Jin Dynasty tombs were unearthed in Anchang Village, Beixiao, Changzhi City
"Cultural Relics World", 2003.01 Shang Tongliu Yang Linzhong Li Yongjie
In late August 2002, a number of ancient tombs were cleaned up during a field excavation in the south of Anchang Village, Machang Town, Changzhi City, Shanxi Province, to cooperate with the construction of the Zhangshan Power Plant. Most of them are early stolen Tang Dynasty arc wall brick chamber tombs, all of which are seriously damaged, leaving a small number of artifact fragments; only the brick carved tombs and stone tombs numbered ZAM2 and ZAM8 are complete, which are described below.
One
The ZAM2 brick sculpture tomb is located on the southeast side of the new power plant foundation pit area and consists of a vertical cave tomb passage, a corridor and a burial chamber. Sit north facing south, 5 degrees east of the azimuth angle. The tomb is 2.65 long, 0.73 wide and 4.50 meters deep, with a slope at the bottom; The raw soil over the hole is slightly collapsed, and its rain channel is a semi-circular arc-shaped ticket roof, and the wall of the sealed door on the side of the memory is a brick wall with a depth of 0.35, a width of 0.7, and a height of 1.45 meters. The tomb is rectangular in plan, 2.56 meters long and 1.86 meters wide; The surrounding tomb wall is slightly curved outwards, and it is carved with imitation wood structure bricks; It is made of strips of brick to form a four-sided slope curved top, and the square bricks are staggered to pave the floor, with a height of 2.64 meters (Fig. 1). The silted soil in the tomb room was infiltrated from the Yongdao, and only two piles of cremated decaying bone traces were cleared, and no burial artifacts were seen, which was judged to be a second relocation burial.
The lower part of the wall of the tomb is made of tiles stacked with a bunch of girdles, and the bricks on its slabs are carved with spaced lion running lions, galloping horses, camels and pulling horses (Figures 2 to 5). The four corners on it are made of leaning corner columns (pillar foundations with square tiles), and the upper corner of the horn is made of jumping singles, connecting the forehead between the four walls and the three-liter bucket arch in the tween of the Pubai fang. The south wall between the columns leads to the Yongdao, with windows on the side; in the middle of the east and west walls, there are semi-covered doors for women holding babies, and the attendants (Fig. 6) are arranged on both sides, and there are straight windows; the walls are inlaid with canopy, flying sky (Fig. 7 to Fig. 9), attendants or guardian figures. The north wall is also built with a slab door, flanked by beam armor guards (Fig. 10), and inlaid with straight windows, and then there are canopy and flying sky. On the arch of the imitation wooden structure of the four walls, a brick carved cloister protruding from the outside is protruded, and the south wall is built with the scattered music diagram (fig. 11), the east wall is built with a funeral map, the west wall is embedded with the scattered music diagram, and the north wall is made as a door and window. It is covered with rafters and tiles, and then a four-corner curved slope-shaped tomb roof is made of bricks.
The walls of the tomb are painted white and then colored according to the components. The lower part of the base is painted red, while the tiles are depicted in vermilion and yellow, and the lions, horses, camels and figures are painted, lining the blue and black background. The four-cornered pillar is painted red, and the black bird Liyun Mountain is painted; The door and window frames in the walls between the columns are painted red, the inside of the door is painted with a pattern of rhomboid flowers, the lattice inside the window is painted blue and black, and the women, attendants, and flying sky are mostly depicted in white, yellow, and ochre colors, lining the blue and black background. The forehead and the pupa are painted red and the edges are drawn in black, and the honeysuckle pattern is painted in between; The arches are smeared with red, yellow, and black, and the edges are outlined in black and red, or the arches are decorated with deformed patterns. The columns and columns of the upper cloister are painted red, the molded semi-arch bricks on them are also painted red and yellow, and the tomb roof is painted white. In the various pictures of the combination of brick carved figures in the tomb, there are the same individuals in different positions to make configurations, such as the ranks of attendants and musicians; Its figures are painted with costumes, and the eyebrows of the characters are outlined in ink. The main picture is selected to introduce it.
