Tomb No.1 is a large stone relief tomb. The structure of the mausoleum is complex and rigorous. It consists of a porch, a front, middle and rear main room, an east three-sided room and a west two-sided room, which are connected by doors. The front room and the middle room are divided into two rooms: the east room and the west room by the octagonal Optimus Prime, the bucket arch and the lintel. The back room is divided into two rooms by the floor, the bucket arch lintel and two side plates; The back room is in the northeast corner of the tomb; There is a partition wall at the northern end of the room, and the toilet is inside this partition wall. The whole layout is quite balanced, all on a central axis. The main axis is north-south, and the tomb gate is 9 degrees southwest. The tomb is 7 from east to west. 55 meters, 8 meters long from north to south. 70 meters, covering an area of 88. 2 square meters, volume 326. 34 cubic meters. * * * There are 280 pieces of stone appreciation, including 42 stone reliefs and 73 portraits, covering an area of 44.227 square meters. The main contents of the stone relief are: attack map, sacrifice map, travel map, harvest feast map and music and dance map. Portraits are exquisitely carved, with diverse techniques and vigorous spirit. It is a representative masterpiece in the development period of stone relief art in Han Dynasty. This stone relief tomb is also an excellent work of architecture, painting and sculpture created by folk craftsmen.
Tomb No.2 is a large masonry multi-chamber tomb, located in the east-south of Tomb No.1, with a distance of 20 meters. It was excavated in the spring of 1994. The layout of the tomb is basically the same as that of the No.1 tomb, and it also consists of the entrance, the front, middle and rear main rooms, the east three rooms and the west two rooms. Except the entrance to the tomb, the four walls of the front middle room and the partition wall of the west room are made of stone, the rest are made of blue bricks. The back room is divided into two rooms by a brick wall. There are doors connecting the rooms. The roof of the room is made of blue bricks. The outdoor length from north to south is 9. 10 meter, east-west width 8. 52 meters. The layout of the whole tomb is quite balanced, all on a central axis, the main axis is north and south, and the tomb door is 9 degrees east and west.
Tomb No.3 is in the west of Tomb No.2, with a distance of12m. When people built a house, they found it. 1994, Shandong Provincial Institute of Cultural Relics and Archaeology organized people to try to dig, but failed to find it.
Tomb No.4 is a small masonry tomb, located at the southwest of Tomb No.4 1 00 meters, and was found in a kiln dug by villagers in June 1994. After the rescue excavation by yinan county Cultural Relics Management Office, more than 50 pieces of cultural relics were unearthed, which were sealed and protected after cleaning.
Tomb No.5 and Tomb No.6 are located about 25 meters south and 30 meters east of Tomb No.2, respectively. They were discovered by Shandong Cultural Relics Science and Technology Protection Center on May 1994, but they were not excavated.
According to the analysis of comprehensive topography and drilling situation, experts from Shandong Cultural Relics Science and Technology Protection Center found that there were other tombs and the remains of Tang and Song Dynasties in addition to the above six tombs underground in Beizhai Village. These stone reliefs belong to Tomb No.1. There are 42 stone reliefs and 73 portraits in the whole tomb, with a total picture area of 44. 227 square meters. The Excavation Report of Ancient Stone Tombs in Yinan (hereinafter referred to as the Excavation Report) divides the portraits into 73 pieces according to the rubbings of relief stones. In fact, the octagonal Optimus Prime in the front room and the middle room are eight independent portraits, so there should be more than 73 portraits. All the portraits are carved in the tomb door and the front, middle and back rooms. On the surface, they are scattered, each with its own theme; However, if you look closely, you will find that they have their own internal relations and become a whole. The whole picture is continuous and has a story. All the stone reliefs are divided into four groups, each group has its own theme, and the theme is clear. In each group of stone reliefs, some show the theme, some set off the theme, and some rooms in the front, middle and back are specially arranged for the theme:
The first group is the tomb stone relief, with four * * *. This group of portraits is centered on the Hu-Han war map carved on the lintel, and its theme is to write the most important and memorable story of the tomb owner before his death-he led the army to defeat the invasion of foreign countries. There is a bridge in the middle of the picture, with columns, railings and decorations on it. On the bridge and on the right (depending on the orientation of the viewer, the same below), a large number of Han soldiers, cavalry and a chariot with knives, shields, spears and axes marched from right to left. On the left, Hu Qi and nothing, armed with knives, shields and crossbows, crossed the overlapping mountains to the right. The two sides fought fiercely on the bridge. It is Dong, Queen Mother of the West, Feather Man, Jade Rabbit, Fu, Nuwa, Fairy and the rare birds and animals on the three doorposts that set off this theme, which is used to express the origin of human beings and the supernatural of immortals, and contains the meaning of eliminating ominous and protecting people in the tomb. There are boatmen and fishermen under the bridge, which means there is water under the bridge.
