"The Qiankun on the Great Wall" originated in: years. From themurals of the northwestern dynasty to the murals of the Han and Tang dynasties

, the "Northwest Dynasty Tomb Chamber Mural Art Exhibition" of theShanxi Museum has displayed the best works of the North Dynasty tomb murals ona large scale.

What do these Northern Dynasty murals have to do with traditional Chineseideological and cultural factors, foreign Buddhist culture, and variousreligious factors? What is the development pedigree of women's maps in theHan and Tang dynasties? Where did the compound beasts in the murals ofBeiqi Tombs originate? What are the new tomb murals discovered in Shanxiin recent years?

Recently, the International Symposium on the Mural Art of Han and Tombs washeld in Taiyuan. More than 40 well-known experts and scholars fromcultural and educational institutions at home and abroad and universitiesdiscussed the above issues and the latest research progress and academicachievements of the mural art of the tomb. Excerpts from surging newsinclude some speeches.

Lou

Qian's tomb mural: Saddle Horse (below) He Xilin (Professor, Schoolof Humanities, Central Academy of Fine Arts):

The female story in the Han- Tang Dynasty female characterpedigree originated in the Western Han Dynasty, and Liu Xiang began tofeel sad. For the catalogue of Liu Xiang's works in "Han Yi WenZhi", see "Pictures of the Biography of the Daughters", see theattached picture "Biography of the Biography ofWomen". According to Liu Xiang's "Seven Sketches" recordedin the 25th volume of "The Beginner's Book", "Seven SlightSketches", it can be known that "Biography of the Lie Women" inthe Western Han Dynasty was a "four-screen painting" in the WesternHan Dynasty. According to the "Hou Han Shu Song Hong Biography",the screen in the Eastern Han Dynasty also depicts women. In addition,"Historical Paintings of All Dynasties" records the "Pictures ofYoung Women" painted by Cai Yong in the Eastern Han Dynasty.

During the Han and Tang dynasties, noble women often placed "Pictures ofWomen" next to them as a warning. The Western Han Dynasty Liu Xiang'sBiography of Women and the Western screen paintings of women have not yet beencirculated. How's it going? I do not know. Archeological remainsshow that female figures, stone carvings and tomb murals in the Han Dynastywere very popular. The Northern and Southern Dynasties were the heyday offemale image creation. This is evidenced by Gu Kaizhi's "The Pictureof Women's History", "The Picture of Women's Benevolence andWisdom" and the ancient sacred lacquer screen paintings unearthed from thetomb of Sima Jinlong in the northern Wei Dynasty of Datong, Shanxi.

An ancient sage-painted screen painting unearthed from the tomb of Sima Jinlongin the Northern Wei Dynasty in Datong, Shanxi The

above-mentioned works have a clear relationship with the inheritance of femaleimages in the Han Dynasty. It has no background and is basicallyconsistent with Chinese painting. Although the female images of theEastern, Southern, and Northern Dynasties were based on paintings or templatesfrom previous generations, they were not completely copied, but were partiallyintegrated with contemporary factors. During the Sui and Tang dynasties,there are still generations of "Lie Nu Tu", but painters are notenthusiastic about this. Although Sui and Tang painters did not emphasizewomen's subjects, women's subjects did not disappear. The tombs of Li Jiin the third year of Tang (670) and the tomb of Yan Fei in the second year ofXianheng (672) were painted with screen murals of female characters on threewalls around the coffin.

Wang Yanqing, a researcher at the Yungang Grottoes Research Institute, gave alecture entitled "Notes on Paintings of Murals and Tombs of the NorthernWei Dynasty in Shaling". She said that in 2016, when the YungangGrotto Research Institute copied the murals of the Tomb No. 7 in ShalingBeiwei, Datong, in order to accurately reflect the original appearance of themurals, the lacquer paintings and murals unearthed in the tomb were repeatedlyidentified and the fragments of the lacquer painting were rearranged Andidentified some details of lacquer painting. In the east of the mausoleum,a large amount of severely damaged patent leather is left, and the fetaltexture has decayed, but the patterns and text painted on the remaining patentleather are clearly legible. After cleaning and matching, there arecouples sitting together for memories, winemaking, travel, dining and otherphotos.

(a) The couple sit together and remember. In the initial report, thecouple was split into two numbers: the number sitting and the formalscript. This time, they tried to put the two numbers together whilerecognizing the numbers. There is a triangle fitting point that joins thetwo numbers together. Under the curtain of this painting, the tombownerand his wife are sitting in front of the screen, the waiter is behind them, thebox number in front and the letter inscription on the left of thecouple. The remaining width of the paint is about 53 cm

. The left end of the paint is the border, and two thin red lines serve as theborder. The interior of the lacquer painting has a "mountain"pattern, the yellow bottom has two thin black lines, the middle is red andblack edges, and the outer is painted with a red honeysuckle pattern near theblack and gray bottom. The central part is a picture of men and women busybrewing. The brewing activities are divided into indoor and outdoor, with 11people remaining. The remaining width of the paint is approximately 52 cmand the height is 35.5 cm. The kitchen building is in the shape of acurved ruler with five ridges on the top and two slopes on the top. Thereis a bucket on the forehead, a three-liter arch and a herringbone arch, withthe front open. Three-liter barrels above the forehead alternate withherringbone cloaks. The herringbone cape is bigger. Three fish andthree pieces of meat hang under the forehead. The four-arc mullion windowopens on the yellow wall on the side. The roof of the other room is curvedlike this kitchen ruler, and can only distinguish between the two ridges andtile ridges indicated by black lines. A ridge, a vertical ridge, shouldalso be a draped mountain top. Its forehead has a double dead center, withstubby pillars between the upper and lower foreheads. This is the style of"Seven Zhu Babai". A bucket of three liters of sand and aherringbone cape alternated above the forehead. Under the forehead was ared curtain with a brown strap. The brewing work in and out of the kitchenis in full swing, and there are: activities including dipping rice, dippingkoji, pumping, washing, cooking grits, raking wine, fetching wine, etc.

