This article was originally published in the Journal of Fine Arts, No. 4, 2014
Thank you Teacher Zhuang Chengheng for the manuscript!
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Abstract: Baby drama images are one of the important decorative themes of Jin Dynasty tombs, and usually appear in various decorative parts of tombs in the form of children's play flowers, children's play hydrangeas, and children's music and dance (social fire performance). This paper attempts to interpret the infant drama image in the overall space of the tomb by placing it in the overall space of the tomb in the southern Jin Dynasty, explore its relationship with the imitation wood structure and the statue of the tomb owner, and discuss the dual beliefs in the decoration of the golden tomb in combination with the dual demands of the secular class on the pure land of life after death and the prosperity of the descendants at that time.
Keywords: baby play images; tomb decoration; lotus flower metamorphosis; imitation wood structure; pure land
Zhuang Chengheng
Zhuang Chengheng, male, born in 1985 in Huilai, Guangdong. Ph.D. in History, Fudan University. He is currently the deputy research librarian (Wenbo) of Guan Shanyue Art Museum in Shenzhen and the deputy secretary-general of the Theory Committee of Guangdong Artists Association. His main research interests are Tang and Song Dynasty art archaeology and religion, Guangdong modern art and exhibition planning.
The theme of baby play has been one of the popular painting themes since the Tang and Song dynasties, and it is also an important decorative pattern of ceramics, architecture, gold and silver, and jade. The academic research on the theme of baby play mainly focuses on three aspects: one is the interpretation of its generation, evolution and social reasons as a traditional painting theme[1]; the second is the study of ceramics, jade carving, gold and silverware and other craft decorative patterns[2]; the third is the discussion of the cultural connotations related to the traditional desire of infant play images and praying for more children, the concept of lotus flower reincarnation, and the customs of Mahara and Tanabata [3]. In addition, there is a monograph on children in Chinese art that comprehensively discusses children's images in Chinese art from the aspects of poetry, family, religion, etc., of which the second and sixth chapters discuss the connection between song dynasty baby drama and Song poetry and the image of children in religious beliefs. However, as a decorative theme in the tomb space of Song Jin, how to start from the tomb as a whole, fully consider the relationship between the decorative themes in the tomb, and then discuss the meaning and image connotation of the baby play image from the perspective of secular fashion is less concerned by previous scholars. Therefore, this paper takes the tombs of the Jin Dynasty in the southern region of Shanxi, where the theme of infant drama is more concentrated, as an example, and on the basis of the overall observation of various themes in tomb decoration, this paper attempts to analyze the various relationships between baby drama images and other decorative themes, and thus explores the significance of the theme in tombs and the related religious appeals.
I. Types and distribution of baby drama images from the Golden Tomb in Jinnan
According to the author's statistics, the images of tombs and baby plays in the Song and Liao Jinyuan periods are mainly concentrated in the northern Central Plains, distributed in Shanxi, Henan, Gansu, Shaanxi, Hebei, Shandong provinces and Beijing areas, counting 31 places, of which the Jin Dynasty brick carving tombs in the southern Jin Dynasty such as Houma, Xindi, Jishan, Wenxi, Xiangfen and other southern Jin regions in southern Shanxi are the most, as many as 20, accounting for two-thirds of the total, and the age basically belongs to the middle and late Jin Dynasty, about 20 years after Dading (1180). The tomb shape system is basically imitation wood structure brick carved tomb, except for Dong Hai's tomb, the others are single-chamber tombs, the plane is square, composed of three parts: tomb passage, tomb door and tomb chamber. As far as the performance content of its baby drama images is concerned, it can be roughly divided into three categories: one is auspicious and allegorical, such as children playing flowers, children playing balls, children riding animals, etc.; one is the children's music and dance (social fire performance), and two types of performance themes in a few tombs appear at the same time, making the entire tomb space full of a joyful and festive, even noisy atmosphere. In addition, there are baby drama images such as parenting diagrams and godson diagrams, which more continue the tradition of "children's painting" since the Tang and Song dynasties[5], and there are not many tombs found in this period, so it is not the focus of this article.
Images of auspicious allegorical infant plays are found in almost all corners of the burial chamber, usually in the form of children holding peonies, lotus flowers or tangled flowers, but also some depictions of children playing tassels or children riding lions. The most important baby play image mode in the tombs of the Jin Dynasty is basically composed of a single child and a combination of flowers or beasts to form an independent picture, reflecting a strong stylized feature. The most typical is the Dong family tomb group located in Niucun, the western suburb of Houma, including the tomb of Dong Hai, the tomb of Dong Xuanjian, Dong Ming, and the similar houma no. 65H4M102, 65H4M103, 65H4M104 golden tomb and other six tombs. Among them, the tomb of Dong Hai in the seventh year of Jin Changming (1196) (that is, the golden tomb of No. 102 Houma, Shanxi), the shape of the Sumire seat in the front and back chambers is the same, and they are all carved in the waist part, in addition to peonies and lotuses, there are auspicious patterns such as double lion play balls, fortune boys, and fairy scattered flowers. The "Boy of Fortune" is a naked figure with a bun on his head, a ribbon on his shoulders, a tray of hands, and a ride on a lion (Picture 1). Not only that, but a vase is carved on each side of the door frame in the middle of the south wall of the back room of the tomb, and the mouth of the bottle is wrapped with peonies, and two children play on the flower branches. In the tomb of Dong Ming in the second year of Jin Da'an (1210), the theme of baby drama is found in the eye wall, the lattice gate, the Sumire seat and the hanging pole. Among them, the north wall is careful to carve the tomb owner and his wife to sit on the picture, the tomb owner and his wife have a pot of peony flowers on several tables, and the pot is carved with children playing with peonies, it is worth noting that several tables on both sides of the tomb owner couple sit opposite, the man caresses the knee with his left hand, the rosary bead with the right hand, the female right hand also caresses the knee, and the left hand holds the prayer bead. It is hung with auspicious hangings such as lotus flowers, lotus leaves, and hydrangeas (fig. 2). The south wall of the floor-to-ceiling door cover forehead barrier day plate is carved with a child playing with lotus flowers, and the lower part of the hydrangea pendant belt on the west side of the door cover is decorated with a child, and the left and right belts are decorated with peonies (Picture 3). At the same time, there are six carved lattice doors on the east and west walls of the tomb, and two pictures of children playing with lotus flowers and children playing sunflowers are placed at the opening of the lattice door between the hearts (Figure 4); on the eye wall and the Sumire seat, there are reliefs of children playing with lotus flowers and children riding lions and tigers fighting, which shows that their decoration is gorgeous and their shape is unique [8]. Although the tomb of Dong Xuanjian was destroyed, wonderful baby play brick carvings were still unearthed, and children either climbed branches upside down or carried flower stems on their shoulders to play in the lush peony bushes.[9]
Figure 1 Moulded brick sculpture "Boy Of Fortune" on the tomb of Houma Donghai in Shanxi
Figure 2 The tomb owner and his wife sit on the north wall of the tomb of HouMa Dongming in the second year of Jin Da'an (1210).
