1 You are not allowed to bring cameras, bags and the like during the visit. You can put things in the car, and the driver's master will take good care of everyone's things
2 If anyone wants to buy souvenirs, please buy them after the visit. First, time is tight when you enter, so it is difficult for you to choose carefully. Second, it's not convenient to take things for a visit. Please rest assured that I will leave time for you to choose carefully after the visit.
3 Because some tombs, especially the entrance to the tomb, are low and the ground is dark, please pay attention not only to your feet, but also to your head. If you don't pay attention, you may have a broken head. So please pay attention now, please get off. Come with me to visit
1 Shaogou mural tomb of the Western Han Dynasty: this tomb is located in the south of Shaogou Village, east of Jinguyuan Station in Luoyang. It was discovered in the early 195s, excavated in 1957, and moved to the Tomb Museum in 1986. This tomb is a cave brick room, which is divided into a main room and an ear room except the entrance. The main room is assembled with special hollow bricks. The painted murals in this tomb are made of small bricks and wedge-shaped bricks side by side. The contents include myths and historical stories, such as Hiderigami Ertao killing the Three Scholars' Hongmen Banquet, as well as the star chart of the sun and the moon, the sculpture of the sheep's head combined with the murals, and the carved portrait brick reflecting the immortal rise of Lapras, which has great influence in the art circles and cultural relics and archaeology at home and abroad. The painted murals of Hiderigami are located at the back of the tomb door, and the left part of them is painted with a tree with light ink, and the branches are bent. The leaves are red, and there are black birds among the treetops. It seems that they dare not stay on the tree to put on a red dress. Under the tree, a tiger holds down a naked woman, and the tiger bites her left shoulder. Tiger Claw grabs the long hair of the naked woman on her head and wraps it around the trunk, and her right arm stretches out. The naked woman in the struggling picture is the red treetops and flying birds in Hiderigami, which symbolizes the situation of burning in the drought. In natural disasters, the area affected by drought is larger than other disasters, and the god tiger eats Hiderigami. It reflects people's desire to eliminate drought and hope for good weather at that time. In addition, there is a high-relief sheep's head in the middle of the picture, which symbolizes the auspicious drought relief. It can be said that the murals of two peaches killing three men are located on the beam of the partition wall in the middle of the tomb. There is a story in Yan Zi's Spring and Autumn Period: In the Spring and Autumn Period, the Gongsun of Qi State took over the field to open up the territory, but the three of them relied on courage to take credit, and they were unknown to Yan Ying. Yan Ying persuaded Jing Gong: They have no loyalty to the monarch and the minister, no long-term relationship, no internal violence, and no external threat to the enemy. If they don't go, Yan Ying will design two peaches to make them eat peaches. As a result, after a heated argument, under the control of the so-called benevolence and righteousness, they all commit suicide with almost no background, and their focus is mainly on 11 characters. On the right, there are three scholars, all with their hair tied, and the two on the far right in wide-sleeved robes hold their heads opposite each other. One draws a sword and the other presses a sword. The picture means that if you don't let me take a peach, you will not die even if you are greedy. Sun Jie and Tian Kaijiang, who have no courage, both of them go against the peach. When they are led to death, they bend over and regard them as ancient smelting sons. When he sees that the two commit suicide, he says: The second son dies, smelting the only child. Therefore, it is also contrary to the peach. The selected moment of the whole picture is the moment when the incident just happened, leaving the viewer room for association. There are five people in the middle, Jing Gong in the middle, two guards on the left and right, and one guard on the right kneeling on the ground, which seems to tell that he is dead. The whole mural not only echoes the plot coherently, but also avoids the fact that the back wall of the mechanical backstage room with the layout of the characters in the picture is painted with the Hongmen banquet and the background is undulating mountains. In the middle of the painting, eight characters sit on the floor in the center while drinking sideways. Liu Bang and Xiang Yu are on the right, holding a cup in their right hand, and leaning forward to make a toast. Liu Bang is on the left, and his upper body is also leaning forward, watching Xiang Yu's behavior. Two people on the right side of Xiang Yu are cooking, and a large piece of beef is hung on the hook behind him, and Liu Bang's left legs straddle Xiang Zhuang. That is Xiang Bo, and he intends to cover the left side of Liu Bang's picture with a sword in his hand. That is Xiang Zhuang. He is following Fan Zeng's instructions. In the name of dancing sword in front of the banquet, waiting for an opportunity to assassinate Liu Bang is the sword dance of Xiangzhuang. It is intended that Pei Gong's mural will show this legendary and complicated plot in a limited space, and it is full of tension and warm atmosphere. The different psychological conditions of the characters pop out. This tomb is a couple's burial tomb. The top of the tomb is a rectangular flat-topped tomb with hollow bricks, and the top of the front room is composed of 12 rectangular bricks. Painted Sun, Moon and Star Map This is an example of ancient tombs with astronomy and geography
