Text / Jin Yexin
Abstract:During the Spring and Autumn Period and the Warring States Period, the Wei State inherited and developed the bronze casting technology of the Jin State, and made remarkable achievements in the gold and silver error technology. The Wei capital of Anyi and Daliang had a complete system of craftsmen and officials, forming a unique "Liang system" of gold and silver, which affected the surrounding Sanjin hometowns, including Zhongshan, Han and Zhao. The "Wei Feng style" gold and silver faults from the tombs of Guwei Village in Hui County, Henan Province are unique, and the animal-style images using dots, lines, and surface decoration techniques are parallel to the "Chu Feng style" gold and silver errors in the south, and their influence lasted until the Qin and Han dynasties. Zhongshan was obviously influenced by Wei, and the dark-grained pottery, gold and silver artifacts and decorative techniques unearthed from the Pingshan tombs in Hebei Province were also similar to those of Wei, suggesting its origin with Wei, and it is very likely that these artifacts in Zhongshan tombs were produced by Wei. In contrast, the gold and silver bronzes of Han and Zhao were relatively rare, and the era was earlier or later, and the degree of delicacy was slightly inferior to that of Wei. The excavation of the tombs in the Changzhi watershed in Shanxi Province shows that although the scale of the tomb is not large, the burial goods are extremely exquisite, reflecting the contrast between the political status of the tomb owner and the burial goods. Furthermore, it is believed that the tomb group may be descended from the Jin people, rather than the Han people or the Zhao people, that is, the geographical location belongs to Zhao and Han, but the tombs belong to the Jin. Through the observation of the gold, silver and bronze artifacts unearthed in the hometown of the Three Jin Dynasty, this paper has changed the mechanical understanding of "what comes out is what belongs" in the previous academic circles, and well reflects and embodies the artistry, complexity and diversity of mutual learning of crafts and clan migration at that time.
Keywords: Liang system, Wei Feng, gold and silver wrong bronzes, Huixian Guwei village tomb group, Pingshan Zhongshan King tomb, Changzhi watershed tomb group
After the "Three Families Divided into Jin", the Gongguan of Anyi (now Xia County, Shanxi) and Daliang (now Kaifeng, Henan) inherited the bronze casting workshop and Gongguan technology of the Jin State in Xintian (now Houma, Shanxi), and were the direct successors of the bronze casting process of the Spring and Autumn Jin Dynasty, which had an important influence on Zhao, Han, Zhongshan, and Zhouzhou. As far as the gold and silver wrong craftsmanship is concerned, the above countries have the same origin, all of which originated from the Jin Dynasty, but the Jin State did not have it, and the Wei State was the first hegemon, creating the model of "Liang Wei Feng" gold and silver wrong bronzes in the Warring States Period, which had a far-reaching impact and still existed in the Qin and Han dynasties.
Previous studies have overemphasized the identity of the Three Jin Dynasty as a nomadic people in the Central Plains, and paid too much attention to the nomadic identity of Zhongshan Kingdom, and classified the gold and silver artifacts in Zhongshan as casts rich in grassland style factors, and emphasized more on the identity of Zhongshan as a nomadic people, which is suspected of being ancient in the present. In fact, at that time, there was no strict distinction between Huayi, from Zhou Tianzi to the princes, doctors, and scholars, but the good ones were all used by me. It can be said that before and after the restoration of Zhongshan, it was profoundly influenced by the Wei State, not only reflected in the similarity of expression techniques and craftsmanship on the unearthed gold and silver bronzes, but also in the Dingdu Lingshou and the prevalence of Confucianism in Zhongshan, and the similarity of bronze inscriptions, all of which are related to the occupation period of Wei. In addition, the gold and silver bronzes, which existed as war trophies or diplomatic gifts, did not originate from the creations of the Zhongshan Kingdom, but had the heritage of the Wei style, and belonged to the minting of the Wei Kingdom in the middle of the Warring States period. The manufacturing process and artistic expression of gold and silver artifacts in Wei and Zhongshan are more similar.
1. Ji's surname Wei: The ethnic problem of high-level tombs in Hanoi
During the Warring States Period, the territory of the countries was in a state of flux, from the gap between the cities and fields in the Spring and Autumn Period, to regional rule, and the transportation and administration within the country had taken shape, which also opened up the obstacles in the region for the unification of Qin. "Hanshu Geographical Chronicles" said: "Wei land, the division between the Jin and the ginseng. Its boundary is from the east of Gaoling, as far as the east of the river, Hanoi, in the south there are Chenliu and Runan's Zhaoling, Yi, Xinji, Xihua, Changping, Yingchuan's Wuyang, Yun, Xu, Fuling, Henan's Kaifeng, Zhongmu, Yangwu, sour jujube, volume, all Wei Fen also. [1] Its main ruling areas were located at two ends, with Hexi and Hedong to the west and Hanoi and Henan to the east. It can be said that the territory of Wei is similar to a dumbbell, with large ends and thin middle. Hexi and Hedong in the west, the old capital Anyi is located in the south of Xintian, the capital of Jin, and has the benefit of salt ponds; To the east, Hanoi and Henan are the result of policy shifts and hard work in the reign of King Hui of Wei, and the new capital is surrounded by many artificial canals and water conservancy facilities. (Figure 1)
Fig.1 Distribution of Zhao, Wei, Han Sanjin, Zhongshan and Erzhou gold and silver tombs The author made a map
The state of Wei is surnamed Wei for Ji. "Hanshu Geographical Chronicles" is also known as:
From the sixteenth Emperor of Tang Shu to the Duke of Xian, Wei was destroyed to seal the doctor Bi Wan, Geng was killed to be the doctor Zhao Shu, and the doctor Han Wuzi was eaten in Han Yuan, and Jin was the first to be great. As for the Duke of Wen, the princes of Bo, and the Zhou room, there was the land of Hanoi. Wu Za heard the song of Wei and said: "Beautiful! Virtue supplements this, and the Lord is also clear. "The sixteenth Emperor of the Emperor Wen was destroyed by Han, Wei, and Zhao, and the three families all established themselves as princes, which were for the Three Jin Dynasty. Zhao and Qin are the same ancestor, and Han and Zhao are also surnamed Ji. Since Bi Wanhou 10th called the marquis, to Sun called the king, migrated to the capital of Liang, so Wei No. 1 was Liang, and the seventh was destroyed by Qin. 〔2〕
The "Hexi, Hedong, Hanoi, and Henan" discussed in this article are all historical geographical names, which are the areas ruled by the Wei State before the late Warring States period mentioned in the Hanshu Geographical Chronicles. "Hexi" is the central region of Shaanxi west of the Yellow River and east of the Beiluo River, not the west of the Spring and Autumn Patriotic River, but the Xihe County established by Wu Qi in the era of Wei Wenhou to conquer the "Hexi Land" of the Qin State, "Hedong" is the central and southern region of Shanxi east of the Yellow River, "Hanoi" is the northern region of Henan north of the Yellow River, and "Henan" is the central Henan region south of the Yellow River. This article focuses on the historical information reflected in the gold-silver bronze tombs excavated in this area and several tombs found in these places.
The archaeological discovery is accidental, a large number of gold and silver artifacts unearthed from the site of the ancient city of Lingshou in Zhongshan are lucky, compared with the destruction of the Wei capital Anyi and the Liang and the layers of sediment by the past dynasties, the tombs located in the core area of the Wei capital in Henan have been difficult to find, and can only establish a comparative system from other Wei tombs in its territory.
Judging from the current distribution of gold and silver tombs, the remains of Wei are the most abundant in the "Three Jins", mainly distributed in Hedong and Hanoi, that is, in the southwest of Shanxi and the north of Henan, which is consistent with the area under its rule. Among them, the Hedong region is located in the Fen River valley in the southwest of Shanxi Province and the place where the Yellow River bends in a zigzag shape, "pillow the river meanders in the south and wade the Fenshui in the north" [3]. Hedong is the core area of the former Jin Kingdom, "the land in Hedong is easy, there is salt and iron, the Tang Yao lived, and the poetry of the Tang Dynasty and the Wei Dynasty" [4]. The capital of the early Wei Dynasty was located in Anyi (present-day Xia County, Shanxi); In the late period, the capital was located in Daliang (now Kaifeng, Henan). However, there are few high-grade large tombs found around these two capitals, which may have been buried in a different place from the royal tombs, or were later destroyed and flooded by the Yellow River.
The gold and silver tombs in the Hedong area are mainly distributed along the Yellow River, and from the upper reaches downstream, they are the Wei Tomb of Hejin Jiulonggang of "Pishi" [5], the Wei Tomb of Wanrong Temple in "Fenyin" [6], the Yongji Xuejiaya Wei Tomb east of "Puhan" [7], the Wei Tomb of Luonan Jiyuan of "Shangluo" [8] in the south of the Yellow River, the Wei Tomb of Shangcunling in Sanmenxia [9] and the Wei Tomb of Houchuan [10] in "Jiao". Hanoi area was originally Yin and Wei land, the distribution of tombs in this area is concentrated, in the present-day Henan Hui County and Weihui near the Eastern Zhou Dynasty tomb group, all located in the present-day Henan Xinxiang, located in the southeast plain area of the southern foot of the Taihang Mountains. The tombs of the Eastern Zhou Dynasty in the Hanoi area mainly include the tomb of King Wei in Guwei Village, Hui County, the tombs of Chu Qiu Wei and Zhao Guwei in the west, and the tombs of Shan Biao Town in the east. Among them, Huixian Liuli Pavilion, Jixian Shanbiao Town is also one of the practice and birthplace of modern archaeology, which was interrupted after the Anti-Japanese War, and was excavated again after the founding of New China, and unearthed many important gold and silver artifacts, which are now divided into both sides of the strait. Among them, the bronze with hook (M1:131), the bronze chariot in the shape of a beast's head (M1:63) [12] and the circular bronze Danglu (M1:157, 28) unearthed from Tomb No. 1 in Zhaogu District all have the style of the late Spring and Autumn Period, which is consistent with the variants of the bronze beans and boats with dragon patterns from the tombs of Zhao Qing in Taiyuan, Shanxi Province and the tombs of the watershed of Changzhi in the early Warring States period.
Li Xueqin believes that this is the tomb of King Wei (died 319 BC) or King Xiang of Wei (died 296 BC), but at the same time, he believes that Gongyi is far away from the Great Liang of Wei, and the question of the owner of the tomb is worthy of further study. [14] Huixian City, north of Xinxiang, Henan, was the royal tomb area of the Wei State during the Warring States Period, and the "Warring States Zonghengjia Book" unearthed in Mawangdui, Changsha, Hunan Province contains: "Qin is inherently bad (Huai), Mao, (Xing) mounds, and the city is Jin, and it is adjacent to Hanoi, and Hanoi is a communist, and the tomb must be dangerous." [15] "Warring States Policy: Wei Ce" contains: "The husband saves Han An Wei and benefits the world, this is also the king's great time, and the party above Han is in the Communist Party and Mo, so that the road has been passed, so it is closed, and the people who enter and exit are endowed, and it is Wei who is heavy and Han is also the party." [16] Qiu Xigui pointed out that the so-called "Gongmo" should be "Gongmo", and the common land belongs to the Wei State, which is the ancient place name of Jinhui County, because the royal tomb is in it, so it can be said that the king of Wei can be moved. [17] From 361 BC when King Wei Hui moved east to Daliang (now Kaifeng, Henan) to 225 BC when he was destroyed by Qin, six kings fell into the hands of the Qin people in the Weiling District of Gongdi, before the middle of the late Warring States period.
Weihui City, east of Hui County, was known as "Ji" Yi in ancient times, and there are famous tombs in Shanbiao Town [18]. Regarding its age and affiliation, Wang Zhen believes: "The age of the Liulige cemetery extends from the late Spring and Autumn period to the early part of the middle of the Warring States period, and the cemetery belongs to the Jin Dynasty, which is a family cemetery of the Wei family of the Jin Qing Dynasty, and the cemetery and adjacent areas may be the centralized burial place of the nobles of the Wei State and even the King of Wei." [19] The author believes that Shanbiao Town, Jixian County, is located to the west of present-day Weihui City, and should be the location of the "Ji" Yi of the Warring States, while Liulige of Huixian County is located in the east of Huixian County, which is the "communal" town of the Warring States Period. Wang Zhen's view is based on the early Warring States period, when the Wei clan replaced the Zhi clan and obtained the land, and the upper limit of the age of the tomb group in Shanbiao Town, Ranji County was the late Spring and Autumn period, and the Wei Qing who controlled this place may also be the previous Liuqing Fan clan and the later Zhi clan. Both the report and the briefing believe that they are all Wei tombs, but the author believes that the possibility that the early tombs were other Jin Qing cemeteries in the late Spring and Autumn period cannot be ruled out.
Therefore, it is worth re-exploring the question of the early ethnic affiliation of the "Gong" and "Ji" tombs in Hanoi. In the 23rd year of King Jing of Zhou (497 BC), the Fan clan and the Zhongxing clan became independent in the eastern part of the Jin Kingdom, and until the defeat and departure of the 28th year of King Jing of Zhou (492 BC), a total of 5 years, but the time when the previous common land and its surroundings belonged to the Fan clan should be counted. Although Liuli Pavilion is a tomb in the early Warring States period, it is more likely to exclude Fan's family, but the possibility of Zhi's family still needs to be considered. In the first year of King Yuan of Zhou (475 BC), Zhi Yao succeeded Zhao Ying as the ruler of the Jin State, and 20 years later, in the fourteenth year of King Zhending of Zhou (455 BC), he united Han Hu and Wei Ju to attack Zhao Wuxian, and the civil war broke out again. From 492 BC to 453 BC, Hanoi's Kieup was previously acquired by the Pham clan and later owned by the Chi clan. In the sixteenth year of King Zhending of Zhou (453 BC), the three families of Wei, Zhao and Han also liquidated and divided the land of their original mining after defeating the Zhi clan in Jinyang, and the Gonggong and Jiyi of Hanoi were owned by the Zhi clan and the Wei clan.
