North side of the east wall of the cemetery Hunting map (partial)
East Wall of the Tomb Road Travel Map (Partial)
West Wall of the Cemetery Road Travel Map (Partial)
Travel map on the south side of the east wall of the former Yongdao Road
Third patio Cattle ploughing chart
Third patio Sowing chart
Third patio Bullpen chart
Third patio Oxcart diagram
The east wall of the fourth patio is a column diagram
First Cave East Wall Honor Guard Diagram (Partial)
The east side of the north wall of the burial chamber is played
Note: The murals in this book are copied
The above picture is excerpted from the "Collection of Murals of Tang Tombs"
Editor, Copy: Zhang Hongxiu
Shaanxi People's Fine Arts Publishing House, April 1991, the first edition of the first printing
Further reading:
<h1 class="pgc-h-arrow-right" > Li Shou's tomb: a mystery that is difficult to solve through the ages </h1>
(China Culture Daily Zhao Jianlan Picture for the network with picture copyright belongs to the original author)
Li Shou Stone Rafter
There are many people who have no achievements in history, but because of the speciality of their tombs, they have become famous after a thousand years of death, and Li Shou is one of them. With a rare domestic animal head turtle-shaped epitaph, a stone rafter that can be called a model of stone carving art in the Tang Dynasty, and a number of rich and extremely exquisite Tang Dynasty murals, the unknown Li Shou has become the focus of modern people's tourism and sightseeing in the Forest of Steles Museum in Xi'an across the millennium.
Who is he? Why do you enjoy such a courtesy?
The owner of the tomb is the cousin of Li Yuan, the emperor of Tang Gaozu
The tomb of Li Shou in Sanyuan County, Xianyang City, Shaanxi Province, is one of the many funerary tombs of Li Yuanxian of the Tang Dynasty. Discovered in 1973 due to the collapse of local farmers irrigating fields and collapsing the tomb, it is the earliest of the Tang Dynasty tombs that have been excavated. At present, the tomb gate of Li Shou, the stone rafter and the turtle-shaped epitaph of the beast head exhibited in the Old Stone Carving Art Museum of the Forest of Steles Museum in Xi'an have become the "treasures of the town hall" of the museum.
Li Shou (577–630), courtesy name Shentong, "was the cousin of Li Yuan, the emperor of Tang Gaozu, and was called King Anjing of Tang Huai in his epitaph." Wang Yuanyin, deputy director of the Forest of Stone Steles Museum in Xi'an, said. According to historical records, in the last year of the Sui Dynasty, Li Shou and Li Yuan raised troops against Sui, and participated in the war against Yu Wenhua, Dou Jiande and Liu Heimin, but they were repeatedly defeated, and they were also captured by Dou Jiande, and finally li Shimin pacified Liu Heimin, although he did not have outstanding military achievements, he became a meritorious minister in the establishment of the Tang Dynasty, so he was rewarded by Li Yuan and Li Shimin, and his title was constantly promoted. Tang Zhenguan died in December of the first year of tang (630) at the age of 54 in Chang'an Yanfuli, and was buried in Sanyuan County after his death.
According to the archaeological excavation reports of that year, Li Shou's tomb was a rammed earth pile of conical sealed soil (now razed to the ground), with a total length of 44.4 meters, a long slope tomb passage, 5 patios, a yongdao with stone doors and a burial chamber 3.8 meters long, 3.95 meters wide and 10.5 meters deep. More than 300 burial items such as gold, jade and ceramics have been excavated in the tomb, as well as a stone rafter. The stone rafter is a layer of burial tools that cover the outside of the coffin, and it is very large. Li Shou stone rafter is composed of three parts: body, top and bottom, a total of 28 bluestones. From the outside, the rafters are like 3 intermittent hilltop houses, 8 large pillars stand tall, and the stone rafters are carved on all four sides with neatly arranged and dressed figures, including courtiers, warriors, immortals and so on. The top of the stone rafter is covered with circular relief cylinder tiles, the side eaves are carved with lotus pattern tiles, and the bottom of the rafters has group flowers and zodiac line paintings. In the interior of the stone rafter, there are stars, the sun, golden cicadas and jade rabbits at the top, and the inner wall is engraved with 7 groups of patterns such as musicians, maikos, male and female attendants, etc., which are vivid and touching.
Compared with other stone rafters in the Tang Dynasty, the special feature of the appearance of Li Shou stone rafters is that it has a small door with a double-door format on the front, the door is 75 cm high and 52 cm wide, and the door is engraved with the legendary four gods of Suzaku, Xuanwu, Green Dragon and White Tiger. Since the Western Han Dynasty, the Suzaku is the southern god of the four gods that indicates the direction, representing the meaning of auspiciousness, advance and victory, and the Suzaku appears many times in the stone rafters of Li Shou's tomb, "it may also take the meaning of auspiciousness, as for who is this small door for entering and leaving, what is the special meaning," Wang Yuanyin said, "It is not clear at present." The use of the figure of the military general of the Wenchen military general to replace the common image of the multi-faceted palace girl in the murals of the Tang Tomb not only makes Li Shou quite 'king' temperament, but also a true portrayal of his luxurious life before his death. ”
Rare turtle-shaped epitaph
Among the cultural relics excavated from Li Shou's tomb, his turtle-shaped epitaph is extremely rare, "This turtle-shaped epitaph was excavated in Luoyang, Henan Province before liberation, but the scale is far less than this, so it is particularly precious." Wang Yuanyin said. Usually, most of the epitaphs are square, and the epitaph covers are also square or bucket-shaped, while the Li Shou turtle-shaped epitaph and cover are oblong-oval, and the glans head shaped is stretched forward, the eyes are wide open, and the four legs lie on the rectangular stone seat, and are engraved with tortoiseshells, beads, vines and other patterns. The total length is 166 cm, the width is 96 cm, and the height is 64 cm, and judging from the remaining traces, it turns out to be all-over painted gold. Take the turtle's back as the chigap. In the middle of the above is engraved the 16-character inscription of the "Epitaph of the King of Huai'an Jing of the Tang Dynasty". The inscription consists of 31 lines, each line of 37 words, a total of 1071 words, and no name of the author. The calligraphy resembles Ouyang calligraphy.
