On May 2, 1370 (the seventh day of April in the third year of Emperor Hongwu of the Ming Dynasty), Emperor Taizu Zhu Yuanzhang named his two-month-old son Zhu Tan the King of Lu. "History of the Ming Dynasty" records: "King Tan of Luhuang, the tenth son of Taizu. He was born in the third year of Hongwu, and was granted the title of two months after his birth. In the eighteenth year, he became a vassal of Yanzhou. He is a good literary scholar and good at poetry." Zhu Tan became a vassal of Yanzhou at the age of 15. After that, Yanzhou was immediately promoted to the prefecture and expanded its fiefdom to govern 4 states and 23 counties. Zhu Tan was a humble corporal since he was a child. He was erudite and knowledgeable, and was very popular with Zhu Yuanzhang. However, he later believed in Taoism, burned incense and chanted sutras all day long, refined "elixirs", sought the elixir of immortality, and hoped for immortality, but it backfired. "Er metal stone medicine is poisonous and hurts the eyes." As a result, he only lived 19 years old. Zhu Yuanzhang was very angry when he learned about it. He thought Zhu Tan's behavior was ridiculous, so he gave him an evil posthumous title, "Huang Wang".
After Zhu Tan, his son Zhu Zhaohui was named King Lu Jing in the first year of Yongle. According to records: "Zhao Hui was born on June 12, the 21st year of Hongwu. In May of the 23rd year, he was granted the title of Crown Prince. On the second day of March of the first year of Yongle, he attacked King Lu. On July 15th of the second year of Chenghua, He died of illness at the age of seventy-nine. "Zhao Hui was fond of writing since he was a child," Chengzu loved him. During the Yongle period, "Chengzu visited Lu on a hunting trip, and the king greeted him politely." Since Zhu Tan, the kings of Lu in the Ming Dynasty continued for 10 generations and 13 kings. In AD 276, the fate of the Lu vassal was always the same as that of the Ming Dynasty. It is worth mentioning that King Zhu Tan of Luhuang and his descendants, who were rooted in the etiquette state of Qilu, inherited etiquette and poems from generation to generation, and became the cultural atmosphere of the royal family in the region. Although Zhu Tan was a naive young man who strayed into the path of magical elixirs and returned to Daoshan just after he grew up, he loved poetry and calligraphy, playing chess, calligraphy and painting. In the muddy waters of the royal family's struggle for power and profit, his gentle demeanor and temperament naturally emerged. There is a high standard and unique aspect. It can be seen that the chess, calligraphy and painting unearthed from Zhutan's tomb are consistent with his life hobbies. This erudite, suave and romantic prince was regarded as elegant during his lifetime.
"White Lotus" and "Ningdie" retain their true appearance
There are 4 scroll paintings in the red sandalwood tomb. Due to long-term accumulation of water in the tomb, the scrolls were completely unrecognizable when they were discovered, causing one scroll to rot completely. The other scroll, a silk scroll with a golden landscape, was severely damaged and lost its due value. What is gratifying is that the other two volumes are still well preserved. After unmounting, we found out that one is the "Sunflower Butterfly" volume of the Song Dynasty, and the other is the "White Lotus Picture" volume selected by Qian in the early Yuan Dynasty.
