Introduction:
In 249 AD, Zhu Ran, a famous general of Eastern Wu, died of illness at the age of 68. This meritorious minister, who had worked with Lü Meng to capture Guan Yu and help Lu Xun defeat Liu Bei, was buried in the south of present-day Ma'anshan City, Anhui Province. More than 1,600 years later, in the 80s of the 20th century, a fortuitous engineering excavation uncovered a long-sealed historical mystery. The excavation of Zhu Ran's cemetery not only brought this "famous and famous enemy country" general into the world's vision again, but also caused an uproar in Japan because of one of the special funeral items. This seemingly ordinary object not only subverts the Japan people's perception of the origin of their own culture, but also adds a strong touch to the history of Sino-Japanese cultural exchanges. What is it that can still cause such a sensation after a thousand years? And what impact will it have on the relationship between the two countries? Let's walk into this thousand-year-old history and unveil the mystery of Zhu Ran's cemetery.
From scholar to celebrity: Zhu Ran's legendary life
In the troubled era of the Three Kingdoms, where there are many heroes, Zhu Ran's rise is legendary. His real name is Shi Ran, the word Yifeng, and he was born in Guyan County, Danyang County.
When he was young, Zhu Ran showed extraordinary talent and was quite famous in the local area. Sun Quan noticed this talented teenager when he was young, and the two became confidants.
With the passage of time, Sun Quan gradually grasped the real power of Jiangdong. Zhu Ran also relied on his talents to make a name for himself in the Eastern Wu Army.
After Sun Quan ascended the throne, Zhu Ran's talents were fully utilized. He made great achievements in many battles and became one of the indispensable generals of Eastern Wu.
Zhu Ran's reputation is getting louder and louder, but what really makes him famous is the war that changed the pattern of the Three Kingdoms. In 219 A.D., Lü Meng proposed the strange strategy of "crossing the river in white clothes".
Zhu Ran, as one of the main generals, worked with Lu Meng to carry out this earth-shattering plan. They lurk among the people and secretly observe the enemy's situation.
Finally, the time is ripe. Lü Meng and Zhu Ran led an army to raid Jingzhou and caught Guan Yu off guard. Guan Yu fled to Maicheng in a hurry, and was eventually captured.
This battle completely changed the situation of the Three Kingdoms, and Zhu Ran became famous because of it. Sun Quan rewarded him for his merits and named him the Marquis of Xi'an.
However, Zhu Ran's brilliant record did not stop there. In 222 AD, Liu Bei led his army to the east in order to avenge Guan Yu.
Zhu Ran stepped forward again and joined forces with Lu Xun to meet the enemy. In the Battle of Yiling, they used the strategy of fire attack to defeat Liu Bei's army in one fell swoop.
This victory not only strengthened Soochow's position, but also brought Zhu Ran's prestige to its peak. Sun Quan rewarded Zhu Ran again, worshiped him as the general of the expedition to the north, and named the Marquis of Yong'an.
Zhu Ran's talent was widely recognized, and even Lu Meng praised him. Before Lü Meng died, Sun Quan asked who would take his place.
Lu Meng did not hesitate to recommend Zhu Ran and praised him for being "more than courageous". This recommendation is undoubtedly the highest affirmation of Zhu Ran's ability.
In the years that followed, Zhu Ran continued to contribute to the stability and development of Soochow. His name also caused panic among enemy nations.
However, even the greatest heroes have not escaped the erosion of time. In the twelfth year of Chiwu, that is, in 249 AD, Zhu Ran died of illness at the age of 68.
Sun Quan held a solemn funeral for him and buried him in the southern part of the city of Ma'anshan in present-day Anhui Province. Zhu Ran's life, from an unknown scholar to a general who shocked the enemy country, can be called legendary.
His story should have faded into obscurity over time. However, fate had another surprise in store for him.
More than 1,600 years later, Zhu Ran's name was mentioned again, and this time, it was because of a special funerary object in his tomb. This small item caused an uproar in distant Japan.
A thousand-year-old tomb rediscovered: an unexpected discovery
In the 1980s, Anmin Village, Yushan Township, in the south of Ma'anshan City, ushered in an unexpected change. In order to expand the plant, a company began to dig the foundation in the local area.
Workers wielding shovels and forklifts roaring, no one knew that there was a shocking secret hidden beneath this ordinary construction site. One day, a worker's shovel suddenly hit a hard object, making a crisp sound.
The crowd gathered around, carefully cleaning up the surrounding dirt. Gradually, the outline of an ancient tomb was revealed.
The scale and complexity of this tomb are far beyond anyone's imagination. The hustle and bustle of the construction site was instantly silenced, replaced by a sense of awe in the face of the unknown.
The news quickly reached the local antiquities department. Experts rushed to the scene and began intense rescue excavation work.
As the excavation progressed, the true face of this ancient tomb was gradually revealed. It is composed of four parts: sealed soil, tomb road, tomb pit and brick tomb chamber, with a grand scale and complete structure.
The experts carefully cleaned the burial chamber for fear of missing any details. Suddenly, a wooden plaque engraved with words caught everyone's attention.
