▲Tang Dynasty Guo Xing tomb mural Performance Map ( East Wall )
Remember the tomb of Guo Xing in the Tang Dynasty? On August 16, 2019, near Xiaojingyu Primary School in Wanbailin District, Taiyuan City, a Tang Dynasty mural tomb was discovered due to construction. The owner of the tomb is Hengzhou Assassin Shi Guoxing, a native of Taiyuan who lived for 92 years. In this tomb, clay pots, epitaphs, wooden figurines and other relics and murals have been unearthed. The tomb murals are well preserved and rich in content, and are currently the largest Tang Dynasty mural tombs found in Taiyuan. This rare mural tomb is currently preserved in the Taiyuan Northern Qi Mural Museum, which is under construction.
Briefing on the excavation of the tomb of Guo Xing in the Tang Dynasty in Taiyuan, Shanxi
▲ The scene of the tomb was found and has been backfilled
In August 2019, Xiaojingyu Primary School in Wanbailin District, Taiyuan City, discovered an ancient tomb during the construction of the campus wall. The Shanxi Provincial Archaeological Research Institute and the Taiyuan Institute of Cultural Relics and Archaeology subsequently carried out rescue excavations. The tomb is located in the southwest corner of the intersection of Xiaojingyu Road and Xiaojingyu Street in Wanbailin District, Taiyuan City, 50 meters west of Xiaojingyu Village, with geographical coordinates of 37° 85′ 52.7" N and 112° 50′ 40.9" E (Figure 1). The tomb was not stolen, the artifacts were assembled intact, and the frescoes were well preserved. According to the excavated epitaph, the owner of the tomb is Guo Xing, a lieutenant of the Tang Dynasty, and is now briefed below.
▲Figure 1 Schematic map of the geographical location of Guo Xing's tomb
One
Tomb shape system
Guo Xing's tomb is a single-chamber brick tomb with a sloped tomb, which is composed of five parts: tomb passage, closed door, Yongdao, alcove and burial chamber, with a direction of 187° (Figure 2).
The opening of the cemetery is 2.08 meters above the present surface. The southern part of the slope tomb road is broken by modern ash pits, the length of the remaining tomb is 2.4 meters, the width of the remaining tomb is 1.48 meters, the north is deep and the south is shallow; the slope is 22 °, according to the slope of the remaining tomb road, it is speculated that the length of the tomb is about 6 meters.
▲Figure 2 Guo Xing's tomb is flat and cross-sectional
1 ~ 7.Clay pot 8.Epitaph 9.Soul Charm Banner 10.Pottery (remnant)
11.Red pottery 12.Wooden figurines 13.Wooden comb 14.Copper coins
The closed door is located between the Yongdao and the cemetery, a total of two brick walls, built with brick blocks, 0.73 meters wide from east to west and 1.71 meters high.
The Yongdao is located in the middle of the south wall of the burial chamber, brick and ticket roof. It is 2.62 meters long from north to south, 0.76 wide from east to west, 1.82 meters high, and the two walls start from 1.4 meters high. There is a niche in the middle of the east and west walls of yongdao, which is the same shape and size, and both are coupon tops. The niches are 0.36 meters long from north to south, 0.34 wide from east to west, and 0.78 meters high, and the two walls start from 0.6 meters high.
The burial chamber is nearly square in plan, with four walls slightly curved outwards and a pointed top on all sides. The length and width of the burial chamber are 4.4 meters, the height is 4.2 meters, and the four walls are stacked and adducted from 1.6 meters high. The bottom of the burial chamber is tiled with square bricks, which are 0.36 long and 0.08 meters thick. The northern half of the burial chamber is a brick coffin bed, 4.4 meters long from east to west, 2.04 wide from north to south, and 0.3 meters high. There are 2 wooden coffins on top of the coffin bed. There is 1 corpse bone in each coffin, which is seriously decayed, and only the skull, occipital bone, cheekbones, shoulder blades, etc. remain. From the analysis of the remnants, the west foot of the corpse bone is east, the north (inside) side is female, the length is shorter, and the south (outer) side is male, and the length is longer.