The second group consists of 29 stone carvings in the front room. Portraits are carved on walls, columns, arches, lintels and ceilings. This group is centered on the pictures of condolences and sacrifices carved on the flags of the East Wall, the South Wall and the West Wall. The theme is to write the mourning and glory behind the tomb owner, explaining how many people came to sacrifice after his death, and how solemn and pious undertaker was, so he used three sacrificial pictures to show it in succession. Two of them are photos of the tomb owner's officials offering sacrifices to him, and carved sacrificial figures holding bamboo slips, coma, coffins and coffins greet many guests who come to mourn in the hall and in front of the house. A picture shows that relatives and friends from all over the world sent people to sacrifice with gifts. There is a double-eaved ancestral hall carved in the picture, and a large number of sacrifices are displayed in the square in front of the ancestral hall. The worshippers have got off the bus to pay homage. The drum-cutting and coma-holding pictures of the east and west sections of the south wall are still part of the sacrificial ceremony; The armory and shield map on the central pillar are used to indicate the identity of the deceased and are indirectly related to the sacrificial map; These are all subordinate paintings of the theme painting. This theme is set off by indoor mythical figures, rare birds and animals, such as Qinglong, White Tiger, Suzaku, Xuanwu Four Gods, rare birds and animals, immortals, monsters, bedding, moire, etc. Like the tomb door, they all contain the meaning of lark care. In addition, there are pattern paintings specially designed for decoration, such as rafters and algae wells, which only play an auxiliary role in the whole group of paintings. The roofs of the two rooms are engraved with wall patterns and lotus patterns respectively.
The third group consists of 32 stone carvings in the middle room. Portraits are carved on the walls, pillars, arches, lintels and roofs. This group of portraits, which focus on the four walls and banners, reflects the life content of the tomb owner. The theme is to write about the identity of the tomb owner and his rich and happy life. In this group of main paintings, the most important is the travel map of horses and chariots, which is connected with the western section of the flag on the south wall and the four flags on the west wall and the north wall. It shows the huge bureaucratic status of the tomb owner: many relatives and friends greeted the huge motorcycle team in front of the house and in Shuangque. From the architectural form of the house and motorcycle team, no one saw him off, reflecting that the tomb owner should have returned from tourism. Secondly, it is the harvest feast map of the eastern part of the flag on the south wall, carving granaries, grain piles and ox carts full of grain. The owner supervises Harvest figure, the servant who is responsible for loading grain into the warehouse, and the chef who is responsible for lifting pigs, stabbing cows, peeling sheep, making wine, cutting vegetables and burning stoves. And it is concluded that the owner of the tomb is the identity of the big landlord. Once again, it is a picture of music and dance on Dong Bi's forehead: many geisha artists perform flying swords and jumping pills, climbing stairs, walking ropes, seven-disc dances, dragon and dragon dances, car performances, circus, bells, drums, bells and priests, playing flutes, sheng and fu. What the tomb owner looked like before his death. The picture of the stable on the post on the south wall is still a part of the owner's life before his death, and it is a subordinate picture of the main body. This group of themes is set off by 18 historical stories and 9 pictures of people around the room, including Cangjie's word-making, confession, Yao and Shun's abdication, assisting to be king, Lin Xiangru's return to Zhao in perfect condition, dog biting, Confucius seeing Laozi, Jing Ke's stabbing and stabbing. These stories may be the stories told by the tomb owner before his death, and the sages and heroes in the stories may be the figures worshipped by the tomb owner before his death, which is still related to the main painting. In addition, mythical figures, rare birds and animals, immortals, Dong, Queen Mother of the West, Buddhist statues, dragons, moiré and other pictures also set off the theme. Like the front room, the rafters, column bases and algae wells also have patterns such as lotus pattern, checkered pattern and round cake pattern, and black, green and red colors are added.
The fourth group is the stone relief in the back room, with 8 pieces. Distributed on the partition wall of the back room. The back room is where the coffin is placed, which is equal to the left and right rooms of the bedroom before death, indicating that the husband and wife are buried together. Although there is a gap in the middle, we can communicate freely. The theme of this group of paintings is to describe the life of the tomb owner and his wife in the boudoir before their death, represented by the servant's washing machine, the maid's glasses, clothes and shoes, and the horse map sent by the servant. There are furniture, daily necessities, wine vessels, weapons, servants and Fang Shixiang who exorcises evil spirits. Like the front room and the middle room, there are exotic paintings of birds and animals, which set off the supplementary themes and patterns. One of the most interesting is a picture of a dog catching a mouse. The dog hunched forward, and the mouse in front trembled, showing a strong flavor of folk life.