Figure 3 Floor-to-ceiling door cover Jin Da'an II (1210) The south wall of the tomb of Houma Dongming
Figure 4 Boy Playing Lotus Jin Da'an II (1210) The east wall of the tomb of Houma Dongming Beware of the lattice door between the hearts of the lattice hearts
Tomb No. 65H4M103 of Houma is used as a child playing with lotus flowers on the water barrier board of the lattice gate. The shape and decoration of the tomb of Houma 65H4M104 are basically similar to the tomb of Dong Ming, and the contents of the boy playing lotus, the boy playing ball, riding a horse, riding a lion and so on are carved in the flower cover of the north wall, the lattice gate of the east wall, and the sumire seat, and the north wall is also carved with a seated statue of the tomb owner. In addition, the derrick of the algae well at the top of the tomb is embedded with eight identically molded pictures of children playing with lotus flowers, in which a blooming lotus flower is carved, and three children in trousers and shorts are seated, lying down, hanging upside down, and climbing branches on eight trapezoidal back plates, except for one of the carved boys holding birds, the remaining seven carved children, either sitting or standing, are holding a lotus branch (Fig. 5) [11].
Figure 5 Shanxi Houma No. 65H4M104 Gold Tomb Top Algae Plate Carving
In addition, in xiangfen Xiguo village gold tomb [12], Tunliu Song village golden tomb [13], Wenxi Xiaoluozhuang No. 4 [14] and so on can be seen a considerable number of children's play peony or child play lotus theme decoration, and have obvious modular characteristics. Interestingly, inside the water barrier board on the east wall of the tomb of The new Wan Andu Zhuang,[15] two folded peonies appear in high reliefs, one of which is in the form of a blooming flower on the left and the one on the right, whose core reveals the face of a young girl, which seems to be a relatively typical image of "lotus metaplasia" (Figure 6).
Figure 6 Metamorphosis Virgin (Peony Fairy) On the east wall of the Golden Tomb of Wan'an Duzhuang in Shanxi Province
Different from the baby drama images with auspicious meanings, the children's music and dance baby drama images are more vivid and interesting, the character combinations are more lively and changeable, and the degree of patterning is relatively small, but the number and distribution range of such themes are far less extensive than the former. Most of them appear on the waist area of the Meru seat, but a small number appear on both sides of the underside of the ledge. The tomb of Li Jin of Houma, Shanxi, is the earliest known tomb example of a baby play image in the chronicle tombs in the region, dating from the 20th year of Jin Dading (1180). The north wall of the tomb has six lattice doors, and the skirt of the door is carved with a boy, except for the left one to carve a girl, and the rest of the doors are carved with boys. Among them, the five boys are dressed in red shirts and pants, wearing floral ornaments on their chests, each holding a gun in their hands, and dancing and dancing, making a slow forward shape; the girls wear flower ornaments, wear shirts and pants, wrap their arms around the ribbon, hold a gong in their left hand, and hold a mallet in their right hand, and are beating, the whole picture seems to be a folk social fire activity, quite similar to the "flower pole" [16] that has been circulated in the social fire activities in jinnan [16] (Figure 7). The lower age limit is presumed to be tomb No. 1 of Jishan Macun in the twenty-first year of Dading (1181), and a peony fence is carved on the west side of the south wall dance pavilion, and in front of the fence is carved two children riding bamboo horses (Fig. 8). Under the broken windows on both sides of the false door on the north wall of the tomb of Changming Seven Years (1196) found in Xiangfenhou Village, there are two carved bricks on each side, each brick has two children, a total of 8 people, all made of hammerheads, draped with silk belts, under pants, or riding bamboo horses, or holding bows and arrows, or holding a tassel, or running, with different forms [18]. On both sides of the north gate tower of the new Fanzhuang Golden Tomb, there is a "lion dance" brick carving. It depicts a false lion with a cloth skirt on its belly and four lower legs, two children in front of the lion, one pulling the lion, one hitting the gong, and two children chasing after the lion with the ball.
Figure 7 Jin Dading Twenty Years (1180) North wall of the Golden Tomb in Houma Da Li Village
Figure 8 Bamboo Circus Between the South Wall of Tomb No. 1 in Jishan Ma Village, Shanxi
What is more interesting is that the Golden Tomb of Houma 65H4M102 also has two types of baby drama images coexisting. The tomb is located between the tombs of Dong Ming and Dong Xuanjian, and its shape and decoration style are close to those of Dong Ming's tombs, and are presumed to be dated during the Taihe period (1201-1208). The tomb is decorated with carved door covers between the four walls of the tomb, a dingtou lily between the columns, a moon-bearing beam on the arch, and the three squares between the foreheads are decorated with peony, lotus and other flower tiles, and the moon beams are hung with colorful balls or hanging ornaments such as children playing with peonies and children playing with lotuses, and the image is extremely vivid (Figure 9) [20]. At the same time, the tomb is also decorated with 12 groups of brick sculptures of lotus flowers, deer riding children and social fire performances, and the music and dance performances can be presumed to be bamboo circus, melon field music, Qiao woman, flag throwing, changing formations, and barbarian dances (Fig. 10). In the brick carving tomb of Xiangfen Quli Village at the time of the Golden Yuan, there are many brick carvings of lotus children embedded in the north wall, east wall and west wall of the Suba seat and its corset, and many brick carvings such as child circus and polo are embedded on the Meru seat, all of which are molded. Along with them are various types of floral brick carvings, such as peonies, okra, and lotus flowers.
Figure 9 Floor-to-ceiling door cover The north wall of the Golden Tomb of Houma 65H4M102
Figure 10 Boy Society Fire Performance No. 2 Houma 65H4M102 Golden Tomb North Wall MeruZa
Second, the baby play in Song Jin's secular concept
Ellen Johnston Laing (Ellen of Liangzhuang) has made a detailed analysis of the patterns, meanings and functions of the flower and bird decorations seen in the tombs of Song Liaojin, such as peonies, lotuses, peach blossoms, chrysanthemums, peacocks, cranes, and fairy deer. He believes that the auspicious flowers and birds decorated in ancient Chinese tombs express the good wishes of the deceased and their descendants for the prosperity of the family and the reproduction of their descendants, and also point out that joy and longevity are not the only wishes of Chinese, and the prosperity of the male descendants of the family is also their indispensable wish. In return for the care of a happy life after the death, the living hope that through the blessing of the deceased, they will maintain a long and fulfilling life. Through a comprehensive study of the important decorative themes of the Song and Jin tombs in the southern Jin dynasty, Liu Yaohui believes that the peonies that appeared in the tombs are related to the general psychology of the people in the Tang and Song dynasties who longed for wealth and prosperity, and their descendants and other prayers for good fortune. For the theme of the lotus flower of the child play, Liu Shi followed the view of Ellen Liang Zhuang, believing that it was a child of incarnation, and further believed that the theme of the child play peony was one of the favorite decorative themes of the people of southern Jinnan, that is, it was derived from the influence of the more general theme of the child play lotus flower. Studies by Liang, Liu and others have shown that whether it is a child playing with lotus flowers or a child playing with a peony, the key meaning of the two themes lies first of all in the auspicious meaning of the flower itself, and the meaning of "metamorphosis" with religious orientation has weakened with the secularization process of Buddhism.