The Song Dynasty's "Sunflower and Butterfly" is a silk scroll, using the boneless method to depict hollyhocks and flying butterflies. On the back of the painting, there is a gold inscription by Zhao Gou, Emperor Gaozong of the Song Dynasty: "The white dew has just passed in August, and the purple room The red leaves are absolutely desolate, the yellow flowers are cold and no one can see them, and they look towards the sunset alone. "There are also inscriptions and postscripts by Feng Zizhen and Zhao Yan from the Yuan Dynasty behind this postscript. Feng Ba said: "The sunflower fan inscribed by Emperor Gaozong of the Song Dynasty in Deshou Palace was found by people in the next two hundred years and considered a treasure." Then, this painting has been in the tomb for more than 600 years. According to the so-called "paper life span of a thousand years", it can be imagined that this The two ancient paintings are priceless. The "White Lotus" painted by Qian Xuan of the Yuan Dynasty is a finely painted lotus on paper, with three flowers and three leaves, with pavilions and pavilions complementing each other. The brushwork is soft and vigorous, and the coloring is clear and beautiful. Qian Xuan wrote a poem on the painting: "The white jade flowers curling up in the jade pond, the blue birds coming and going quietly, the secluded people do not drink leisurely and carry their sticks, but recall the fragrance accompanied by the moonlight." In the history of Chinese painting, Qian Xuan was an outstanding artist in the late Song Dynasty and early Yuan Dynasty. A landscape and flower-and-bird painter from Huzhou, he was a Jinshi from Jingding County in the Southern Song Dynasty. He was one of the "Eight Talents" in the early Yuan Dynasty. The great calligrapher and painter Zhao Mengfu asked him for painting advice in his early years.
Both these two paintings have a seam seal with the word "Si Yin" in red inscriptions on the wide margin. According to research, the "Si Yin" is one-third of the "Si Yin of Ceremony Records" that was in charge of the calligraphy and painting library in the Ming Dynasty palace. The six-character seal is arranged in three rows, and the other two lines of the four-character "Ceremony Ji Cha" are stamped on the book. , and save it as archival data. The Department of Ceremony and Inspection was the department in charge of institutional etiquette in ancient times. It had a wide range of functions, including the management of calligraphy and painting libraries. The two-character seal "Si Yin" indicates that Zhu Tan had gone through the registration procedures for the calligraphy and paintings he brought when he moved to Yanzhou Prefecture in the 18th year of Hongwu (1386). Things have changed, and after the seal can still be seen in our daily lives, half of the seal is left on the stub, and the other half is used on official documents such as letters of introduction. This method was used in the preservation of royal paintings and calligraphy at that time, confirming that "Sunflower Butterfly" and "White Lotus Picture" were collected by the royal families of the Song, Yuan and Ming dynasties, and their prominent value is self-evident.
Listen to the song "Heavenly Wind and Sea Waves"
It is rare in archaeological excavations to unearth Song Dynasty paintings and Yuan issues from tombs. A number of rare ancient books were also unearthed from the Zhu Tan Tomb. At that time, this batch of books was dirty and stuck together. After cleaning and binding, the volumes were as new as new. There were 21 volumes in 7 categories, including "Zhu Xi Ding Ding Cai's Biography" and "The Complete and Ending of Added Phonetic Notes and Notes by Hu Wen Ding Gong". "Spring and Autumn Biography", "Collected Annotations of Four Books", "Shaowei Jia Shu Diantuan Yin Tongjian Summary", "Collected Works of Mr. Chang Li of Zhu Wengong School", "Huang's Supplement to Qianjia Annotations Chronicles of Du Gongbu's Poetry and History", etc. are all among the books and classics. of treasures. From the perspective of edition studies, except for "The Collected Works of Mr. Chang Li of Zhu Wen Gong School", the rest have never been recorded and can be regarded as unique copies.
Reading and listening to the piano were the elegant aspirations of ancient literati. There is a Tang Dynasty thunder qin in the tomb of Zhutan. The name of the qin is "Tianfeng Haitao". The top of the qin is made of paulownia wood and the bottom is made of catalpa wood. The whole body of the qin is black lacquer. The emblem is inlaid with gold. There are broken snake hock patterns, the bottom of the piano is engraved with the seal script "Tianfeng Haitao", and there are two lines of ink writing in the dragon pond on the belly of the piano: "The Holy Song Dynasty Longxing Jiashen rebuilt it, and the Tang Dynasty Lei Wei personally cut it."
This guqin was used by Zhu Tan for entertainment during his lifetime. The so-called "Heavenly Wind and Haitao" describes the sound of the qin like the long wind in the sky and the waves of the sea; while the so-called Leiqin shows that this qin was made by a famous craftsman.