Although the four groups of paintings have their own themes, the themes are not isolated, but interrelated and become the "honor and disgrace record" of the tomb owner. They show the great achievements of the tomb owner before his death, his rich and distinguished life, and the grand funeral ceremony after his death. I hope that he will rest in this magnificent tomb and be strong for thousands of years under the protection of the gods.
The whole portrait involves war, entertainment, feasting, customs and human feelings. It is a microcosm of life in the Han Dynasty and a mirror for us to review the history of the Han Dynasty. According to the available data, before the establishment of 1994 Beizhai Han Stone Relief Tomb Museum, the tomb had been excavated three times since the late Qing Dynasty.
First, the excavation in the late Qing Dynasty. At the end of the Qing Dynasty, the Yishui county government organized an excavation of the tomb, and there was no record about the excavation and what it saw and heard.
II. Excavation during 1947. 1947 Before the Kuomintang attacked the Shandong Liberated Area, the democratic government at that time was afraid of the loss of cultural relics, so it organized forces and used more than 300 workers to dig.
At that time, the yinan county Municipal Government worked in Nanzhai Village, the judicial department of the county government and the Public Security Bureau worked in Beizhai Village, and the "Old Four Regiment" rested in Nanzhai Village. Liu Foyuan, a member of the Democratic Progressive Party of the county government, suggested that the "general's grave" in the North House should be excavated. Under the organization of the county government and Liu, the head of Nanzhai Village, the "Old Four Regiment" cooperated with the public security and judicial departments to use some migrant workers in the village for excavation. The excavation began with clearing the soil at the top of the grave. A large east-west earth ditch was dug in front of the tomb, and the brick walls on both sides of the tomb door were removed. The stone in the southeast corner of the tomb top disappeared, and the stone in the toilet in the northeast corner was broken open by grave robbers. After the tomb door is dug, there is no tombstone; There was no more discovery when entering the tomb, except for a gray pottery dog buried in the tomb door, a human bone in front of the back room and several five baht. See nothing, people are blocked again. Before filling the soil, they went to Dongshan quarry to order two tombstones and a coping stone, which blocked the tombstones and the places lacking roofs in the northeast.
Iii. Excavation during 1954. When this underground tomb was re-illuminated by sunlight in the spring of 1954, the stone reliefs of the Han Dynasty, which had been silent for thousands of years, reappeared in front of the world, and its exquisiteness and completeness surprised the archaeological community in China. 1953, Comrade Zhou Ke, a teacher of Yinan Middle School (then located in Nanzhai Village, half a mile south of Beizhai Village), learned of the existence of this tomb from the crowd and reported the news to the Literary and Art Newspaper. On May 30th of the same year, Shandong Provincial Cultural Relics Management Committee sent Jiang Baogeng and Tai Liye to investigate. 1in the spring of 954, the East China Cultural Relics Team was instructed by the Social and Cultural Affairs Bureau of the Central Ministry of Culture and jointly organized with the Shandong Provincial Cultural Management Committee to clean up. On March 3rd, Jiang Baogeng and Tai Liye took a train from Jinan to Yidu, then took a bus from Yidu to Sucun, and then walked from Sucun to Hujie Town, the seat of yinan county Municipal People's Government. Do a good job in contacting Hu Jie town and start work early on March 6. The excavation work starts from the pyramid-shaped mound, and after the pyramid-shaped mound is excavated, the tomb is cleaned. There was a lot of silt in the room, mixed with stones, and it took a week to clean it up. During the cleaning process, it was found that the top of the tomb was touched, and some stones on the top of the tomb were smashed and fell into the tomb. In order to repair the top of the tomb, the tomb was sealed. Since then, while washing the tomb, I have started rubbing relief stones and reporting on cultural relics in East China. Please send someone to draw pictures and help with rubbings. On March 18, 2008, the archaeological team sent Wang Wenlin, Li Zhongwen and Zhang Shiquan to stay in Beizhai Village for 50 days, drew the structure map of the tomb and made relief stone rubbings. On April 28th, the task force sent Li Lianchun to take photos. In order to properly preserve this important relic, the cultural relics department sealed the tomb in situ after extracting detailed archaeological data. At that time, I asked Yinan Construction Committee to help me repair the tomb, put the top stone back in place, make up the missing one and install a new stone gate. The top of the tomb and the stone gate were filled with lime slurry, the pyramid-shaped mound was filled with soil, and the top was sealed with one meter thick soil. Finally, a stone tree was placed on the top of the tomb door.