Two
Grave murals
The four walls of the burial chamber and the top of the tomb, the coffin bed, the corridor, the alcove and the tomb door are decorated with exquisite frescoes, which are relatively well preserved and the color is as new as new. All murals are painted directly on a smeared white ash surface, drawing with ink lines, drawing outlines, and then filling in. The murals are introduced from four parts: tomb door, Yongdao, burial chamber, and coffin bed.
(1) Murals of tomb doors
The lower part of the tomb entrance is extended outward, and the outer side of the platform wall is painted with painted cloud patterns; the upper part is painted with an attic-style architectural pattern: two groups of head hanging items (called one bucket and three liters in the Qing Dynasty) support the upper flat seat layer, the flat seat layer is painted with heavy platform hook rails, and the upper part of the hook fence is painted with building eaves. The square of the general auction is painted with a glyph tween paving, and the two ends of the column are paved, up to the left; the head is twisted. The original brick rafter flying component at the top has fallen off (Fig. 3, top left; Fig. 4).
▲Figure 3 Tomb door, Yongdao, tomb wall unfolding diagram
▲Figure 4 Tomb door mural
(2) Yongdao murals
There are murals on the east and west walls of Yongdao Road, the east wall murals are from south to north, respectively, kurama preparation map, painted door, male attendant map; the west wall mural from south to north are the ox cart preparation map, painted door, and maid map (Figure 3, top right):
1. Mural on the east wall of Yongdao Road
Kurama Preparation Map is located in the south of Dongbi Yongdao. Horses to the north, the head is tied with a head, a whip; the mane is red, the mane is twisted; a bell ornament hangs under the horse's neck; the horse's back is equipped with a sloping saddle, the saddle is cushioned under the saddle, the stirrup is tied, and four decorative tartars are scattered on both sides; the horse's mane is decorated with red cylindrical horse parasitism; the neck, chest, jiri, and the horse's abdomen lead to the climbing chest, sheath belt, abdominal belt, and squirm belt to be knotted, which is equipped with apricot leaves; the horse's left forefoot and right hind feet are raised, and the right front foot and left hind foot are landed on the ground to make a walking posture. On the north side of the horse stood a bearded man, wearing a black head, wearing a yellow robe with lapels, a black belt around his waist, black boots on his feet, his left hand on his chest, and a black beaded object in his right hand, looking back at the horse's head. To the right of the horse is a cypress tree with a twisted trunk (fig. 6).
Figure 6 Kurama preparation diagram
The painted door is located in the middle niche of the East Wall Yongdao. The upper end of the niche is painted with a herringbone tween. The niches open open panel doors, one outward and one inward. Each plate door is painted with a shop head, three rows of door nails, and four in each row (Fig. 5).
▲Figure 5 Painted Door (East Wall)
The male attendant figure is located in the north of Dongbi Yongdao. The male attendant is 125.9 cm tall, facing south, and leans forward slightly. The male attendant has a deep nose and protruding cheekbones. He wears a black head and a narrow-sleeved robe with a yellow round neck, a black belt, and black ornaments on the top; and black boots on his feet. The male attendant's left arm is gently raised, the index and middle fingers of his left hand are raised, and the rest are clenched; the wat board is held in his right hand on his chest, and two lotus flowers are painted on the side of his body (Fig. 8).
▲Figure 8 Male attendant figure
2. Mural on the west wall of Yongdao Road
The ox cart preparation map is located in the south of the West Wall Yongdao Road. The front of the car is to the north. The cow is red, strong, the horns are upright, looking ahead, the hooves of the cow are gently lifted as walking, the ox body is fully decorated; the car is a roll roof, the whole body is black, extending forward with the rud and the raised shoulder, the carriage is painted with five white lines, the left and right sides are vertically decorated with three high poles, a crossbar, the left baffle is decorated with a yellow zigzag false window, the front has a straight window, and the lower screen is set; the wheel hub is prominent. To the left of the cow stands a male bearded man, facing the south side. Deep nose augmentation, slightly curly hair, left hand whip, visual carriage, wearing a round neck robe, foot pedal black boots. A woman stands on the right rear side of the car, facing the north side. His head is combed into a bun, his face is red with makeup, he wears a white short coat on the upper body, a red drapery, a long white skirt on the bottom, black small toena shoes on his feet, a puppy in his arms, and a gaze at the carriage. On the left side of the car is a cypress tree with a twisted trunk (Figure 7).