Therefore, the issue of the ethnic affiliation of the Wei Hui cemetery in Huy County, Hanoi region is worth further subdividing and discussing, especially in the early Warring States period, which needs to be strictly defined, and the first 475 years in this paper is the beginning of the Warring States period. In 453 BC, it was possible for the Wei clan to place the tombs of their clan here after they acquired the land of Hanoi of the Zhi clan, and until the eighth year of King Xian of Zhou (361 BC), King Wei Hui moved east from Anyi to Daliang, the ruling center of Wei was in Hedong, and the tombs of Marquis Wen of Wei and Marquis Wu of Wei were probably near Anyi, the old capital of Hedong. Therefore, at least until the middle of the Warring States period, it is unlikely that this place will become the tomb of the Wei king.
In short, in addition to the possibility of the Wei clan in the early and middle Warring States period, the possibility of the Fan clan (492 BC as the lower limit) and the early Warring States period as the Zhi clan (453 BC as the lower limit) should not be ruled out, especially the No. 1 tomb in Zhaogu District, Huixian County, when the Spring and Autumn Period and the Warring States period were present, the cultural relics produced belong to typical Jin bronzes.
2. Ji surnamed Zhongshan: the similarity of the Zhaoyu map of the tomb of Wang Cuo and the inscription of the Wei bronzes
"Hanshu Geographical Chronicles" said: "Zhao and Zhongshan are thin, and there are still remnants of sand dunes and fornication. The husband gets together to play, the sad song is generous, and the spine digs the grave, is treacherous, and makes more things, in order to advocate excellence. Women play the strings, wandering and rich, all over the harem of the princes. [20] Zhongshan was founded by the nomadic Bai Di Xianyu, and previous studies have focused on its nomadic nature and ignored its tendency to become Chinese. Zhongshan is a "country of a thousand times" from the late Spring and Autumn Period to the middle of the Warring States Period, and is a Huaxia country established by Bai Di, a branch of the northern nomadic Di people living in Shanxi and Hebei during the Spring and Autumn Period, and has destroyed the country twice, first in the early Warring States period of the Wei State, and then in the middle of the Warring States Period of the Zhao State. The name of "Zhongshan" was first seen in "Zuo Chuan: Dinggong Four Years", containing: "Jin Xunyin asked for goods in Caihou, Fude. Yan Yu Fan Xianzi said: 'The country is in danger, and the princes are second, and they will attack the enemy, which is not difficult!' The water is falling, the malaria is rising, Zhongshan is not satisfied, abandoning the alliance and resentment, without harming Chu and losing Zhongshan, it is better to resign from Caihou. Since I have been in Fangcheng, Chu has not been able to achieve his ambition, and he can only be diligent. Du pre-remarked: "Zhongshan, Xianyu." [21] "Historical Records of the Zhao Family" Sima Zhen index pressed: "Zhongshan, Gu Xianyu country, Ji surname also." It is the Yunzhong Mountain Wu Gong Ju Gu, and the Huan Gong migrated to Lingshou, which was destroyed by the King of Zhao Wuling, not to mention whose descendants are. Xu Guangyun, the son of Zhou Huan Gong, also has no basis, and he can't get the actual ear. [22] "The Biography of Gu Liang: The Twelfth Year of Zhao Gong" is sparsely contained: "Xianyu, surnamed Ji, Bai Di also." [23] Zhongshan was a nomadic tribe of Huaxia, which was originally called Bai Di in the Spring and Autumn Period, first called "Xianyu" and then "Zhongshan", and the change of its name was related to the migration of its national capital. As for the name of Zhongshan, "Water Jing Note: Shui Shui" contains: "The water comes out of the west of Zhongshan City, such as the north, there is a hill in the city, in the west of the city, the side and sharp, if the commission Su Yan, it is suspected that there is a commission Su Guan in Yunwangdu County. It is customary to take the mountain in the city, so it is also called the mountain city; There is Tang water in the city, because it is called the Guangtang City. [24] Because of the imitation of the Wei State when the sacrifice to the heavens - "Weisu Mountain", it got its name and imitated the model of the Chinese kingdoms to establish the country, and even the surname Ji of the Zhongshan royal family was the same surname as Zhou Tianzi and the Jin, Wei, and Han Zhijun.
In the 18th to 20th years of King Weilie of Zhou (408-406 BC), the Wei army crossed the Zhao State and attacked the Zhongshan State. The last 26 years were the period of Wei occupying Zhongshan. In 380 BC, Zhongshan took the opportunity to restore the country, although he overthrew the rule of Wei, but did not get rid of the cultural influence of Wei, and it is very similar in terms of writing, such as the bronze square pot of Zhongshan Wangcuo [25] (XK:15) (Fig. 2-1) and the 27th year of King Hui of Wei in the middle of the Warring States period (343 BC) Daliang Si Kou Ding [26] (Fig. 2-2) [27], both of which are inscribed, and the word "cast" on the table is the same, which is a simplification of the object's complex font, with "gold" on the left and "hand" and "ten" on the right. This is very different from the Western Zhou Jin Wen tradition, and reflects the localized tendency of Jin Wen during the Warring States period [28].
Figure 2-1 The character "cast" in the bronze square pot of Zhongshan Wangcuo (XK:15) in the collection of Hebei Museum
Figure 2-2 The character "casting" of Liang Si Kou Ding in the 27th year of King Hui of the Warring States Period is selected from the second volume of Yin Zhou Jinwen Collection, Zhonghua Book Company, 2015 edition, 2609, 2610
From the beginning of the founding of Zhongshan Wugong (414 BC) to the destruction of Zhongshan Wang Shang by Zhao (296 BC), there were six lords in the 118th year of the founding of the country, including Wu Gong, Huan Gong, Cheng Gong, Wang Cuo, Wang (last time under the worm), and Wang Shang [29]. During this period, in the early Warring States period (408 BC), Wei Wenhou sent Le Yang "for 17 years, cut down Zhongshan, and made the son defend it, and Zhao Cang Tang Fu Zhi" [30] to rule, and successively sent the prince to attack (Wei Wuhou), Shaozizhi, and Shang Weizhong to guard, and used Li Kekuan to govern Zhongshan, bringing the Chinese Wei culture into the land of Zhongshan. Although the Duke of Zhongshan Huan "did not care about the national government" and lost the country, he took the opportunity of the Wei state to compete for hegemony in the four directions, and expelled the Wei forces in 380 BC and restored the country. The national capital was also moved from the previous "Gu" (now Dingzhou, Hebei) to "Lingshou" (now Pingshan, Hebei, now the west of Lingshou). When the Duke of Huan restored the country and developed to Wang Cuo, he had been "called the king with the Six Kingdoms", and was the country of a thousand times, and even when Yan and Qi struggled, they seized a large area of land in Yan State, and then successively fought with the surrounding Qi, Yan, Zhao and other countries of ten thousand times. To the king (the last time under the worm), the national strength weakened, to the 20th year of King Wuling of Zhao (306 years ago) began to conquer Zhongshan, 26 years (300 years ago) to achieve a major victory, occupied most of the land of Zhongshan, to the third year of King Zhao Huiwen (296 years ago) finally destroyed Zhongshan, moved to the king of Zhongshan is still in the place where his ancestors rose "Fushi" (now 25 kilometers southeast of Suide County, Yulin City, Shaanxi Province). After the restoration of the Zhongshan lineage, there are a total of 5 monarchs, including Duke Huan, Duke Cheng, Wang Cuo, Wang (last time under the worm), Wang Shang, a total of 5 monarchs, which lasted 85 years.
Zhongshan is located in the Loess Plateau and the North China Plain, its topography is high in the west and low in the east, the west side is the Taihang Mountains, and the southwest is bordered by the Zhao State; It is adjacent to Yan in the northeast and Qi in the southeast. The new capital city is located in the site of Lingshou City, the capital of Zhongshan State in the Warring States Period, Sanji Township, Pingshan County, Shijiazhuang, Hebei Province. [31] It is 35 kilometers away from Shijiazhuang in the southeast and 12 kilometers away from Lingshou County in the east. In the south, the Hutuo River flows from west to east, and the city is located in the south of the mountain and the yang land north of the water. There are two in the northwest of the site, such as the east and the west, and they are called "East and West Ling Mountain". There is a royal tomb area in the south of the central part of the city, which is also consistent with the distribution of tombs in the ruins of the ancient city of Qi and Yanxiadu, among which M6 is more important and may be the tomb of Zhongshan Chenggong. On the west side of the site, the south of Xiling Mountain and the north of Hutuo River are another royal tomb area, there are two bucket-shaped sealed soil covered with east and west juxtaposition, the west is the tomb of Zhongshan Wangcuo (M1), and the east is the tomb of the queen of mourning (M2). As early as 1935, in the south of Qiji Village in the southwest of the city site, it was found that there was a famous "Zhongshan Supervisor and Hill Keeper Carved Stone" [32], which was set up for the early cemetery protection and was the forerunner of the Western Han Dynasty mausoleum system. And the planning of its Zhaoyu should have been influenced by the Wei State. In 1951, Guo Baojun participated in the excavation of the Warring States Tombs in Pingyuan Province [33], among which the Wei Tombs in Guwei Village, Huixian County, consisted of three large tombs, which were the most important gold and silver artifact tombs in the area. The tomb of King Wei of Guwei Village is located in the east of Huixian County, Henan Province 3 kilometers, the cemetery is located in the east of the village 1 kilometer, it is said that it is the site of the ancient "Gong" city, called "Shangcheng", it is actually a huge cemetery that is rebuilt by using the natural environment. It is about 600 meters wide, with cliffs on the east, north, and south sides, a platform about 2 meters above the ground in the middle, and a width of 150 meters from east to west and 135 meters from north to south. Just like the Weiyang Palace built in the early Han Dynasty, the original topography is used to regularize, there are three large tombs in the east and west, the middle one is the largest, the north and south are 27.5 meters wide, and the east and west are 27.5 meters wide, which is square. The west tomb is slightly smaller, 18.8 meters long from north to south and 17.7 meters wide from east to west, with a slight rectangular shape. The east tomb is higher than the west tomb, with a length and width of 19 meters. From the overlapping relationship, it can be seen that the construction of these three tombs was from west to east. The numbers are sorted from west to east, and they are the No. 1 West Tomb, the No. 2 Middle Tomb, and the No. 3 East Tomb. In addition to the three tombs juxtaposed, such as the cemetery planning of the tomb of the king of Zhongshan, there are also two attached tombs, No. 4 tomb and No. 5 tomb. In addition, about 500 meters south of the three tombs, there is the tomb of the felt craftsman. In the second part of the Huixian Excavation Report, the Guwei Village Area is estimated to have restored the surface Xiangtang building according to the above-ground pillar base, which is a planar square four-corner pointed roof, which is very similar to the plan of the bronze version of the gold-and-silver Zhaoyu map [34] (GSH:29) of the tomb of Wang Cuo in Zhongshan (Fig. 3-2). The only one that can prove the mistake of the gold and silver of Zhongshan is the copper plate of the Zhaoyu map, but its decorative style is very different, and it is only decorated with inscriptions and straight curves of gold and silver. What's more, the inscription on it is very different from the famous inscription "Zhongshan Sanqi". The layout plan is very similar to the layout of the royal tombs of the Wei state in the common land. From the perspective of the planning of the cemetery Zhaoyu, the layout of the middle as the respect, the two sides as the auxiliary, and the symmetrical layout on the left and right sides and the Zhongshan Wangcuo Cemetery are all in a parallel pattern of multiple tombs, but the scale is slightly smaller.
Figure 3-1 Distribution map of Wei Wang's Mausoleum in Guwei Village, Huixian County, Henan Province
Figure 3-2 Bronze version of the gold and silver misalignment map (GSH:29) Unearthed from the tomb of Wang Cuo in Zhongshan, Pingshan, Hebei Province, collected by Hebei Museum
3. Animal style: from the grassland style of dots, lines and surface decoration expression
In 1951, most of the gold and silver artifacts unearthed from the tombs of Guwei Village in Huixian County were bronze chariots and horses, such as the bronze bow cap (Jinhua flea) on the car's umbrella cover was decorated with gold and silver mistakes, see the silver and silver bronze chariot umbrella cover bow cap (M1:24, 46, 142) [35] unearthed from the coffin of the No. 1 Wei tomb, and the gold wrong long conical bronze cap (M2:128) [36] unearthed from the northwest wall of the coffin of the No. 2 Wei tomb. The gold and silver wrong craft to decorate the car umbrella cover bow cap, in the countries is earlier, its influence affected the Western Han Dynasty to the car canopy decoration of the attention. In addition, there are bronze hengmo [37] (M1:153-3) (Fig. 3-3) and bronze umbrella bars (chariot ornaments) [38] (M1:168, 176) excavated from the wooden chamber of the south tomb of Wei Tomb No. 1 in Guwei Village, Huixian County, which are decorated with fine dots. These unearthed cultural relics are now in the National Museum of China, as the burial vessels of the tombs of the Wei kings in the middle and late Warring States period, and are typical "Liang Wei style" gold and silver bronzes.
Fig. 3-3 Gold and silver bronze Heng Mo (M1:153-3) Unearthed from the No. 1 Wei Tomb in Guwei Village, Huixian County, Henan Province, collected by the National Museum of China
Figure 3-4 Bronze chariot with the head of a gold-silver wrong beast (M1:165) Unearthed from the No. 1 Wei Tomb in Guwei Village, Huixian County, Henan Province, collected by the National Museum of China
Among them, the bronze chariot with the head of the gold and silver wrong beast [39] (M1:165) (Fig. 3-4) is very exquisite, unearthed in the northeast corner of the wooden chamber at the south tomb entrance of Tomb No. 1 in Guwei Village, with its head facing north. Compared with the real chariot and horse, this chariot is slightly smaller, the head of the beast is 13.3 cm long from the mouth and nose to the back of the neck, the distance between the upper arch to the ears is 8.3 cm, the distance between the tips of the ears is 9.2 cm, and the diameter of the neck canal is 4.7 cm and the thickness is 0.3 cm. It belongs to the gold and silver of the Ming ware specially used for burial, but the proportion of the simulated car decoration and horse is reduced. This situation is just like the two bronze chariots and horses unearthed on the west side of the Qin Shi Huang Mausoleum in Lintong, Shaanxi, which are also proportionally reduced, and gold and silver wrong techniques are used on local chariots and horses such as umbrella bars.
