Since the discovery of Cao Cao's tomb, the content of its portrait stones has attracted great attention. The 2016 archaeological report Cao Cao Gaoling includes 41 remnants of archaeological excavations and several large portrait stones recovered.
According to the list titles on the stone, the report examines historical stories such as "Shen Sheng", "Ling Yuan", "Boyi Shuqi", and "Qiliang Wife", but most of the stories without list titles stay in the stage of image description and do not explore in depth.
Through the study of the relationship between the pictures and texts of Cao Cao's tomb portrait stones, this paper reads the Chinese painting materials such as Wuliang Ancestral Hall, and uses the theory of "GeTao" to confirm the two stories of "Jin Ribao" and "Zhenfu Han Peng", and corrects the story of "Luo Shi Cai Sang" in the report to "Lu Qiu Jie Woman".
The content of Cao Cao's tomb portrait stone is the theme of the common portrait stone at the end of the Eastern Han Dynasty, with the stories of filial piety and daughters as the main body, and a small number of assassin stories.
▲ Excavation site of Cao Cao's tomb (archaeological Chinese photo)
Cao Cao's tomb in Xigaoxiao Village, Anfeng Township, Anyang City, Henan Province, has sparked extensive discussion in academia since it was identified by the State Administration of Cultural Heritage in 2009 and scientific excavations began. The focus of academic controversy is mainly on the authenticity of Cao Cao's tomb and the interpretation of excavated cultural relics, and related research has caused a great impact on society.
In 2016, the book "Cao Cao Gaoling" written by the Henan Provincial Institute of Cultural Relics and Archaeology was published by the China Social Sciences Press as an official archaeological report, which revealed some previously unpublished Han portrait images, which attracted the author's attention.
Academic attention to the portrait stones unearthed from Cao Cao's tomb began at the beginning of excavations in 2009. The news media has disclosed fragments of portrait stones excavated by science, which have aroused sporadic attention.
According to the report, "During the cleaning of the M2 burial chamber, a large number of Han portrait stone fragments were always unearthed, especially in the original silt at the bottom, and there were also many Han portrait stone fragments. ...... These portrait stones were damaged and badly damaged, forming tiny fragments, numbering up to tens of thousands.
Among them, only a small number of pieces of land have been preserved, relatively intact, and the picture is intact, but, like the sarcophagus bed, they were all stolen by the tomb robbers in the previous tomb robbers, and later, the public security department recovered several pieces from the cracked tomb robbers. ”
▲ Fragments of the destroyed portrait stone (archaeological Chinese picture)
The study of the image of Cao Cao's tomb portrait stone, in addition to some newspapers and only words on the Internet when Cao Cao's tomb was just discovered, can only retrieve Xu Longguo's article "Analysis of Cao Cao's Tomb Portrait Stone and Speculation of tomb owner No. 1", he has examined the content of the portraits of "Seven Daughters Avenging Their Fathers", "Boyi Shuqi" and "Qiliang Wife", which leads to reflections on the identity of the tomb owner. He pointed out that the above"portraits are very common in mural tombs and portrait stone tombs in Shandong, Jiangsu, Henan and other places. The portrait reflects the moral norms and standards of behavior advocated by the society at that time."
However, in view of the fact that many of the image materials were not officially published at that time, and that he "did not go to the excavation site, did not know the specific location of these portrait stones, and the excavator's introduction was too brief, so his understanding of the relevant situation was limited", so his research value was limited, and he failed to cover other images disclosed in the 2016 official report.
Researchers from the Henan Provincial Institute of Cultural Relics and Archaeology tried to illustrate the stolen portrait stones in the book "Cao Cao Gaoling", mainly focusing on the four portrait stones recovered, and examined the historical allusions involved in the comparison between the title of the portrait stones and the documents passed down from generation to generation, such as revealing the stories of "Prince Shensheng" and "Righteous Man Zhao Xuan" of the first stone, the "Feast and Drink Travel Map" of the second stone, the "Revenge of the Seven Women" of the third stone, and the "Luoshi Caisang" story of the fourth stone.