Figure 7 Oxcart preparation diagram
The painted gate is located in the middle of the West Wall Yongdao. The shape is similar to the painted door on the east wall, except that the two doors in the niches that open open the open plate doors are opened inward.
The Handmaid's Figure is located in the north of the West Wall Yongdao Road. The maid is 127.5 cm tall, facing south, with a plump posture and a slightly bulging abdomen. Head comb screw bun, three petals of flower-like flowers in front of the forehead, white round neck lining, coat wide sleeves open skirt, collar, cuffs with yellow strips, under the yellow and black skirt, foot pedals high head shoes. The maid's left hand is wrapped in the sleeve and bent in front of the chest; the right arm is raised slightly, the index and middle fingers of the right hand are raised, and the rest is clenched. There is a lotus flower in front of the maid 's body ( Fig. 9 ) .
Figure 9 Handmaiden diagram
(3) Tomb murals
1. Murals on the four walls of the tomb
The south wall of the tomb and the southern half of the east and west walls are painted with red paint, and the southeast corner and southwest corner of the tomb wall are each painted with a corner pillar, and the column head supports a bucket of three-liter bucket arch. The north wall and the northern half of the east and west walls are painted with screen-style murals, a total of 8 fans, 4 north walls, and 2 east and west walls. The southern half of the east and west walls is painted with a picture of the performance, and the south wall is painted on both sides of the Yongdao Gate (picture 3).
2 paintings of guards. Painted on the east and west sides of the Yongdao Gate on the south wall. The east side is 126.5 cm high, 129.4 mm wide and 99.8 cm high. The west side is 124.5 cm high, 118.9 cm wide and 102.7 cm tall. The frame guards all wear black heads, round necks, narrow sleeves, yellow robes, black belts around the waist, and black boots on the feet. The guards all had eight beards, hung their swords obliquely, and stood bowed towards the tomb door. There were two lotus flowers in front of both guards. The difference in the image of the two guards is mainly in the hands, the east side of the guard holds the wat plate on the chest with both hands; the west side guard holds the sword handle in the left hand, and the right hand holds the wat board on the chest (seal three).
▲ Seal 3: Bodyguard Diagram
2 performances. Painted in the southern half of the east and west walls, the east mural is 123.6 cm high and 160.6 cm wide, a total of four handmaidens are depicted, and the height of the figures is 71.4, 81.8, 81.4 and 114.6 cm from south to north. The western mural is 123.4 cm high and 161.1 cm wide, depicting a total of four handmaidens, and the height of the figures is 76.9, 80.4, 84.9, and 101.8 cm from south to north.
The east wall is depicted with four handmaidens, and the ladies are decorated with lotus flowers around them. The first on the north side, facing south, with a head combed bun, a forehead appliqué, wearing a pale red open narrow sleeve skirt on the upper body, a red drapery, a yellow and black skirt on the lower body, a high head with feet, a slightly raised left arm, the middle finger of the left index finger, the rest of the fingers clenched; the right hand holding a "T" shaped staff in front of the body. The second place on the north side, facing north, with a double screw bun on the head, three petals of flower-like flowers pasted on the forehead, a white high-necked open robe on the upper body, a red striped shirt inside, a black belt, a red striped hakama on the lower body, small shoes with foot pedals, a four-stringed lute in the left hand, and a pluck in the right hand. The third place on the north side, facing north, with a pointed horn bun on the head, a three-petal flower-like flower seed pasted on the forehead, wearing a yellow round neck narrow sleeve robe, wearing a black belt, wearing a small hakama, pedaling small head shoes, holding a vertical flute in both hands; the fourth place on the north side, facing north, slightly bowed, combing a double screw bun on the head, pasting three petals of flower-like flowers in front of the forehead, wearing a white round neck narrow sleeve robe, wearing a yellow small mouth hakama, foot pedal small head shoes, holding a black tray in both hands, and a black tea cup on the tray (Feng 2, 1).