The chariot is the bronze car in front of the wheel, often in the shape of the head of the beast, located at the intersection of the wheel and the scale, the wheel is the end of the wheel, the archaeological report is called "horse head shape", in fact, it is more suitable as the head of the beast, its characteristics are distinct, the big eyes and thick eyebrows, the wide nose and vertical ears, and the gold and silver wrong process is decorated with cartouches, diamond patterns, scale patterns, etc. Side-viewed, the head of the beast is curved upward, the body is hollow, the bottom is an empty chisel, the iron ingot is fixed, the wheel is connected to the wood, and there are two hooks at the end, which is speculated to be used for the lanyard of the balance. The gold and silver mistakes are used to present the visual mode of painting, such as the expression of thrush, eye, mouth and nose, all of which have their own characteristics and styles, which are the characteristics of Gongguan production.
Observing this car, whether it is the condition of the artifact red, or the craftsmanship and presentation method on it, it is consistent with the expression technique of the artifact produced by Zhongshan Wangcuo, and it can be considered that it is from the same gongguan system of a similar period. It is speculated that it is very likely that when Zhongshan restored the country, it was obtained when he occupied Lingshou City of Wei State, and the inscription of "Fourteen Rites" on it may be added later. Therefore, these gold and silver misplaced animal-shaped artifacts are not directly related to the clan of Zhongshan, but the inheritance of the Liang Gongguan of the Wei State at that time to the manufacture of Jin bronzes. The fashion of using animals as decorative objects was not limited to Wei and Zhongshan, but also to the Zhao and Yan kingdoms in the north, and was not unique to Zhongshan. In addition, the hooks of the small and medium-sized tombs from the Lingshou City site are the same as those from the Zhao and Wei states, and they should be made by the same workshop.
The tomb of Wang Cuo in Zhongshan, Pingshan, Hebei Province, which is similar to the tomb of King Wei in Guwei Village, Huixian County, Henan Province, has also unearthed animal-shaped gold and silver bronze vehicles similar to gold and silver beast-shaped bronze chariots, including the famous bronze scheme of gold and silver wrong four deer, four dragons and four phoenixes, silver wrong bird pattern bronze double-winged divine beasts, and three animal-shaped bronze screen seats. The author believes that the following five points are worth noting: First, from a functional point of view, in order to make the artifact stable, the center of gravity of the artifact is deliberately lowered, making the legs appear thick, or the center of gravity is recoiled, increasing its weight and making the screen supported on it more stable. Second, the shape is dominated by animals, with some characteristics of animals in reality, but there are also some characteristics of other animals, perhaps in the performance of a certain kind of mythical beasts in mythology, the importance of animal modeling utensils reflects the characteristics of the nomadic people, and at the same time integrates some elements of Chinese mythical beasts. For example, the rhino-shaped bronze screen seat [40] (DK:22) seems to be different from the rhinoceros when judged by its horns, and the biggest difference is the large horn on the top of its forehead. This may have something to do with the legendary mythical beast. "Erya Shi Beast" contains: "Lu (Lin), Lu body, ox tail, a horn. [41] The deer is a roe deer, with a cloven hoof, an ox's tail, and a horn that corresponds to the shape of a short tail and a horn on its forehead. The statue of the simulated Lin is stated in the "Book of Rites and Rites": "What are the four spirits? Lin, phoenix, turtle and dragon are called the four spirits. Therefore, the dragon thinks that it is an animal, so the fish is not muddy; The phoenix thinks that it is an animal, so the bird does not die; Lin thinks that it is an animal, so the beast is not ruthless; The turtle is an animal, so the human affection is not lost. [42] It is different from the traditional four gods of "Green Dragon, White Tiger, Vermilion Bird, and Xuanwu". The existence of the Lin as an imaginary auspicious animal points more to the ruling of the world advocated by the Confucians, which also has a certain relationship with the kindness of the Confucians in Zhongshan. Third, the content of the inscription is the same, but the ox and rhino on both sides are inscribed, and the tiger devouring the deer in the middle is the inscription, and there is a phenomenon of both casting and carving, which reflects the inscription changes caused by the development of sharp tools. Fourth, the ornamental decoration point, line, surface is used together, the point has two types of small dots and large hollow dots, the line is mainly scroll line, arc and parallel line, the surface is mainly apricot leaf shape and long arc scale feather shape. Fifth, the animal face decoration of the four screen mouths, the report calls it "goat pattern", the author thinks that it is more appropriate to call it "animal face pattern", and the so-called "double horns" above the eyebrows may be the fluff on the edge of the ears that stand up, and its expression is the same as the treatment of the eyebrows above the eyes.
Judging from the details of the gold and silver intricacies of Wei and Zhongshan, the composition of dots, lines, and surfaces is used as decoration. These techniques and expressions can be seen on the gold, silver, and bronze artifacts unearthed from the tomb of the king of Zhongshan.
Figure 4-1 Bronze screen seat with gold and silver tiger devouring deer (DK:23) Unearthed from the tomb of Zhongshan Wangcuo in Pingshan, Hebei Province, collected by Hebei Museum
Fig.4-2 Bronze screen seat in the shape of a bull with a gold and silver mismatch (DK:24) Unearthed from the tomb of Wang Cuo in Zhongshan, Pingshan, Hebei Province, collected by Hebei Museum
Figure 4-3 Bronze screen seat with gold and silver staggered chisel (DK:22) Unearthed from the tomb of Wang Cuo in Zhongshan, Pingshan, Hebei Province, collected by Hebei Museum
The distribution of the "dots" is very fine, and may represent a simulation of scales, feathers, or even the whiskers of an animal. The performance of the dots is fine gold and silver small dots, whether it is the inside of the scale pattern of the nose of the beast-shaped car in Huixian Waigu Village, or the performance of the scales of the dragon body on the end of Heng Mo and the umbrella bar, the same process is used. These tirelessly processed dots are embedded in the grooves that have been hollowed out in advance, and in some places the silver is left vacant due to falling off. The same technique is shown on the body of a tiger with a bronze screen seat [43] (DK:23) (fig. 4-1). The silver oxide silver that is easy to oxidize to black is similar to the dark bronze tiger body of jujube red, which is not so contrasting, but after careful observation, it can be found that it is also represented by an arc-shaped ornament like fish scales, and covers the whole body, from the mouth of the tiger to the tail end of the curved curl. The double-arced horns and the upper end of the tail of the bronze screen seat [44] (DK:24) (Fig. 4-2) with the same bearing are identical, but the circles in the scales are discarded due to the small area of representation, which is consistent with the expression of the animal's head chariot. The two flanks behind the left and right front hooves of the rhinoceros with the gold and silver staggered rhino-shaped bronze screen base [45] (DK:22) (Fig. 4-3) are also decorated with small silver dots. In addition, the necks of the four phoenixes in the bronze scheme [46] (DK:33) (Fig. 5-3) of the gold and silver staggered four deer, four dragons and four phoenixes are decorated with silver staggered scales and decorated with gold and silver dots, which are replaced with gold and silver.
"Line" is the most flexible and graceful existence given to natural forms, which can be divided into curves, contour lines and parallel straight lines of the scroll, and the scroll presents the decorative meaning of Wei Feng gold and silver mistakes. For example, the contour line of the dragon pattern on the end of the scale and the umbrella bar of the car is the line that outlines the image of the object, which is also the characteristic of Chinese painting. Although it does not have the priorities and changes of dry and wet in later generations, it has the contrast of sparse and rigid softness, which may be limited by the performance of the material. The parallel lines of the animal's head are distributed around the bridge of the nose, the mouth of the roof of the mouth, and the upper part of the eyes, which seem to simulate the eyebrows (Fig. 3-3). We can see these parallel lines in the upper parts of the eyes of the two animal-shaped hollow plates in the bronze screen base (DK:23) of the gold and silver tiger devouring deer with chisel (DK:23), and they are also present in the upper jaw of the tiger (Fig. 4-1). This parallelolinear representation is also used in the upper part of the bull and rhino eyes, on the lower part of the horn and on the horn (Fig. 4-3), and in the upper part of the eye of the gold and silver misaligned rhino (DK:38) (Fig. 5-1), and in the upper part of the eye of the gold and silver misaligned beast Bronze Town [47] (DK: 37, 38) (Fig. 5-1), parallel lines are also used in the oblong oval of the collar. This is a simulation of the shell mosaic rings worn by domesticated animals, flattening the representation of the sacrificial colored stones or gold bubble protrusions, and replacing them with parallel lines. It can be said that this type of performance is universal. The bronze two-winged beast (DK:35, 36) [48] (XK:58, 59) [49] (Fig. 5-2) and the bronze scheme of the four deer, four dragons and four phoenixes (DK:33) (Fig. 5-3) of the silver wrong bird pattern are represented by this parallel line on the upper part of the eyes, showing that they have the same tradition of expression.
Figure 5-1 Bronze Town of Gold and Silver Wrong Divine Beasts (DK: 37, 38) Unearthed from the tomb of Zhongshan Wangcuo in Pingshan, Hebei Province, collected by Hebei Museum
Fig.5-2 Bronze two-winged beast with silver wrong bird pattern (DK: 35, 36, XK: 58, 59) Unearthed from the tomb of Zhongshan Wangcuo in Pingshan, Hebei Province, collected by Hebei Museum
Figure 5-3 Bronze scheme of gold and silver wrong, four deer, four dragons and four phoenixes (DK:33) Unearthed from the tomb of Zhongshan Wangcuo in Pingshan, Hebei Province, collected by Hebei Museum
The "face" is decorated with a large area of gold and silver plates, such as a bronze chariot in the shape of a gold and silver beast (M1:165), a large area of gold is used to decorate the area around the mouth, the upper part of the eyes and the inside of the ears, and the white part of the eyes is decorated with silver plates. The gold and silver tiger devours the deer with a bronze screen seat (DK:23), the tiger body is decorated with a large piece of gold fault, because the gold will not oxidize and still retains the same effect, showing the apricot leaf pattern and the traditional "S" shaped tiger pattern, and the deer body is decorated with gold and silver drop-shaped patterns.
If we determine the style of "point, line, and surface" of gold and silver errors in the middle of the Warring States period, then many gold and silver artifacts scattered abroad have a reference to follow. For example, the three pieces of gold and silver inlaid with glazed gold and silver tortoise-shaped bronze incense burners (Fig. 6-1), bronze lacquerware lids with gold and silver animal patterns (Fig. 6-2), and bronze belt hooks in the shape of a dragon (Fig. 6-3) in the collection of the Mishu Museum in Japan can be determined in terms of age and national affiliation.
Figure 6-1 Bronze incense burner in the shape of a tortoise, inlaid with glazed gold and silver, collection of the Mishu Museum, Japan
Figure 6-2 Bronze lid of lacquerware with gold and silver animal pattern in the collection of the Mishu Museum, Japan
Figure 6-3 Gold and silver holding a dragon-shaped bronze belt hook in the hands of Mishu Museum, Japan
Fourth, mutual learning of craftsmanship: Wei and Zhongshan pseudo-gold and silver mistakes of dark pattern black pottery
In addition to the convergence of the craftsmanship of the gold, silver and bronze wares, the same situation existed in the burial pottery, especially the black-calendered dark-grained pottery with a regional style.
During the Warring States Period of the Eastern Zhou Dynasty, the dark pattern black pottery of Wei and Zhongshan was a very special burial vessel. The firing temperature is not high, the tire quality is delicate, the tire is mostly gray or gray-brown, and the surface is black. On the surface of the body that has not dried, it is decorated with hard and dense tools such as agate and calendered out of the pattern, so it is also called "dark flower pottery" and "calender pottery". The type of vessel is more than Ding, bean, pot, ring, basin, plate, Zun, etc., and the pattern is represented by scroll pattern, zigzag pattern, wavy pattern, and arc string pattern. It was mainly excavated in the Zhongshan royal tomb area in the middle of the Warring States period in Pingshan County, Hebei Province, such as the dark-grained pottery (DK:67), the dark-grained pottery (XK:70), the dark-grained pottery (XK:88) (Fig. 7-1), and the standing bird dark-patterned pottery pot (XK:91) (Fig. 7-2), etc., not only from the east and west warehouses of the Wangcuo Tomb (M1), but also in the six small wives and concubines around the tomb. The surface of the vortex moire is smoothed with a hard, dense and rounded tool, which is almost consistent with the cartouche pattern on the gold and silver artifacts. Although the objects are made of different materials, including copper, silver, gold and clay, they are the same as the calendering process of the surface of the vessels, which has the glossy effect of simulating the patterns of gold and silver bronzes.
Figure 7-1 Dark-grained pottery (XK:88) Unearthed from the tomb of Wang Cuo in Zhongshan, Pingshan, Hebei Province, collected by Hebei Museum
Fig.7-2 Standing bird dark pattern pottery pot (XK:91) Unearthed from the tomb of Zhongshan Wangcuo in Pingshan, Hebei Province, collected by Hebei Museum
The cemetery of Guwei Village, Hui County, northern Henan Province is the cemetery of the Wei State during the Warring States Period, and artifacts of the same process have also been unearthed, such as the dark pattern black pottery plate (M3:33), bird pillar plate (M3:35), pottery (M3:36) [50] unearthed from Tomb No. 3, and the dark pattern black pottery pottery bean (M6:36) [51] unearthed from Tomb 6, some pure black without embossed pattern decoration, the level is not as good as Zhongshan. In the middle of the Western Han Dynasty, this fashion continued, such as the tomb of Liu Xiu (M40) of King Huai of Zhongshan in the Western Han Dynasty in Dingzhou, Hebei Province, although the tire is gray pottery, but the appearance is painted with black lacquer, simulating this regional tradition.
