Today in history: The rotation of the Earth in 1851 was confirmed by the French physicist Foucault.
In a word: day and night, day and night cycle, 24 hours of cycle, is the gift of the rotation of the earth to us.
The Iloilo River Valley, centered on Luoyang, is one of the birthplaces of ancient civilization in China. During the Two Han Dynasties, Luoyang was the capital and capital city, and was the political, economic and cultural center of the time.
It is not surprising that a large number of remains of Han tomb murals have been found here, which are well preserved, brightly colored, and have a grand view.
It is generally believed that the murals of the Western Han Dynasty inherit the murals of the Chuzong Temple in the late Spring and Autumn Period, and the tomb murals of the early Southern and Northern Dynasties of the Wei and Jin Dynasties, which are very important in the history of painting art.
However, all along, in the study of Western Han murals, China has been lacking in physical materials. It was not until 1957, in the old city of Luoyang, that archaeologists excavated a Western Han mural tomb and named it Tomb No. 61 of the Western Han Dynasty, which gave us a better understanding of the painting art of the Western Han Dynasty.
It is a brick chamber tomb built with a mixture of hollow brick and small brick. The murals in the tomb are smooth in penmanship and the characters are vivid, which can be regarded as a treasure in the art of the Han Dynasty.
Entering the tomb door, there are frescoes painted on the forehead of the door, the pillar in the middle of the main chamber, the beam forehead, the next door and the back wall, and on the tiles on the top ridge of the main chamber.
Among them, the fresco on the forehead of the inner door of the tomb door, the right half has been seriously corroded, has long been unclear; the left half is a peach tree, the branches have peach blossoms, swallows shuttle between the trunks. Under the tree was a young girl, her long hair curled on the trunk and a red scarf folded in half on a branch. Her eyes were tightly closed, her face slightly sad, and her right hand was open and raised upwards. A winged tiger was biting on her left shoulder and her right front paw was pressed against her head.
As for the meaning of the painting, no one has known since its discovery. Later, after Guo Moruo conducted research, he believed that the picture implied that "harsh government is fiercer than tiger".
He thinks so, first of all, the tiger has wings, implying that it is not a tiger in reality, but a harsh government in reality. Secondly, the tiger bites the woman's shoulder and the front paws press on her head, implying that the woman is doubly threatened by the tiger. Again, the woman's hair is curled up in a tree, symbolizing that the woman does not want to leave her hometown even if she is suffering from harsh government.
This is followed by a mural on the forehead of the partition wall beam on the west side of the main chamber of the fresco tomb. There are thirteen characters in the painting, and the content is the story of the Eastern Zhou Qi Jing's plan of "two peaches killing three soldiers" of Yan Bao. There are three samurai on the right side of the picture, the one who presses the sword on the far right is Gu Yezi, the one who commits suicide in the middle is Gongsun Jie, the one who puts peach on the left is Tian Kaijiang, and the three people have different forms; there are five people in the middle, and the person in the center is Qi Jinggong, who has a majestic face, and there are two guards standing on each side; there are five people on the left side of the picture, the two people on the far left have been badly corroded and cannot be seen clearly, there are three people on the right, the short one in the center is Yan Bao, and the other two people are foils. It can be seen that the technique of the mural is very realistic, and the characters are vivid.
Above the back wall of the main room, there is also a trapezoidal mural with the content of "Hongmen Feast". There are eight people in the painting. The two men on the far right, one sitting on his knees, picked a large piece of meat with a long halberd and roasted it on the fire, while the other held a wooden staff and leaned forward, his eyes looking directly at the stove.
On the left side of the stove, there are two people sitting on the ground, drinking, the one wearing blue clothes on the right, the fatter one is Xiang Yu, and the left side is more Sven should be Liu Bang,
Liu Bang's left rear stood two people, one wearing purple clothes, young, with a sword hanging from his waist, with an anxious face, it should be Zhang Liang, and the other was wearing a yellow coat, old, it should be Fan Zeng.
The leftmost one is a samurai, with angry eyes and a sword in his right hand, which should be Xiangzhuang.
The layout of the whole picture is reasonable and compact, and the image is vivid.
On the top tiles of the main room, there are twelve paintings, namely the sun, the moon, the toad, the golden wu, the jade rabbit, and the flowing clouds, and the pictures are vivid and vivid.
In addition, there are frescoes on the gables above the partition walls of the main room. On the right in the middle of the gable is a man with a round foot, and on the left is a woman holding a round bi in both hands, and the animals accompanying her are bears, leopards, apes and so on.
It is speculated that the round bi should symbolize the moon, and the male and female symbols yin and yang, so it can be seen that the murals here should represent the universe. Behind the gable is a large gate with carved windows on the beams and five jade bi on the windows, perhaps symbolizing the Gate of Heaven, and the five jade bi representing gold, wood, water, fire, and earth.
These Han tomb murals, the structure is full of dynamic, the color is brilliant, not only a valuable artistic heritage, but also an important material for the study of the social history of the two Han Dynasties.