▲ Cover 2, 1 East Wall Performance Chart
The layout of the west wall performance map, character costumes, etc. are basically the same as the east wall music map, the difference is that the four ladies on the west wall are facing north, and the first maid on the north side is under the left hand and the dust is in the right hand; the second maid on the north side holds the straight neck five-string pipa; the third maid on the north side holds the pipe with both hands (Feng 2, 2).
▲ Cover 2, 2 West Wall Performance Music Chart
There are 8 figures of people under the tree. Painted on the east, west and north sides of the coffin bed, of which 2 on the east and west sides and 4 on the north side, the border is drawn with ochre red paint, and the length and width are the same as the coffin bed. Starting from the south fan of the east wall, the north fan of the east wall is the second picture, the eastmost fan of the north wall is the third fan, and so on. The image of each screen is dominated by a man standing under a tree, with lotus flowers dotted near the figure.
Picture 1, height 118, width 78.9 cm. The man faces north. He wears a lotus crown, a robe with a wide collar of interlaced colors, and high-ended shoes. Looking at the ground, the left hand is hidden in the sleeve, the right arm is raised slightly, the right middle and index fingers are raised, and the rest are clenched. To the man's left is a plane tree with leafy branches and swallows flying around the tree; on the right is a broken clay pot on the ground (Fig. 10).
▲Figure 10 Figure Under the Tree Figure 1 (East Wall South Fan)
The second painting is 117.4 cm high and 77.2 cm wide. The man faces south. He wears a beam crown on his head, a robe with a wide collar of interlaced colors and wide sleeves, and high-headed shoes. The left arm is raised slightly, the left middle and index fingers are erected, and the rest are clenched; the right arm is raised, the right hand is hidden in the sleeve, and a ring head object is held. To the left of the man is a pine tree with a swallow array flying southward (Picture 11).
▲Figure 11 Figure under the tree Figure 2 (East Wall North Fan)
The third painting is 117.4 cm high and 80 cm wide. The man faces west. The crown ornament and dress are similar to those of the first man. The left hand is hidden in the sleeve, and the right hand is hiding the face and crying. There is a plane tree on the right side of the tree, and there are swallows flying around the tree. On the left side of the tree there are bamboo, bamboo shoots, etc. (Figure 12).
▲Figure 12 Figure 3 (1 east of the north wall)
Fourth panel, height 116.4, width 70.9 cm. The man faces west. The crown ornaments and dress are similar to those of the second man. The man has short hair, carries a firewood, and holds an axe in his right hand. There is a willow tree on the right side of the body, surrounded by swallows flying (Fig. 13).
▲Figure 13 Figure 4 (2 east of the north wall)
Fifth painting, height 116, width 77.5 cm. The man faces east. He wears a lotus crown on his head, a intercolor wide-sleeved collared blouse on the outside, and a intercolor robe on the inside. The man has short hair, the left hand is held high, the left middle and index fingers are erect, and there is a cloud on the upper part of the fingertips; the right hand holds a small black cup and places it on the chest. There is a plane tree on the man's left side, surrounded by swallows flying (Fig. 14).
▲Figure 14 Figure 5 of the figure under the tree (3 fans east of the north wall)
The sixth painting is 114.9 cm high and 64 cm wide. The man faces east. The crown ornaments and dress are similar to those of the second man. The face is white and beardless, and the left hand is raised, covering the face with a sleeve for weeping; the right arm is raised slightly, and the right hand is hidden in the sleeve. There is a pine tree on the man's left side, surrounded by swallows flying (Fig. 15).
▲Figure 15 Figure 6 of the figure under the tree (4 fans east of the north wall)
The seventh painting is 117.4 cm high and 79.9 cm wide. The man faces south. The crown ornament and dress are similar to those of the first man. Bearded, bearded, smiling. The left arm is raised slightly, the left hand is hidden in the sleeve; the right hand is raised high, pointing to the treetops, the index and middle fingers are erect, and the rest of the fingers are clenched. To the right of the man is a plane tree surrounded by swallows (Fig. 16).