Indeed, we can also see the secularization of the concept of metaplasia in the Song and Jin dynasties from some literature. For example, the system of mixed carving recorded in the Northern Song Dynasty Li Zhi's "Building the French Style" volume 1 and 2 "Carving System" has eight products and one immortal. The second is the flying immortal, the third is the metamorphosis; Zhu Yun: "The above and hand-held musical instruments or the genus of sesame grass, flowers and fruits, and opium plates." [25] From the other "metamorphosis" images attached to the Construction of the French Style, we can also see images of children leading sheep or playing with flags (Fig. 11), and it can be inferred that the image of metamorphosis as early as the Northern Song Dynasty was not limited to the combination with the lotus flower.
Figure 11 Metamorphosis of a child
Nevertheless, the concept of the lotus flower and praying for many children has not completely disappeared in the world. As stated in Volume VI of Fang Spoon's "Po Zhai Compilation" on the occasion of the Two Song Dynasties:
The official Shangshu Zeng Shu (pronounced 1143), who first took the Wu clan, had a son who was infertile. Inhumans advise against eating children, such as chickens and ducks, bunting, □, etc., and believe in them, and do not eat them for a long time. After taking lee's. Li Shi tasted the divine commandments and words of the dream, and pointed to the lotus flower three leaves in front of the temple, saying: "With the three sons of Ru." "Sure enough. [26]
The words "Lotus Three Leaves" and "Three Sons with Ru" can obviously be seen in the Buddhist scripture "Miscellaneous Treasure Sutra" Volume 1 "Deer Lady Lady's Relationship": "Thousand leaves lotus, one leaf has a small child" [27]. Interestingly, both scholars and commoners believe that pillows decorated with baby play images have the merit of having many children and men, Chen Zhao (1133-1203) "Title Gong Yangzheng (1140-1201) Baby Pillow Screen Two, Raising Square Bitter Little Sons" Yun:
One
The small screen is smooth and snowy, it is difficult to write a playful team of fish, the words and sentences are thin, and the laughter and disgust are not pitiful.
Second
In the eyes, there is more than a dancing goose child, but also a junjia Jiqingzhong. In the dream, he sent a troublesome kong to make the portal follow Xun Long. [28]
The poem should be written on the pillow screen by the author Gong Yang because of the lack of sons, and the poem also reveals the wisdom of the heirs and the concept of the family's accumulation of celebrations, especially the birth of saints such as Confucius and Shakya, which is a great honor for the family. At this point, we have a certain understanding of the internal reasons for the popular porcelain pillows in various parts of the Song and Jin Dynasties to paint baby images - the Song people achieved the universal social demand of praying for male heirs through the use and even preference of this type of porcelain pillow. Coincidentally, a white porcelain pillow depicting a child playing lotus was unearthed in the golden tomb of Houma No. 65H4M102 (Figure 12), which shows how this concept has gone deep into the ground.
Figure 12 White porcelain pillow excavated from the gold tomb of Houma No. 65H4M102 in Shanxi
At the same time, as a baby drama image of social fire performance, many scholars regard it as related to the developed miscellaneous opera music and dance customs in the southern Jinnan region. However, the author believes that the appearance of images as a kind of music and dance performance with children as the main body is related to children's dance since the Song Dynasty. During the major banquets of the Court of the Song Dynasty, children's performances were fixed programs, as contained in the Song Shi Lezhi:
Every spring, autumn, and holy feast, there are three feasts: the first of which is the emperor ascending to sit, the prime minister drinks wine, and the court blows chestnuts, and the crowd rejoices; the wine is given to the courtiers, all sit down, and the prime minister drinks, and makes a cup of music; the hundred officials drink, and make three tables. Second, the emperor raised the wine again, and the courtiers stood behind the seat and sang with joy. ...... Ninth, the children's team dance, also gave a speech to describe the German and American. Tenth, the miscellaneous drama stopped, and the emperor changed his clothes. ...... Nineteenth, with the horns, the feast is finished. [29]
In addition, the scale, costumes and corresponding programs of children's dances are also very impressive, as described in the book:
The system of team dances, with ten names each. Seventy-two members of the children's team: one is a garnet team, wearing a five-color embroidered luo wide robe, wearing a beard hat, wearing a silver belt; two is a sword weapon team, a five-color embroidered luo, wrapped in a foot, a red luo embroidered forehead, with a utensil; a three-day brahmin team, a violet monk, a hanging child, a tin hook and a staff; a drunken Hu Teng team, a red brocade team, a silver □, a felt hat; a five-day long-lived band, a purple and green luo wide shirt, a wrapped flower bun head; a six-day children's sense holy band, a green and colorful shirt, a tie le shu, a total of two corners; a seven-day jade rabbit hun detachment team, a four-color embroidered luo, Tie the silver belt, crown jade rabbit crown; eight days exotic team, clothing brocade jacket, tie silver belt, crown Yi crown holding treasure plate; nine children's red team, cloth purple embroidery, tie silver belt, crown flower phoenix crown, ribbon; ten day archery eagle Hui team, cloth plate carved brocade, tie silver □, shooting carving plate. [30]
From this, you can see the various costumes of children in music and dance. Among the scholars, children's dances, especially a type of dance related to lao Laizi's banyi entertainment, are quite popular in birthday banquets, such as He Menggui (1229-1303 later) of the Song and Yuan Dynasties, "Qinyuan Chun Shou Jia Gu Shu Yin" Yun:
Guangyue chujing, cosmic Chengxiang, Zhong Yingjun material. Want to spring and autumn valley, former born master, Pa Shu Nan Gan, see in Rulai. Dragon Horn Biaochen, Toad Fetus, Good is born in the Feast of China. In the song, watch the children dance, and the spring is full of platforms.
A lot of good things are rushing together. Then he put the yellow seal on Shou Jiao. I would like to be on the public hall, embroidered in the morning, and may the public hall be under the long play YiLai. Last night Yaochi, kissing Amu, wanted to send peaches to start planting. Three thousand years old, to blossom and bear fruit, the age of the cup. [31]
And the anonymous "Willow Head Shou Ren Mother" Cloud:
Lotus blossoms. Open the six pods, hi overflow the doorway. Good thing is that the luan, especially away from the Moon Temple, came to stay in the human world. Children's Cabaret Class. One after another, he smiled. Zhu Song Qin Fist, will be he compared, only a South Mountain. [32]
Obviously, the auspicious allegorical baby play is based on metamorphosis as the source, through continuous evolution into a stereotype, expressing the will of many children. The children's music and dance baby drama image, as a kind of music and dance performance with children as the main body, fixes the sustenance for happiness in the next life with the most joyful secular scenes, and finally points to an ideal family picture. But from the perspective of the realistic consideration of tomb decoration as the ultimate concern, and the buddhist secular beliefs at that time on the direction of the world after death, can this decorative theme be interpreted in more dimensions? How do they relate to other decorative motifs in tombs, and how should they be incorporated into an organic whole?