(3) Yang Changtu. Lacquer painting on black and gray paint. Theupside-down "mountain" borders red and black ruins. To the rightof the picture is a black semicircle, representing the yard. Two baretrees grow between the grain piles in the yard, showing the autumn harvestseason. There were two people in the yard, wearing a black hat, a skirthanging, and a red crew neck. A person bent down, holding a long pole toolin both hands to shovel the grain. The opposite person was holding high-speedrail and palladium, and the particles were flying in the air likecommas. On the left are three semicircular grain piles arranged verticallywith neat black floors on the inside and below. There are six or seven redand ochre circles of different sizes on the left. The remaining width of thepaint is about 47.5 cm and the height is 21.5 cm. If this figure isrelated to the above winemaking chart, the semicircular particle stack may showmixed music, and the red and ocher circles may show wrapped music.

Xing Fulai, a researcher at the Shaanxi Institute of Archaeology: Tombs withimitation wood frescoes in the northern dynasty around

Wantong Wantong was the capital of the Daxia Kingdom in the Sixteen KingdomsPeriod. After being broken by the Northern Wei in 427 AD, it was established asthe government of the Wantong town of the Northern Wei. From 431 AD to theTang Dynasty, it was the administrative office of the Xia Kingdom. It hasalways been an important city in the north. The tombs in the surroundingarea are densely distributed and numerous.

The five tombs excavated this time are very close to Tongwan City and may bepart of the tombs of residents of Tongwan City during the NorthernDynasties. The combination of earthen carvings and painted or purelypainted wooden structures has distinctive regional and period characteristics,and is rare in northern Shaanxi, providing new data for the study of tombs innorthern Shaanxi and northern dynasties. More importantly, Tomb 1 of theBadaling Cemetery is the first tomb in China to imitate the entrance and layoutof the grotto. Xie Shanshan's style indicates that the tomb is of highgrade. The mural of the cemetery has a strong religious color and a clearHu Feng factor. They are well-preserved, rich in subject matter, typical,and complex in cultural factors. These characteristics provide veryimportant new materials for studying the status and role of northern Shaanxi inthe transportation between China and the West in the Northern Dynasty, as wellas the ethnic, religion and culture of the region, and have extremely importantacademic research value.

Professor Zheng Wei of Peking University and Dr. Liu Yiyi of Peking University:The cultural composition and change mechanism of the city God temple in the northernpart of the

Middle Ages The Middle Ages refer to the Eastern Han Dynasty to the Middle TangDynasty in China. The northern area refers to the cities where the YellowRiver passes and the Liaohe River Basin with the Central Plains as thecenter. Tomb god

In the past, discussions on artifacts of ancient tombs in central towns focusedon observing the developmental context and looking for historical differencesfrom the time axis. Therefore, the development process of ancient tombartifacts in the central ancient town can be roughly divided into severalstages: Eastern Han, Wei Jin, Northern Wei, Pingcheng, Northern Wei, Luoyang,Early Tang, and Tang Dynasty in the late Northern Dynasty. In the earlyyears of the Eastern Han Dynasty, there was a separate beast-shaped tombguardian, and the Western Jin Dynasty had a separate tomb guardian. In thesecond stage of the Northern Weiping City, pottery figurines and imagesappeared in urban tombs and appeared in pairs, laying the foundation for futuredevelopment. Chinese and foreign fighters of the City God Temple werepresent. The tomb warriors in town are all wearing armor, but their headsare strange. The tombs in Erzhen are one person and one animal. Inthe third stage, from the late Northern Dynasty to the early Tang Dynasty, thetomb warriors in the town looked fierce and had no othercharacteristics. The tombs in the town are one man and one lion. Inthe fourth stage of the Tang Dynasty, the tomb warrior in the town was like theking stepping on a little devil. The tombs in the town are one person andone beast. The tombs in the town may hold snakes. This diachronicdifference has been studied repeatedly. On this basis, we can observe thebasic cultural composition of ancient tomb artifacts in the ancient town ofCentral China, and make in-depth observations of its development from top tobottom.

It can be found that the cultural composition of ancient Chinese tomb utensilsis nothing more than two parts of Chinese native culture and foreignculture. The connotation of Chinese native culture is related to therepeated interpretation of Chinese classics, while the connotation of foreigncultures is related to the cyclical changes in Chinese needs and theirunderstanding. The change of ancient tomb artifacts in Zhonggu Town is aprocess in which two cultures interact with each other. The four stagesfrom the Eastern Han Dynasty to the prosperous Tang are the externalized formsof the phased differences of the two cultures' intertwined relationship. Themain drivers of this change are folklore and officialregulations. However, the nature and boundaries of the two are notabsolute, but sometimes transcended.

An Ruijun, deputy research librarian at the Shanxi Museum