The author believes that the dark pattern black pottery from the ornamentation to the expression effect is similar to the effect of the prevailing gold and silver wrong craft at that time, these fragile black pottery specially fired for burial, may be simulating the precious gold and silver wrong metal utensils. For example, the duck-shaped dark-patterned pottery (XK: 84, 87) [52] (Fig. 7-3), a total of two pieces were unearthed in the West Library of the Wangcuo Tomb, which were of the same shape, with a flat-bottomed spherical body and a webbed-shaped bipedal imitation of a duck, which could also play a role in supporting a large area. The whole body is polished, and there are wavy and scroll patterns on the press. The shape of the duck-shaped statue is very similar to the shape of the retro gold and silver staggered statue of the Song Dynasty, and the "duck" is a wild duck, which is a bird such as a duck.
Fig.7-3 Duck-shaped dark pattern pottery (XK: 84, 87) Unearthed from the tomb of Zhongshan Wangcuo in Pingshan, Hebei Province, collected by Hebei Museum
In addition to the schematic sources of imitation and learning generational generation, there are also mutual influences and inspirations in the same period. For example, the dark pattern pottery that is mostly used as a burial vessel has been affected by the gold and silver errors of bronze vessels. Different materials and different craftsmen inspire each other, and the silent objects illustrate the most obvious facts here.
Fifth, the Jin Kingdom did not: look at the migration of clans from the watershed golden wrong instrument group
475 BC was the beginning of the Warring States period, and the chronology of the Six Kingdoms in the "Historical Records" began in this year. Although the Han, Zhao, and Wei families defeated and carved up the land of the Zhi clan, the Jin monarchs in Xintian and Jiang still existed, and they were still the nominal lords of the three families. At the beginning of the Warring States period, the three families continued to follow the manufacturing tradition of the Jin Kingdom in the manufacture and decoration of the Houma Gongguan in Xintian. The tomb of Zhao Qing located in Jinsheng Village, Taiyuan, Shanxi Province, was not buried with the bronze ritual vessel due to the restriction of identity and rank. On the contrary, it is the cemetery of the Changzhi watershed with a lower burial grade, but there are many gold and copper ritual vessels unearthed, and the bronze beans unearthed from the two cemeteries are almost the same in terms of shape and ornamentation, but there are differences in the choice of inlay objects.
Based on the archaeological excavations of the two places and the corresponding hand-me-down documents, the author believes that the watershed tomb group located in the north of Changzhi City in the southeast of Shanxi Province, that is, the cemetery of the relics of the Jin Dynasty, is worthy of further discussion by the academic community. In the early Warring States period, both the shape and ornamentation of the Jin Wrong artifacts were strongly influenced by the late Spring and Autumn period Jin officials, and even in historical documents, the Wei, Zhao, and Han families are often referred to as the "Three Jins" or "Jin". Although the Jin State no longer exists, the tradition of the Jin State Engineer is still continued in the three families, and the development of arts and crafts does not change too quickly with the replacement of political rights. Judging from the current materials, the regional ethnic differences of the Three Jin Dynasty in the early Warring States period are not obvious, and some of the unearthed artifacts were even produced by the Jin State Engineer in the late Spring and Autumn Period, with obvious convergence. At present, the briefings and reports as well as the controversy in the academic circles mainly revolve around the ethnic groups of tombs in the Changzhi watershed in the southeast of Jin, and there are two theories of Han Tomb and Zhao Tomb.
(1) Ji's surname Han: Archaeological materials are scarce and incomplete
The Book of Han and the Geographical Chronicles contains:
In the Korean land, the horns, Kang, and Di are also divided. Han Fen Jin Nanyang County and Yingchuan's Father City, Dingling, Xiangcheng, Yingyang, Yingyin, Changshe, Yangzhai, Shaanxi, east of Runan, west of Hongnongde Xin'an, Yiyang, all of which are Han Fen. 〔53〕
South Korea is surnamed Han Ji, is the weakest of the three Jin Dynasty, its original capital in the Fen River valley of "Pingyang" (now southwest of Linfen, Shanxi), and then moved south to "Yiyang" (now Yiyang, Henan West), and then moved to "Yang Zhai" (now Yuzhou, Henan), and finally took advantage of the war between Wei and Qi and Zhao to destroy Zheng State, and finally moved the capital to "Zheng", that is, located in the south of Zhengzhou, Henan Province, Xinzheng City, Han Zheng Ancient City Ruins. "Yingchuan, Nanyang, the country of Xia Yu. Xia people are loyal, and they are despicable and simple. Han Ziwuzi was called the marquis in the seventh generation, the sixth was called the king, and the fifth was destroyed by Qin. Qin destroyed Han, and migrated the unscrupulous people of the world to Nanyang, so its vulgar and extravagant, on the strength, good businessmen fishing and hunting, hiding is difficult to control. Wan, Wuguan in the west, Jiangjiang and Huai in the east, and the meeting of a capital. ”〔54〕
At present, judging from the excavation of gold and silver artifacts, the first three capitals and their vicinity have not been found. Only in the Huzhuang Han Tomb [55] and the Liejiangpo Han Tomb [56] in the southwest of Xinzheng, there are unearthed gold and silver wrong bronze belt hooks. Among them, the No. 2 tomb of Huzhuang cemetery is identified as the tomb of the Han Dynasty in the late Warring States period [57], and there are unearthed silver wrong bronze savings, gold and silver wrong handle shaped vessels, gold and silver wrong bronze lacquer case corners, etc., but the archaeological report has not been published in full. Judging from the current unearthed situation, there are not many artifacts unearthed, and it is difficult to prove that Korean gold and silver errors have their own typical characteristics, and Xinzheng Huzhuang is the late Warring States period, and there is a time difference between early and late compared with the early Warring States period of the watershed.
(2) Ying surname Zhao: the selection of process materials for seasoning beans
The Book of Han and the Geographical Chronicles contains:
Zhao Di, Pleiades, Bi Zhi Division. Zhao Fenjin, Zhao Guo. There are Xindu, Zhending, Changshan, Zhongshan in the north, and Gaoyang, Yan and Zhou townships of Zhuo County; There are Guangping, Julu, Qinghe, and Hejian in the east, and Dongpingshu, Zhongyi, Wen'an, Shuzhou, Chengping, and Zhangwu in Bohai County, and the north of the river; south to floating water, Fanyang, Neihuang, and Qiuqiu; There are Taiyuan, Dingxiang, Yunzhong, Wuyuan, and Shangdang in the west. Shangdang, the other counties of this Han, the far Han near Zhao, the later pawns to Zhao, all Zhao points. Since Zhao Shuhou was called the ninth marquis, the fourth marquis moved to Handan, to the great-grandson Wuling Wang was called the king, and the fifth was destroyed by Qin. 〔58〕
Zhao Guoying's surname is Zhao, and he is the same ancestor as Qin. In the early days, the capital was in Jinyang (now Taiyuan, Shanxi) in the north, and later moved to Zhongmu (now Hebi, Henan), and then moved to Handan (now Handan, Hebei). "Handan is connected to Yan and Zhuo in the north, Zheng and Wei in the south, and there is a metropolis between Zhang and He. Its land is vast and vulgar, reckless, urgent, high-spirited, and light-hearted. [59] In the late Warring States period, King Wuling of Zhao began to become strong after cavalry shooting, destroying Zhongshan in the east and Lou Fu and Lin Hu in the west.
As far as the current distribution of gold and silver unearthed tombs is concerned, there are mainly two places: Jinyang and Handan. The excavators in the southern region of Hebei were centered on Handan, the capital of the late Zhao Dynasty, and there are few published materials so far, mainly excavating gold and silver wrong bronze belt hooks and silver wrong bronze upsetting [60]. The bronze with a hook [61] (M3:70) unearthed from the No. 3 tomb in the early part of the middle Warring States period in Baijia Village, Handan, is decorated in the typical Houma style of the Jin Kingdom, and was mistakenly buried in the middle tomb in the early Warring States period. In the middle and late Warring States period Zhao tombs [62] in Zhongyangquan West Village, Lincheng County, Xingtai, north of Handan, there are also gold and silver wrong bronze belt hooks, but there is no wrong gold and silver container with burial.
Jinyang in the central part of Shanxi can be described as the land of Longxing of the Zhao State, as early as the late Spring and Autumn Period for the Jin State ruling secretary Zhao Jianzi (?) —475 BC) Zhao Ying, who focused on Jinyang, and his burial place is likely to be Tomb No. 251 in Jinsheng Village, southwest of Taiyuan. The lower limit of the relative age of Zhao Qing's tomb is accurate and of great significance. Although the report sets the age of the tomb as the late Spring and Autumn period, the absolute era given has entered the Warring States period, so the tomb should be in the early part of the early Warring States period, and the production age of the artifacts should be in the late Spring and Autumn period. The excavated gold and silver artifacts are not abundant, but only 2 pieces of gold and silver buckle shaped tail button type moire pattern copper belt hook [63] (M251:385-1, 385-2) (Fig. 8-1), 8 pieces of gold and silver tiger-shaped stretch bronze ornaments [64] (M251:728-1, 725-2, 831-1, 831-4, 852, 856), and 4 pieces of gold tiger-shaped recoil bronze ornaments [65] (M251: 728-2, 488-1, 488-2, 754), One piece of the bronze ornament with a chisel curled up in the shape of a tiger [66] (M251:443), which does not include the bronze bowl in the shape of a beast in the shape of a beast that is said to have been excavated by thieves and is now in the collection of the Shanghai Museum.
Fig.8-1 Copper belt hook with a golden short pipa-shaped tail button with a moire pattern (M251:385-1, 2) Unearthed from the tomb of Zhao Qing in Jinsheng Village, Taiyuan, Shanxi Province, collected by Shanxi Museum
The author believes that the following three points are worth noting: first, Zhao Qing's tomb is of a very high grade, and the lineup of chariots and horses is luxurious, but there are no chariots and horses decorated with gold mistakes, nor do they appear on the weapon inscriptions; Second, the gold mistake process is only used on the belt hook and small tiger-shaped ornaments used by the emperor, and the proportion of the unearthed bronzes is very small, which is very precious and rare; Third, there are many similarities between the shape and ornamentation of the artifacts produced in the tomb of Zhao Qing and the artifacts produced in the cemetery of the Changzhi watershed in the early Warring States period, but the choice of process application is different, and they all see gold mistakes but not silver errors.
In addition to Lieding, there are also bronze beans. The beans were originally used to hold different kinds of pickles and juicy meat sauces, but it is also possible that they were used to carry grains, such as the four bronze beans with inlaid coarse patterns [67] (M251:576, 574, 575, 577) excavated from the tomb of Zhao Qing in Jinsheng Village, Taiyuan, Shanxi Province (Fig. 8-2), which used dark red minerals as the intercalation material instead of the common golden beans, and the carbonized millet remained in the cover beans. There are also 2 bronze beans with fine patterns [68] (M251: 570, 619, 628, 635) for casting patterns, and a total of 14 beans have been unearthed, perhaps used in conjunction with 27 pieces of tripods to replace the previous functions of the gui or the tong and the 盨. In addition, pottery beans also existed as burial pottery vessels in the early and middle Warring States periods in the Sanjin and Fortnight regions. 〔69〕
Fig.8-2 Bronze beans with staggered coarse patterns (M251: 576, 574, 575, 577) Unearthed from the tomb of Zhao Qing in Jinsheng Village, Taiyuan, Shanxi Province, collected by Shanxi Museum
Judging from the materials collected by the author so far, there are a total of 4 pieces of bronze beans. The first two pieces are collected in the Shanxi Museum of bronzes, the same shape is bean, but the material of the inlay is different, resulting in two different styles, Zhao Qing's tomb has no gold mistakes, and the watershed has gold mistakes, the variant of the upper left corner of the bean cover is beaten into thin slices with gold wire, and there is an obvious fine line twist structure at the junction. The other two pieces are bronze beans with lids [70] (M126:277) (Fig. 8-3) excavated from Tomb No. 126 in the Changzhi Watershed in Shanxi Province in 1956 (Fig. 8-3) and a bronze bean [71] (F1939.41a-b) (Fig. 8-4) from the Freer Museum of Art in the United States. The Freer beans are said to have been purchased from Lu Qinzhai, and the shape and decoration are the same as those of the watershed beans. In addition, the Shanghai Museum has a bronze bean with a dragon pattern [72] and the Victoria and Albert Museum in the United Kingdom also has a bronze bean (M.978:1, 2-1928). These two bean ornaments are different, and there is a dragon pattern on the edge of the near mouth, which will not be included in the discussion for the time being.
Fig.8-3 Bronze bean with lid (M126:277) Unearthed from Tomb No. 126 of the Changzhi Watershed in Shanxi Province Collection of Shanxi Museum
Figure 8-4 Bronze bean with a cross pattern (F1939.41a-b) from the collection of the Freer Museum of Art, USA
The author believes that among the first three bronze beans, the bronze beans of Zhao Qing's tomb and the bronze beans of the Changzhi Watershed in Shanxi Province and the bronze beans of the Freer Museum are different decorative techniques of the same shape, or they are used in one vessel. Therefore, the decoration process of the bronze surface of the Warring States period has the possibility of selecting combinations. The processing form of the filler in the groove pattern can be freely changed, which can be gold and silver or stone or lacquer. The power to select, replace and synthesize different crafts is in the hands of the craftsmen, and it is also determined by the patrons. Many of the elements that construct the surface decoration of bronze ware have a kind of selective combination relationship in it. This kind of use of multiple ready-made parts, arranged and combined, to produce a large number of seemingly different but partially identical practical objects, is a flexible way to respond to a variety of different and expanding differentiation needs, and can better improve production efficiency. In addition, it can also meet the possibility of different users to choose different styles, so that the utensils produced will not be the same. 〔73〕
The same shape and ornamentation are decorated with different materials and techniques. Since the middle of the Warring States period, the surface decoration techniques of bronze ware have been very rich, and a variety of technological means have been used to decorate comprehensively, and even a variety of materials have appeared in the same vessel, such as the Warring States period red copper wrong color stone inlaid with geometric beans, the use of red copper, color stone two different materials for the decoration of the table. In 1951, the No. 5 tomb of Guwei Village, Huixian County, Henan Province, was unearthed and now in the collection of the National Museum of China, and the gilt inlaid jade inlaid with glazed silver belt hook [74] (M5:9) (Fig. 8-5) was unearthed as the clothing ornament of the tomb of the Wei king, and it was unimaginable that it would have appeared in the middle and late Western Zhou Dynasty and the early and middle Spring and Autumn period.
