In May 1976, Linyi Jinqueshan No. 9 Tomb unearthed a Western Han Painted Painting, flattened on the coffin lid linen, in a long strip, with a total length of 200 cm and a width of 42 cm. Covering the burial of the painting, according to the existing f archaeological findings, it is a kind of funerary custom that appeared in the Warring States to the Han Dynasty, which has the effect of "inducing the soul to ascend to heaven" and "summoning the soul to revive", most scholars believe that it may be the so-called "Mingjing" in the literature. Its subject matter is mainly based on the depiction of the tomb owner and other characters, describing some fragments of the life of the deceased before his death, and depicting the fantasy scene of immortality and immortal ascension to heaven. The tomb painting of No. 9 Jinqueshan is divided into three parts: heaven, earth and earth.
heavenly:
At the top of the painting depicts the celestial part, the imaginary space to which the souls of the dead might go. It is painted on the sun and moon hanging high in parallel, with jinwu in the sun and toads and clouds in the moon, which is in line with the way of representing "heaven" commonly used in Han Dynasty paintings and portrait stones. Under the sun and moon patterns there are three peaks towering, may be the legendary Penglai, Yingzhou, Abbot three immortal mountains, the legend of the three mountains of haizhi we already know in the biography of Qin Shi Huang, of course, this legend must have an earlier origin, especially in the Shandong region, it is also a more concentrated area of warlocks, so it is not surprising that this pattern appears. The house-like building in front of the mountain symbolizes the "Qiong Pavilion" where the owner of the tomb aspired to live in the queen of the immortals, which is magnificent.
Room:
Below the curtain is the scene of the character's activity, divided into five groups, showing the life scenes of the tomb owner, such as living, singing and dancing, meeting guests, asking for medical textiles, games, etc., in fact, most of these scenes are still reproductions of the experiences before they were born, especially those scenes that they think are "enjoying life".
In the first group, the owner of the tomb kneels to the left, and the servants stand opposite each other, kneeling three times, which is manifested as a living scene. The second group is a picture of music and dance, two people on the right, one drummer and one blowing. The three people on the left have long sleeves fluttering and dance softly. The third group is a welcome and greeting scene, in which the owner of the tomb and the four people on the left stand opposite each other and give their hands to give gifts. The fourth group is divided into two parts, asking for medical treatment and textiles, and there are tools for textiles on the right, which are basically no different from modern textile tools. It can be seen from the tomb painting of No. 9 Jinqueshan that ancient Chinese textile technology has reached a fairly high level. The fifth group was a performance called "Horned Arrival", similar to today's wrestling. This kind of wrestling was a real kind of wrestling in the pre-Qin period, and gradually transformed into a performative nature in the Qin and Han dynasties, with one person on the left side standing with his hand in his hand, while the two on the right wearing masks ready to fight.
ground floor:
The underground part is located at the bottom of the painting, and two green dragons are dancing with their teeth and claws, holding their heads up. In the middle of the two dragon heads, there is a bear-faced man, dressed in a green robe, holding a sword in his left hand and a shield in his right hand, who is intimidating two green dragons, and is an official who specializes in the ghost god "Fang Xiangshi", in the tomb, he can ward off evil spirits.
The painting method of the painting adopted the most popular painting method at that time: first draw the line and then apply the color, use the scarlet line to outline the external outline, and then flat paint blue, red, black, white and other colors. The face and clothing lines of the characters in the picture are exquisite and smooth and natural, and the inner spirit of the picture is depicted in a wonderful and vivid way, achieving the artistic effect of writing god in shape and form and god.
By depicting the peaceful, quiet and happy life scenes that people yearn for, the whole painting shows people's love for beauty and the eternal pursuit of life, reflects the customs of Han Dynasty society, and is a rare physical material for studying the politics, economy, culture, folk customs, painting art and so on of the Han Dynasty.
The article is reproduced from the public account of Linyi City Museum, with changes.