▲Figure 16 Figure 7 (North Fan of the West Wall)
The 8th painting is 118.7 cm high and 77.1 cm wide. The man faces south. The crown ornaments and dress are similar to those of the second man. The figure eight whiskers, the left arm is slightly raised, the left hand is hidden in the sleeve; the right hand is placed next to the mouth. There is a willow tree on the right side of the man, and there are swallows flying in the treetops (Fig. 17).
▲Figure 17 Figure 8 (South Fan of the West Wall)
2. Mural at the top of the tomb
At the top of the burial chamber are painted a mantle with a knotted flower curtain, an astrological chart, and a diagram of the four gods (fig. 18).
▲Figure 18 Mural on the top of the tomb
The astrological chart is located under the knotted mantle, indicated by a hollow circle, and no obvious astrological chart is seen. The lower part of the astrological chart depicts the four gods.
The green dragon figure is painted in the middle of the east wall of the green dragon figure. The Green Dragon faces south. Curl your neck high and spew fire in your mouth. The body is slender, with thick limbs, four claws, and long wings on the back, making it look like a walk. There are auspicious clouds around the green dragon (Figure 19).
▲Figure 19 Green Dragon Diagram
The suzaku figure is painted in the middle of the south wall of the Suzaku figure. The Suzaku faces east, with its wings spread out, and its legs stand independently, dancing in a dancing motion (Fig. 20).
▲Figure 20 Suzaku diagram
The white tiger figure is painted in the middle of the west wall of the white tiger figure. The white tiger was facing south, opening its teeth and spitting out flames. His eyes are wide open, his mane is towering, his body is decorated with black stripes, and his tail is slender and meandering, making him lean forward (Fig. 21).
▲Figure 21 White Tiger Diagram
The north wall of the Xuanwu diagram is painted in the middle of the Xuanwu map. The image of xuanwu here is more special, and the animals entangled with snakes are painted with black and red dot-like spots, similar to turtles, but without shells. The animal looks back with its head held high, opposite the four eyes of the snake (Fig. 22).
▲Figure 22 Xuanwu diagram
(4) Coffin floor mural
The coffin bed is painted with a honeysuckle pattern and slightly damaged (Fig. 23).
▲Figure 23 Coffin bed mural
Three
Burial artifacts
The burial utensils are mainly concentrated on the coffin bed of the burial chamber and the southwest of the burial chamber, and there are clay pots, epitaphs, wooden figurines, wooden combs, copper coins, clay figurines and other relics.
Clay pots 7 pieces. All clay pottery, the same shape, located on the west side of the coffin bed. Straight mouth, round lips, short neck, round shoulders, hypocotta oblique adduction, flat bottom. Slight difference in size. There are suspected millet and wheat grains in the clay pot, some of which are seriously ashed, and the specific results need to be further analyzed and tested by phytosilicas and starch particles. Specimen M1: 1 to 5, the same size. Caliber 13.5, abdominal diameter 23, height 23 cm (Fig. 24, 3~7); specimen M1: 6, 7, the same size. Caliber 16, abdominal diameter 28, height 28 cm (Fig. 24, 1, 2).
▲Figure 24 Clay pot
1.M1：1 2.M1：2 3.M1：3
4.M1：4 5.M1：5 6.M1：6 7.M1：6
1 piece of pottery. Specimen M1:11, located at the junction of the burial chamber and the yongdao. Sand-filled red pottery, wall thickness of about 2 cm, tripody, damage can not distinguish its specific characteristics.
Soul Flag? 1 piece. Specimen M1:9, located on the southwest side of the burial chamber. It is composed of multiple strips of material, and the surface remains like smoke. It is speculated to be a "soul-sucking banner".
1 piece of clay figurines. Specimen M1:10, located on the southwest side of the burial chamber, is superimposed under the soul-inducing banner, and its specific features are not recognizable due to damage.