Figure 8-5 Gilt inlaid jade with glazed silver belt hook (M5:9) Unearthed from Tomb No. 5 in Guwei Village, Huixian County, Henan Province, collected by the National Museum of China
As a kind of "intergenerational echo" of the bronze ritual vessels of the late Shang Dynasty, it is far earlier than the "ancient literary movement" advocated by the "Eight Great Masters of the Tang and Song Dynasties" in literature, and also earlier than the "ancient meaning" advocated by Qian Xuan and Zhao Mengfu in the field of painting. Just as skipping the Southern Song Dynasty and directly advocating the painting tradition of the Tang Dynasty and the Five Dynasties, the hundred craftsmen of the Warring States Period crossed the Western Zhou Dynasty and inherited the style of the Shang Dynasty. And this kind of "generational inheritance" should be made by the hundred craftsmen at that time through the surviving bronze temple sacrificial vessels, or according to the requirements of the emerging ruling class, and there may be many other ways. It can be said that this indirect acquisition is the inheritance of the rich decoration and dense decoration style of the late Shang Dynasty.
Since the hundreds of workers have created such a variety of decorative techniques, how to choose, which technology to choose or a combination of techniques, has become a problem in front of us. It depends on the level and strength of the patron. In the early days, the gold and silver artifacts were pre-cast in bronze with grooves that needed to be embedded, and the material to be embedded in them was a choice. It can be copper, gold, or lacquer. This opens up the possibility of visual representation of the process and a variety of options.
6. Relocation and Residence: The Jin Kingdom has no inheritance of the descendants of the Hougong family
At present, the gold and silver tombs of the Jin family are mainly distributed in the vicinity of Xintian and Quwo, the capital of Jin. Such as the tombs of Houmaqiao Village, the Jin, Wei, Qin, as well as the Xinjiang Liuquan Jin Tomb and the Wenxi Qiujiazhuang Mingtiaogang Jin Tomb. In addition, there are the Jin tomb of Niujiapo in Changzhi County, the eldest son of Changzhi in the southeast of Jin, and the early Jin tomb of the Warring States period in Gejiazhuang, Xingtai in southern Hebei.
There is a controversy about the ethnic affiliation of the tombs in the Changzhi watershed in Shanxi, and there are also contradictions between the archaeological briefings and the archaeological reports, which deserve further discussion. Because the cemetery of the Changzhi watershed in Shanxi Province was excavated in the early days of the founding of the People's Republic of China along with the construction of the city, there were irregularities and omissions in the process of compiling archaeological briefings and material information, so that the unearthed cultural relics were mixed together and scattered in various museums, which brought a lot of trouble to researchers and the compilers of archaeological reports half a century later. In addition, the briefing did not release all the information on the number of cultural relics, and the image of the rectangular copper plate gold misaligned moire copper button was missing, which is a pity. The author discusses the tomb specifications and the grade of gold and silver artifacts from the perspective of the watershed tomb group and the Zhaoqing tomb in Taiyuan, Shanxi, and compares the artifact group unearthed from the Shangma cemetery in Xintian, Jindu, Yuncheng, Shanxi, combined with the hand-me-down documents and historical geography, and believes that the Changzhi watershed cemetery in Shanxi Province is the tomb of the Jin people after the Jin Dynasty, and the person buried should be after the Jin people.
Shanxi Changzhi City is located in Changzhi City in the southeast of Shanxi Province, located in the southeast of Shanxi at the western foot of Taihang Mountain, in the Lu'an Basin, since ancient times it has been an important traffic artery leading to the Loess Plateau of Shanxi in the Central Plains, and is the staggered area of the Warring States "Shangdang" and the forces of Han, Zhao and Wei. From the 23rd year of King Weilie of Zhou (403 BC) to the 45th year of King Zhaoxiang of Qin (262 BC), the land belonged to the forces of Han, Zhao and Jin, and was later merged into Shangdang County of Korea, and was once set up as "Bedu". In 262 BC, Qin invaded Han Shangdang, and blocked the communication between the Henan and Hedong territories of Korea by taking down the Shangdang. Without Shangdang, South Korea's Hadong became an enclave and was difficult to preserve. Han Shang Dang Shou Feng Ting (?) —260 BC) surrendered to Zhao on the grounds that "Han was far away and close to Zhao", and Han could not defend the party, which led to a series of famous battles and allusions such as the famous "Battle of Changping" and "Stealing Talismans to Save Zhao" in history.
The terrace outside the northern city wall of Changzhi City is called the "watershed", which is about 10 meters above the ground, about 2 kilometers from east to west, 0.75 kilometers from north to south, with an area of more than 300,000 square meters. Before the founding of New China, the ancient tombs were stacked, because of the proximity to the city wall and the dense population was not conducive to tomb robbery, so most of the tombs were not excavated, basically the vertical pit soil pit wooden coffin tomb, and a few were earthen pit tombs. The design of the tomb uses the method of stone theft prevention, but due to the decay of the wooden coffin and bracket in the tomb, the tomb collapses, so that many cultural relics are smashed and deformed or displaced. The tombs are large, medium and small, and the left and right are mostly large tombs, and the golden wrong bronzes are more among them, and many small and medium-sized tombs have unearthed the golden wrong with hooks and the pottery ritual vessels such as Ding, beans, and pots that hold meat, rice, and wine, but unfortunately they have not been sorted out in time, and it is a pity that they are missing.
Figure 9-1 Distribution of tombs in the Changzhi watershed of Shanxi Province and unearthed gold and silver tombs The author made a map
After several excavations, the tombs of the Changzhi watershed in Shanxi can be divided into four stages. There were two larger ones, in 1955 and 1959. The first phase of excavation, from 1953 to 1955, was carried out to coincide with the capital construction at that time. From the winter of 1954 to the turn of the spring and summer of 1955, two excavations were carried out in the western section of the watershed platform, and a total of 12 tombs were excavated, numbered M6-M16. [76] Among them, M13, M16, and M17 have five baht coins, which should belong to the Han tombs after the middle of the Western Han Dynasty, and the rest are all Warring States tombs, but there are also differences between early and late. The tombs are densely distributed, all of them are buried with straight limbs on their backs, and a large number of gold artifacts have been unearthed. Among them, M12 unearthed two pieces of gold wrong bronze, M14 unearthed 12 pieces of gold wrong long collar bronze. [77] The second stage was from October 1959 to the end of 1961,[78] of which M35 was a tomb in the middle of the Warring States period. The third stage was from March 1963 to the end of 1965, in which M126, which was excavated and cleaned in May 1965, unearthed a large number of gold artifacts. [79] The fourth stage, from April 1966 to the end of 1973, mainly found tombs M269 and M270 in the middle of the Spring and Autumn Period, but no Jinjiao artifacts were unearthed.
In the second excavation of the Warring States Tomb in 1955 in the Changzhi Watershed of Shanxi Province, the gold and silver artifacts in the tomb were all unearthed in large tombs, but not found in medium-sized and small tombs, which shows that their use and the status of their owners are relatively high. [80] Combined with the two excavations, it can be seen that M26 (none) and M14 (1955), M25 and M12 (1955), and M35 and M36 (none) are all large tombs juxtaposed. The authors of the report, Bian Chengxiu et al., keenly observed that it may be a tomb where the husband and wife were juxtaposed[81], and this juxtaposition was confirmed by the excavation of the tomb of the king of Zhongshan (M1) and the tomb of the mourning queen (M2) excavated between 1974 and 1978, as well as the bronze plate of the gold and silver error Zhaoyu map. Among them, M26 and M36 have no weapons or gold and silver artifacts, and it is speculated that they may be female tomb owners (shown in red) (Figure 9-2). Although there are no unearthed weapons in M25, there is one piece of gold and silver with a wrong belt hook unearthed, and it seems that it can be worn by both men and women as a royal weapon. In M35 and M14 (1955), there are bronze arrowheads for archery, M53 has unearthed two bronze swords, and M12 (1955) has unearthed two pieces of bronze for wine utensils, and it is very likely that the male tomb owner was buried (shown in blue) from the consideration of the burial of wine vessels, weapons, horse harnesses, and hunting arrows) (Fig. 9-2). It can be inferred from the presence or absence of gold and silver errors that male tombs are more gold and silver artifacts than female tombs, which is distinguished by the function of using artifacts related to gender, not that male rank and status are higher than women, the Three Jin Dynasty and Zhongshan Kingdom and Qin and Jin, there are a large number of records of intermarriage with Rong Di in the early days, and women have a higher status. From the juxtaposition of the Zhongshan Wangcuo and the Mourning Queen's Tomb and the size of the tomb and the size of the tomb, it is known that at that time, there was no such respectful relationship in the Western Han Dynasty Emperor's Mausoleum, which was respected by the east, the male in the west, the female in the east, and the male right and the female left.
Fig.9-2 General plan of the distribution of tombs in the Eastern Zhou cemetery in the West Changzhi Watershed (blue male, red female, yellow M126) The author made a map
At present, there is controversy in the academic circles about the family affiliation of the Eastern Zhou cemetery in the Changzhi watershed of Shanxi. The excavation briefing believes that it is a Han tomb, while the excavation report believes that it is a Zhao tomb, and divides the watershed Eastern Zhou tomb into five periods, the first period is the tomb of the middle Spring and Autumn Period (M269, M270), the second period is the early Warring States period (M12, M14, M25, M26, M53, M84, M126), and the third period is the middle of the Warring States period (M35), and believes that the Warring States period was a local type of Jin culture, and the Warring States period was reduced to a typical Zhao culture. 82〕。 The archaeological bulletins published over the years and the "Tombs in the Central Plains during the Eastern Zhou Dynasty" in the "Chinese Archaeology: Two Weeks" compiled in December 2004 all believe that the Changzhi watershed cemetery is a Korean aristocratic cemetery. [83] Li Xiating and Li Jiansheng of the Shanxi Provincial Institute of Archaeology also believe that the watershed cemetery is a continuous and uninterrupted burial ground of the Han clan of the Three Jin Dynasty.
Although the kingdom of Zhao and Korea respectively included the land of the watershed into their sphere of influence, whether the family that died and died and the tomb group where they were buried belonged to the Han tomb or the tomb of Zhao? The author believes that there is a third possibility, that is, the tomb of Jin. Judging from the historical documents handed down, in the twenty-third year of King Weilie of Zhou (403 BC), the three doctors of Wei, Zhao and Han were named princes by Zhou Tianzi, although the Jin Kingdom was divided, it did not immediately perish, but survived for another 54 years (403-349 BC). In the seventh year of King Lie of Zhou (369 BC), Han and Zhao rode the Marquis of Wei Wu, and when Wei Fu and Wei Huan were vying for the throne, only the Jin Huan Gong of Jiangdu and Quwo Eryi moved to Zhao Zhi Tunliu (now the Tunliu District in the northwest of Changzhi City, Shanxi). In the eighth year of King Xian of Zhou (361 BC), King Hui of Wei attacked Zhao, took the skin, and exchanged Yuci, Yangyi, and Fanyang for the Hyun clan and Zhongmu of Zhao, and moved east from Anyi to Daliang in the same year, so the Shangdang Basin in the southeast of Shanxi, where Changzhi is located, is the meeting place of the three forces of Zhao, Wei and Han, so there is a dispute between Han and Zhao. In the tenth year of King Xian of Zhou (359 BC), Han and Zhao moved to Duke Huan of Jin to Duanshi of Han (now northeast of Qinshui County, Jincheng City, Shanxi), and moved to Duanshi (359-349 BC) for a total of ten years. In the following year, Han Fa Zhao took Nirvana and the eldest son (the eldest son county in the southwest of Changzhi City). Until the twentieth year of King Xian of Zhou (349 BC), Han and Zhao seized the Duan clan of Jin, Han (Ji) Xi killed Jing Gong of Jin, and the Jin Kingdom was completely destroyed. And the "Historical Records" "Volume 39 Jin Family Nine": "In the second year of Jinggong (376 BC), Marquis Wu of Wei, Marquis of Han Ai, and Marquis Jing of Zhao destroyed the Jin Dynasty and divided the land. Jing Gong moved to his family, and Jin never worshipped. [84] Also, the "Historical Records" Volume 43 Zhao Shijia Thirteenth Record" records: "(Zhao) in the first year of the Marquis of Su (349 BC), he seized the Duan clan of the Jin Dynasty, and migrated to (the Jin Jun) to stay in the tun. [85] It can be seen that although the Jin kingdom was destroyed, abolished as a concubine, and the family was moved, the wealth and status still existed, and then they were resettled back to the tunliu where they had lived for ten years (369-359 BC). In the twenty-first year of King Xian of Zhou (348 BC), Shangdang County was set up in Korea, and the place where the Jin people lived and stayed was within the scope of Shangdang County established by Han later. There are two periods, namely the ten years of moving from Jiangdu to Tunliu (369-359 BC) and the 349 BC and after the migration from Duanshi. Although the historical data lacks the power families of Han and Zhao in the early Warring States period in the Shangdang Basin, it does record that the Jin people were relocated and resettled twice. To Hanxing, this place is still the place where the Jin Gong clan lives. "Hanshu Geographical Chronicles" contains: "Taiyuan, Shangdang and many descendants of the Jin Dynasty, with deceit and power, boasting of fame, revenge is too straightforward, marrying and sending death extravagantly. Hanxing, known as the difficult to govern, often chooses a strict general, or allows the killing to be powerful. The father and brother were executed, and the children were angry, so much so that they accused Shi of 2,000 stones, or reported the killing of his relatives. [86] The descendants of the Jin clan of the Shangdang were difficult to govern, and only when they had a considerable number and power could they compete with the officials appointed by the central government.