A picture of the funeral in the upper part of the east wall of the burial chamber (Fig. 12). 12 people line up on the right, and the first figure on the right wears a top hat, a wide-sleeved robe, and a long fluttering soul flag. Immediately after a man in robes, he respectfully held the spiritual seat of the deceased. The third and fourth on the right are monks wearing robes, scratching cymbals and blowing conch. It is like a walker wearing a bucket hat and wearing a hakama and carrying a double bag. There was a Buddhist abbot with a crown and a shawl, holding a lamp in his left hand and turning sideways to greet the accompanying relatives of the funeral. The costumes of the characters in the following line are different from each other, and they all look solemn The first person on the right is the same as the last person on the left, the second person on the right has his hands folded, and the other three people have their hands folded in their sleeves, all of which are bowed.
A diagram of the guardian spirit in the middle of the west wall of the burial chamber (Fig. 13). On the left, there is a coffin with clouds on the side, and the coffin lid is lidded with three offerings; The three women of the right stand respectfully. The former wears a tunic with a tunic over his head and arched sleeves on his chest: the middle one wears a crown of flowers on his head and holds a Boshan smoker in his hand: The latter wears a bun with a bun on his head and a short skirt with his sleeves folded on his chest.
A sanle diagram of the upper part of the western wall of the burial chamber (Fig. 14). There was a 15-person queue in a horizontal row, all wearing black soft horned heads, wearing narrow-sleeved robes with coiled collars, belts around the waist, and black boots on their feet. From the left, 3 people play the flute, piccolo and flute respectively; the fourth person beats the drum, the right person slaps the waist drum, and 4 people play the flute, the flute, the piccolo and the horizontal flute respectively. A person in the middle dances, with his right hand folded and his left hand hanging sleeve on the side of his head, twisting his waist and reversing his feet to coincide with the beat. The 5 people in the right column respectively held up a clapping board, blew a slug, played a lute, dialed "fire without thinking", and played "rolling kite".
Two
ZaM8 stone tomb is located in the northeast corner of the Zhangze power plant, was found when digging a drainage ditch, and the ground at the south side of the tomb is a road and seedlings, which cannot be excavated for some reason. The tomb is composed of a large sand and stone main burial chamber with a multi-ear chamber, sitting north and facing south, with an azimuth angle of 2 degrees west (Fig. 15). The main burial chamber is square in plan and has a side length of 2.30 meters; at the bottom is a coffin bed with a flat "concave" shape, 0.30 meters high; and a stone epitaph is erected on the inside. The lower part of the four walls of the tomb is built with a large stone base, each of which erects three angular columns, on which a horizontal frontal strip with the function of the forehead is placed, which is 1.18 meters high. In the center of the south wall, there is a flat stone covered yongdao, which is 1.3 meters long, 0.7 wide and 0.8 meters high, and the stone slabs of the sealed door are stored on the outside; Between the columns of each wall there are stone carved straight windows, and the rest is the entrance to the ear chamber. Another high relief strip of stone was built on each wall, and two groups of one bucket, three liters and five paving were carved as bucket arches, all of which covered a week of chiseled rafters and tile ridges; the above three layers of stone slabs were inserted into the grooves of the south and north walls of the east and west walls, and the four-corner arc slope was built to build a pointed tomb roof, and the tomb was paved with stone plates, and the total height of the tomb was 3.2 meters. Each ear chamber is built with three strips of stone longitudinally to build a coupon-shaped roof, with a height of about 1 meter.
The large stones of the burial chamber are carved and chiseled, and there are shallow and straight chisel marks on the stone surface. There are extremely fine ink lines between the arches of the imitation wood structure, which have shed powder due to the weathering of the sand and stone surface, and there are still lotus flowers, and there are also ink marks on its forehead stone, but it is seriously unrecognizable, and the outer edge of its tile ridge is coated with dark black.
The thick silty soil in the tomb was immersed by the tomb entrance; two scattered bones were cleared on the north side of the coffin bed of the main burial chamber, a pair of skeletons were excavated in the back room on the north side, and the decayed remains in other ear chambers were mostly piled. There are fewer burial utensils, mostly pottery and scattered in the main burial chamber, few rusty iron tools (possibly agricultural tools), and a porcelain pillow on the silt of the northeast corner ear chamber.
Drum belly jar 1 piece. ZAM8:1, clay pottery, slightly extravagant mouth, rounded lips, corset neck, bulging shoulder abdomen, flat bottom. Caliber 24, height 19.2 cm.
Jars with lid for 5 pieces. ZAM8:2~6, clay pottery, extravagant mouth, round lip, high straight neck, bulging shoulders, uneven bottom; each has a kasa-shaped bundle mouthpiece cover. Caliber 8, height 19.6 cm (Fig. 16).