1 piece of wooden figurines. Specimen M1:12, located southeast of the burial chamber, is not distinguishable by the damage.
Wooden comb 1 piece. Specimen M1:13, located southeast of the burial chamber. Length 9, width 2, thickness 0.2 cm, bad damage.
3 pieces of copper coins. Specimen M1:14, located on the west side of the coffin, cast with the words "Kaiyuan Tongbao". Diameter 2.5, diameter 0.6 cm (Fig. 25).
▲Figure 25 Copper coins unearthed from Guo Xing's tomb
Epitaph 1. Specimen M1:8, located on the southwest side of the burial chamber. Bluestone texture, made of epitaph cover and epitaph stone buckled together. The top of the zhigai is square, the top side is 32 long, the bottom side is 60 cm long, and the thickness is 9 cm. The checkerboard boundary grid, the top of the Zhi gai Yang engraved with 2 lines of 4 character seal book "Guo Jun Epitaph" (Figure 26), the four sides of the minus carved 12 zodiac signs, the four kills of the Yang carved tangled branches of flowers and melons and grass patterns. The stone is nearly square, 60 cm long, 58 cm wide and 13 cm thick. Italics, carved from Zhiwen Yin, checkerboard boundary grid, 24 lines, full line 23 characters, a total of 521 words (Figure 27). The transcript reads as follows:
▲Figure 26 Guo Xing's tombstone cover rubbing (about 1/6)
▲Figure 27 Guo Xing's epitaph rubbing (about 1/5)
The tombstone of the Great Zhou Dynasty's former governor Guo Fujun was mixed
Jun Zhenxing, Zi Yanzong, Taiyuan people also. Fuji originated from Yuan, Hou Ji so Ju Tai, Yin Yin/Liuzong, branch karma in Yan Place. And a thousand miles of debriefing, the name of the bamboo horse; three days of river /, the reputation of sowing the immortal boat. Si and Mao Guang's pre-ancient, Heroic Crown At the beginning. Zude's family style can be omitted/verbal. Zeng Zuye, Qi Ren official Shangshu, eight seats of staff, accompanied by Zhu Que and increased glory /; the position weighed thousands of gold, tended to Danqi and expensive. Zu Gui, Sui Ren Shi Zhou Thorn History, Hu Lian Tun ren, Wei /EnjiWu. Autumn Dragon Wing Two Qi Mai, Spring Forest Miichi No Sang. Father, belongs to sui ji dao / pin, tang yun yi, Qiankun reconstruction, language mo qi heng, drum belly pounding, lang love hill, suspension / 簮 in the dynasty, 讵 replaced by the family style. Jun's loyalty to filial piety, reading Wu Chongwen, Huai Bai Zhan Zhi / Strange Plot, the courage of the three armies of the Crown, so from Emperor Taizong Wen Wu Sheng, the Liao, the battle will be / vanguard, the rotation of the apse, the reward of the merits, is awarded to the knight lieutenant. Spring and Autumn Eighty have three, Bong / Edict edition to teach Hengzhou Thorn History, Russia and the Sun dwelling in the moon, cold and summer, dream of the two trees of the foundation, baby / two vertical disaster, the holy calendar of february 4 of the third year of the disease died in the private, when the year ninety has / two. Lady Liang, character Xingjin, FenHui Yuepu. Flowers flourish peach and plum, Rong Qishi is in lighttime, / Dao is prepared for words, and there are always four virtues and beauty. Went to Long Shuo on May 19, 3006, died of illness / in the inner bed, when the age was four. In the third year of the present Holy Calendar, Gengzi May Heyou Shuo / Thirteenth Day Xin You, buried together in the Erli Plain southwest of Yangcun, Li Ye. Gui Xiao Xieyun, ZhaoZhao/轫宜, Qingwu Ji Tomb Of Chen, White Crane Linzhi Land, Heir Huai Dao, etc. Love Entanglement Panbai, Si Jie Cold Spring, Knocking on the Ground, Horn and Reckless Pole, Wanting the Ancient Tomb Valley to Change Mulberry Field, Looking/Today's Pond Platform, Sui Cheng Artemisia. Style journal Cui Yan, with Ji Fangyou. Its words are:
