MUSEUM
Jindi treasures and magical artifacts are here
cultural relic
Record the past and reflect the present.
Shanxi is a major province of cultural relics,
In addition to a large number of immovable cultural relics,
There are more than 3.2 million movable cultural relics (sets) in various museums.
Every artifact,
All tell the story of the three Jin civilizations,
Building a common spiritual home.
In order to bring people out of the silent artifacts,
See the vivid details of history,
Touch the human temperature of the past life,
Perceive the beauty of artifacts, the beauty of exploration, the beauty of civilization,
Hosted by the Cultural Relics Bureau of Shanxi Province,
Organized by Shanxi Evening News and Shanxi Provincial Museum Association,
The first season of "Jindi Treasure - Magical Relics Here" was launched.
From this moment on,
Let's feel the magic of Shanxi cultural relics...
Past Review
▼
The first issue | Tao Shen: So far and wide, the person who plays seems to be hidden from his face
Phase 2| Bronze Owl! The bird is like a god of war angry
The third issue | the metaphor of the bird lord: always be attentive to visit
The fourth issue | the past of the Jin Gongpan: Meng Ji's dowry heavenly group, followed her from Jin to Chu
The fifth issue| Jinhou Niu Huxi: There is an unpredictable power of Niu Huxi
The sixth issue | watch! 104 cranes, surrounding an old immortal!
The seventh issue| Sawai Jintaru wine is not empty! It is a feast of peace
In the eighth issue| when he raised this cup from the Western Regions, it immediately emitted a strange light
The ninth issue | this Buddha's eye "going home", involving Mr. Su Bai and the American Shikman
In the tenth issue| Yungang, a lotus platform rises from a small stone bowl!
▲Shanxi Evening News reported on December 8, 2022
Archives of antiquities
Protagonist: Sima Jinlong's tomb lacquer painting screen
Posture: Height 82 cm, width 40 cm, thickness approx. 2.5 cm
Born: Northern Wei
Birthplace: Sima Jinlong Tomb in Shijiazhai Village, Datong City
Treasure place: Shanxi Museum Datong City Museum
On November 27, the fourth year of Yanxing of Northern Wei (474), Qin Wen Jichen, the beloved daughter of King Yuanhe of Longxi, died. Ten years later, on November 16 of the eighth year of Taihe (484), Sima Jinlong, the husband of Qin Wen Jichen, passed away. In addition to a large number of burial items, a brightly colored woodblock lacquer screen was placed in the back room of the tomb near the Yong Road, facing the epitaph of the couple.
In later research, the frontal painting expression of the lacquer painting screen was taken from the "Legend of Lienu" by Liu Xiang of the Western Han Dynasty, such as the story of "Youyu Second Concubine" Empress and Nu Ying, "Three Mothers of Zhou" Tai Jiang, Tai Ren, and Tai Xiang, and "Ban Nu Jieyu"; The paintings on the back of the screen are mostly the presentation of deeds such as Li Chong, Duchess Wei Ling, and Cai Ren's wife in "The Legend of Filial Piety".
Qin Wen Jichen's "Qin Wen" is a Xianbei language that is considered to be translatable with the Chinese "source". There is no record of her life, but judging from the fact that her husband Sima Jinlong was buried with him 10 years later, the relationship between the two should be very deep. After Qin Wen Jichen's death, the still young Sima Jinlong continued the later hereditary Wuwei Princess Wuwei of the Depression Clan, so such a choice may have been agreed upon when Qin Wen Jichen died.
▲Obverse Collection of Shanxi Museum
It can be imagined that the lacquer painting screen was made by Sima Jinlong in memory of his beloved wife. He transformed his irrepressible thoughts into painting to record and praise his beloved wife's conduct, emphasizing her motherhood, benevolence and chastity, and those stories gradually overlapped with the bits and pieces of the past on his desk. Scholar Li Qingquan believes that "the screen may have been used as a thing in Sima Jinlong's mansion, and the historical facts on the screen were used by him as a 'motto' to embody or regulate his personal moral pursuits, but when it was buried in the ground, its meaning was immediately transformed into a manifestation of his ordinary behavior and moral sentiments." The Japanese scholar Shinichi Furuta cited around 484 AD as the production date of this lacquer screen.