3. The relationship between infant drama images and tomb decoration themes
Imitation wood structure architecture is the most prominent feature of Song and Jin tombs, which was popular in the middle and late Tang Dynasty, and was more real and complex in the Jin Dynasty, and gradually declined after entering the Yuan. Many scholars have made in-depth discussions about the imitation wood structure tombs of this period, and have involved the discussion of the entire burial space and religious significance. Among them, Pei Zhi'ang pointed out that the imitation wood structure tomb is not equivalent to the ground building at that time, it often appears in the husband and wife burial tomb together with the filial piety diagram, containing multiple religious meanings, under the common desire to maintain the continuity of the family, integrating various religions (including Confucianism, Buddhism, Taoism and folk religion) and alchemy, so as to ensure that the ancestors of the dead are comforted and the prosperity of the heirs is continuous.[33] Through the analysis of a large number of imitation wood-frame brick chamber tombs in northern China from the 10th to the 13th centuries, Lin Weizheng believes that these burial chambers are built as an inverted space, on the one hand, to create a post-mortem living environment that is very similar to reality, and on the other hand, by transforming the exterior of the building into an interior, so that the burial environment is more clearly and clearly subordinate to the afterlife world, so as to achieve a leap of life and death and a deep understanding of the continuity of life and death [34]. The research of Pei and Lin both denied the practical value of imitation wood structures, and led the problem of imitation wood structures in tombs in this period to the level of faith and the discussion of the creation of the ultimate place of tombs, and pei Zhiang was particularly inspired by the connection between the theme of tomb decoration and imitation wood structures, and the specific form of joint burial tombs.
We can draw further inspiration from the images of pavilions at the tops of several Song tombs in Henan and the religious context in which they are located. Among them, the Yuande Lihou Mausoleum of the Third Year (1000) of the Northern Song Dynasty Xianping is a circular single-chamber tomb carved with imitation wooden structure bricks, with bucket arches, tables and chairs, lamps, hangers, doors and windows, etc. on the wall, there are eaves above the bucket arches, and the eaves are domes, and from the remaining murals, red, black, and blue-gray can be seen to paint the palace pavilions, and between the pavilions, there are white clouds, indicating that there are originally pavilions painted here with smoke clouds [35]. In the fourth year of Shaosheng (1097), the Tomb of Dengfeng Black Mountain Valley Song Dynasty more clearly shows the pavilion and its religious tendencies, and between the top arch of the tomb and the hanging flower ornament depicts a group of bodhisattvas leading the deceased to the Heavenly Palace, except for the southwest wall, the other walls depict the bodhisattva wearing a flower crown on his head and dressed in a tassel, the male and female immortals holding lotuses, the soul banner and the cymbal, the tomb owner and his wife standing on the auspicious cloud, and a square mansion in the cloud of the north wall (Figure 13), three front gate towers, the main gate is particularly large, The tuck door is slightly smaller. The compartment is a clear water ridge with gull snouts at both ends. Interestingly, a similar theme appears on the top of the tomb in the second year of the new MipingMo Grand View (1108), showing the Great Sage of Sizhou receiving the deceased tomb owner, and its final destination is a heavenly palace (Fig. 14) that appears in the auspicious clouds. In his discussion of the images of the Pavilion of the Immortal Mountains, Mr. Yang Zhishui believed that the Heavenly Palace depicted in this picture represented the Pure Land of the West to which it was "introduced". It can be seen that the heavenly palace depicted in the aforementioned Black Mountain Valley Song Tomb should also be a symbol of the Pure Land. The combination of these buildings coincides with the layout of the courtyard of the south hall (corridor), the north hall, and the east and west wing rooms inside the Golden Tomb.
Figure 13 Schematic diagram of the unfolding of the frescoes in the burial chamber
Figure 14 Fairy Building (upper part of the north wall of the burial chamber)
From the typical representatives of the golden tombs in the southern Jinnan region, such as the Duan family tomb in Jishan Macun, it can be seen that the four walls of the tomb are all built with a sub-seat of about 1 meter high, and 12 vertical columns are erected around the seats, or single eaves, or heavy eaves, surrounded by cloisters, and juxtaposed hook bars. The four and five arches under the eaves are unevenly paved, with complex structures and realistic effects. The decoration of the four walls of the tomb, generally the carved plate door in the middle of the north wall, plus the gate tower of the top of the Gaiche, the two sides of the door are carved out of the windows or the main statue of the tomb, etc., the south wall corresponds to the north wall, that is, the middle door is built on the top of the mountain gate tower or hall, and the east and west walls are symmetrically carved out of the lattice door six [39]. The tomb group of the Houma Dong family is also built in the tomb chamber to build a Sumire seat, on the four corners of the seat each vertical size octagonal leaning pillar, the column head is built with Pubai fang and the forehead, the four corners of the masonry corner paving one, the bucket arch is generally not out of the eaves and directly builds the algae well, under the bucket arch is mostly a lattice door (Figure 15a, b). This architectural structure is basically the same as that of the Tiangong Pavilion Dao Tent and the Shanhua Banana Leaf Buddha Dao Tent listed in Volume 32 of the "Construction of the French Style" (Figures 16a, b), that is, with the Sumire Seat as the base, with a lattice door, a bucket arch, and a heavy eaves, it can be seen that the tomb space architecture is based on the simulation of the real building wood, and then constructs an underground religious space. In fact, in the complex and increasingly realistic jin dynasty brick carved tombs in the southern Jin dynasty, the emphasis on the architectural structures such as the Sumire seat, the bucket arch, the pavilion, the door and window is precisely to lead the ultimate destination of the tomb owner to the same ultimate realm, that is, a heavenly palace composed of temples and pavilions - the Pure Land.