In order to celebrate Labor Day and strengthen the propaganda of cultural relics policy, the task force held an exhibition in Yinan Cultural Center, displaying some relief rubbings. More than 2000 people participated in the exhibition, and all the work ended on May 14.
1in the summer of 994, the Yinan county party committee and government decided to build the Beizhai Han Stone Relief Tomb Museum and submitted it to National Cultural Heritage Administration for approval. Tomb No.1 was cleaned and developed again, and another adjacent tomb No.2 was excavated. The excavation was jointly conducted by Shandong Institute of Cultural Relics and Archaeology and yinan county Cultural Relics Management Office. It starts on July 17 and ends on August 3rd.
Both tombs have been stolen many times, and few funerary objects remain, most of which were destroyed. Especially in Tomb No.1, there are very few relics except a gray pottery dog and several five baht coins unearthed in 1947. 1954 Only a small Tao Pan (it should be a lamp) and a triangular bronze arrow were unearthed, and the rest were pottery fragments. The recognizable shapes are tripod, ear cup, cover, lamp holder handle (formerly known as bean handle), watch case, can bottom, tripod, fragments of house funerary wares, etc.
87 complete and recoverable pottery, stone tools, bronzes, silverware and 100 copper coins were unearthed from Tomb No.2, and there were traces of iron knives and lacquerware rotting. These relics are mainly distributed in the front room, the middle room, the west room of the front room, the east room of the middle room and the door of the partition wall of the back room.
The pottery is mainly argillaceous gray pottery, with a small amount of argillaceous red pottery. The vessel shapes include ding, pot pot, head and neck pot, basin, box, plate, bowl, round table, long meter, ear cup, cup, lamp holder, lamp, pot, stove, retort, Boshan stove, well, stove, spoon, pigsty, dog, chicken, duck and so on. Stone tools include five dragons playing with beads, three-legged inkstones, pigs and blackboards; Bronzes include female figurines, foam nails (lacquerware accessories), "five baht" money, "complete collection of fifty" money and "living spring" money; Iron tools include knives and coffin nails (which cannot be recovered after decay); Silver has a small ring or something. Among them, the lamp holder is Boshan porcelain oil lamp in Song Dynasty. According to expert analysis, this tomb was stolen in the Song Dynasty, and the porcelain oil lamp was abandoned by grave robbers.
Three-legged inkstone and five-dragon female figurines are extremely rare and precious among Han cultural relics. The inkstone is limestone, round and notched, and consists of an inkstone body and a cover. The bottom of the inkstone is round, decorated with three bear feet; The head of the inkstone is carved with lotus petals and vortex patterns, and the middle is carved with oval Mo Chi; The inkstone hall is smooth and straight; Lotus petals are engraved on the outer edge and upper edge of the inkstone. The inkstone cover is arc-shaped, with the center protruding into a column, and the pattern of "five baht" money is engraved on it; Five body lines carved with scales around, the faucet is close to the "five baht" money, forming a pattern of five dragons playing with pearls (baht); The periphery and outer edge lines of the cover are engraved with moire patterns. Diameter 19. 7 cm, height 7. 4 centimeters. The bronze female figurines unearthed in the northeast corner of the East Back Room are naked and look like scarves after combing their hair. High nose and wide mouth; Slender figure, flat chest, abdomen protruding and navel exposed, and wide buttocks; The arms are slightly bent and drooping, the fingers are close together, and the palms are outward; Knees slightly bent, feet staggered. Height 8. 4 cm, shoulder width 3. Seven centimeters.
At the same time, Tomb 4, which is located at the southwest of Tomb 1 100 meters, is a small masonry tomb. * * * Unearthed more than 50 pieces of various cultural relics such as iron knives, gold rings, pottery warehouses, pottery pots and boxes.