The handwriting on the wooden plaque is faintly legible: "Therefore, Zhu Ran will worship again, ask about living, and the word will be sealed." The discovery thrilled everyone present.
The text on another piece of wood is even more surprising: "The right army division, the left great Sima, Dangyang, Hou Danyang, and Zhu Ran bow again." The experts looked at each other in disbelief.
Isn't this the famous Eastern Wu general Zhu Ran who dominated the Three Kingdoms period? I didn't expect his grave to be found here!
As the excavation continued, more precious artifacts were carefully removed. Although the cemetery was excavated, more than 140 funerary goods and more than 6,000 coins from the Three Kingdoms period were found.
Lacquerware accounts for more than half of these funerary goods. Cases, plates, feathers, mallets, boxes, bottles, sashes, daggers, spoons, severals, rocks, tigers, clogs, fans, combs and other utensils all show the level of craftsmanship in the Soochow period.
The experts carefully recorded the characteristics and location of each artifact. These artifacts are like time machines, taking us back to the Soochow Dynasty more than 1,700 years ago.
The discovery of Zhu Ran's tomb is of great significance. It is not only the highest identity of the tomb owner in the excavated Dongwu cemetery, but also the largest in scale, and the earliest age.
This tomb provides valuable material for us to study the history, culture, and craftsmanship of the Three Kingdoms period. It is like an open history book, giving us a glimpse of what society was like at that time.
The news quickly spread throughout the archaeological community. The Zhuran cemetery was even listed as one of the top ten archaeological discoveries in China at that time, which attracted widespread attention.
However, no one expected that a seemingly ordinary funerary object in this ancient tomb would cause an uproar in distant Japan. This small object not only subverts the Japan's perception of the origin of their own culture, but also writes a strong stroke for the history of Sino-Japanese cultural exchanges.
The archaeologists returned to the lab with this momentous discovery and began a long and meticulous work of sorting and research. Each artifact is carefully cleaned, numbered, photographed, and recorded.
Among these artifacts, there is one that stands out in particular. It looks ordinary, but it contains a cultural code that spans thousands of years. What exactly is this artifact? Why did it resonate so much in Japan?
In the mirror, the world is big: the lyre is alive
Among the many cultural relics unearthed in the Zhuran cemetery, there is one that is particularly eye-catching. It is not a glittering jewel, nor an imposing bronze, but a seemingly ordinary musical instrument - the lyre.
The lyre lies quietly on the archaeologist's workbench, as if telling of its millennial vicissitudes. The body of the piano is pitch black, and some exquisite ornamentation can be vaguely seen on the surface.
Experts carefully cleaned this precious artifact for fear of damaging it in the slightest. As the clean-up progressed, the true face of the lyre was gradually revealed.
This lyre is 1.36 meters long, 19 centimeters wide, and has a black lacquer throughout. The surface of the piano is delicately painted with gold and silver foil, and although it has been thousands of years, you can still see the beauty of the past.
The two sides of the body are also engraved with the inscription "made on May 20th of the seventh year of Jian'an". The seventh year of Jian'an, which is 202 A.D., has a history of more than 1,800 years.
The discovery thrilled everyone present. This is not only a precious cultural relic, but also a cultural witness across time and space.
Experts have carefully studied the lyre in an attempt to decipher more historical information. The pattern on the surface of the piano catches everyone's attention, it is a landscape painting, with pavilions and scenes of human movements.
This painting not only shows the level of painting at that time, but also reflects the aesthetic concept and lifestyle of the Soochow period. Experts are amazed by the beauty and historical value of this artifact.
However, what really brought the lyre into focus was its other identity – it was the earliest known lacquer-painted instrument. This discovery completely changed people's perception of ancient Chinese musical instruments.
The news quickly spread throughout the academic community and caused widespread discussion. This lyre is not only an important material material for the study of music history, but also a key evidence to understand the level of craftsmanship in the Soochow period.
Experts began to delve into the craftsmanship of this lyre. They found that the body was made of paulownia wood, which had good acoustics.
The lacquer painting on the surface is also exquisite. The wooden tire is first coated with several layers of black lacquer, then the pattern is painted with gold and silver foil, and finally a layer of transparent lacquer is applied to protect it. This process is not only aesthetically pleasing, but also protects the body.
What's even more amazing is that the timbre of this lyre is still well preserved. The experts carefully tried the strings, and the melodious sound of the piano suddenly sounded, as if traveling through thousands of years of time and space.
The discovery of this lyre not only fills the gap in the history of ancient Chinese musical instruments, but also provides valuable material for the study of the music culture of the Soochow period. It is like a time capsule, preserving the musical culture of more than 1,800 years ago.
However, the impact of this lyre goes far beyond that. Its discovery caused great repercussions in Japan and even subverted Japan's perception of the origins of their own culture.
It turns out that the traditional musical instrument of Japan, the wakoto, has always been considered to be the culture inherent in Japan. But the excavation of this lyre provides a new explanation for the origin of the waqin.
Experts have found that this lyre is very similar in shape to the Japan and the other lyre. Whether it's the length and width of the body, or the number of strings, it's surprisingly consistent.