The inscription details Li Shou's life and deeds, mainly for his praises. According to historical records, although Li Shou was an imperial prince, he himself was not a general with great planning and outstanding merits, as described in the inscription, and when Tang Gaozu Li Yuan raised an army, he led his troops to respond, but when discussing the reward for meritorious deeds, he was indignant and indignant about Fang Xuanling, Du Ruqian, and other meritorious service. Obviously, the inscription is not consistent with the historical records, in this regard, Wang Yuanyin explained that Li Shou's epitaph was engraved in the fourth year of Tang Zhenguan (630), that is, only 6 years have passed since the Tang Dynasty unified the whole country, and in the early years of the reign, the rulers often regard the maintenance of the stability of the regime as the primary goal, Li Shou is the founding hero of the Tang Dynasty, and the beautification and thick burial of such a special person can reflect the beautiful qualities of the Tang Emperor and win the support and support of more people.
The turtle symbolized longevity and wealth in ancient China, and was highly worshipped by people, is the appearance of the Li Shou turtle-shaped epitaph a remembrance of the worship of the ancient spirit turtle? Is it related to the legendary "Spirit Turtle Negative Book"? Wang Yuanyin said that there may be, but this can only be a speculation, there is no conclusive conclusion, and the appearance of the "Spirit Turtle Negative Book" also refers to the auspicious photo. The so-called "Spirit Turtle Negative Book", that is, when Dayu succeeded in ruling the water, there were spirit turtles coming out of Luoshui, and the back was arranged into a figure of "wearing nine shoes one, left seven right three, two and four shoulders, six eight feet, and five in the center", Dayu got it and pondered repeatedly, and finally divided the world into nine states in turn, forming a far-reaching nine palace map in Chinese history.
The painting is played as "court music"?
In addition to the stone rafters and turtle-shaped epitaphs, Li Shou's tomb has also unearthed a large number of extremely exquisite murals, according to rough statistics, it can be roughly divided into farming, pastoral, miscellaneous service maps, architectural drawings, honor travel maps, temples, Taoist maps, etc., and Li Shou's stone rafters are engraved with musicians and maiko murals, which have attracted widespread attention once they were found. Because of the tang dynasty court music system, the distinction between sitting and standing tricks, which has attracted much attention, began, due to the difference in ancient documents, there is a great controversy in the music industry. According to the archaeological excavation briefing of that year, the "Tachibata Map" carved in the south of the southeast wall of the stone rafters, and the "Maiko Map" next to it, are actually a map. In other words, it can be divided into two figures: "Zabu Trick (including Maiko)" and "Rishibe Trick" (only musician). Does this mean that as early as the fourth year of Zhenguan, there was already a division of "sitting and standing two music"?
It is understood that the "sitting and standing tricks" is one of the typical representatives of the Yan music and dance of the Tang Dynasty court. The so-called "sitting and standing tricks", including "sitting tricks" and "standing tricks", it is a music and dance divided according to the standing and standing of the performance posture, both of which have their own performance characteristics, and the scale and specific number of people also have different limits. The number of "sitting tricks" performers is small, and the performances in the hall are accompanied by silk bamboo music, the mood is elegant, the music is delicate, and the individual performance skills are generally higher. However, the number of "Libu Trick" performers is relatively large, and most of them use percussion accompaniment such as gongs and drums, and the mood is warm and imposing, and the individual performance skills are generally low.
"The maiko in the murals of Li Shou's tomb is composed of 6 people, while the 'sitting trick' recorded in the literature has 8, 4, 2, 3 and 12 people, except for the group of 6." Wang Yuanyin said, "The music of the sit-up section is all court music that praises the emperors of the Sui and early Tang Dynasties, especially the 'Wenzhi Martial Arts' of the reigning emperors, and is by no means comparable to the music and dance of ordinary entertainment and entertainment." In other words, Li Shou, as a subordinate, was not blessed to enjoy music of this nature, and it was even more unlikely that he would be carved into a coffin and buried after death. That is to say, what Li Shou carved in the stone rafters is not a sitting and standing music trick, and what he plays is not a court music, but a common music in the homes of ordinary relatives and nobles. ”
As for when the sit-and-stand duo began, there are still many opinions. And why Li Shou's tomb is so luxurious, and who its most likely builder will be, has also become a mystery that is difficult to solve for eternity.