Judging from the gold and silver artifacts unearthed in the watershed, the shape and ornamentation are consistent with the Jin State Gongguan system, and it is very likely that they were brought to and buried here with the forced migration of the Jin clan after the fall of the Jin Kingdom, and have an earlier style tendency in the late Spring and Autumn period. In addition to the belt hook for shooting and the golden bean mentioned in this article, there are also boats unearthed.
Boat is also called. As for the classification and function of the boat, it is probably not a measuring vessel [87] as Zhu Fenghan said, but a drinking vessel. The bronze boat from the ancient city of Qi Linzi has a transparent partition, which should be used for filtering wine. [88] Three pieces have been excavated from the watershed tomb group, namely the bronze boat with the oval leaf pattern of the gold error [89] (M12:15) (Fig. 10-1) and the bronze boat with the oval pattern of the gold error [90] (M12:?) excavated from tomb No. 12. ）。 A bronze boat with a dragon pattern [91] (M126:240) excavated from Tomb 126 (Fig. 10-2). In addition, in the British Museum's overseas collection, there is a bronze boat with a dragon pattern (1936, 1118.41) (fig. 10-3), which is decorated with a typical Houma dragon pattern. Among the overseas collections, the Mishu Museum in Japan has two pairs of turquoise-inlaid bronze boats with bird-shaped feet (fig. 10-4) (fig. 10-4), which were acquired from Eskena in London, England, with four bird's feet supported by their oval hoops. Judging from the ornamentation of these boats, there is a process of gradual simplification, from the Kui dragon pattern cast in the Spring and Autumn Jin Dynasty, gradually becoming a more abstract variant of the Kui dragon pattern, and then to the final such as the leaf pattern, which is the process of gradual simplification and flattening of the pattern. It can be said that it has a common origin with the four bronze beans with inlaid rough patterns [92] (M251: M576, M574, M575, M577) (Fig. 8-2) excavated from the tomb of Zhao Qing in Taiyuan, Shanxi Province, that is, the tradition of Jin bronzes. And all of them use high-grade gold wrong technology, and the tombs of Zhao are all cast patterns and are not infilled. The authors of the report also found that this ornament was common in the late Spring and Autumn Period and the early Warring States period, and believed that these four bronze beans with lids were specially used for burial, and that the "wrong gold" process was not completed, and only the thick stripe pattern was filled with black-brown paint. [93] The authors of the report are keenly observing, but the author does not agree that they were specially made as burial vessels, rather as practical vessels, and that the bronze beans with such shapes and ornaments are currently golden, and there are no silver wrongs. As for the black-brown paint embedded in it, it is speculated that it may be lacquer. In terms of material, the value of gold and lacquer is obviously different, and the process and labor cost condensed on the surface of the utensils are also different, obviously the batch of rough bronze beans or boats in the watershed cemetery is much higher than the specification grade of Zhao Qing's tomb, and the contrast is that the grade of the watershed cemetery is far lower than that of Zhao Qing's tomb, whether it is the number of burial bronze ritual vessels, or the scale of the chariot and horse pit is incomparable, this contradiction and conflict, when related to the ups and downs of the old and new nobles during the Spring and Autumn Period and the Warring States Period, many bronzes have also changed from the vessels of the princes to the vessels of doctors, This is especially evident in the hometowns of Zhao, Wei, and Han Sanjin.
Fig.10-1 Bronze boat with oval leaf pattern (M12:15) Unearthed from Tomb No. 12 of the Changzhi Watershed in Shanxi Province Collection of Shanxi Museum
Fig.10-2 Bronze boat with a pattern of gold error (M126:240) Unearthed from Tomb No. 126 of the Changzhi Watershed in Shanxi Province, collected by the National Museum of China
Figure 10-3 Bronze boat with dragon pattern (1936, 1118.41) Collection of the British Museum, United Kingdom
Figure 10-4 Colored stone inlaid with gold staggered leaf pattern bird-shaped foot bronze boat in the collection of the Mishu Museum, Japan
Therefore, the author believes that the high-grade gold and silver artifacts buried in the watershed tombs are not produced locally, but brought from the Jin capital. The period of the watershed cemetery is roughly from the early to early middle Warring States period, which is also consistent with the era when the Jin people migrated to Tunliu twice before the fall of the Jin State and continued to live in Tunliu after that. In addition, the area is also very similar, and the current Tunliu County is not the Tunliu City at that time, but is further south (Figure 1), that is, closer to Changzhi, so the watershed tombs outside Changzhi City are likely to be the tombs of the descendants of the Jin people. The tomb group of the eldest son Niujiapo in the southwest of the watershed cemetery in the north of Changzhi City is the tomb of the late Spring and Autumn Jin Dynasty, and there are two pieces of bronze remnant belt hook [94] (M7:44, 45) of the golden short pipa-shaped tail button type animal pattern with two pieces of bronze remnant belt hook [94] (M7:44, 45) unearthed from the tomb of Zhaoqing in Taiyuan, Shanxi. After the long rule, the land controlled by Han was only unearthed with a hook on the gold mistake, and there was no bronze ritual vessel for the gold mistake, or it should be the doctor who governed this place.
The author found that the watershed tombs unearthed all gold wrong vessels, and there was no silver wrong ware, which reflects that in the early Warring States period, silver may not have been popular as a bronze or iron surface decoration material, at least in many early Warring States tombs there are no silver mistakes. In addition, the phenomenon of chariots and horses burial also appeared in the M126 tomb, which is similar to the two early Warring States tombs (M12 and M14) found in the same place in 1955. From the large number of chariots, horses, and weapons unearthed, it can be assumed that the owner of the tomb must also be a man. The bronze chariots and horses scattered in the coffin room inherited many styles from the late Spring and Autumn period, such as the circular hollow Danglu (M126:513, 357) [96], but there is no appearance of gold and silver chariots and horses, nor weapons with gold inscriptions, which is consistent with the situation of Zhao Qing's tomb. Perhaps in the Xintian Gongguan workshop, the capital of the Jin Kingdom at that time, the production was more gold and silver wrong containers and clothing vessels, among which the golden wrong bronze boat (), the golden wrong bronze bean, the golden wrong bronze hook unearthed more, more than the expression of the pattern on the utensils, the pattern comes from the simplification of the bronze pattern that prevailed in the late Spring and Autumn Period, and the original rich concave and convex feeling, with a bas-relief effect of the mold pattern is simplified and flattened, such as the variant of the pattern that gradually evolved from the dragon pattern. The diagonal hook pattern is prevalent in the bipartite continuous pattern, and its band-like distribution decoration is closely related to the method of stamping and decorating that has emerged since the middle of the Spring and Autumn Period. The appearance of these artifacts all points to the bronze workshop from the Jin Kingdom, or is related to the migration and residence of the Jin State Office. The burial grade of a coffin and a coffin is not high and the grade of the burial goods is in stark contrast, and the burial utensils are mostly in the style tradition of the late Spring and Autumn period. Judging from the extension of the territory of the historical map, although this place is the sphere of influence of Han and Zhao, it is not too far from Wei, so it is the front line of the border of the three kingdoms, the important place of the three Jin Dynasty transportation, and the historical books do not record the wealthy families of Han, Zhao and Wei who lived here for generations, and it is inferred that this place is very likely to be the tomb group of the descendants of the Jin Kingdom who were relocated here for the second time. Most of the burial utensils of the watershed tomb group are a coffin and a coffin, the burial style is similar to the head in the north and the foot in the south, and the utensils also have similar homogeneity, and the prosperous period is relatively concentrated in the early Warring States period, and it began to fall silent in the early middle period. These all point to the fact that the watershed tomb group may be a Jin tomb rather than a Han tomb and a Zhao tomb.
brief summary
While inheriting the bronze casting workshop and gongguan technology of the Jin Dynasty in Xintian, Wei carried out further expansion and innovation, pushing new technologies such as coil wire filling and gold and silver sheet inlay to the first peak of gold and silver error, and took the lead in changing the law to become stronger, becoming the first hegemon in the early Warring States period. The Gongguan of Anyi and Daliang in the Wei capital have a complete form and formed a unique "Wei style" gold and silver mistake. The high-level tombs of Wei located in the Hanoi area were at the turn of the Spring and Autumn Period and the Warring States Period, and the possibility that their clans belonged to the Fan family and the Zhi family could not be ruled out; It had a profound influence on Zhao, Han and Zhongshan, and created the Wei style of gold and silver bronzes, which ran parallel to the Chu style and still existed in the Qin and Han dynasties. The surname Ji Zhongshan was profoundly influenced by Wei, from the gold and silver mischievous domain unearthed from the tomb of Wang Cuo and the approximate new inscription of the bronze inscription of the Zhongshan square pot, to the decorative expression of the gold and silver misalignment line surface of Wei and Zhongshan, all of which are consistent. The two countries have a unique dark pattern of black pottery with burial, which is a pottery ware that imitates gold and silver errors in Wei and Zhongshan. At least in the excavation of gold and silver artifacts, there is a convergence between Wei and Zhongshan, and it is very likely that these artifacts in the Zhongshan tombs were produced by Wei.
During the Warring States Period, there were relatively few high-grade tombs of gold and silver bronzes unearthed in Han and Zhao, and the age was either early or late, some information had not been fully published, and the degree of exquisite artifacts was not as good as that of Wei. The three families were divided into Jin and the Jin Jun and Jin clans still existed, and they were placed three times to move their capitals back and forth between the eldest son and the two places. The burial concentration of the cemetery in the watershed of Changzhi in the southeast of Shanxi, the time span is concentrated in the early Warring States period, whether it is a large tomb or a small and medium-sized tomb, most of them are a coffin and a coffin, reflecting the low political status, and the unearthed are all gold wrong vessels, and there is no silver wrong, but the unearthed utensils are comparable to the tomb of Zhao Qing in Jinsheng Village, Taiyuan, Shanxi, and even slightly higher, which can be seen from the choice of the material of the filling process of the bean of the seasoning. The lower size of the burials contrasts sharply with the oversized burial goods. Therefore, the author agrees with the periodization of the archaeological report, but there are differences in ethnic genera. It is further believed that the tombs of the early Warring States period in the Changzhi watershed are neither Han tombs nor Zhao tombs, but the tombs of the descendants of the Jin people who migrated here, which belong to Zhao and Han, and the tombs are Jin.
Exegesis:
[1] [2] [4] [20] [53] [54] [58] [85] [Eastern Han Dynasty] Ban Gu, [Tang] Yan Shigu Note, Zhonghua Book Company Editorial Department Edited "Hanshu" Volume 28 Geography 8 Below", Zhonghua Book Company, 1962 edition, pp. 1646-1647, 1650-1651, 1648, 1655, 1651, 1654, 1655, 1656.
[3] [Southern Song Dynasty] Wang Yinglin, Wang Jingzhou and Jiang Heyou, "Poetry and Geography Examination", "Volume 6 Wei South Pillow River Meander, North Fenshui", Zhonghua Book Company, 2011 edition, p. 362.
[5] Zhang Xishun, editor-in-chief, Treasures and Bronzes in Shanxi Cultural Relics Museum, Shanxi People's Publishing House, 1994, p. 109.
[6] Yang Fudou, "Investigation and Excavation of the Eastern Zhou Cemetery in Wanrong Miaoqian Village, Shanxi", Archaeology, No. 5, 1963.
[7] Chang Wenzhai, "A Batch of Bronze Artifacts Found in Xuejiaya, Yongji County, Shanxi", Cultural Relics Reference, No. 8, 1955.
[8] Zhang Maorong and Zhang Xiaobing, "Shaanxi Luonan Jiyuan No. 1 Warring States Tomb", Cultural Relics, No. 9, 2001.
[9] Henan Provincial Museum, "Several Warring States Bronzes Unearthed in Shangcunling, Sanmenxia City, Henan", Cultural Relics, No. 3, 1976.
[10] Institute of Archaeology, Chinese Academy of Social Sciences, "Collection of Field Archaeological Reports in China, Special Issue of Archaeology No. 42, Qin and Han Tombs of the Eastern Zhou Dynasty in Shaanxi County (Yellow River Reservoir Archaeological Report No. 5)", Science Press, 1994.
[11] [12] [13] Institute of Archaeology, Chinese Academy of Social Sciences, "China Field Archaeology Report Collection No. 1: Huixian Excavation Report", Science Press, 1956, pp. 118-119, p. 145.
[14] Li Xueqin, Eastern Zhou Dynasty and Qin Dynasty Civilization (Revised Edition), Shanghai People's Publishing House, 2016, p. 54.
[15] [16] He Jianzhang's Note, "Annotations on Warring States Policy", Zhonghua Book Company, 1990 edition, p. 1332, p. 909.
[17] Qiu Xigui, New Exploration of Ancient Literature and History, Jiangsu Ancient Books Publishing House, 1992, pp. 92-93.
[18] Guo Baojun, "Archaeological Special Issue No. 11: Shanbiao Town and Liuli Pavilion", Science Press, 1959.
[19] Wang Zhen, "A New Theory on the Age and Nature of the Liulige Cemetery in Huixian County", Archaeology, No. 11, 2019.
[21] [Song] Written by Lü Benzhong, edited by Han Youshan, The Complete Works of Lü Benzhong, Spring and Autumn Collection Explanation, Volume 27 Dinggong Four Years, Zhonghua Book Company, 2019 edition, p. 839.
[22] "Historical Records", Volume 43, Zhao Shijia 13th, Zhonghua Book Company, 1982 edition, p. 1797.
[23] Children's Book Industry, Tong Jiaoying's compilation of "Spring and Autumn Historical Collection", Zhonghua Book Company, 2008 edition, p. 267.
[24] [Northern Wei Dynasty] Li Daoyuan, Chen Qiaoyi's proofreading of the Shuijing Note, "Volume 11 Huangshui", Zhonghua Book Company, 2007 edition, p. 286.
[25] [31] Hebei Provincial Institute of Cultural Relics, "Lingshou City of Zhongshan State in the Warring States Period - Archaeological Excavation Report from 1975 to 1993", Cultural Relics Publishing House, 2005, pp. 118, 120, 370-383, p. 5.
