What would you think of today if you were to identify a phenomenon that was very different from ancient societies?
Different people will naturally have different answers, but some men who have been married and married may have a fairly consistent answer: their status in the family has become lower.
If a family of three were to sort it out, how many men would rank?
To be honest, if you can rank third, the status at home is not low, after all, there are still many men who can't even rank third, and even the kittens and puppies raised at home, the status of flowers and plants is higher than that of men, when it is really low to dust.
As a result, many men thought that if they could go back to ancient times, in that era when men were superior to women, they were not allowed to walk sideways.
Think about it, male superiority and female inferiority continued from the patriarchal society to the end of the Qing Dynasty, thousands of history, even after the founding of New China for a long time, people still have this kind of thinking, even if some of the current old people have granddaughters, still want to hold a grandson.
It doesn't matter, what matters is that young people's minds have shifted.
But in ancient society, did it have to be male superiority over female inferiority?
Of course not, some families are inferior to women, and there will even be a phenomenon of women saying that they are not the same.
For example, the family of Sima Jinlong during the Northern Wei Dynasty is such an example.
In the popular program "National Treasure", Tang Yan and Luo Jin performed the love story of Sima Jinlong and his wife Qin Wenjichen for the audience.
Among them, the scene of Tang Yan holding a stick to educate Sima Jinlong is vividly remembered, which can really be described as a true portrayal in many families now.
In the joint tomb of Sima Jinlong and his wife, quite a lot of cultural relics have been unearthed, one of which is known as the heavy weapon of the country, which is the Northern Wei template lacquer painting.
So what exactly is painted on a cultural relic, and what stories are being told to us, let's look at it together.
Sima Jinlong: Afraid of wives does not exist, I am love
One winter in the 1960s, a villager in Shijiazhai Village, Datong City, discovered a tomb in the process of digging a well, and immediately reported it to the relevant departments, which received great attention.
Subsequent excavations of the tomb were carried out by the Datong City Museum, and it was finally determined that the tomb was a joint tomb of Sima Jinlong and his wife in the Northern Wei Dynasty, but unfortunately, the tomb had been patronized by tomb robbers in earlier years.
Rao is so, this tomb still unearthed a large number of burial items, including glazed clay figurines, living utensils, lacquer painting wooden planks, stone carved coffin beds, etc., it is simply to bring down the living things, in order to be able to live a moist life after death, obviously, this is just delusional.
But it is precisely because of this delusion of the ancients that we can still let the cultural relics tell us about the past it has experienced.
There are not many records of Sima Jinlong in history, but there are many records of his father Sima Chuzhi, who was the eighth grandson of Emperor Xuan of Jin's brother Taichang Kui, which means that Sima Jinlong's family was originally a descendant of the Eastern Jin Dynasty.
Later, in the Eastern Jin Dynasty, Sima Chuzhi defected to Northern Wei, not to mention that after Sima Chuzhi arrived in Northern Wei, he was a delicious drinker, repeatedly made military achievements, and later rose all the way, became the military leader of Northern Wei, and was posthumously honored as the King of Zhen.
With such an excellent father, Sima Jinlong's little life was not bad.
As an adult, he married Qin Wenjichen, the granddaughter of the bald-haired King of Southern Liangjing and the daughter of Yuanhe the Prince of Longxi.
In fact, Qin Wen Jichen is not the real name of Sima Jinlong's wife, Qin Wen is not her surname, this is just a manuscript written on behalf of the emperor himself, and her original surname was bald, and later given the surname Yuan by Northern Wei.
She married Ma Jinlong and gave birth to three sons, and Sima Jinlong also took great care of this wife, saying that he was afraid of his wife, but it contained more love.
Wood-panel lacquer painting: I have recorded four stories on the front, telling the virtues of the women
The joint burial of Sima Jinlong and Qin Wenjichen also shows the love between these two people, although Sima Jinlong is not the only wife in his life, but the most loved must be her.
Let's move on to the woodblock painting.
Wood panel lacquer painting is the most "valuable" cultural relic in Sima Jinlong's tomb, but in fact it was just a screen at that time.
This is not difficult to understand, in the ancient wooden structure of the house, if there is no partition in the middle, such a screen is placed, one is good-looking, and the other is convenient for storage.
The screen is painted on both sides, each divided into four layers, each depicting an independent small story, which tells some stories recorded in the "Biography of the Daughters of the Column" and other historical sources, and behind it tells the virtues of ancient sages and loyal filial piety.
The Biography of the Daughters of Lie is a book written by Liu Xiang of the Western Han Dynasty to advise the monarch, which records the stories of more than 100 women, divided into the biography of Muyi, the biography of Xianming, the biography of Renzhi, the biography of Zhenshun, the biography of Jieyi, the biography of Debate, and the biography of Iniquity.
The four stories on the front of the wooden lacquer painting are selected from Emperor Shun's scrupulous observance of filial piety, the three mothers of the Zhou clan, Yi Tianxia, Lu Shichun Jiang Zhishu Dali, and Jie Yuci to persuade the monarch to rule the country.
Wood panel lacquer painting: I also record four stories on the back, telling the story of ancient sages and filial piety
The four stories on the back of the woodblock lacquer painting are: the doorman Li Shanyang orphan, the filial son Li Chong repudiating his wife, the filial piety Mao Rong vegetarian hospitality, like walking on thin ice like an abyss.
It can be said that this screen is full of stories, the purpose is to let the people at that time remember the past history, advocate loyalty and filial piety in society, and let the women of the Northern Wei Dynasty learn from the virtuousness of the Central Plains women.
So why is this painting in Sima Jinlong's tomb, it is likely that the Northern Wei Emperor rewarded Sima Jinlong at that time, so as to let Sima Jinlong's wife know that the women of the Central Plains would not be so domineering.
I just don't know how Qin Wenjichen felt when he saw this screen.
Having said so much, perhaps some friends do not understand, this is a screen, how has it become a heavy weapon of the country, has become a cultural relic forbidden to leave the country, is it just because Sima Jinlong is afraid of his wife, proving that there was a phenomenon of female superiority and male inferiority in ancient times?
Of course, in addition to the story recorded in this screen, the historical and artistic value behind it is immeasurable.
The woodblock lacquer painting is the product of the cultural integration of the Southern and Northern Dynasties, indicating that the Northern Wei Dynasty at that time was already deeply influenced by the Central Plains culture, and this painting is the most direct proof of the fusion of the two cultures.
In addition, the lacquer art in this screen is also amazing to the world, because the wooden lacquerware itself is more difficult to preserve, the unearthed is very small, such as the wood panel lacquer painting such a bright color, the degree of preservation is also rare in the world.
Now woodblock lacquer painting has become one of the three treasures of the Shanxi Museum, if you go there, you may wish to take a look.
Cultural relics can speak, please let us listen to the words of cultural relics together, please let us protect these cultural relics together, inherit civilization, there is me and you.
Do you agree with that?
References: "Biography of Lienu", "Book of Wei", "History of the North", etc.