Sima Jinlong was the ninth grandson of Sima Kui, the younger brother of Sima Yi, the Jin emperor, and his father Sima Chuzhi was a dignitary of the Eastern Jin Dynasty. At the end of the Eastern Jin Dynasty, Liu Yu wanted to gain power and killed the wealthy nobles at that time, and the Sima family was slaughtered. Sima Chuzhi was forced to surrender to Wei in the first year of Yuan Xi (419), was made King of Langya, and became a general, fighting for more than 20 years with outstanding merit. Sima Jinlong served as a high-ranking official of Northern Wei and inherited his father's title, and upon his death, he posthumously bestowed the title of general, Duke Sikong, and Jizhou assassin, and was given the title Kang.
▲Back Shanxi Museum collection
The joint tomb of Sima Jinlong and his wife was discovered in 1965 by villagers who drilled wells in Shijiazhai Village, Datong, and more than 50,000 tomb bricks had the words "Sima Jinlong Tomb Brick of King of Langya" in Yangwen. In front of the eastern coffin bed in the back chamber of the burial chamber, archaeologists noticed this badly decayed lacquer screen littered with fragments. After careful search and pairing, only 5 screen panels are relatively well preserved. Archaeologists believe that the screen style should be a kind of enclosure screen with 6 pieces in the back and 3 pieces on each side, placed on the stone bed, which is consistent with the "twelve swords" recorded in the literature.
However, the latest research points out that this is a semi-enveloping structural screen composed of multiple small plates to form three large plates on the left, back and right. The painted lacquer painting on the front and back of the screen is divided into four layers, each with a text inscription. Unfortunately, due to historical geological disasters, tombs being disturbed, etc., one side of the screen is downward, and the corrosion is serious, and it is difficult to distinguish the content of the picture.
▲Shou brick
According to Mr. Yang Zhishui's research, when the screen appeared in the pre-Qin classics, it was usually called "wall" or "Yi", or it was decorated with bird feathers and called "imperial residence". The Japanese national treasure Bird Mao Standing Female Screen, the drawing technique has a strong Tang style, which can be seen. The names of screens and small curved screens appear in Wei and Jin period documents, which are no longer just back-to-back screens. Mr. Yang believes that the combination of small curved screens and beds has promoted the development of screen painting in a certain sense, and the screen of historical pictures has become a fashion, which has been used by later generations and become a tradition.
In Mr. Yang Zhishui's view, "The Legend of Lienu" is the traditional theme of screen painting, and "The Legend of Lienu" was originally written for picture screens. She pointed out that the demeanor of the characters in the lacquer screen of Sima Jinlong's tomb makes people see at a glance its similarity to Gu Kaizhi's work. The style and technique of Gu's figure painting have the school of "it is for women, especially for ancient humble", and the screen of Sima Jinlong's tomb shows this inheritance, and the Tonghao of the Southern and Northern Dynasties at that time also provided this possibility.
▲Wooden lacquer painting excavated from Sima Jinlong's tomb
Shinichi Furuta also noticed Gu Kaizhi's "Scroll of Female History Monitors", which is typical of Southern Dynasty paintings. His research shows that the content described in the "Scroll of the Female History of Monitors" is based on Southern Dynasty literature, and the characters are dressed in Southern Dynasty clothing, with slender lines, and the whole picture makes people feel magnificent. If this is regarded as a characteristic of Southern Dynasty paintings, then this is also the characteristic of all paintings in Sima Jinlong's tomb.
Then, Shinichi Furuta asked the question: Why did such perfect Southern Dynasty paintings appear in the Northern Wei Dynasty?
He boldly guessed based on "lacquer painting was originally a popular form of painting in southern China" and "the uniqueness of lacquer paintings unearthed from Sima Jinlong's tomb in northern China": one possibility, perhaps the lacquer painting of Sima Jinlong's tomb was produced in the south and brought to the north; Another possibility is that based on Southern Dynasty lacquer painting materials, such as Southern Dynasty screen drawings, under the guidance of the fugitive nobles of the Southern Dynasty, the works faithfully embodying the Southern Dynasty style in the Northern Dynasty. Furuta Shinichi even used the archaeological view that the Chinese side pointed out that the burial structure of Sima Jinlong's tomb was "basically the same as the tombs of the southern high-ranking ruling class in the same period" to support it, and Sima Jinlong may have been out of a strong longing for the culture and customs of the Southern Dynasty of his homeland, and even pursued the Southern Dynasty form after his death, thus creating this kind of lacquer painting screen with the Southern Dynasty style in the Northern Dynasty region.