Unfortunately, the book "Cao Cao Gaoling" has a clearer examination of the stories with list titles, but for those who do not have list titles, they fail to accurately distinguish the content of the stories, and even some errors. On the basis of previous research, this article interprets a number of unrecognized stories in the portrait stones excavated from Cao Cao's tomb (including the stolen portrait stones) from the perspective of a professional Chinese painting researcher, in order to restore the original appearance of the portrait stones of Cao Cao's tombs.
I. The story of "Jin Riluo" in the first stone of the stolen portrait stone of Cao Cao's tomb
Among the stolen portrait stones of Cao Cao's tomb, the first stone has the largest size, the most complex content, and the greatest controversy. (Figure 1)
▲ Figure 1 Cao Cao's tomb stolen portrait stone First stone righteous man Zhao Xuanxing good figure, portrait stone facsimile
From the perspective of the image itself, it can be divided into upper and lower sections, separated by three layers of decorative belts in the middle, and from top to bottom are diamond checks, cirrus clouds and draped mantles, all of which are common decorative patterns in the Han Dynasty.
Among them, the upper section is divided into three layers, and the upper part of the upper story image is damaged, which shows a person holding a knife and stabbing the neck, which is a character suicide story that has not yet been identified.
In the middle level, there are list titles "Former Woman zi Shen Sheng", "Jin Sha Gong Shi Ye" and "Shi Lang", which should depict the story of The Prince Shen Sheng of the Jin Dynasty recorded in the "Zuo Zhuan" and the "History of the Jin Dynasty".
On the lower left side, there are lists of titles "Righteous Man Zhao Xuan", "Zhao Xuan Che Ma", and "Hungry Man Lingyuan", which should depict the story of Zhao Xuanzi Zhao Dun and LingYuan recorded in the "Second Year of Zuo Chuan Xuangong" and "History of the Jin Dynasty".
On the lower right is a stand-alone story without a title, which will be discussed separately below.
The lower section is divided into two layers. The lower level is a set of images of divine beasts with list titles, and the recognizable list titles from left to right are "Sheli ya", "Yang Sui Bird", "Ward off evil spirits" and "Hunter Ye". The upper layer is composed of two stories on the left and right, the title of the right story is "Qi Wang Yanzi", "Chen Qiang" and "Guan Zhong" from left to right, there is a bean on the ground, and the bean is full of three peaches, which is suspected of depicting the story of "two peaches killing three soldiers", but the number of peaches and the title of people are slightly false, "Chen Qiang" is obviously "Tian Kaijiang" in the story of "two peaches killing three soldiers", this phenomenon is more common in the Eastern Han Dynasty portrait stones.
On the left is a separate story with no title. "On the far left is a tall house with a small woman sitting on her right side and looking at a waiter wearing a leather benton and holding a wat board," the report said. (Figure 2) The report does not separate this image from the story of "two peach killing three soldiers" on the right, nor does it give an explanation for it.
▲ Figure 2 Portrait on the left side of the upper layer of the first stone of the first stone stolen from Cao Cao's tomb
A closer look at this image reveals that the central so-called "skinny" woman is characterized by a pointed hat with two streamers. Based on this pictorial feature, we can clearly associate it with the "Hu people", a common ethnic image in Han Dynasty portraits.
Professor Xing Yitian pointed out that in the Images of the Hu people in the Han Dynasty, their hat style is an important feature to distinguish their race, and divides them into three categories, namely simple pointed hats, pointed hats with ear protectors, and pointed hats with streamers. Referring to similar images, the woman sitting in the house on the left end of the upper part of the lower section of the first stone of Cao Cao's tomb is actually a Hu person. In Han portraits in Shandong, northern Jiangsu, northern Shaanxi and other places, this kind of Hu figure wearing a pointed hat is more common.
▲ Figure 3 Stone statue of The Hu people in Zibo
Hu people have been the subject of my attention for a long time. "In the Han painting materials such as Han portrait stones, portrait bricks, murals and even Han figurines in the two Han Dynasties, there are a large number of Hu people images, and the Hu people images are closely related to the early Cultural Exchanges between China and foreign countries, the Eastern Transmission of Buddhism, and the formation of multiculturalism in the Han Dynasty."