The production of guqin has reached a very high level in the Tang Dynasty, and a group of outstanding qin-playing craftsmen emerged. The Lei family in Chengdu, Sichuan was a famous qin-playing family at that time. Until the end of the Tang Dynasty, "Sun Xi" was still "Don't fall into your career." The Lei family has successively had famous craftsmen such as Lei Yan, Lei Xiao, Lei Wei, Lei Jue, Lei Wen, Lei Hui, Lei Xun and other famous craftsmen. These qin masters "have exquisite skills and are beautiful in the world". They often work in the severe cold. During the season, I braved the wind and snow to go to Mount Emei, and in the mountains and forests, "whoever listens to the continuous and melodious sound of it, cuts it as a harp." Not only the material selection is strict, but the craftsmanship is also meticulous, even the gluing, painting, and stringing of the bottom surface are very particular. Because the leiqin has the characteristics of clear and mellow tone and subtle and long charm, it has been prized by qin players of all ages. The Palace Museum in Beijing has a Tang Dynasty leiqin, named "Nine Heavens Ring Pei". When "Tian Feng Haitao" was unearthed, the leiqin was no longer alone in the world.
There is no historical record of Zhu Tan playing the qin, but judging from his collection of Lei qin, it can be concluded that he was an unusual master of playing the qin. Lu You, a poet of the Song Dynasty, once said in a poem: "The snake tarsus on the guqin is priceless, and the fish intestines on the sword hold a spirit." The leiqin was already a treasure handed down from generation to generation in the Song Dynasty. How could it be appreciated unless it was a close friend?
This object can still be used for hand-to-hand conversations
There is a complete set of Go objects in Zhutan's tomb. Go originated in my country. There are many chess books, but few physical objects have survived. 13 chess boards were unearthed from the Liao tomb in Aohan Banner, Inner Mongolia, 15 chess boards were unearthed from the Tang tomb in Xiangyin County, Hunan, and 17 chess boards were unearthed from the Han tomb in Wangdu, Hebei. , 19 chessboards were unearthed from a Tang tomb somewhere in Xinjiang, but all the chessboards were missing. 83 black and white chess pieces were unearthed in Danyang, Jiangxi, and 50 chess pieces were unearthed from the Song Dynasty Yang Gongzuo tomb in Huai'an, but no chess board. The actual Go chess piece unearthed from the Zhu Tan Tomb includes a chessboard with 19 vertical and horizontal lines, 175 black stones and 181 white stones, and a lacquer box, which was often used by the owner of the tomb during his lifetime. This set of Go games is also complete enough for today.
As the country prospered, the game of Go flourished. Most of the founding emperors advocated the game of Go, and this game of Go is one of the evidences. Liu Bang, the founder of Han Dynasty, Cao Cao, Taizu of Wei Dynasty, and Li Shimin, Emperor Taizong of Tang Dynasty, were all Go masters. Zhu Yuanzhang was born in a peasant family and knew nothing about Go. After becoming emperor, he became obsessed with Go and often played against the founding father Xu Da. Although Xu Da was superior, in order to make Zhu Yuanzhang happy, he would lose every time. Once Xu Da deliberately won a game, and Zhu Yuanzhang looked sulky. Xu Da said, "Long live the game again." Zhu Yuanzhang leaned over and took a closer look, and saw the word "Long Live" on the chessboard. Zhu Yuanzhang turned his anger into joy and immediately gave a building to Xu Da and named the building "Qisheng Building".
According to records, the Ming Dynasty allowed people to talk about chess games in the Jinluan Palace, and also compiled 22 Go records in the "Yongle Dadian". In such a Go atmosphere, it is not surprising that Zhu Tan loves Go. Given his status, there must have been many masters and celebrities who used this set of Go players to talk about the game. It is conceivable that the young Zhu Tan was in a free and unrestrained mood "sitting across from each other and calmly talking about war". He was obsessed with playing chess and had forgotten the troubles of the upper class fighting for power and profit.