2 Western Han Dynasty Buqianqiu mural tomb: It was discovered in 1976. Because there is a bronze seal in the funerary objects of the tomb, it is known that the owner of the tomb is Buqianqiu, which is composed of the main room and the left and right ear rooms in addition to the tomb entrance. Judging from its profound and solid structure, skillful funerary objects and mural contents, When the tomb of a county official is built with hollow brick structure, the main room is made of specially made hollow bricks and painted on the top of the main room and the gable behind the main room. From the content, the mural of the tomb can be divided into two parts: the first part is a ghost painting. In the middle of the gable behind the main room, a monster with a pig's head, big ears and bear's face is painted, shirtless and barefoot, wearing a purple dress and staring at the tomb door with his eyes wide open, with his teeth bared, trying to drive him away. Struggling to drive all the ghosts from the tomb to the underworld from the inside out, painting a dragon on the left and a white tiger on the right under the monster. According to textual research, this picture is Fang Xiangshi, that is, when the leader who played ghosts during the Nuo opera ceremony in ancient times held a big funeral, Fang Xiangshi first attacked the coffin and then entered the tomb to drive away the underground evil spirits. This is consistent with the mural content, and the blue dragon and white tiger painted below Fang Xiangshi is to avoid the plague. At the same time, it is also cheering for ghosts. The second part is the tomb owner Bu Qianqiu and his wife's ascension picture. From front to back, it is Nu Wa Moon's festival, Fang Shi Er Qing Long Er Xiao Yang Suzaku White Tiger Fairy Running Rabbit Hunting Dog Buqianqiu and his wife Fuxi Sun Yellow Snake and other gods, birds and beasts are painted at the two ends of the whole picture, and there are birds in Japan and China, and there are toads and osmanthus trees in the month, which fully shows that as early as the Western Han Dynasty in China, The Goddess Chang'e flying to the moon, a magical and wonderful legend, is widely circulated. Fuxi and Nu Wa are painted on both sides of the sun and moon, both of which are human heads and snake bodies. Their faces are more realistic and delicate, which basically conforms to the scales of Fuxi's snake body recorded in ancient books. There is a legend in ancient China that Fuxi was originally the chief of the Oriental Yi tribe with the phoenix as its totem, and later married Nu Wa. To a great extent, the legend of becoming the ancestor of mankind implies the historical process of the integration between the two tribes in Yi and Xia. Therefore, in the art of stone carving painting in the future, people often draw the image of the end of the transaction intentionally or unintentionally, and use it to represent the prosperity of human beings. The couple of Bu Qianqiu painted it on the side of Fuxi, with the female on the top and the male on the bottom riding a red three-headed phoenix, holding a three-legged bird in his hand, his eyes closed, flying in the air, and his husband riding a Yi Long, like a boat, holding a bow. There is a rabbit in front, a dog running after it, and a toad beside it, all of which are obviously flying in the clouds. What is reflected here is the scene of Mr. Bu Qianqiu and his wife flying to fairyland by dragon and phoenix. In addition, there is a picture of the head of a bird on the forehead of the inner door of the main room, with two strands of black hair hanging down in a bun, two long ears stretched out horizontally and dancing wings standing on the mountain. What is painted here is the fairy Wang Ziqiao's position from this picture and the picture of the rising of the immortals on the flat ridge of the roof. It has just reached the effect of a thousand miles of Lapras, which shows that the owner of the tomb has finally become a fairy.
3 The tomb of the eighth year of Cao Wei Zhengshi was excavated and cleaned in 1956. The whole tomb consists of the tunnel in the front room and the ear room and the tomb passage. Because the tomb was stolen, the objects in the tomb were in disorder, and only two indoor objects were well preserved. The unearthed cultural relics were mainly pottery. There are 48 pieces of pots, pans, lamps, figurines, wells, stoves, bowls, chicken, pigs and pigsty, 5 pieces of bronzes, 5 pieces of pots, boshan furnaces and so on, and 1 pieces of iron curtains. In addition, there is a jade cup with a height of 13 cm and a diameter of 5 cm, which is white, exquisitely made and has a smooth surface. It is a rare ancient art. The curtains are made of round iron bars with the corner shapes of three columns and four columns. The other four have four columns, which are connected by wooden columns, that is, a rectangular shelf, surrounded by cloth and cloth, which provides important material data for textual research on the shape and manufacturing method of the curtain in Han and Wei Dynasties. One of the tubular components is engraved with inscriptions such as August of the eighth year of Zhengshi. It also provides a basis for the absolute age of the tomb.