For example, excavated in 1997 on Renmin Road in Linzi City, the Stone Man of Zibo, Shandong Province, which is now in the Zibo Qiguo Ancient City Ruins Museum, is about 210 centimeters high, and the Han Dynasty masonry carved a hu figure with a high nose and deep eyes in a sitting posture, wearing a pointed hat, and holding his hands in front of his abdomen.
(Fig. 3) In the famous Yinan Han Tomb, a spectacular portrait of the Hu-Han War is engraved on the banner of the tomb door, and the Hu soldiers who flock to the mountains on the left are wearing streamer-type pointed hats; the jacket is "big fold", down to the knee, and the waist is not seen at the waist; and the bottom coat is "hakama", and the two strands are separated to facilitate combat.
▲ Figure 4 The image of Hu Bing wearing a streamer-type pointed hat on the forehead of the tomb door of the Yinan Han Tomb
(Fig. 4) This style of attire was called "long hakama" by Mr. Sun Ji. The streamer-type hat style worn in northern Jiangsu is found in the stone carvings of The Cliff of Kongwang Mountain in Lianyungang, and its Huren pointed hat has small wings behind it, which is actually mr. Xing Yitian's streamer.
In the past, scholars have debated its age, and later archaeologists have found more than ten cases of Hu people wearing such pointed hats in the portrait stones of Wubaizhuang Han Tomb in Linyi not far away (Figures 5 and 6), which can prove that the age of the Stone Carvings on the Cliffs of KongwangShan in Lianyungang is not far from it, and the age of such Hu images should be set as the Eastern Han Dynasty.
▲ Figure 5 Hu Ren wearing a streamer-type pointed hat excavated from the Han Tomb of Wu Baizhuang in Linyi
▲ Figure 6 Hu Ren wearing a streamer-type pointed hat excavated from the Han Tomb of Wubaizhuang in Linyi ii
From this point of view, in the stolen portrait stone of Cao Cao's tomb, the identity of the Hu people of the woman in this picture is the key to identifying the content of this story. The author found that an image of the second layer of the fourth layer of the East Mural statue of Wuliang Ancestral Hall in Jiaxiang, Shandong Province, can help us decipher the content of this image.
The rough stone is now indistinct, and the Song Ren Hongshi wrote this image in the book "Li Continuation", with the titles "Riding Du Wei" and "Hu Tu Statue", which is based on the photocopy of The Obscure Wood Zhai of the Hong Dynasty. The picture depicts a man dressed as a Han official bowing to the figure on the right under one roof, and the title shows that the male identity is "Riding Lieutenant" and the figure on the right is "Hu Tu Statue".
▲ Fig. 7 Image of the woodcut "Jin Il-ri Tu" (taken from Hong Shi: Li Continuum, Volume VI, IX, photocopy based on Hong's Obscure Wood Carving)
(Fig. 7) These two key titles point the protagonist of the story to "Jin Ilju", an important figure in the later period of Emperor Wu. The book "Jin Shi Suo" compiled by Feng Yunpeng and Feng Yunlu in the Qing Dynasty also contains this image, the image is a woodblock engraving, and the title and character posture and costume are slightly the same as the former, which is more faithful to the original Tuo than the "Continuation".
(Fig. 8) It is worth noting that in these two woodblock facsimiles, the woman on the right, although not with a pointed hat, still retains small wings that extend to the right.
▲ Figure 8 Woodcut "Jin RiQiu Worship Mother Statue" (taken from Feng Yunpeng and Feng Yunhu: "Golden Stone Suo", the image is a woodblock engraving)
According to the Biography of Huo Guangjin Ribao of the Book of Han:
Uncle Weng of the Jin Dynasty, Prince Hun of the Xiongnu. ...... Mother Nichiren taught her two sons that they had the Dhamma, and they were praised by the lord. After his death, he painted a picture of the edict in Ganquan Palace, signed "Xiu Tu Wang Fu Clan". Whenever he saw the painting, he often worshipped, and the country wept, and then he went.