Figure 15a In the second year of Jin Da'an (1210), the north wall of the tomb of Houma Dongming
Figure 15b In the second year of Jin Da'an (1210), the south wall of the tomb of Houma Dongming
Figure 16a Heavenly Palace Pavilion Buddha's Dao Account
Figure 16b Shanhua banana leaf Buddhist taoist tent
It is worth noting that the north wall of Dong Ming's tomb is built with a stage on the top of the mountain and a statue of the tomb owner and his wife, the male tomb owner holds a rosary bead in his hand, and the female tomb owner holds a prayer on his chest[40]; the north wall of the golden tomb no. 65H4M102 in Houma also carves the tomb owner and his wife, who also hold rosary beads and scripture scrolls [41] (Figure 17), indicating their Buddhist belief tendencies. At the same time, the corner pillar of the north wall of the front room of Dong Hai's tomb is inscribed with an inscription: "On the twenty-fourth year of Dading's self-moon and self-day, the ancestor Dong Zhenzuka went to the scripture building, Dong Hai and Dong Zheng stood on the stone." "It can be further inferred that the Buddhist beliefs of the Dong family are inclined. At this point, we can comprehensively examine the imitation wood structure building, the tomb main statue, and the baby play, and we can conclude that the tomb space in this period contains the imagination of the pure land space and the meaning of the virtual to a certain extent. First of all, the pattern of the expression of a fixed pure land formed since the Tang Dynasty, that is, with the Tiangong Pavilion as the background, the middle as the Buddha, the bodhisattva disciples lined up on both sides, in front of the pool, the lotus flower incarnation of children and music and dance performances (Figures 18a, b) has enhanced our understanding of the image of baby drama in the tomb, and there are several corresponding structures in the tomb of Dong Ming and the golden tomb of Houma 65H4M102: in the space of the imitation wooden structure, the tomb owner serves as the worship center of everything, and everywhere there are active children playing flowers, children playing balls, and even children's music and dance. This is, to a certain extent, a simulation of the Pure Land Transformation Model. Moreover, as Pei Zhiang pointed out, the tombs of the late Tang Dynasty and the Yuan Dynasty have the practical function of ensuring that the ancestors of the dead are comforted and the heirs prosper forever, so the child play lotus with the incarnated child as the source and the auspicious allegorical baby play image of the child play peony satisfies these two demands of the secular people, thus becoming an important image of tomb decoration.
Figure 17 Tomb owner and wife On the north wall of the golden tomb of Houma 65H4M102
Figure 18a Dunhuang Cave 172 Sheng Tang Guan Wu Wu Shou Jing Change
Figure 18b Sheng Tang Dunhuang Cave 172 Guan Wu Wu Shou Sutra incarnation of the child
IV. "Qingyin Hall" and "AnyangGuo"
The appearance of inscriptions such as "Qingtang", "Shoutang", and "Qingyintang" in tombs during the Song and Liaojin dynasties has attracted attention from scholars (Figure 19). Among them, Dieter Kuhn, based on the "Qingtang", "Fushou Extension" inscription and Xiangrui theme decoration that appeared in the Song tombs in Zhaohua, Chongqing and other places in Sichuan, believes that the word "Shoutang" in the tomb, in addition to being a pre-built tomb for the living person, also has the role of Fulu and Shoukao, which symbolize the deceased and even their descendants.[42] Mr. Li Qingquan believes that the scenes of feasting, drinking, and dancing in tombs in Xuanhua, Hebei and even in Henan, Shanxi and other places during the Song and Liaojin dynasties are related to the concept of treating tombs as "Shoutang" or "Qingtang", and he also pointed out that the use of "Shoutang" to refer to tombs is related to the tang and Song dynasty temple culture.[43] Both "Qingtang" and "Shoutang" are related to the tomb builder's understanding of the tomb space, as a continuation of the ancestors' lives in another world, as a symbol of the happy life underground, always embodying an idealized vision derived from real material life. In recent years, Mr. Li Qingquan, in the discussion between the portrait of the tomb owner and his wife and the change of the burial atmosphere of Song Jin, further pointed out that the tomb is not only a warm and festive yin house built for the souls of the ancestors, the Qingtang, but also regarded as the premise and guarantee for the prosperity of future generations - the source of happiness in future generations .[44]
Figure 19 Brick carved gate tower of The Tomb of Jin Donghai in Houma, Shanxi
At the same time, buddhism's infiltration into secular funerary burials since the Song Dynasty has been multifaceted, such as the appearance of Buddhist images in tombs, cremation customs, the placement of scriptures on the top of tombs, and burials in tombs and monasteries, all for one purpose — to bring the dead back to life in the Pure Land[45]. Therefore, we can find examples of tombs directly regarded as pure land. For example, in the mural tomb of Zhangjiawan at the end of the Northern Song Dynasty in Tangzhen, Hubei Province, there is a convex niche on the west wall of the burial chamber. The niches are inscribed in ink with the words "An Yang Guo" (Figure 20). The other four walls are divided into several grids with ink threads, and flowers and plants such as peonies, bamboo, chrysanthemums, and lotuses are painted in each grid,[46] and "AnyangGuo" is another name for the Pure Land of the West. Not only that, in the fifteenth year (1175) of the Dading (1175) Jinyi Colonel Wei Wang Ji Cemetery excavated from the Linxia Jin Tomb in Gansu, the will of the tomb builder was clearly stated:
Victoria Golden River State Langxia Temple? / The shop lived in Wang Ji died on February 20 / Therefore, he identified (ran) a brick building for net wealth. / Bu Zhaozhao was buried on April 22, / East to Qinglong, west to White Tiger, / South to Suzaku, north to Xuanwu, / See Extended life of those who have survived from (survivors), and those who have died early / The Road to Daxi Heaven. / B did not set the fifteenth year into the Righteous School Lieutenant Wang Ji. [47]
The text reveals a good vision for the deceased - "the path of the deceased to the Western Heavens early", where the "Western Heavens" is the Pure Land. In the story of the Pure Land of Past Lives contained in Shi Zhipan's Chronicle of the Unification of the Buddha in the late Song Dynasty, many imaginary pictures of the Pure Land are also recorded, such as what Zhang Kang saw on his deathbed in Volume 29:
Zhang Kang, Shi Shijin is a Hanlin bachelor, the class is great compassion 100,000 times, willing to be born in the West. One day, sleeping only chanting the Buddha's trumpet, the family knows, the Western Pure Land, in the west of the hall, Amitabha Buddha sitting on the lotus flower, saw Weng Er praying and playing on the golden sand of the lotus pond for a long time, chanting the Buddha and becoming. Weng Er, grandson of Kang also. [48]
Also in the same book, "Li Yantong" Article Cloud:
Li Yantong, a family auditor, is a forge. Because of the Kaiyuan lineage, the anticipation of its meeting, the sudden realization of the impermanence of the world, the return to the pure karma of the heart, the illness of the day, the clouds: I marched the Pure Land, saw the second gate, the flat iron is very solid, on the occasion of the patrol, saw the people of Li Pedestrians, opened the door to introduce, saw the Lotus Pond Pavilion, buddhas and bodhisattvas, so I asked Xi Jing Daoguo Erxing, to the bed in front of the bed, the Tao of the whole family to read the Buddha, sitting in the west. [49]
Figure 20 Inscription on the west niche of the Song tomb in Tangzhen, Hubei Province
It can be seen that the basic image of the Pure Land as understood by the world is the lotus pond pavilion, the child, the Buddha, and so on. Interestingly, the same book, "Lady Wang of jingwang", also narrates the belief that people can be reborn in the Pure Land after death through dream depictions, Yun:
Lady Wang of Jing, Yuan Youzhong, is very scrupulous in the West, and the only concubine, Lady Slack, will be expelled, and her concubines will be repentant and extremely advanced. Overnight, the smell of strange smells filled the room, and nothing ended. Lady Ku dreamed of a concubine living in Su Xie, and because of the reprimand of lady, she was now reborn. Madame: "Can the West go to the west?" Concubine: "But go with the concubine." The lady then saw the two pools, all white lotuses, or glory or emaciation, concubines: "All of these are the world's hearts to cultivate Westerners, and the world has a thought, and a flower is born in the pool, and with its diligence, the glory is different, there is a flower, sitting in the dress, its clothes fluttering, dissipating with the wind, that is, seeing the crown of treasure, solemnizing its body." Concubine: 'This Yang Jieye'. Then there was a flower, sitting on the dress, and its flower was slightly emaciated, saying: 'This horse is also'. In the compound leading number, looking at the golden altar from afar, the light intersected, and the concubine said: "This lady is incarnated, and the upper product is born." Xu Visit yang jie is dead, and Ma Xuan is unharmed. The later lady burned incense in the Guanyin Pavilion on her birthday and stood up. King Jing, son of Emperor Huizong. [50]
Not only that, but the following story of the "Chang'an Jing clan" also tells us that the soul can be transformed into a child, and then the Buddha will lead us to the Pure Land:
Chang'an Jing surname, originally Tu, because of the good guidance and the upper persuasion of people to read the Buddha, the city is full of broken flesh, Kyo jealousy, with a knife into the temple, xing killing intentions, the guide to the West, the present Pure Land, that is, to return to the heart to make a wish, to go up to the high tree to read the Buddha, to fall into the tree and end, to see the Buddha, to lead the heavenly boy out of its top door, the heavenly child is its god. [51]
Interestingly, in the picture of Amitabha Buddha coming from the 12th to 13th centuries in Blackwater City, we also see an image very similar to this story: the deceased person in the lower left of the picture, a white cloud appears above his head, transformed into a naked boy, and ascends to the golden lotus. In the distant clouds, palaces marking the Pure Land of The Buddha and musical instruments fluttering and chiming (Fig. 21) are revealed. This is not proof that in the context of the universal Buddhist secular beliefs of the Song and Jin dynasties, the secular class has various pictorial understandings of the Pure Land, thus bringing these understandings into the creation of tomb spaces. Under the dual role of family concepts and Buddhist beliefs, various baby drama images appear in the imitation wood structure golden tomb, which integrates the tomb as a composite demand of qingtang-pure land.
Fig. 21 Amitabha Buddha Lai Ying (X.2411), 13th century, Azabu painted thangka, 84.8χ63.8cm
epilogue
As an important factor in the decorative themes of the Song and Jin dynasties in a new period, the baby play image constructs a different decorative theme from the Han and Tang tombs to show the tomb owner's ascension to the immortal or the carriage and horse travel, and it presents an underground space that gathers various worldly pleasures. Through the comprehensive study of the image types and decorative themes of baby drama in the tombs of the Jin Dynasty in southern Jin, as well as the song and Jin ritual customs and funerary concepts, this paper believes that the theme of baby play and the imitation wood structure architecture together constitute an important pictorial element of an underground "pure land". From the tomb where the baby play is located, it can be found that the more the tombs after the era, the more emphasis is placed on this imitation wooden structure without any practical function, which is of great significance to the construction of the tomb space as one of the most basic elements of the tomb in the entire Song and Liao Jinyuan periods. It is worth noting that from the pure land changes of Dunhuang murals since the Tang Dynasty, we can perceive that the Buddha kingdom is often composed of many buildings, and the scattered music performances of the tombs in the late Jin Dynasty correspond to the music and dance before the Buddha, which is the secularization of this religious picture; at the same time, various lotus incarnations, child plays, social fires, miscellaneous dramas, and bamboo horse games with baby play images as the carrier enter all corners of the tomb decoration, giving the ancestors "eternal offerings" and praying for the "reality feedback" of the ancestors. That is, to bless the living children and grandchildren from generation to generation, and the family to prosper, which embodies a common concept of happiness and ancestor worship in recent times.
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Figure 1 Moulded brick sculpture "The Boy of Fortune" on the Tomb of Houma Donghai in Shanxi (taken by the author)
Figure 2 Tomb owner and wife sitting on the second year of Jin Da'an (1210) Houma Dongming's tomb on the north wall, "Brick Carving of the Golden Tomb of Pingyang", Shanxi People's Publishing House, 1999, Figure 90
Figure 3 Floor-to-ceiling door cover Jin Da'an II (1210) The south wall of the tomb of Hou Ma Dongming, "Brick Carving of the Golden Tomb of Pingyang", Figure 59
Figure 4 Boy Play Lotus Jin Da'an 2nd Year (1210) Houma Dongming Tomb East Wall Beware of the Lattice Gate Ge Heart Flower, "Brick Carving of the Golden Tomb of Pingyang", Figure 74
Figure 5 Carving on the algae board of the golden tomb no. 65H4M104, Shanxi, collected from Archaeology and Cultural Relics, No. 6, 1983, plate 8
Figure 6 Metamorphosis Virgin (Peony Fairy) East Wall of the Golden Tomb of Andu zhuang in Shanxi Xindi Wandu Zhuang "Brick Carving of the Golden Tomb of Pingyang", Figure 80
Figure 7 20 years of Jin Dading (1180) North wall of the golden tomb in Houma Da Li Village, "Brick Carving of the Golden Tomb of Pingyang", Figure 30
Figure 8 Bamboo Circus: West Sub-room of the South Wall of Tomb No. 1 in Macun, Jishan, Shanxi, "Brick Carving of The Golden Tomb of Pingyang", Figure 107
Figure 9 Floor-to-ceiling door cover The north wall of the Golden Tomb of Houma 65H4M102 "Brick Carving of the Golden Tomb of Pingyang", Figure 60
Figure 10 Boy Society Fire Performance No. 2 Houma 65H4M102 Gold Tomb North Wall Meru Seat "Brick Carving of The Golden Tomb of Pingyang", Figure 42
Figure 11 Metamorphosis of the boy, taken from [Northern Song Dynasty] Li Jie's "Building the French Style", volume 33, Zhejiang People's Fine Arts Publishing House, 2013, p. 1029
Figure 12 White porcelain pillow excavated from the golden tomb of No. 65H4M102 in Houma, Shanxi, collected from Cultural Relics Quarterly, No. 4, 1997
Figure 13 Schematic diagram of the opening of the murals in the tomb of The Song Tomb in Dengfeng, Henan Province, collected from "Cultural Relics", No. 10, 2001
Figure 14 Immortal Building (upper part of the north wall of the tomb) Henan Xinmiping Mo Song Tomb Collected from "Zhengzhou Song Jin Mural Tomb", Science Press, 2005, Figure 63
Figure 15a In the second year of Jin Da'an (1210), the north wall of the tomb of Houma Dongming, "Brick Carving of the Golden Tomb of Pingyang", Figure 25
Figure 15b Jin Da'an II (1210) South wall of the tomb of Houma Dongming, "Brick Carving of the Golden Tomb of Pingyang", Figure 26
Figure 16a Heavenly Palace Pavilion Buddhist Taoist Account "Building the French Style" Volume 32
Figure 16b Shanhua Banana Leaf Buddhist Taoist Tent "Building the French Style" Volume 32
Figure 17 Tomb owner and wife Houma 65H4M102 Gold Tomb North Wall "Pingyang Golden Tomb Brick Carving", Figure 91
Figure 19 Brick carving gate tower of Jindonghai Tomb in Houma, Shanxi Taken from "Brick Carving of Golden Tomb in Pingyang", Figure 18
Figure 20 The inscription on the west niche of the Song Tomb in Tangzhen, Hubei Province, collected from "Cultural Relics", No. 1, 1960
Figure 21 Amitabha Buddha Laiying (X.2411), 13th century, Azabu painted thangka, 84.8χ63.8cm, collected from Jin Yasheng and Semyonov, edited by Jin Yasheng and Semyonov, "Russian-Tibetan Black Water City Artwork", volume 1, Shanghai Ancient Books Publishing House, 2008, Figure 15
[[1]] Representative research discussions on this aspect include: Yang Zhishui: "From the < Children's Poems > to the Hundred Zitu", Cultural Relics, No. 12, 2003, pp. 56-66; Bai Shiming: "Representation of Prosperous Culture: The Emergence of "Children's Paintings" in the Prosperous Tang Dynasty and Its Interpretation of the Significance of Art History", Art History Research, Ninth Series, Sun Yat-sen University Press, 2007, pp. 1-62; Pu Songnian: "Festive and Joyful Baby Drama", Shanghai Dictionary Publishing House, 2009 Du Huan: "On politics and the reasons for the prosperity of court infant drama painting in the song dynasty", master's thesis of Yangzhou University, 2010; Chen Weiyan: "Research on the connotation and characteristics of the > of ancient Chinese < baby drama", Master's Thesis of Southeast University, 2009; Li Xiaoli: "'Baby Drama' Non-Drama- On the Evolution of Traditional Chinese "Baby Drama" Decorative Themes", Master's Thesis of Shanxi University, 2009.