On May 2 1 2005, at the first China Linyi Zhuge Liang Cultural Tourism Festival "Yi 'nan Beizhai Han Stone Relief Seminar", Mr. Jiang Yingju, a famous scholar, former director of Shandong Provincial Cultural Relics Bureau and former director of Shandong Stone Carving Art Museum, pointed out: "1954 The excavation of Yi 'nan Beizhai stone relief tomb is the first scientific excavation of stone relief tomb by modern archaeological means in the archaeological history of China. It is also a commanding height. It is a milestone because before this, there was no archaeological scientific excavation of this stone relief tomb. It was 1954 that the excavation of the stone relief tomb in Beizhai, Yinan officially kicked off the large-scale archaeological excavation of the underground stone relief remains. It is said to be the commanding height because the ancient stone tomb of Yinan North House gave this excavation an opportunity. The stone tomb of the northern residence in Yinan is well preserved and the portraits are so rich that it can be said to be a' crown'. This is an opportunity. Although there will be many excavations in the future, it is very rare to find a complete and rich stone tomb like Yinan North House. The excavation report of ancient stone tombs in Yinan has its historical conditions and cognitive level, and it still has strong guiding significance and reference for today's research. "
After the publication of "Brief Report on Excavation of Stone Relief Tomb in Beizhai, Yinan" and "Report on Excavation of Ancient Stone Relief Tomb in Yinan", an academic discussion on tombs and portraits was triggered, which set off the climax of cultural and artistic research in Han Dynasty. In 200 1 year, China Heritage Newspaper organized the selection of "Best Archaeological Books of the 20th Century", and this document was rated as "Best Archaeological Excavation Report of the 20th Century". The stone tomb of the Han Dynasty in Beizhai, Yinan, has a large scale, complex tomb structure, exquisite portraits and extremely rich contents, and looks like a solemn and magnificent underground mansion. It is the best preserved stone tomb found in China so far, covering rich cultural connotations and ever-changing image content, and it can be called the finishing touch. The discovery and excavation of this tomb is of great significance to contemporary archaeology in China and the study of stone reliefs in Han Dynasty. Among the Han Dynasty stone reliefs in China, they are known as "immortal art monuments" because of their complete structure, rich images and well-preserved. As an entry, it has been included in Cihai and Encyclopedia of China, and the world art history, China art history and China architecture history are also introduced in different categories. The picture of Seven Dances has been included in Ci Yuan as an illustration of the entry "Seven Dances"; As the cover content of the textbook "History of China", "Travel Map of Horses and Horses" has been used for decades since 1950s. The rent-collecting part in the picture of Harvest Banquet and Picture Appreciation is compiled into the textbook History of China in junior high school with the title of Granary of the Grange of the Powerful Landlord. China CCTV and Japanese national television made feature films from the perspective of Chinese civilization. CCTV's Channel 2, Channel 4, Art Investment, Channel 10, Exploration and Discovery, and Shandong TV's Collection of the World all produced and broadcast feature films, which caused a sensation again and again.
1954 In May, the "Report Exhibition on Unearthed Cultural Relics of National Capital Construction" was held in the main hall of the Wumen Gate of the Forbidden City in Beijing. This exhibition selected 3,760 cultural relics from more than 6,543.8+0.3 million unearthed in the national capital construction since 1.955, which lasted for half a year and attracted more than 6,543.8+0.7 million visitors. 1954 in may, Mao Zedong visited the exhibition of wumen tower in the forbidden city for three times and watched it carefully every time. When Mao Zedong heard the introduction of the stone relief unearthed in yinan county, Shandong Province, he immediately smiled and asked, "How do you know it belongs to the Han Dynasty?" The commentator answered questions from the aspects of clothing and system. Chairman Mao nodded with satisfaction and pointed to the acrobatic pattern on the relief stone and said to the comrades around him, "This is our acrobatic map of the Han Dynasty!" " When he saw the relief rubbings reflecting the rent collected by the big landlords at that time, Chairman Mao kindly said to the guards who followed him, "This is the history of China, so you should study hard." .
Chairman Mao's praise for the stone reliefs of the Han tombs in Yi 'nan Beizhai was originally published in Guangming Daily reporter's article Visiting the Museum in June1977+June 14, and Huang Liyong edited Reading the Ancient Records, which is an excerpt from this conversation. This is the only praise and evaluation of leaders in historical records so far. This evaluation makes people deeply understand the profound knowledge of the people's leader Chairman Mao, which will be of great inspiration and guidance to our current and future research on the important subject of stone reliefs.
Since 2006, the People's Bank of China has issued commemorative coins for the 29th Olympic Games for three consecutive years (2006-2008), and issued a set every year, including ***6 gold coins and 12 silver coins in precious metal commemorative coins. The main scene of the first of the six gold coins is the equestrian sport in ancient China. The design of equestrian sport is taken from the equestrian performance in Song and Dance in Tomb No.1 ... On the screen, a horse gallops, its hooves are flying, and a person holds a halberd in his left hand and a saddle in his right hand, and his body flies on the horse's back. The whole portrait is exaggerated and beautiful, with a strong sense of movement. The characters almost completely flew away from the galloping horse, and the costumes floated leisurely, which was amazing.