Similar records can still be seen in Wang Chong's "On Heng and Chaotic Dragons", which reads:
Uncle Jin Weng, the crown prince of King Xiutu, came with his father to surrender to Han. The father died, and the mother came, and worshiped as a knight. After the death of his mother, Emperor Wu tu his mother on the Ganquan Hall, and signed Hugh Tu Wang Yanti. Uncle Weng went up to the sweet spring from above, stood up with a prayer, and wept at it, and Jiu Nai went. Husband picture, non-mother of the real body also, because of the image, weeping, thinking of kinship, do not wait for the truth also.
These two documents indicate that Jin Ilju was given the title of "Riding Capital", which coincided with the title of the Wuliang Ancestral Hall, and his mother was "Xiu Tu Wang Fu Shi", who was mistaken by the Eastern Han Masonry as "Xiu Tu Statue". The images in Hong Shi's "Li Continuum" and Feng Yunpeng and Feng Yunhu's "Golden Stone Suo" are all woodcuts, not rough stones, and have been distorted.
The image found in Cao Cao's tomb portrays the image of Jin Ilju's mother as a Hu woman wearing a streamer-type pointed hat, which coincides with her identity as "Hu Tu Wang Fu".
Comparing the posture and attire of Jin Ilju and his mother statue in cao cao's tomb portrait with similar images of Wuliang Temple, the details are much the same, except that the former Jin Ilju lives outside the house, and the latter lives inside the house, which does not affect the layout of the image and the viewer's understanding, and can be summarized as the same "lattice set". Therefore, this article examines the content of the story on the upper left side of the upper layer of the first stone of the stolen portrait stone of Cao Cao's tomb as the story of "Jin Ribao" filial piety.
▲ Figure 9 and Lingle mural tomb "Kim Il-seok worship mother statue" mural
In addition to the Wuliang Ancestral Hall and Cao Cao's tomb, there is another important "Jin Ri Ling" story (Figure 9), which is found in the Inner Mongolia and Linger murals, with the inscriptions "Ganquan" and "Xiu Tuhu", and "Ganquan" is the scene of the story contained in the "Biography of Huo Guangjin Ribao" in the Book of Han. The content of this mural also shows Kim Il-seok bowing to the mother statue in the building, and its lattice is slightly different from the above Han portrait stone, except that the art medium is changed from the portrait stone to the mural. This also shows the strong vitality of this set.
If we place it in the context of the entire Eastern Han Dynasty portrait stone, we believe that the story of "Jin Ribao" depicted in this stone is the same as the story reflected in the "Filial Piety Boyu" list on the excavated stone of Tomb No. 2 and the title of the "Former Woman Zi Shensheng" list on the upper level of this stone, which should be the story of filial piety that was widely circulated in the Han Dynasty.
The Japanese scholar Akira Kuroda has a deep focus on the circulation of the text of the "Biography of Filial Piety" since the Han Dynasty, and he systematically studied two types of ancient "Filial Piety" texts circulated in Japan in an orderly manner. One of them is in the Kyoto Konoe Iemi bunko (hereinafter referred to as the Yoko Akimoto Takako Biography).
The other copy is also in Kyoto, passed down by the Funabashi family (formerly kiyohara family) and now in the Kiyoya Bunko Library of the Kyoto University Affiliated Library..." The two "Biographies of Filial Piety" are shun, Dong Yong, Xing Qu, Bo Yu (sometimes also bai yu, Bo Yu), Guo Ju, etc., but unfortunately do not include the story of Kim Il-ri's filial piety.
Akira Kuroda systematically studied the relationship between the two Japanese texts of the Takako Biography and the existing images, pointing out that the texts of ten stories, including "Teishun, Zengzi, Ding Lan, Bai Yu, Zhu Ming, Li Shan, Kim Il-seok, Yang Gong, Xiao Wu, and Zhao Gou", are not found in the "Biography of Takako", but are "interpreted on the basis of documents other than the biography of Takako".
Regarding the reason why Kim Il-seok did not see this article in the Biography of Hyoko, he explained: "There is also a similar situation to Ding Lantu.' Kim Il-il-tu' (list title 'Statue of Hugh Tu', 'According to', 'Riding Lieutenant').