Yu Yi Fangzong, Leisurely Yuanyuan, Changyuan Haiji, Chongji Yue structure; one
NaiZu is the father, Wei Jue Wei / Zhang, Debiao Tong Ma, argue and write Haozhuang; the second
Ghost re-even, Xiang Sword re-flying, Jiacheng lonely, Spring/Road slightly; the third
The original Liao, the time is super sudden, the pine and the dark smoke, the mountain Ming Spit Moon, the Ming Zi emblem / reputation, never fallen. Fourth
Four
conclusion
According to the epitaph, the owner of the tomb, Guo Xing, died on February 4, 700, the third year of the Holy Calendar, at the age of ninety-two. Therefore, Guo Xingdang was born in the fourth year of the Sui Dynasty (608). And according to the epitaph "... So he asked Emperor Wenwu of Taizong for Liao... It is a knight lieutenant... The Fengzhi Edition grants the History of The Assassination of Hengzhou...". It can be known that Guo Xing "... Because of family lineage or military merit, it has a certain political status and favorable economic conditions... It should be 'Taiyuan Yuancong'... But none of them have real political power"[1].
According to relevant information, at least 17 Tang Dynasty mural tombs have been excavated in Taiyuan, and Guo Xing's tomb is located at the northernmost point of the known distribution range of Tang Dynasty mural tombs in Taiyuan, and is the largest Tang Dynasty mural tomb excavated in Taiyuan so far.
Among the 17 known Tang Dynasty mural tombs in Taiyuan, Zhao Cheng's tomb and other 6 tomb epitaphs have exact dates, namely Guo Cheng's tomb (696)[2], Guo Xing's tomb (700 years), HelianShan's tomb (716 years)[3], Helian Jian's tomb (727 years)[4], Wen Shenzhi's tomb (730 years)[5], and 2018 TJLSTM1 (736 years)[6], so Guo Xing's tomb is earlier in the known Tang Dynasty mural tombs in Taiyuan.
The discovery of the Yongdao murals of Guo Xing's tomb fills the gap of archaeological discoveries in the same period in Taiyuan and provides new information for the study of Tang Dynasty mural tombs in Taiyuan.
Team Leader: Pei Jingrong
Discovery: Zhou Funian Pei Jingrong Zhao Hui Ji Ruibao Feng Gang Ji Lingfei Ge Lihua Chen Kaiyu Zhu Haiyu Zhao Xuhui
Protection: Yuan Jie Liu Wanxiang Liu Jun Zhang Peng Lu Chao
Pictured: Ji Lingfei Jin Xiaotong
Photo: Ji Lingfei Niu Yunhu
Rubbing: Dragon True
Plant Analysis: Grizzly Flowers
Human Bone Analysis: Hou Kan
Pigment analysis: Cheng Qun Yuan Jiang
Author: Zhou Funian Ji Lingfei Ge Lihua Feng Gang
Wang Wei et al. Painting, depiction and configuration of murals in helian mountain and helianjian tombs: A discussion on the "Taiyuan model" of tang dynasty mural tombs[J].Cultural Relics, 2019(8).
Taiyuan City Q&A. Murals of Tang Tombs in Dongruzhuang, Taiyuan, Shanxi[J].Cultural Relics Reference,1954(12).
Taiyuan Institute of Cultural Relics and Archaeology. Briefing on the excavation of helian mountain and helianjian tombs in Taiyuan, Shanxi[J].Cultural Relics, 2019(5).
[4] Same[3].
Taiyuan Institute of Cultural Relics and Archaeology. Three Tang mural tombs in Jinyuan Town, Taiyuan, Shanxi[J].Cultural Relics, 2010(7).
[6] Internal data of Taiyuan Institute of Cultural Relics and Archaeology, to be published.
Text/Photo| Shanxi Institute of Archaeology Taiyuan Institute of Cultural Relics and Archaeology
Originally published in Archaeology and Antiquities
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