[26] There are two pieces of Liang Sikou Ding in the 27th year of King Wei Hui in the middle of the Warring States Period (343 BC), one in the Shanghai Museum and the other in the Lushun Museum. The former is large and is the old collection of Pan Zuyin; The latter is small, and it was originally the old collection of Li Zhangyu, Wang Xidi, and Wu Dayi.
[27] Institute of Archaeology, Chinese Academy of Social Sciences, ed., Yin Zhou Jinwen Collection (Revised and Supplemented Edition, Volume 2), Zhonghua Book Company, 2007, pp. 1319, 1658.
[28] Rong Geng, ed., Jin Wen Bian, Zhonghua Book Company, 1985 edition, p. 911.
[29] Xue Huiyin, "The Lineage of the King of Zhongshan", Journal of the Palace Museum, No. 2, 1979.
[30] Historical Records, Vol. 44, Wei Shijia Fourteenth, p. 1838.
[32] Carved on a large piece of river pebbles, 90 centimeters long, 50 centimeters wide, 40 centimeters thick, there are two lines of 19 characters on the inscription, the font is the late Warring States period of the Sanjin Dynasty font, the words say: "The supervisor of the ministers can ride, guard the hill and its old generals, and dare to tell the sages." The author speculates that it may be that after the death of Zhongshan, the old ministers of Zhongshan will be erected to protect the mountains and mausoleums of the homeland.
[33] Pingyuan Province, the provincial capital Xinxiang, was established in the early days of the founding of New China, with jurisdiction over the northern region of Henan north of the Yellow River and the southwestern part of Shandong.
(34) Hebei Provincial Cultural Relics Administration, "Excavation Report of Zhongshan State Tombs in the Warring States Period in Pingshan County, Hebei Province", Cultural Relics, No. 1, 1979; Hebei Provincial Institute of Cultural Relics, ed., "Cuo Tomb - The Tomb of the King of Zhongshan Kingdom in the Warring States Period", Cultural Relics Publishing House, 1996, pp. 104-110.
[35] [36] Institute of Archaeology, Chinese Academy of Social Sciences, "China Field Archaeology Report Collection No. 1: Huixian Excavation Report", Science Press, 1956, (Fig. 90, 3; Plate 49, 11), p. 76, 77, (Plate Lu Lu, 3; Fig. 110, 3), p. 93.
[37] [38] Institute of Archaeology, Chinese Academy of Social Sciences, "China Field Archaeology Report Collection No. 1: Huixian Excavation Report", Science Press, 1956, (Plate 51, 3; Figure 95, 1), p. 79, (M1:168: Plate 52, 2; Figure 97, 2; M1:176: Plate 52, 1); Lu Zhangshen, ed., Ancient Chinese Bronze Art, China Social Sciences Press, 2011, pp. 147-148.
[39] Institute of Archaeology, Chinese Academy of Social Sciences, "China Field Archaeology Report Collection No. 1: Huixian Excavation Report", Science Press, 1956, p. 78; Jin Weinuo, editor-in-chief of Sun Hua, The Complete Works of Chinese Art: Bronzes (Vol. 3), Huangshan Publishing House, 2010, p. 692; The Editorial Committee of the Complete Works of Chinese Art, ed., The Complete Works of Chinese Art 23, "Sculpture 1: Primitive Society to the Warring States", People's Fine Arts Publishing House, 2006, p. 50 (Fig. 160); Edited by the Editorial Committee of the Complete Works of Chinese Art, edited by Li Xueqin, The Complete Works of Chinese Art 40, Arts and Crafts Edition 5: Bronze (II), People's Fine Arts Publishing House, 1986, p. 44 (Fig. 122); The Editorial Committee of the Complete Works of Chinese Bronzes, ed., The Complete Works of Chinese Art Classification, The Complete Works of Chinese Bronzes 8, Dong Zhou 2, Cultural Relics Publishing House, 1995, p. 54.
[40] Jin Weinuo, editor-in-chief of Sun Hua, The Complete Works of Chinese Art: Bronzes (Volume 3), Huangshan Publishing House, 2010, p. 709; The Editorial Committee of the Complete Works of Chinese Art, ed., The Complete Works of Chinese Art 23, Sculpture Edition 1: Primitive Society to the Warring States Period, People's Fine Arts Publishing House, 2006, p. 51; Wang Sufang and Shi Yongshi, eds., Yanzhao Culture Series: Exploration of Zhongshan Kingdom, Hebei Education Press, 2002, p. 84; The Editorial Committee of the Complete Works of Chinese Bronzes, ed., The Complete Works of Chinese Art, The Complete Works of Chinese Bronzes 9, Dong Zhou 3, Cultural Relics Publishing House, 1997, p. 60; Hebei Provincial Institute of Cultural Relics, ed., The Tomb of the King of Zhongshan in the Warring States Period, Cultural Relics Publishing House, 1996, (Fig. 113, 181, 5, 6; color plate 34, 1; plate 198), pp. 261, 264-265; Cultural Relics Publishing House, ed., The Beauty of Chinese Archaeological Relics (6) - Treasures of the Xianyu Mausoleum of the Warring States Period - Tomb of King Zhongshan in Pingshan, Hebei Province, Cultural Relics Publishing House, 1994, p. 46; Edited by the Editorial Committee of the Complete Works of Chinese Art, edited by Li Xueqin, The Complete Works of Chinese Art 40, "Arts and Crafts Edition 5", People's Fine Arts Publishing House, 1986, (Fig. 107), p. 39.
[41] [Qing] Hao Yixing, Wu Qingfeng, Zhang Jinxia, Cong Peiqing, Wang Qihe, Dian Xiao, "Er Ya Yi Shu", "The Next Six Shi Beast Brother Eighteen: Yu Genus", Qilu Publishing House, 2010 edition, p. 3751.
[42] [Eastern Han Dynasty] Zheng Xuan's Note, "Notes on Rites" by Wang Yidianxiao, "Volume 7, Liyun 9", Zhonghua Book Company, 2021 edition, p. 304.
[43] Jin Weinuo, editor-in-chief of Sun Hua, The Complete Works of Chinese Art: Bronzes (Volume 3), Huangshan Publishing House, 2010, p. 708; The Editorial Committee of the Complete Works of Chinese Art, ed., The Complete Works of Chinese Art 23, "Sculpture 1: Primitive Society to the Warring States Period", People's Fine Arts Publishing House, 2006, p. 52 (Fig. 165); The Editorial Committee of the Complete Works of Chinese Bronzes, ed., The Complete Works of Chinese Art Classification, The Complete Works of Chinese Bronzes 9, Dong Zhou 3, Cultural Relics Publishing House, 1997, p. 60 (Fig. 172); Hebei Provincial Institute of Cultural Relics, ed., "Cuo Tomb - The Tomb of the King of Zhongshan Kingdom in the Warring States Period", Cultural Relics Publishing House, 1996 edition, (Fig. 112, A. B. C, 181, 1, 2; color plates 32, 33; Plate 197, 1, 2), p. 261; The Beauty of Chinese Archaeological Relics (6) - Treasures of the Xianyu Mausoleum of the Warring States Period - The Tomb of King Zhongshan in Pingshan, Hebei Province, edited by Cultural Relics Publishing House, 1994, p. 43; Edited by the Editorial Committee of the Complete Works of Chinese Art, edited by Li Xueqin, The Complete Works of Chinese Art 40, Arts and Crafts Edition 5: Bronze (II), People's Fine Arts Publishing House, 1986, (Figs. 105, 106), p. 38.
[44] The Editorial Committee of the Complete Works of Chinese Art, ed., The Complete Works of Chinese Art 23, "Sculpture 1: Primitive Society to the Warring States", People's Fine Arts Publishing House, 2006, p. 51; The Editorial Committee of the Complete Works of Chinese Bronzes, ed., The Complete Works of Chinese Art Classification, The Complete Works of Chinese Bronzes 9, Dong Zhou 3, Cultural Relics Publishing House, 1997, p. 61 (Fig. 174); Hebei Provincial Institute of Cultural Relics, ed., The Tomb of the King of Zhongshan in the Warring States Period, Cultural Relics Publishing House, 1996, (Fig. 114A, B, 181, 3, 4; color 34, 2; illustrated 199), pp. 264, 266-267.
[45] Wang Sufang and Shi Yongshi, eds., Yanzhao Culture Series: Exploration of Zhongshan Kingdom, Hebei Education Publishing House, 2002, p. 84; The Editorial Committee of the Complete Works of Chinese Bronzes, ed., The Complete Works of Chinese Art, The Complete Works of Chinese Bronzes 9, Dong Zhou 3, Cultural Relics Publishing House, 1997, p. 60; Hebei Provincial Institute of Cultural Relics, ed., The Tomb of the King of Zhongshan in the Warring States Period, Cultural Relics Publishing House, 1996, (Fig. 113, 181, 5, 6; color plate 34, 1; plate 198), pp. 261, 264-265; Cultural Relics Publishing House, ed., The Beauty of Chinese Archaeological Relics (6) - Treasures of the Xianyu Mausoleum of the Warring States Period - Tomb of King Zhongshan in Pingshan, Hebei Province, Cultural Relics Publishing House, 1994, p. 46; Edited by the Editorial Committee of the Complete Works of Chinese Art, edited by Li Xueqin, The Complete Works of Chinese Art 40, Arts and Crafts Edition 5: Bronze (II), People's Fine Arts Publishing House, 1986, p. 39 (Fig. 107).
[46] State Administration of Cultural Heritage, China Association for Science and Technology, "Miracle Heavenly Crafts - Exhibition of Ancient Chinese Inventions and Cultural Relics", Cultural Relics Publishing House, 2008, p. 160; The Editorial Committee of the Complete Works of Chinese Art, ed., The Complete Works of Chinese Art 23, Sculpture Edition 1: Primitive Society to the Warring States Period, People's Fine Arts Publishing House, 2006, p. 53; The Editorial Committee of the Complete Works of Chinese Bronzes, ed., The Complete Works of Chinese Art Classification, The Complete Works of Chinese Bronzes 9, Dong Zhou 3, Cultural Relics Publishing House, 1997, p. 58 (Fig. 165-167); Hebei Provincial Institute of Cultural Relics, ed., "Cuo Tomb - The Tomb of the King of Zhongshan in the Warring States Period", Cultural Relics Publishing House, 1996 edition (Fig. 49, A. B. C; Color version 14; Plates 91, 92) pp. 137-141; Cultural Relics Publishing House, ed., The Beauty of Chinese Archaeological Relics (6) and Treasures of the Tombs of Xianyu in the Warring States Period - The Tomb of King Zhongshan in Pingshan, Hebei Province, Cultural Relics Publishing House, 1994, pp. 51-56; The Complete Works of Chinese Art 40, edited by Li Xueqin, edited by the Editorial Committee of the Complete Works of Chinese Art, "Arts and Crafts 5: Bronze (II)", People's Fine Arts Publishing House, 1986, p. 35.
[47] Hebei Museum, ed., "The Heroic Wind of the Warring States - Ancient Zhongshan Kingdom", Cultural Relics Publishing House, 2014, pp. 196-197; Jin Weinuo, editor-in-chief of Sun Hua, The Complete Works of Chinese Art: Bronzes (Vol. 3), Huangshan Publishing House, 2010, p. 708; The Editorial Committee of the Complete Works of Chinese Art, ed., The Complete Works of Chinese Art 23, "Sculpture Edition 1: Primitive Society to the Warring States", People's Fine Arts Publishing House, 2nd edition, 2006, p. 52; The Editorial Committee of the Complete Works of Chinese Bronzes, ed., The Complete Works of Chinese Art Classification: The Complete Works of Chinese Bronzes 9, Dong Zhou 3, Cultural Relics Publishing House, 1997, p. 59 (Fig. 170); Hebei Provincial Institute of Cultural Relics, ed., "Cuo Tomb - The Tomb of the King of Zhongshan in the Warring States Period", Cultural Relics Publishing House, 1996 edition, (Fig. 50; Plate 15, 1; plate 93) pp. 138-139, 142; Cultural Relics Publishing House, ed., "The Beauty of Chinese Archaeological Relics (6) - Treasures of the Mausoleum of Xianyu in the Warring States Period - Tomb of King Zhongshan in Pingshan, Hebei Province", Cultural Relics Publishing House, 1994, p. 47; Edited by the Editorial Committee of the Complete Works of Chinese Art, edited by Li Xueqin, The Complete Works of Chinese Art 40, Arts and Crafts Edition 5: Bronzes (II), People's Fine Arts Publishing House, 1986, p. 39 (Fig. 108).
[48] State Administration of Cultural Heritage, China Association for Science and Technology, ed., Miracle Heavenly Crafts - Exhibition of Ancient Chinese Inventions and Creations, Cultural Relics Publishing House, 2008, p. 159; Wang Sufang and Shi Yongshi, eds., Yanzhao Culture Series: Exploration of Zhongshan Kingdom, Hebei Education Press, 2002, p. 69; Hebei Provincial Institute of Cultural Relics, "Cuo Tomb - The Tomb of the King of Zhongshan Kingdom in the Warring States Period", Cultural Relics Publishing House, 1996 edition, (DK:35: Fig. 171, 3, 4; color plate 16, 1; plate 94, 1. DK:36: Fig. 171, 5, 6; plate 94, 2) pp. 139-141; The Beauty of Chinese Archaeological Relics (6) - Treasures of the Xianyu Mausoleum of the Warring States Period - The Tomb of King Zhongshan in Pingshan, Hebei Province, edited by Cultural Relics Publishing House, 1994, p. 4.