[2]] The main research on this aspect includes: Mao Ying: "Tang Gilded Baby Drama Picture Small Silver Vase Image Analysis", Southern Cultural Relics, No. 4, 1995; Dong Caiqi: "Yao Porcelain Baby Ornament", Wenbo, No. 4, 1999.
[[3]] Related discussions include: Fu Yunzi: "An Investigation of one of the "Grinding and Drinking Music" of the Song and Yuan Dynasties", Shirakawa Collection, first edition of Qiuwentang in Tokyo, 1943, later by Shokurain Archaeology, Shirakawa Collection, Liaoning Education Publishing House, 2000, pp. 104-109; Yang Zhishui: "Mojura and Metamorphosis", "New Evidence of Ancient Poetry and Literary Objects", Forbidden City Publishing House, 2004, pp. 274-281; Yang Lin: "The Origin of Metamorphosis and Mohola", "Chinese Historical Relics", 2009, No. 1, pp. 21-33; Zheng Yang, "Research on Children's Images in the Tang Dynasty", Master's Thesis of the Central Academy of Fine Arts, 2010; Yao Xiaoyi, "On the Evolution of the Image and Concept of "Lotus Metaplasia" in the Middle Ages: On the Origin of folk Mahula Images", Dunhuang Turpan Studies, vol. 12, 2011, pp. 381-397; Liu Zongdi: "The Western Origins of Mojuluo and song Dynasty Qixi Customs", Folklore Research, No. 1, 2012, pp. 67-97 Sun Facheng, "The Belief and Image of "Mo Drink Le" in the Song Dynasty: On the Origin of Song Bao'er and "Mo Drink Le"", Folklore Research, No. 1, 2014, pp. 135-143.
[[4]] Ann Barrott Wicks ed. ,Honolulu: Children in Chinese Art, Honolulu: University of Hawai'i Press,2002.
[5] For a study of "children's paintings", see Bai Shiming, "Representations of Prosperous Culture: The Emergence of "Children's Paintings" in the Flourishing Tang Dynasty and Their Interpretation of the Significance of Art History", pp. 1-62.
[6]] Shanxi Institute of Archaeology: Brick Carvings of the Golden Tomb in Pingyang, p. 330, Figure 76.
[[7] Houma Workstation, Shanxi Institute of Archaeology: "Golden Tomb no. 102 Houma", Cultural Relics Quarterly, No. 4, 1997, pp. 28-40.
[[8]] Hou Ma Workstation of Shanxi Provincial Cultural Management Association: "Introduction to the Tomb of Dong Clan of Hou Ma Jin Dynasty", Cultural Relics, No. 6, 1959, pp. 52-55. According to the report, Tomb No. 1 is the tomb of Dong Xuanjian, Tomb No. 2 is located on the lower left side of No. 1, which is the tomb of his brother Dong Ming, and the tomb of the second is seriously damaged, and the report narrative is mainly based on Tomb No. 1; but later published a catalogue, revised the owners of the two tombs, and determined that the complete tomb No. 1 is Dong Ming's tomb, and the person who comes after it shall prevail. (For details, see Shanxi Institute of Archaeology: "Brick Carving of The Golden Tomb in Pingyang", Shanxi People's Publishing House, 1999, Figures 25-28, 35, 59, 74, 75, 219, 316 and Figure Notes.) ）
[[9]] HouMa Workstation of Shanxi Provincial Cultural Management Commission: "Introduction to the Tomb of Dong Clan of Houma Jindai", Shanxi Institute of Archaeology: "Brick Carving of Golden Tomb in Pingyang", Figure 200-201, pp. 337.
[[10] Ibid. Figure 76, p. 330.
[[11] Yang Fudou, "Golden Tomb No. 104 Houma, Shanxi", Archaeology and Cultural Relics, No. 6, 1983, pp. 32-39.
[[12] Dai Zunde, "Briefing on the Cleanup of the Tomb of Xiangfen in Shanxi", Cultural Relics, No. 10, 1989, pp. 20-23.
[[13] Shanxi Provincial Institute of Archaeology, Changzhi City Museum: "Shanxi Tunliu Song Village Golden Tomb Mural Tomb", Cultural Relics, No. 8, 2008, pp. 55-62.
[[14] Shanxi Institute of Archaeology, Wenxi County Museum, Shanxi Province: "Jin Dynasty Brick Carvings and Mural Tombs in Wenxi County, Shanxi Province", Cultural Relics, No. 12, 1986, pp. 36-46.
[[15]] Shanxi Institute of Archaeology: Brick Carvings of the Golden Tomb in Pingyang, Figure 80.
[[16] Houma Workstation, Institute of Archaeology, Shanxi Province: "Houma Da Li Jin Dynasty Chronicle Tomb", Cultural Relics Quarterly, No. 3, 1999, pp. 3-7, 39.
[[17]] Shanxi Institute of Archaeology: "Briefing on the Excavation of the Golden Tomb in Jishan, Shanxi", Cultural Relics, No. 1, 1983, pp. 45-63.
