworks in the streets. The bronze smoke clouds that had risen in the sacrifices were turned into morning dew on peony flowers, and continued to nourish the roots of Chinese civilization.