[49] Jin Weinuo, editor-in-chief of Sun Hua, The Complete Works of Chinese Art: Bronzes (Volume 3), Huangshan Publishing House, 2010, p. 708; State Administration of Cultural Heritage, China Association for Science and Technology, "Miracle Heavenly Crafts - Exhibition of Ancient Chinese Inventions and Creations", Cultural Relics Publishing House, 2008, p. 159; Wang Sufang and Shi Yongshi, eds., Yanzhao Culture Series: Exploration of Zhongshan Kingdom, Hebei Education Press, 2002, p. 69; Hebei Provincial Institute of Cultural Relics, "Cuo Tomb - The Tomb of the King of Zhongshan Kingdom in the Warring States Period", Cultural Relics Publishing House, 1996, (XK:58: fig. 51, 172, 1, 2; color plate 16, 2; plate 95, 1. XK:59: Fig. 172, 3, 4; The Beauty of Chinese Archaeological Relics (6) - Treasures of the Xianyu Mausoleum of the Warring States Period - The Tomb of the King of Zhongshan in Pingshan, Hebei Province, Cultural Relics Publishing House, 1994, p. 50.
[50] [51] Institute of Archaeology, Chinese Academy of Social Sciences, "China Field Archaeology Report Collection No. 1: Huixian Excavation Report", Science Press, 2017, (Plate 71, 2; Figure 120), p. 102, (Plate 77, 3; Fig. 130), pp. 107-108.
[52] Hebei Provincial Institute of Cultural Relics, ed., Cuo Tomb - The Tomb of the King of Zhongshan in the Warring States Period, Cultural Relics Publishing House, 1996, (Fig. 61, 3; Plate 115, 2), pp. 159-161.
[55] Henan Provincial Bureau of Cultural Relics, ed., Collection of Cultural Relics Unearthed from Archaeological Excavations of the South-to-North Water Diversion Project in Henan Province (1), Cultural Relics Publishing House, 2009, pp. 178-179.
[56] Liu Wei and Duan Guoqiang, eds., National Treasures and Bronzes, Shandong Fine Arts Publishing House, 2012, p. 262; Edited by the Editorial Committee of the Complete Works of Chinese Art, edited by Li Xueqin, The Complete Works of Chinese Art 40, Arts and Crafts Edition 5 Bronzes (II), People's Fine Arts Publishing House, 1986, p. 45; Henan Provincial Museum, ed., Henan Provincial Museum (7 volumes), Kodansha Co., Ltd., Cultural Relics Publishing House, 1985, pp. 52, 180.
[57] Henan Provincial Institute of Cultural Relics and Archaeology, "Overview of the Archaeological Discoveries of the Han Wang's Tomb in Huzhuang, Xinzheng, Henan", Huaxia Archaeology, No. 3, 2009.
[59] Handan Institute of Cultural Relics, ed., The Essence of Handan Cultural Relics, Cultural Relics Publishing House, 2005, pp. 202-208.
[60] Hebei Provincial Bureau of Culture, Cultural Working Group, "Warring States Tomb of Baijia Village, Handan, Hebei Province", Archaeology, No. 12, 1962.
[61] Lincheng County Cultural Bureau, "The Tomb of the Eastern Zhou Dynasty in Zhongyangquan, Lincheng County, Hebei Province", Archaeology, No. 8, 1990.
[62] Shanxi Provincial Institute of Archaeology, Taiyuan Municipal Cultural Relics Management Committee, Tao Zhenggang, Hou Yi, Qu Chuanfu, eds., The Tomb of Zhao Qing of Taiyuan Jin Kingdom, Cultural Relics Publishing House, 1996, (Fig. 68, 11; Plate 89, 6), pp. 130, 131; The Beauty of Chinese Archaeological Relics (4) - The Bronze Treasure of the Spring and Autumn Jin Kingdom - The Tomb of Zhao Qing in Taiyuan, Shanxi, edited by the Cultural Relics Publishing House, 1994, p. 48; Zhang Xishun, editor-in-chief, Treasures and Bronzes in the Collection of Shanxi Cultural Relics, Shanxi People's Publishing House, 1994, p. 91.
[63] Shanxi Provincial Institute of Archaeology, Taiyuan Municipal Cultural Relics Management Committee, Tao Zhenggang, Hou Yi, Qu Chuanfu, eds., The Tomb of Zhao Qing of Taiyuan Jin Kingdom, Cultural Relics Publishing House, 1996, (Fig. 69, 1; Plate 90, 2), pp. 131, 132; The Beauty of Chinese Archaeological Relics (4) - The Bronze Treasure of the Spring and Autumn Jin Kingdom - The Tomb of Zhao Qing in Taiyuan, Shanxi, edited by Cultural Relics Publishing House, 1994, p. 139.
[64] [65] [66] Shanxi Provincial Institute of Archaeology, Taiyuan Municipal Cultural Relics Management Committee, Tao Zhenggang, Hou Yi, Qu Chuanfu (eds.), The Tomb of Zhao Qing of the Taiyuan Jin Kingdom, Cultural Relics Publishing House, 1996, (M251:728-2: Fig. 69, 2; Fig. 90, 3. M251:488-1: Fig. 69, 3; M251:754: Plate ix0, 4) pp. 131, 132, (fig. 18; Plate 30), pp. 38, 40, (Fig. 17; Plate 2ix) pp. 34, 36, 38-39.
[67] Liu Xinglin, ed., Archaeology of the Warring States Qin and Han Dynasties, Nanjing University Press, 2019, p. 42.
[68] Jin Weinuo, editor-in-chief of Sun Hua, The Complete Works of Chinese Art: Bronzes (Volume 3), Huangshan Publishing House, 2010, p. 622; Shanxi Provincial Institute of Archaeology, Shanxi Museum, Changzhi City Museum, Han Binghua and Li Yong, eds., The Eastern Zhou Cemetery of the Changzhi Watershed, Cultural Relics Publishing House, 2010 (Fig. 104C, 3; color 15, 1, 2; Plate 133, 3), p. 301; The Editorial Committee of the Complete Works of Chinese Bronzes, ed., The Complete Works of Chinese Art Classification: The Complete Works of Chinese Bronzes 8, Dong Zhou 2, Cultural Relics Publishing House, 1995, p. 37; Edited by the Editorial Committee of the Complete Works of Chinese Art, edited by Li Xueqin, The Complete Works of Chinese Art, Arts and Crafts Edition 5, "Bronze (II)", People's Fine Arts Publishing House, 1986, p. 21 (Fig. 59); Bian Chengxiu, "Excavation Report of Tomb No. 126 in the Watershed of Changzhi, Shanxi", Cultural Relics, No. 4, 1972.
[69] Chen Mengjia, ed., Institute of Archaeology, Chinese Academy of Social Sciences, Collected Works of Chen Mengjia: A Collection of Chinese Bronzes in the United States (Volume I, Revised Edition), Zhonghua Book Company, 2019 edition, p. 652.
[70] Chen Peifen, "A Study of the Bronzes of the Xia, Shang and Zhou Dynasties" (a complete set of 6 volumes, edited by the Eastern Zhou Dynasty), Shanghai Ancient Books Publishing House, 2004, p. 313; Shanghai Museum, ed., "China Museum, No. 8: Shanghai Museum", Kodansha Co., Ltd., Cultural Relics Publishing House, 1983, p. 187.
[71] In the early 20th century in Germany, the combination of industrial mass production was realized, which is the electric kettle designed by Peter Behrens (1868-1940) by the "Deutscher Werkbund" (Deutscher Werkbund) (Peter Behrens (1868-1940), which designed a variety of body bodies through the combination of different parts of the shape of the electric kettle. Then combined with different material handles, the principle of design and manufacturing is the same.
[72] Institute of Archaeology, Chinese Academy of Social Sciences, "China Field Archaeology Report Collection No. 1: Huixian Excavation Report", Science Press, 2017, (Plate 74, 1, 2; Fig. 123), p. 104.
[73] Shanxi Provincial Institute of Archaeology, Shanxi Museum, Changzhi City Museum, Han Binghua and Li Yong, eds., "The Eastern Zhou Cemetery of the Changzhi Watershed", Cultural Relics Publishing House, 2010; Bian Chengxiu, "Excavation Report of Tomb No. 126 in the Watershed of Changzhi, Shanxi", Cultural Relics, No. 4, 1972; Shanxi Provincial Cultural Relics Management Committee and Shanxi Provincial Institute of Archaeology, "The Second Excavation of the Warring States Tomb in the Changzhi Watershed of Shanxi", Archaeology, No. 3, 1964; Shanxi Provincial Cultural Relics Management Committee, "The Cleaning of the Watershed Ancient Tombs in Changzhi City, Shanxi", Journal of Archaeology, No. 1, 1957.
[74] Shanxi Provincial Cultural Relics Management Committee, "The Cleaning of the Watershed Ancient Tomb in Changzhi City, Shanxi", Journal of Archaeology, No. 1, 1957.
[75] The original bulletin stated that 118 pieces were the total number of all long-collar bronze arrowheads from M14, which were divided into 7 types, but the report did not indicate the number of Type 1 Jin Wrong Round Head Long Body Long Collar Bronze Arrowheads and Type 2 Gold Wrong Small Flat Head Short Body Long Collar Bronze Arrowheads. After the report was collated, there were 12 cases.
[76] Shanxi Provincial Cultural Relics Management Committee, Shanxi Provincial Institute of Archaeology, "The Second Excavation of the Warring States Tomb in the Changzhi Watershed of Shanxi", Archaeology, No. 3, 1964.
[77] Bian Chengxiu, "Excavation Report of Tomb No. 126 in the Changzhi Watershed of Shanxi", Cultural Relics, No. 4, 1972.
[78] [79] Shanxi Provincial Cultural Relics Management Committee, Shanxi Provincial Institute of Archaeology, "The Second Excavation of the Warring States Tomb in the Changzhi Watershed of Shanxi", Archaeology, No. 3, 1964.
[80] Shanxi Provincial Institute of Archaeology, Shanxi Museum, Changzhi City Museum, Han Binghua and Li Yong, eds., The Eastern Zhou Cemetery of the Changzhi Watershed, Cultural Relics Publishing House, 2010, pp. 376 and 378.
[81] Institute of Archaeology, Chinese Academy of Social Sciences, Chinese Archaeology: Two Weeks, China Social Sciences Press, 2004, p. 285.
[82] Li Xiating and Li Jiansheng, "Also Talking about the Eastern Zhou Cemetery in the Changzhi Watershed", Journal of the National Museum of China, No. 3, 2012.
[83] "Historical Records", "Volume 39 Jin Shijia Ninth", p. 2021.
[84] "Historical Records", Volume 43, Zhao Shijia 13, p. 2159.
[86] Zhu Fenghan, A Comprehensive Treatise on Chinese Bronzes (all three volumes), Shanghai Ancient Books Publishing House, 2009, p. 84.
[87] Wang Chunfa, editor-in-chief, "Haidai Dynasty Sect - Shandong Ancient Cultural Relics", Beijing Times Chinese Book Co., Ltd., 2019 edition.
[88] Shanxi Provincial Institute of Archaeology, Shanxi Museum, Changzhi City Museum, Han Binghua and Li Yong, eds., The Eastern Zhou Cemetery in the Changzhi Watershed, Cultural Relics Publishing House, 2010 (Fig. 94B, 4; color edition, 3; plate 102, 5); Shanxi Provincial Cultural Relics Management Committee, "The Cleaning of the Watershed Ancient Tombs in Changzhi City, Shanxi", Journal of Archaeology, No. 1, 1957.
[89] Shanxi Provincial Institute of Archaeology, Shanxi Museum, Changzhi City Museum, Han Binghua and Li Yong, eds., The Eastern Zhou Cemetery of the Changzhi Watershed, Cultural Relics Publishing House, 2010, (color edition 4, 4; plate 102, 6), pp. 238, 239; Shanxi Provincial Cultural Relics Management Committee, "The Cleaning of the Watershed Ancient Tombs in Changzhi City, Shanxi", Journal of Archaeology, No. 1, 1957.
[90] Shanxi Provincial Institute of Archaeology, Shanxi Museum, Changzhi City Museum, Han Binghua and Li Yong, eds., The Eastern Zhou Cemetery in the Changzhi Watershed, Cultural Relics Publishing House, 2010, (Fig. 104C, 5), pp. 301-302; Zhang Xishun, editor-in-chief, Treasures and Bronzes in the Collection of Shanxi Cultural Relics, Shanxi People's Publishing House, 1994, p. 106; Bian Chengxiu, "Excavation Report of Tomb No. 126 in the Watershed of Changzhi, Shanxi", Cultural Relics, No. 4, 1972.
[91] Li Xueqin and Ailan, eds., The Remains of Chinese Bronzes in Europe, Cultural Relics Publishing House, 1995, (Fig. 137), p. 356.
[92] [93] Shanxi Provincial Institute of Archaeology, Taiyuan Municipal Cultural Relics Management Committee, Tao Zhenggang, Hou Yi, Qu Chuanfu (eds.), The Tomb of Zhao Qing of the Taiyuan Jin Kingdom, Cultural Relics Publishing House, 1996 (Fig. 18; Plate 30), pp. 38, 40, 39-40.
[94] Shanxi Provincial Institute of Archaeology, "The Tomb of the Eastern Zhou Dynasty in Changzi County, Shanxi", Journal of Archaeology, No. 4, 1984.
[95] Shanxi Provincial Institute of Archaeology, Taiyuan Municipal Cultural Relics Management Committee, Tao Zhenggang, Hou Yi, Qu Chuanfu (eds.), The Tomb of Zhao Qing of the Taiyuan Jin Kingdom, Cultural Relics Publishing House, 1996, (Fig. 68, 11; Plate 89, 6), pp. 130, 131; Cultural Relics Publishing House, ed., The Beauty of Chinese Archaeological Relics (4) "Bronze Treasures of the Spring and Autumn Jin Kingdom - Tomb of Zhao Qing in Taiyuan, Shanxi", Cultural Relics Publishing House, 1994, p. 48; Zhang Xishun, editor-in-chief, Treasures and Bronzes in the Collection of Shanxi Cultural Relics, Shanxi People's Publishing House, 1994, p. 91.
[96] Shanxi Provincial Institute of Archaeology, Shanxi Museum, Changzhi City Museum, Han Binghua and Li Yong, eds., The Eastern Zhou Cemetery of the Changzhi Watershed, Cultural Relics Publishing House, 2010, p. 306 (Fig. 104 F).
Jin Yexin is a lecturer and doctor at Xiamen University of Technology
(This article was originally published in Art Observation, Issue 6, 2024)