[[18] Li Hui, "Brick Carving Tomb of the Jin Dynasty in Xiangfenhou Village, Shanxi", Cultural Relics, No. 2, 2008, pp. 36-40.
[[19] Shanxi Institute of Archaeology: "Briefing on the Excavation of the Tombs of Fanzhuang and Wulingzhuang in Xinnan, Shanxi", Cultural Relics, No. 1, 1983, pp. 64-72.
[[20]] Houma Workstation, Institute of Archaeology, Shanxi Province: "Houma 65H4M102 Golden Tomb", Cultural Relics Quarterly, No. 4, 1997, pp. 17-27.
[21] Shanxi Institute of Archaeology: Brick Carvings of the Golden Tomb in Pingyang, p. 337.
[[22]] Tao Fuhai and Xie Xigong, "Briefing on the Cleaning of Jinyuan Tomb in Quli Village, Xiangfen County, Shanxi", Cultural Relics, No. 12, 1986.
[[23]] Ellen Johnston Laing (梁庄爱伦)“Auspicious Motifs in Ninth-to Thirteen-Century Chinese Tombs”,Art Orientalis,Vol.33(2003),pp.32-75.
[[24] Liu Yaohui, "Research on the Tombs of Song jin in southern Jin", Master's Thesis of Peking University, 2005, pp. 38-39.
[[25]] [Song] Li Jie, "Building the French Style", vol. XII, Zhejiang People's Fine Arts Publishing House, 2013, p. 314 (according to the photocopy of Tao Xiangben of the Republic of China).
[[26]] [Song] Fang Spoon: "Po Zhai Compilation", Zhonghua Bookstore, 1983, p. 34.
[[27] Taisho Collection, vol. IV, p. 0453. For similar stories, see the Tang Dynasty Western Regions Chronicle, Volume VII, "The Story of a Thousand Buddhas Bunsen": "When King Fanyu traveled to see flowers, he sought traces, pleased with their strangeness, and returned with the same load." Xiang Shi Zhan said, when you give birth to a thousand sons. When the women heard it, they did not plan. The sun and the moon are full, and a lotus flower is born, and the flower has a thousand leaves, and the leaves sit on a son. ([Tang] Xuanzang, The Original Work of debater, Ji Xianlin et al., Annotations to the Records of the Western Regions of the Tang Dynasty, Zhonghua Bookstore, 2000, p. 595. ）
[[28]] [Song] Chen Zao: The Collected Works of Jianghu Changweng, vol. XVIII, Jingyin Wenyuange Siku Quanshu, vol. 1166, Taiwan Commercial Press, 1986, p. 217.
[[29]] [Yuan] Detachment: History of the Song Dynasty, vol. 142, Zhonghua Bookstore, 2011, p. 3348.
[[30] Ibid., p. 3350.
[[31] Compiled by Tang Guizhang, edited by Wang Zhongwen, and supplemented by Kong Fanli: The Whole Song Dynasty, Zhonghua Bookstore, 1999, pp. 3148-3149.
[[32]] Ibid., p. 3794.
[[33]] Pei Zhi'ang, "On the Religious Significance of Imitation Wooden Tombs from the Late Tang Dynasty to the Yuan Dynasty", Archaeology and Cultural Relics, No. 4, 2009, pp. 86-90.
[[34]] Wei-chen Lin (林伟正)“Architecture in Brick A Changed Perspective from Life to Death in 10th- through 13th-Century Northern China”,Archives of Asian Art, Volume 61, 2011, pp. 3-36.
[[35]] Henan Provincial Institute of Cultural Relics, et al., "Excavation Report of Emperor Taizong of Song Dynasty Yuande Li Houling", Huaxia Archaeology, No. 3, 1988, pp. 19-46.
[[36]] Zhengzhou Institute of Archaeology, et al., "Song Dynasty Mural Tomb in Dengfeng, Henan", Cultural Relics, No. 10, 2001, pp. 59-66.
[[37]] Zhengzhou Institute of Cultural Relics and Archaeology, et al., "Mural Tomb of Pingmo Song Dynasty in Xinmi City, Henan", Cultural Relics, No. 12, 1998, pp. 26-32.
[[38]] Yang Zhishui, "The Occurrence, Spread, and Evolution of Shapes and Patterns: Centered on the Pavilion Of The Immortal Mountain," by Shu Shi: The Color of Luxury: A Study of Song and Yuan Ming Gold and SilverWare (Vol. 2), Zhonghua Bookstore, 2011, pp. 237-257.
[[39] Shanxi Institute of Archaeology: Brick Carvings of the Golden Tomb in Pingyang, pp. 8-9.
[[40]] Houma Workstation of Shanxi Provincial Cultural Management Association: "Introduction to the Tomb of Dong Clan of Houma Jindai", Cultural Relics, No. 6, 1959; Shanxi Institute of Archaeology: "Brick Carving of Pingyang Golden Tomb", Figure 25.
[41]] Ibid. [20].
[[42]] Dieter Kuhn, A Place for the Dead: An Archaeological Documentary on Graves and Tombs of the Song Dynasty (960-1279), reprinted from Li Qingquan: Xuanhua Liao Tombs: Burial Art and Liao Society, Cultural Relics Publishing House, 2008, p. 164.
[[43] Li Qingquan, "The Ritual Function of The Scattered Music Diagram and the Tea Preparation Diagram of xuanhua Liao tomb murals", Journal of the Palace Museum, No. 3, 2005; see also Li Qingquan: "Xuanhua Liao Tomb: Burial Art and Liao Dynasty Society", Cultural Relics Publishing House, 2008, pp. 147-169.
[[44] Li Qingquan, "The New Imagery of "A Family Celebration": Portraits of Tomb Owners and Couples in the Song and Jin Dynasties and the Changes in The Burial Customs of the Tang and Song Dynasties," Journal of Fine Arts, No. 2, 2013, pp. 18-30.
[[45] Ran Wanli, "Archaeological Observations on Buddhist Factors in Funerary Customs in the Song Dynasty", Archaeology and Cultural Relics, No. 4, 2009, pp. 77-85.
[[46] Li Yuankui and Mao Zaishan, "Song Tombs with Mural Paintings and Eastern Han Stone Chamber Tombs Found in Tang Town, Suixian County, Hubei Province", Cultural Relics, No. 1, 1960, p. 77.
[[47] Linxia Hui Autonomous Prefecture Museum: "Brick Carving Tomb of The Jin Dynasty in Linxia, Gansu", Cultural Relics, No. 12, 1994, p. 49. The inscription point proof is added by the author.
[[48]] [Song] Zhi Pan, Commentary on the Interpretation of the Taoist Law: Annotations on the Chronicles of the Buddha, Shanghai Ancient Books Publishing House, 2012, p. 618.
[[49]] Ibid., pp. 628-629.
[50] Ibid., pp. 630-631.
[[51]] Ibid., p. 639.
[[52] Jin Yasheng and Semyonov, eds., Russian-Tibetan Blackwater City Artwork, Vol. 2, Shanghai Ancient Books Publishing House, 2008, pp. 219-221.
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