This time to bring you the fine works of the Shanxi Provincial Museum, do not want tickets, everyone hurry up!
Tomb of Sima Jinlong
Sima Jinlong's tomb is located in Shijiazhai Village, Datong City, Shanxi Province, is a brick multi-chamber foundation, and is a joint burial tomb of Sima Jinlong and his wife Qin Wenjichen of the Beiqi Gui clan. Excavated in 1965, more than 450 precious cultural relics such as epitaphs, stone carved tents, gold-plated wooden animal heads, pottery figurines, lacquered screen panels, sarcophagus beds and so on were unearthed. Among them, there are both nomadic artifacts and artifacts full of Jiangnan interest, which is a microcosm of ethnic integration and cultural exchanges during the Southern and Northern Dynasties. Sima Jinlong was buried in the eighth year of the Reign of the Northern Wei Dynasty (484 CE), his father was Sima Zaozhi, an eastern Jin dynasty royal family who defected to Northern Wei, and his mother was a princess of Hanoi in Northern Wei.
Sun LongShi
Sun Long stone rafter excavated in Hewa Village, Yushe County, Shanxi Province, has been stolen in history, and when it was discovered in 1976, the rafter cover had been broken, and 2 pieces of help plate and 1 piece of headshield were basically intact. On one side, the relief pattern of the help board takes the ascension of the dragon as the main body, and there are other patterns such as feasting and drinking, traveling, etc.; on the other side, the relief pattern of the help board takes the tiger as the main body, and there are other patterns such as hundred plays and shooting hunting. The head block is engraved with coffin inscriptions, feasts, drinks, music and dance. Sun Long's stone rafters are simple in carving, rich in information, especially with accurate chronology, which is of great value for understanding the funerary culture of Shanxi after the Northern Wei Dynasty moved to Luoluo, and is an important material for the study of northern dynasty art archaeology.
Wood carved dove bird
Northern Wei Yongping First Year (508)
Yuan Shuji, an eastern suburb of Datong City, Shanxi Province
Samurai figurines
Pottery ox cart
Oxcarts, also known as "calves". Scholars in the Wei and Jin dynasties were immersed in exploring metaphysics and enjoying a slow-paced leisurely life. They believe in the legend of Lao Tzu driving an ox cart out of the customs, and traveling in an ox cart has gradually become a fashion. The ox cart looks calm and steady, has a certain sense of ceremony, and travels slowly, which is a pleasure for the taxi. Bullock carts are also often used by taxis to race. There are a large number of ox cart images in the tombs of the Southern and Northern Dynasties. The pottery ox cart that imitates the car of the tomb owner before his death is often placed in the tomb room near the tomb door, as if ready to carry the owner at any time.
Acrobatic figurines
Sun Longshi rafter front block
Stone carved tent seat
Glazed pottery lifts legs for horses
Zen pottery riding samurai figurines
Northern Wei Taihe VIII (484)
The tomb of Sima Jinlong in Shijiashi Village, Datong City, Shanxi Province, was excavated
Sitting figurines
Lacquer painting screen plate (reproduction) Northern Wei Taihe EIGHT YEARS (484)
Sima Jinlongmu was unearthed in Shijiashi Village, Datong City, Shanxi Province
Sima Jinlong lacquer painting screen board is a screen component used in combination with the stone bed, painted for wooden tires, with sackcloth as the base on the outside of the wooden tire, and then filled with paint. The front and back of the screen board are painted with lacquer, and the picture is divided into four layers from top to bottom, showing the story of the female ancient sages, and there are many list titles and inscriptions next to the characters. The story and text content are based on historical documents such as the Biography of The Daughters of Lie, the Book of Filial Piety, and the Book of Han. The picture is based on vermilion paint, with black paint lines, using the technique of rendering and iron wire sketching, and the color is very intense. In terms of artistic style, it is closer to Gu Kaizhi's "Luoshen Futu" and "Female Shi Zhentu", showing distinct cultural characteristics of the Eastern Jin Dynasty and southern dynasties, reflecting the influence of southern painting on Pingcheng at that time, and having important value for exploring the cultural integration of the north and the south during the southern and northern dynasties.
Zhijiabao coffin painting
It is another outstanding painting masterpiece of the Northern Wei Pingcheng period after the woodblock lacquer painting of Sima Jinlong's tomb. Its subject matter and technique are completely different from the wooden lacquer paintings of Sima Jinlong's tomb, showing not the loyal filial piety and sages in Han costumes, but the real scenes of the secular life of ethnic minorities in the north. The picture of the coffin of Zhijiabao is full and compact, and the content of carriage and horse travel, hunting and drinking, etc., richly and vividly reflects the life scenes of the Xianbei people. Although these three coffin paintings are incomplete, they are still very precious, adding important image materials for the study of social life during the Pingcheng period of the Capital of the Northern Wei Dynasty.
Tiger head gate pier
Tombstone