There are only two sources of information about Jin Ilju in the Book of Han, the Sixty-Eighth Biography of Jin Ribao, and the Treatise on Heng and The Dragon, which are not only not recorded in the two Biographies of Filial Piety, but also in the Biography of Filial Piety.
From this, we can change the '12. Kim Il-il Chart 'and '5. Ding Lan Tu's is regarded as a special kind of image, that is, the "Filial Piety" without the "Filial Piety", and we are very much looking forward to new progress in the future research on these images. ”
The discovery of the story of "Jin Ribao" in the portrait stone of Cao Cao's tomb not only fills in the lack of interpretation of the image of Cao Cao's tomb portrait stone, but also adds an important physical evidence to the "Jin Riluotu" that was lost in the Han Dynasty's "Biography of Filial Piety" and "Biography of Filial Piety", and its value is self-evident.
▲ Figure 10 Portrait on the right side of the lower section of the first stone of the stolen portrait stone of Cao Cao's tomb
Second, the story of "Zhenfu Han Peng" in the first stone of the stolen portrait stone of Cao Cao's tomb
As pointed out above, the right side of the upper and lower layers of the first stone of the stolen portrait stone of Cao Cao's tomb is an independent story without a title. The report describes its image as follows:
In the middle of the picture on the right, there is an old man wearing a heavenly crown and a long sword, followed by two attendants wearing leather bentas and holding a wat board. In front of the old man was a man in the shape of an official, holding a bow and arrow, shooting forward. The cluster of arrows was blocked by a man with a hand-held tableware, the appearance of a cook who was going up the stairs, and due to the excessive force of the archer, the cluster of arrows shot directly into the tableware.
The story on the left side of the stone clearly bears the title of "Righteous Man Zhao Xuan" (Zhao Dun) to save the "Hungry Spirits" story. However, the report confuses the story on the right with the story on the left, believing that "from the picture point of view, it should be the story of Zhao Xuanzi saving people under the mulberry tree, and later Jin Linggong set up a banquet to kill Zhao Xuanzi, and the people who were given charity by him sacrificed themselves to save Zhao Xuanzi", which is a big problem. In fact, the story on the right is a separate story and has nothing to do with the story on the left. (Figure 10)
Judging from the existing pictorial records, the figure wearing a heavenly crown and a long sword in the report is a common image of the king in Chinese paintings, and the so-called official-like person on the right side of the report is actually a woman, wearing the crown ornaments common to women in Han paintings. The central image is "a woman shooting an arrow with a bow, the arrow pointing to a man, a letter tied to the arrow, the man climbing the ladder to carry a load, and the woman with a king next to him." ”
If you are familiar with the stories of the women in Chinese paintings, it is easy to see that this story is actually the story of "Zhenfu Hanpeng", which is a new research result in recent years, and belongs to the typical set of relatively mature research in Han portraits. In Ms. Chen Changhong's monograph "Research on the Images of Female Women in the Six Dynasties of the Han and Wei Dynasties" of Sichuan University, a special chapter is devoted to the in-depth study of this story. She cites two bronze mirrors and eleven Han portrait stones to argue that this image is actually a story of "Zhenfu Hanpeng".
Chen Changhong combines documentary examination with pictorial examination, citing the research results of Mr. Qiu Xigui, that is, the story of Han Peng, a minister of King Kang of Song, and his wife recorded in the fragment of Dunhuang Hanjian No. 496 published by the Zhonghua Book Company in 1991. In the 1930s, the manuscript "Han Pengfu" appeared in the Dunhuang Testament, which was roughly as follows:
1. After Han Peng married his wife Zhenfu, he left the Song Kingdom and did not return for six years.
2. The virgin sends a letter to the husband, to the meaning of lovesickness. In front of the Han Peng Testament Hall, it was obtained by the King of Song.
3. The chancellor Liang Bo offered a plan to lure Zhenfu to the Song Kingdom in a lie.
4. The King of Song saw that Zhenfu was beautiful and was crowned queen. Mutilated his friends, lost their teeth, disfigured them, reduced them to prisoners, and punished them for building a Tomb Terrace.