▲Wooden lacquer painting excavated from Sima Jinlong's tomb
The value of Sima Jinlong's lacquer painting screen has far exceeded the craftsmanship, and it can be said that it is a very unique decorative painting expression technique juxtaposed with traditional murals, handicap paintings and brick paintings. The preliminary analysis of the fragments of the woodblock lacquer painting screen excavated from the tomb of Sima Jinlong showed that the pigment layering of the painted part was very clear, and the thickness of each layer was relatively uniform, reflecting the delicate and superb painting techniques of ancient craftsmen. The pigments used are cinnabar, carbon black, female yellow, androgen, gypsum. The relevant research group has studied its production process and concluded that its structure from inside to outside is: wooden tire + fabric layer + paint ash layer (lacquer, apatite, quartz) + primer layer (lacquer) + red lacquer layer (cinnabar, lacquer, quartz) + color paint layer.
Sima Jinlong would never have thought that perhaps this screen, which was just a token of affection, would be more than 1,500 years later, because the character story painting on it is a work with accurate dating in the current Northern Wei paintings, because it is difficult to find painting treasures from the Six Dynasties era in the heirloom works, because very few lacquerware from the Southern and Northern Dynasties has been unearthed, because the inscription ink book style is more typical to reflect the development of Wei Shu during the evolution of Han to Tang Kai... It was designated as one of the first 64 precious cultural relics (groups) that were prohibited from going abroad for exhibition.
In the "Nineteen Ancient Poems", there is the sentence "Who can leave this in the paint with glue". When the screen is remembered with the tomb owner under the dark tomb, perhaps someone will sigh for their "feeling in the heart, in line with the deed, and kissing the glue paint", or the lacquer painting reflected in Sima Jinlong's heart is the meeting with his wife.
Shanxi Museum
The predecessor of the Shanxi Museum is the Shanxi Education Book Museum founded in 1919, which has lasted for 103 years. Located on the west bank of the Fenhe River in Taiyuan, the new museum covers an area of 168 acres, with a construction area of 52,000 square meters, an exhibition area of 13,000 square meters, and a cultural relics storage area of 12,000 square meters, which was opened to the public in 2005. Shanxi Museum is the largest public cultural service institution for the collection, collection, protection, research and display of cultural relics in the province, and undertakes the responsibility and mission of inheriting Chinese civilization and Shanxi history and culture. It has been open to the public free of charge since March 2008, and was selected as one of the first national first-class museums in May of the same year, and became one of the 11 national museums jointly established by the central and local governments in 2009.
The Shanxi Museum has a collection of more than 500,000 pieces, including 40,282 precious cultural relics (groups), including 2,129 first-class cultural relics (groups), and more than 110,000 books and ancient books. The collection mainly comes from archaeological excavations since the 20s of the 20th century and the collection and accumulation over the past hundred years, especially bronze, porcelain, stone carvings, Buddhist statues, murals, calligraphy and paintings.
Datong City Museum
Founded in 1958 and officially opened to the public in 1959, Datong City Museum is a comprehensive geographical museum, which was rated as a "national first-class museum" in 2020. The current site is located in Pingcheng District, opened to the public on December 31, 2014, covering an area of 51,556 square meters and a building area of 32,821 square meters. At present, the museum has more than 170,000 cultural relics, including more than 3,000 precious cultural relics (sets).
Datong Museum integrates cultural relics resources, revitalizes the use of cultural relics, and actively explores the "general branch library system" and "curator system", and currently has nine branch libraries: Liaojinyuan National Integration Museum, Datong Red Memory Museum, Ancient Copper Art Museum, Mingtang Site Museum, Northern Dynasty Museum, Kuixing Culture Museum, Pingcheng Memory Museum, Liang Sicheng Memorial Hall, Weibei Calligrapher Zhang Aitang Former Residence Memorial Hall, showing the historical heritage of Datong from different angles and aspects.
Text| Tang Jin
Pictured| Shanxi Museum Datong City Museum
Poster production| Fu Yujun, full media editor of Shanxi Evening News
The copyright of graphics and text belongs to the original author or institution
Editor| Shanxi Evening News All Media Editor Nan Lijiang
Review | Fang Tianji