As a prince, the only thing that can show the majesty of his royal family is the nine crowns unearthed from his tomb.
Mian is the imperial hat, which can only be worn by emperors, princes and princes. The crown shape was common in paintings in the past, such as the portraits of the Yellow Emperor, Yao and Shun on the carved stones of Wuliang Temple in the Han Dynasty, the paintings of emperors of the past dynasties painted by Yan Liben in the Tang Dynasty, the King Wen Gong of Jin's restoration of the country painted in the Song Dynasty, and the paintings of sacred sites painted by the Ming Dynasty. of Confucius, etc. The figures in these portraits wear crowns and crowns, with majestic appearance and majestic appearance. But the actual crown that can be seen today, except for the "Emperor's Crown" worn by Yuan Shikai during his restoration, which was not recognized by the Chinese people, is the only one unearthed from the tomb of King Zhutan of Luhuang.
The nine-shaped crown is 18 cm high, 49.4 cm long and 30 cm wide. It is made of rattan strips, with black lacquer on the surface and inlaid with gold rings and gold rims. There are plum blossoms and gold piercings on both sides of the crown. A golden hairpin. According to the "History of the Ming Dynasty", there were 12 jade beads hanging on the front and back of the crown of the emperor of the Ming Dynasty. Each lace had 12 jade beads in red, yellow, green, white and black. The prince used 11 ji and 11 beads, while the prince could only use 9 ji and 11 jade beads. 9 beads. King Luhuang's nine-haired crown has 9 strips hanging from the front and back, each with 9 colorful jade beads and 162 beads for the crown, which corresponds to the identity of Prince Zhu Tan, King of Luhuang.
The top of the crown is called the "疖 Board". The front and back of the Mian board are round, which is a metaphor for the round sky and the place, expressing the meaning of broadness; the Biao board is painted with black paint to show solemnity. There are vertical hooks on the front and back of the board, which means that the emperor does not regard wrong or evil, and is clear about right and wrong. There is a jade scale under the board, which is connected to the grooves on both sides of the crown; there are holes at both ends of the scale, and silk ropes are hung from both sides to the ears. A piece of beautiful jade is tied to the ears, as if plugging the ears, which is called "ear-filling". It means that the emperor does not listen to slander, seeks great virtue regardless of small faults, hears some things, and ignores others, thus deriving the idiom "turn a deaf ear".
Jiuxiaomian is black. Black is a popular color among hats in the Ming Dynasty and is obviously different from hats in other dynasties. In addition to being made of bamboo and rattan strips, many official hats in the Ming Dynasty were made of yarn dyed black, so they are also called "black gauze hats".
Becoming an official is called "putting on the black gauze hat", and being dismissed is called "taking off the black gauze hat". These expressions originated from the Ming Dynasty. Official hats in other dynasties were not limited to black. The "black gauze hat" was unique to the Ming Dynasty.
It is said that "The Yellow Emperor made a crown with a hanging bow". Although it is difficult to verify, in the Zhou Dynasty, Confucius said, "Serve the crown of Zhou". It can be believed that the crown ceremony system was relatively complete at that time. Throughout the subsequent dynasties, the crown gown was regarded as the highest ceremonial object. After Zhu Yuanzhang became emperor, he even emphasized "restoring the majesty of Han officials." The Zhu dynasty lasted for 276 years, and the lofty status of the crown and crown clothes was also maintained for 276 years. It was not until the Aixinjueluo family came to the Central Plains that the crown gown system was established. was abolished. At present, there are only two pieces of Chui Li as cultural relics in the country. One is collected in the Museum of Chinese History. It is the crown from a set of antique crown clothes worn by Yuan Shikai when he ascended the throne and proclaimed himself emperor in the early years of the Republic of China. The other is now in Shandong Province. The crown worn by King Luhuang in the early Ming Dynasty more than 600 years ago in the Provincial Museum is also the only surviving ancient crown robe, filling a gap in history and having extremely high cultural relic and historical value.