5. The King of Song sent more than 3,000 people to accompany Zhenfu to visit Han Peng. Zhenfu took an arrow to shoot the farewell poem, and Han Peng died.
6. The King of Song buried Han Peng with the ritual of the Three Dukes, and Zhenfu jumped into the tomb of his deceased husband and committed suicide.
7. The King of Song buried the two men separately, and on the two graves were sycamores and laurel trees, and the roots and leaves were connected. The king cut down the tree, turned into a double flying mandarin duck, dropped a feather and turned it into a sword, and cut off the head of the King of Song.
Subsequently, Chen Changhong combined the bronze mirror image with the titles of "King of Song", "Zhenfu" and "Waiter" in "Bronze Mirror Unearthed in Zhejiang" with the above documents, pointing out that Han Dynasty artists reduced the narrative of this lengthy story to the moment when Zhenfu shot a letter to Han Peng.
She pointed out, "In the Han Dynasty, the climax of this story, or the most attractive plot, is The Archery Of Zhenfu chuanshu Han Peng. Surrounded by everyone, Zhenfu wrote a book with blood and shot an arrow at Han Peng to convey his heart, which not only showed The virginity of Zhenfu, but also showed the wisdom of this woman, who is the central character of the story."
Here, we randomly select one of the eleven Han portraits identified by Chen Changhong and compare them with the portrait on the right side of the upper and lower rows of the first stone of the stolen portrait stone of Cao Cao's tomb.
Take the eighth stone of Jiaxiang Songshan M1 as an example (Figure 11), which depicts a woman, holding a bow and arrow, shooting a letter at the man on the ladder on the left, and on the right side of the woman there is a man wearing a crown of heaven, a dog can be seen under the ladder, and there are two people talking in the house. After comparison, the main content of the image is basically the same as the image of Cao Cao's tomb, but the direction of the image narrative is one to the left and one to the right.
According to our understanding of the Han portrait set, there should be no problem in defining the image of Cao Cao's tomb as the story of "Zhenfu Han Peng". This also confirms that this story has nothing to do with the stories of "Zhao Xuan, the Righteous Man" and "Hungry People", on the left.
▲ Figure 11 Jiaxiang Songshan M1 Eighth Stone Part
3. The story of "Lu Qiu Jie Woman" in the fourth stone of the stolen portrait stone of Cao Cao's tomb
Although the fourth stone of the stolen portrait stone of Cao Cao's tomb is more damaged, from the current images, it can still be divided into two stories. Regarding the story on the left, the report states:
The left side of the picture seems to depict the story of "Luo Shi Cai Sang" in "Han Le Fu". Han Le Fu's "Mo Shang Sang": "Luo Shi Xi Cai Sang, the southern corner of Cai Sang City." The green silk is the cage system, and the laurel branch is the cage hook. ...... The king came from the south, and the five horses hesitated. ...... Junsherashi: 'Would it be better to carry it together than to?' Luo Shi said before: 'Make Jun Yi He Foolish! The king has his own wife, and The king has his own husband. The picture is vivid and vivid.
Judging from the details of the pictorial history, the core image of the story is "a man to a woman, and a woman holding a hook and a basket, as if at work." There is a car next to the man. However, in this regard, the story was identified as "Luoshi Caisang", which was obviously suspected of being attached. This speculation about the storyline is a common mistake made by researchers who are not familiar with the theory of "grid set" in Chinese painting.
Many images in Han portraits, especially historical stories, often have a typical "grid set", which needs to be placed in the entire Chinese painting system to see, through the image with the title to confirm the content of the same set of images, rather than relying on "like" or "not like", so as not to fall into the phenomenon of "suspected neighbors stealing axes" in the study of Chinese painting that Mr. Zhu Qingsheng repeatedly mentioned at the International Academic Conference on Ancient Tomb Art Research. (Figure 12)
▲ Figure 12 Portrait on the left side of the fourth stone of the stolen portrait stone of Cao Cao's tomb
Judging from the similar images with the title of the list, the theme of this story is actually "Lu Qiu Jie Woman", not "Mo Shang Sang". The story of "Lu QiuJie Woman" in Chinese paintings is mostly composed of a mulberry tree, a woman and a man. Among them, the earlier "Lu Qiu Jie Woman" image found belongs to the story of the female daughter on the upper floor of the back wall of the Wuliang Temple. The rough is divided into four layers, and this story is located on the upper floor.
