从商代贝币、战国汉代刀币和布币，到唐宋元明清各朝的方孔铜钱再到各类机制币，中国钱币承载了悠久的历史，蕴藏着深厚的文化内涵，为众多收藏爱好者和收藏家所珍视。
From Bei coins in Shang Dynasty, knife coins and cloth coins in Warring States and Han Dynasty, to Fangkong copper coins in Tang, Song, Yuan, Ming and Qing Dynasties and to various kinds of machine-made coins, Chinese coins have a long history and profound cultural connotations, which are cherished by many collectors and enthusiasts.
第一部分 雕母
The first part is the mother of the carving.
清代，钱局每开炉铸钱，先取精炼黄铜制成雕母，再以雕母翻铸若干母钱，最后用母钱翻砂铸流通钱，因此雕母又称祖钱，均为手工雕刻而成，在钱币铸行流程中处于十分重要的位置，因其特殊的性质，加上钱局使用后往往存档入库，故民间流传甚稀，而其工艺的特殊性又使雕母具有流通钱无法比拟的艺术观赏价值。
In the Qing Dynasty, every time the money bureau started to make money, it first took refined brass to make carving mother, then used carving mother to make some mother money, and finally used mother money to turn sand to make circulating money. Therefore, carving mother, also known as ancestral money, was carved by hand, and was very important in the coin-making process. Because of its special nature, the money bureau often saved after use. Filing in warehouse, so the folk circulation is very rare, and the particularity of its craft makes the carving mother have the artistic appreciation value that can not be compared with circulation money.
雕母的制作非常精良，质地选用上等铜料。在《皇朝文献通考·钱币考》一书中写到，各省铸钱均须“例由户局先铸祖钱、母钱及制钱各一文，颁发各省，令照式鼓铸之”。鲍康的《大钱图录》一书中记载，雕母“其穿孔非钱局人不能凿”。雕母的钱文非常精美，用手雕刻而成，文字细瘦高挺；字口深峻；笔画刚劲、有力；地章光洁，全身无铸造痕迹。穿孔大都是雕凿之后再锉光而成。雕母在铸钱过程中起规定钱式的作用，并在翻铸母钱时用于印模。雕母钱比同版流通的钱更大、更重，存世量非常稀少。
The making of the mother's carving is very excellent, and the quality is superior to copper. In the book "General Examination of Emperor's Documents and Coin Examination", it is written that all provinces must "make ancestor's money, mother's money and money by the household bureau's ancestors, issue each province, and make it according to the rules". Bao Kang's book "picture of the big money" records that "the perforation is not for the money Bureau." The money inscriptions of the carved letters are very exquisite. They are carved by hand. The characters are thin and tall; the words are deep; the strokes are strong and powerful; the ground is clean and the whole body is free of casting marks. Most perforations are made after carving. In the process of casting money, the carving mother plays the role of money type, and is used for impression when casting mother money. The money of the carved mother is bigger and heavier than that of the same edition, and the amount of money deposited is very rare.
第二部分 花钱之母钱
The second part is mother money.
花钱，以其形制类似古钱，性质非流通币而得名。花钱中的字文图案千姿百态，各具姿容，堪称古代“铜版画”。花钱中丰富的内容，是各代民俗民风的缩影；吉祥的内涵，代表着古代中国人民对美好生活的向往和祝福。花钱和古钱的联系，不但体现在它们形制的相似，而且体现在它们来源、工艺等方面的紧密联系。
Money is named after its shape similar to ancient money and its nature is not currency. The words and patterns in money spent are various and have their own looks. They are called "copperplate prints" in ancient times. The rich content of money is the epitome of folklore and folklore of different generations. The auspicious connotation represents the yearning and blessing of the ancient Chinese people for a better life. The connection between money and ancient money is not only reflected in their similarities in shape, but also in their sources, technology and other aspects.
由于花钱不像古钱有官方史料记载其制作工艺，又不似古钱具有鲜明的时代特征，往往同一款式图案文字，后朝仿前朝现象普遍，所以对花钱的铸造研究主要从工艺上来断定其制造年代及性质，从花钱母钱零星被发现开始，我们可以断定花钱的工艺也是母钱翻铸法，而初铸子钱（头模钱）又比母钱略小，精美程度略逊。
Because spending money is not like ancient money, which has official historical materials to record its production process, and unlike ancient money, which has distinct characteristics of the times, often has the same style of design and writing, and the phenomenon of imitating the former dynasty is widespread in the later dynasty, so the research on the foundry of spending money mainly determines its manufacturing age and nature from the technology, starting from the discovery of the mother money sporadically. It can be concluded that the process of spending money is also the mother coin casting method, and the first casting money (head model money) is slightly smaller than the mother money, the degree of exquisiteness is slightly less.
第三部分 宫钱
The third part is palace money.
宫钱的使用源于唐代，到了清代，宫钱的发展达到了鼎盛。当时宫钱是用官炉铸造，主要用于皇宫的节日庆典装饰，每年腊月负责铸造宫钱的部门都要把一批精铸的宫钱送入皇宫，作为宫灯的钱坠。清代宫钱，一种是正面是年号，背面是天下太平、八卦图、或者吉语等，另一种是正面吉语，背面光背。宫钱与民间花钱的最大区别在于，宫钱使用的铜质是精黄铜，而且制作也非常精致。
The use of palace money originated from the Tang Dynasty. In the Qing Dynasty, the development of palace money reached its peak. At that time, the palace money was casted in official stoves, mainly for the decoration of the festival celebrations of the palace. Every year in December, the Department responsible for casting the palace money sent a batch of precisely cast palace money into the palace as money drops for Palace lamps. Qing Dynasty Palace money, one is the front is the year number, the back is the world peace, the Eight Diagrams, or Jiyu, the other is the positive Jiyu, the back is bare. The biggest difference between palace money and folk money is that the copper used in palace money is fine brass, and the production is very exquisite.
第四部分 厚重的辽代花钱
The fourth part is the heavy Liao Dynasty spending.
辽自907年建国(契丹)至1125年被金所灭，历经200余年，再加上东辽、西辽、北辽等各朝各代均有钱币传世。由于辽大量使用宋钱，本朝铸币量少，所以留存下来的各代钱币大都是珍罕宝币。辽代的花钱品种繁多，千姿百态，颇具艺术价值、文化价值与收藏价值。经历了汉代压胜钱的单调发展，南北朝、隋唐的似是而非之后，花钱这个门类，在北宋-辽代、南宋-金代两个历史阶段中井喷式地勃兴起来，由此奠定了现代意义上“中国花钱”的发展路数、风格与基本文化价值。
Liao was destroyed by gold from the founding of the People's Republic of China (Khitan) in 907 to 1125. After more than 200 years, coins were handed down in Eastern Liao Dynasty, Western Liao Dynasty and Northern Liao Dynasty. Because of the large amount of Song money used in Liao Dynasty and the small amount of coins minted in this dynasty, most of the surviving coins of different generations are precious coins. In the Liao Dynasty, there were many kinds of money and varied artistic value, cultural value and collection value. After the monotonous development of winning money in the Han Dynasty, the paradox of the Northern and Southern Dynasties and Sui and Tang Dynasties, the category of spending money sprang up in the two historical stages of the Northern Song-Liao Dynasty and the Southern Song-Jin Dynasty, thus laying a foundation for the development route, style and basic cultural value of "Chinese spending money" in the modern sense.
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