Porcelain jar 1 piece. ZAM8:7, open mouth, round lip, corset neck, rounded belly, flat bottom; brownish green glaze, unglazed mouth edge, rough tire quality. Caliber 13.5, height 14.7 cm (Fig. 17).
1 piece of white porcelain bowl. ZAM8:8, straight mouth slightly retracted, pointed round lip, abdominal wall micro-bulge, flat bottom dwarf circle foot. Caliber 11.8, height 8.8 cm (Fig. 18).
White porcelain bowl 2 pieces. ZAM8: 9 to 10, one size each, the same shape system; wide mouth, oblique arc abdomen, flat bottom circle foot; the large caliber is 16.6, the height is 5.7 cm; the small one is 9.6, the height is 3.6 cm (Figure 19).
1 piece of white porcelain pillow. ZAM8:11, oval, low anterior and posterior high, slightly concave occipital surface, mutilated edges; The pictures are dry and ink-colored mountains, and the scenery is ethereal and deep. Length 21, width 18, height 8.4 to 12 cm (Fig. 20).
1 epitaph. Semi-circular stele, narrow and wide overall rectangular; blue limestone. Height 54, width 32 to 37, thickness 10 cm. The full text of the appendix is as follows.
The epitaph of Therefore, Cui Jun
Jun zhen great-grandfather Zhen Wen Ju Zu Zhen □ Father Zhen Zhen Gong Shu□ Shu Jun's beauty line of admiration for a long time his son Enyou to seek the inscription to verify the truth and zhi zhi ming to wen jun of de mu jun's hometown is not proud of people Bu to repair the cocoon Ran An Tso Ma Ring Car children and grandsons Zaji weeping Zhen Yang Feng Song Wen Xue Lu both sealed both cover up the map Gu Tu Jian Life Gong Le Shi Ju remembered his year stonemason Cai □
Three
ZAM2 brick carved tomb has no chronological inscription, nor is there any burial utensils, only based on the tomb shape system, imitation wooden architectural style and painted, brick carved character clothing and picture style, with reference to local and neighboring excavations of the same period tomb data, judged to be a late Jin Dynasty remains. The burial chamber is rough, the ash seams are unevenly thick and thin, the walls are uneven, and the columns are inclined. Although the pictures embedded in the tomb are all molded brick carvings, which are produced in batches for use, the funeral and spirit keeping diagrams that have been assembled and combined are also rare. There was a "funeral map" on the left side of the Northern Song Dynasty sarcophagus excavated from the West Village of Xingyang Huaixi in Henan Province[1], similar to it; There is no comparable information in the local area. The scattered music diagrams on the south and west walls of the tomb are similar in character combination, the individuals are always slightly simple and complex, there are dancers in the queue, the instrument speakers of the second person on the right and the second person on the right are cake-shaped, and the string handle is narrow and long, which should be "fire does not think"; the last person on the right holds up a bar plate box with his left hand, and rolls the strings with his right hand, when it is "rolling kite". The brick carving of the lotus petals at the bottom of the tomb, the image of the flying sky (also known as the incense god in Buddhism) embedded in the tomb wall, the monks in the brick carving "Fa Fu Tu" and the cremated skeletons left in the tomb all confirm the custom of worshiping Buddha in the Jin Dynasty. According to the provisions of the "Funeral Rites and Burials of Officials", Volume 26 of the "Five Rites of Politics and Five Rites": "Non-official and unintended", the owner of the tomb is an ordinary rich household.
The ZAM8 stone tomb unearthed an epitaph with a burial date of the third year of the imperial rule (1143). The format of his epitaph is standardized, and there is a 4-character rhyme "inscription" after the inscription, and there is no content of land purchase coupons and exorcisms in the text; it is clearly recorded that the owner of the tomb is a rich farmer, and his family has avoided chaos and moved south and returned to their hometown. Shi Zai Jin land was first controlled by Jin, when the Jin people destroyed the Song, the craftsmen returned to the north, and the local song was not far away, and the remaining cultural relics should be jointly created by the Song people and the locals. The stone tomb is divided into many secondary burial remains, which are used as family burial tombs. The tomb is a large stone masonry, simple structure, but also imitates the function of wooden structure "yin house"; this tomb still has the legacy of the Song tomb system, adding new information to the study of local ancient tombs.
The brick carved musical instruments in this article were identified and instructed by Mr. Xiang Yang.
Photography: Shang Tongliu