The image depicts a man carrying a baggage talking to a woman on the right, who is next to a tree, holding a hook, hooking the leaves, and placing a basket under the hook. There are two titles in the chart, namely "Lu Qiuhu" and "Qiuhu Wife".
The rough stone was included in Figure 50 of the first volume of the Complete Collection of Chinese Portrait Stones, but it is now obscured. In the Qing Dynasty, Feng Yunpeng and Feng Yunhu compiled the "Golden Stone Suo", which contains woodblock engravings of this image, which are clearly recognizable. (Figure 13)
▲ Figure 13 Woodcut "Lu Qiu Hu Drama Wife", taken from Feng Yunhu ed.: "Jin Shi Suo", the image is a woodblock engraving
According to Liu Xiang's "Biography of The Daughters of Lie, Jieyi Biography, Lu Qiujie Women":
The clean woman, Lu Qiu's bearded wife also. If you accept the five days, go to the official Chen, and return for five years. Before arriving home, I saw the woman on the road picking mulberry, and the autumn beard was happy, and she got off the car and said: "If you expose the mulberry, I will go far away, and I hope that tosan will eat in the shade and rest under the throne." "The woman keeps picking mulberries. Qiu Beard said: "Li Tian is not as good as every good year, and Li Sang is better to see the Secretary of State." I have gold, and I wish to be with my wife. The woman said, "Hey! Fu Cai Sang lied, spun and woven, for food and clothing, to serve the second relative, to raise the master. I don't want gold, I want qing to have no external intentions, and concubines have no obscene aspirations. Reap the seeds and the gold!" Autumn Beard went away.
Through the reading of images and documents, we found that the portrait of Wuliang Ancestral Hall actually depicts the moment when Qiu Hu's wife was picking mulberry and talking to Qiu Hu, the tree next to Qiu Hu's wife was a mulberry tree, the hook was a mulberry picking tool, and the bamboo basket under the tree seemed to be a vessel containing mulberry leaves.
When we compare this picture with the image on the left side of the fourth stone of the stolen portrait stone of Cao Cao's tomb, we will find that the configuration of its storyline, character actions, and auxiliary elements shows a striking similarity, and the two belong to the same "grid set". In the portrait of Cao Cao's tomb, a car was added to the left side of Qiu Hu, which is exactly in line with the record of Qiu Hu "getting off the car and asking for information" in the literature, while the portrait of WuLiang Ancestral Hall does not show the carriage and horse.
Moreover, in the portrait of Cao Cao's tomb, Qiu Hu held a "gold" in his hand and dedicated it to Qiu Hu's wife, while Qiu Hu in the Wuliang Ancestral Hall did not have this action, only carrying a package. These different details, although with some artistic subjectivity, do not affect our overall understanding and judgment of the image.
"Lu Qiu Jie Woman" is a famous story of the Female Column in the Han Dynasty, which had a great influence on later generations and is also an important research object of literary history. Mr. Zhang Daoyi has studied the origin of the story of "Lu Qiu Jie Woman" in Chinese paintings in detail:
The story first comes from Han Liu Xiang's "Biography of the Daughters of Lie", volume V... Jin Gehong's "Miscellaneous Records of Xijing", volume VI, and there are similar records... From the "Lu Qiu Jie Woman" in the "Biography of the Daughters of Lie" to the "Miscellaneous Records of Xijing", it has had a great impact on society. Not only did the portrait stone be carved, but also mourned and wrote poems, composing "Autumn Hu Xing", which became a name for the Music House Qing Tune. Unfortunately, the ancient words are dead, and the voices of mourning at that time can no longer be heard.