This discovery shocked Japan scholars. Could it be that the Japanese piano, which Japan is so proud of, actually originated in China? This issue has sparked heated discussions in Japan academic circles.
For a time, this lyre from China became the focus of attention of Japan media. Major newspapers and television stations reported on this discovery, which triggered the whole people to think about the origin of culture.
Japan scholars have begun to re-examine the history of Sino-Japanese cultural exchanges. They found that in ancient times, cultural exchanges between China and Japan were more frequent and deeper than expected.
This lyre is like a bridge that connects the cultures of China and Japan. It is not only a precious cultural relic, but also a witness to the cultural exchange between the two countries.
As the research deepened, more evidence surfaced. Records of the spread of musical instruments in ancient texts and similar artifacts found in archaeological excavations support the idea that the waqin originated in China.
This discovery not only changed people's understanding of the history of music, but also added a strong touch to the history of cultural exchanges between China and Japan. It reminds us that the development of cultures is often the result of mutual influence and mutual learning.
Guqin is played today: Chinese and Japanese cultures hold hands again
The discovery of the lyre not only caused a sensation in academic circles, but also set off a wave of exploration of ancient culture among the general public. People are beginning to re-examine history and think about the importance of cultural exchange.
The craze soon spread to Japan. The Japanese people became interested in this guqin from China and went to the museum to see it.
For a time, the Chinese guqin became a hot topic in Japan's cultural circles. Major television stations are vying to broadcast special programs about the Chinese guqin, introducing its history, production techniques and performance techniques.
Music schools in Japan have also begun to incorporate Chinese guqin into their curriculum. The students not only learned the qin, but also began to get in touch with the Chinese guqin and feel the similarities and differences between the two instruments.
This cultural exchange was quickly taken seriously by the two governments. China and Japan decided to jointly hold a cultural exchange event with the theme of "Guqin Culture".
At the event, Chinese and Japanese guqin masters performed on the same stage. The melodious and gentle tone of the Chinese guqin and the clear and high tone of the Japan waqin made the audience mesmerized.
After the performance, the musicians of the two countries also had an in-depth exchange. They discuss the techniques used to play both instruments and explore the cultural connotations behind the music.
This event not only enhanced the friendship between the two peoples, but also promoted the integration of the two cultures. People are beginning to realize that the charm of culture lies not in its uniqueness, but in its ability to transcend borders and connect people's hearts.
Inspired by this, China and Japan decided to further deepen cultural exchanges. Together, they launched a "Guqin Culture Research Program" that invited archaeologists, historians, and musicologists from both countries to participate.
The research team dug deep into the historical documents of the two countries to find clues about the spread of the guqin. They also conducted a systematic comparative study of ancient musical instruments unearthed in the two countries.
This research is not only about music itself, but also extends to art forms such as poetry, painting, and other forms related to music. The researchers were pleasantly surprised to find that the two cultures were more connected than they thought.
The results of the research quickly attracted attention in the international academic community. Scholars from many countries joined the research program, which gradually developed into an international cultural research project.
This study not only enriches people's understanding of ancient music, but also provides a new perspective for exploring the history of cultural exchange in East Asia. It proves that the development of culture is a process of continuous exchange, learning and innovation.
With the deepening of research, people's understanding of guqin culture has also deepened. The guqin is no longer just a musical instrument, but has become a key to interpreting ancient society.
Through the guqin, people learned about the lifestyle, aesthetic concepts, and even the ideological realm of the ancients. Guqin carries not only music, but also a cultural spirit.
This realization soon influenced modern music composition. Some musicians have begun to try to integrate elements of the guqin into modern music, creating a series of new works that combine the ancient and the modern.
These works have caused a sensation in the international music scene. They not only retain the elegant charm of the guqin, but also incorporate the vitality of modern music, giving new vitality to the ancient instruments.
Driven by this cultural boom, guqin art has ushered in a new spring. More and more young people are beginning to learn guqin, and guqin clubs have sprung up in major schools.
Guqin making has also become a new handicraft. While inheriting the traditional craftsmanship, the young craftsmen are also constantly innovating, so that the guqin can better adapt to the needs of modern people while retaining the traditional characteristics.
This cultural exchange, triggered by an unearthed cultural relic, not only promoted the friendly relations between China and Japan, but also promoted the inheritance and development of traditional culture. It proves that the power of culture is infinite and can transcend time and space, connecting the past and the present.
Nowadays, when we walk through the streets of Tokyo or Beijing, we can often hear the melodious sound of the guqin. The sound of the piano not only has the vicissitudes of a thousand years, but also the vitality of the times, and it also carries the good wishes of the two peoples for peace and friendship.
This story tells us that cultural exchange should not be a one-way output or input, but a two-way exchange and integration. Only in this way can culture truly rejuvenate and shine in the new era.
From the lyre unearthed from an ancient tomb, to the cultural exchange that transcends national borders, to the influence of contemporary art creation, this process shows the vitality and influence of culture. It reminds us to look at different cultures with an open and inclusive mind, because every culture is the common spiritual wealth of mankind.