Mei Yangtian, Jiang Yuxiang, Chen Changhong, and others have all studied the images of "Lu QiuJie Women" in Han portraits. According to Chen Changhong's statistics, there are two cases of Wuliang Ancestral Hall, two cases in Tengzhou, Shandong, one case in Zoucheng, six cases in northern Shaanxi, five cases in Sichuan, and one case in Inner Mongolia, which "is the most widely distributed image of a female in the Han Dynasty."
In the face of a large amount of pictorial evidence, we have good reason to believe that the image elements of the portrait on the left side of the fourth stone of the stolen portrait stone of Cao Cao's tomb conform to the "lattice set" of "Lu Qiu Jie Woman", not the "Luo Shi Cai Sang" speculated in the report.
It should be noted that some scholars have pointed out that there are some connections between the stories of "Mo Shang Sang" and "Lu Qiu Jie Woman". For example, Mr. Luo Yuming of Fudan University once wrote that there is an obvious relationship between the two, "The era of 'Mo Shang Sang' can certainly be in the Eastern Han Dynasty (for example, the poem mentions the 'Wu Fallen Bun', that is, the popular hairstyle of the Eastern Han Dynasty).
It came many years later than the story of 'Qiu Hu's Wife'. When we try to compare the two stories, we can see that they have very similar basic structures", while "downplaying the original moral themes of the Qiuhu Drama Wife Story, making it easy to accept, while adding a theme of beauty and emotion, and combining the two themes in a witty style." ”
Mr. Zhang Daoyi pointed out, "In the Yuan Dynasty, with the rise of miscellaneous dramas, Shi Junbao's miscellaneous drama "Qiu Hu Drama Wife" was produced. ...... In terms of content, some changes were also made, and a name was given to Qiu Hu's wife, Luo Shi." However, starting from the Chinese painting image itself, it is obviously inappropriate to confuse the two, or to identify the story of "Lu Qiu Jie Woman" as "Mo Shang Sang".
IV. Conclusion
Based on the objective description of the details of the Han portrait stones seen in Cao Cao's tomb, fully absorbing the new achievements in the field of Han portrait research in recent years, combined with the relevant records of the Han Dynasty literature, this paper compares a number of Han portraits with the remnants of Cao Cao's tomb portraits, corrects the three views of the 2016 edition of the "Cao Cao Gaoling" report and draws the following conclusions.
First of all, the female figure on the upper left side of the lower section of the first stone of the stolen portrait stone of Cao Cao's tomb is a Hu person wearing a streamer-type pointed hat, and the portrait depicts the story of "Jin Ilju" filial piety. Secondly, the portrait on the lower right side of the first stone of the stolen portrait stone of Cao Cao's tomb is an independent story, which should be the story of "Zhenfu Han Peng". Third, the content of the portrait on the left side of the fourth stone of the stolen portrait stone of Cao Cao's tomb is not the "Luo Shi Cai Sang" speculated in the report, but the story of "Lu Qiu Jie Woman".
Based on the latest research results, we believe that Cao Cao's tomb portrait stone has several distinctive features. First, historical stories occupy the core content, and there are not many mythological themes. Second, historical stories are mainly stories of filial piety and daughters, and the mainstream influence of Confucianism should not be underestimated.
At present, there are five cases of filial piety stories that have been verified, such as "Filial Piety Boyu," "Tenth Son of King Wen," "Prince Shensheng," "Boyi Shuqi," and "Jin Rijue."; there are five cases of female stories, such as "Liang Gaoxing," "Seven Daughters Avenging Their Fathers," "Zhenfu Han Peng," "Qiliang Wife," and "Lu Qiujie's Wife"; and two other chivalrous stories that reflect the Mo family's thinking, namely, "Hungry People's Spirits" and "Two PeachEs Killing Three Soldiers," and two cases of stories that have not been tested.
Third, the content and technique of Cao Cao's tomb portrait stone are relatively close to those of the Wuliang Ancestral Hall in Jiaxiang, Shandong, and it is uncertain whether there is any communication between the two. Fourth, the portrait stone of Cao Cao's tomb contains more cultural attributes, with Confucianism as the main body, and the influence of various cultural factors such as Mojia, Weiwei, and primitive Buddhism. In view of the complexity of this issue, I will explore it in a separate article.
Source 丨The Paper(Text/Zhu Hu)