4 Tang Anpu couple's tomb: The tomb was excavated and cleaned in 1981. It consists of four parts: the entrance to the tomb, the tunnel tomb. There are many unearthed objects in the tomb. According to the material, it can be divided into three-color objects, single glaze objects, pottery porcelain, gold, copper, agate objects and stone carvings. The main shape of that beautifully sculpted tricolor ware are the tomb of the civil and military officials, the beast, the horse, the camel, the horse, the camel and the horse, and so on. these tricolor ware are not only hard in tire, even in glaze, bright in color, but also of high artistic value, and they can be called the representative works of Tang tricolor in Luoyang, which shows the art of Tang tricolor in Luoyang. As early as the early Tang Dynasty, it had reached a very mature level, which provided a reliable basis for the dating and staging of the three-color Tang Dynasty in Luoyang. A gold coin was unearthed in the tomb, with a diameter of 2.2 cm and a weight of 4.3 grams. On the front, there was a male statue wearing a crown, and on the back, there was a goddess of victory with wings. According to the identification, this gold coin was coined by the eastern Roman emperor Fox. This gold coin is the first foreign gold coin unearthed in Luoyang. It is the same as the Persian Sassanian silver coin discovered in Luoyang in 1955. Undoubtedly, they are all relics of the Silk Road, especially Anpu's epitaph, which not only provides the exact date of the tomb, namely 79 AD, and the family background and life experience of the tomb owner, but also has important reference value for the study of Chinese and Western traffic history. Here, we will focus on the fact that Tang Sancai is a glazed pottery life utensil and sculpture handicraft in the Tang Dynasty, and examine its origin. It has something to do with the old wind of digging tombs for treasures. Luoyang is a famous historical city with a reputation at home and abroad and Mangshan Mountain in the north of cultural relics. There are numerous ancient tombs and imperial tombs scattered all over the city. Many dignitaries of the Tang Dynasty also buried some poor people here in the old days. In order to make a living, they often dug tombs for treasures and sold them. Among them, they got some so-called earthenware vessels with bright glaze, mostly red, green and white. Because they came from the tombs of the Tang Dynasty, people named them Tang Sancai 1. When the Longhai Railway Project was built in Luoyang, many ancient tombs were excavated from east to west along the foot of Mangshan Mountain. Among the tri-colored tombs unearthed in the Tang Dynasty, a large number of utensils and figures and animals were transported to Beijing by antique dealers, which attracted the appreciation and attention of the famous scholar Wang Guowei and Luo Zhenyu, and foreigners regarded them as treasures. After paying a lot of money to buy them, the tri-colored Tang Dynasty immediately became famous at home and abroad, although many glazed terracotta animals and utensils such as brown, blue and black were discovered. However, Tang Sancai has become a customary name, and this name has been inherited. In the history of fine arts ceramics in China, Tang Sancai created a new generation of wind. It not only established an amazing style in terms of modeling, decoration, glaze firing technology, but also reflected the various fields of social life in the Tang Dynasty extensively and deeply. It was like a bunch of blooming flowers, which reflected each other with artistic forms such as poetry, song, prose, music, dance, painting, calligraphy and sculpture architecture in the Tang Dynasty. The Tang Dynasty was the heyday of China's feudal society, and its economy and culture reached an unprecedented peak. The prosperity of the Tang Dynasty, the unification of the nation and the stability of the integrated society greatly promoted the development of production and economic prosperity, which made China rank among the advanced countries in the world at that time and implemented a relatively open policy to the outside world. It is also conducive to the development of foreign trade relations and cultural exchanges. Therefore, it is reflected in the field of culture and art, and it presents a prosperous situation. Under such a social background, Tang Sancai came into being and became a luxurious and wonderful flower coexisting with other arts. The appearance of Tang Sancai is also inseparable from the luxurious life of the ruling class in the Tang Dynasty. Those bureaucrats and nobles are living in luxury. After death, even wives, maids, horses, camels, birds, animals, bottles, bowls and jars were made into tri-colored glazed pottery for burial, which was also an important reason for the large number of tri-colored Tang Dynasty. The tire material of tri-colored Tang Dynasty is a kind of fine white clay, which is known as kaolin, which has the characteristics of bright color, fine particles, firmness, softness and toughness. There are mineral soils for making tri-colored Tang Dynasty in Xin 'an Longmen, Mengjin County, near Luoyang. Only by selecting, ramming, elutriating, filtering, precipitating, infiltrating, aging and kneading can all impurities be removed by this selective processing, so as to ensure the white tire color and make the products have good stability. Otherwise, uneven spots and hills will appear on the surface of the utensils, and even the matrix will bubble or burst into the kiln for roasting. There are generally two types of furnaces: first, direct smoke kilns, which have a fire grate and a flue at the top of the kiln. Fireworks are directly ejected from the top of the kiln, and the other is the inverted kiln. The flow path of fireworks in this kiln is from top to bottom, and then from bottom to top, and finally the Tang Sancai is ejected from the chimney. Generally, it takes two times to bake: after the molded blank is dried, it is put into the kiln and burned with an oxidation flame at a high temperature of 11 or close to 11, that is, after the white matrix is cooled, the prepared glaze juice is hung, and then it is baked in kilning for the second time, and burned to 9. When the colored glaze is melted and civilized, the surface of the matrix will show various bright luster. From the unearthed Tang Sancai, the baking process in the Tang Dynasty reached a very high level, the temperature was moderate, the temperature was properly controlled, the flame radiation in the kiln was balanced, and the body was rarely broken. Due to the proper control of the temperature, the expansion coefficient of the glaze juice and the matrix was balanced, the contraction was consistent when cooling, and the enamel and the matrix were very close. There is little phenomenon of peeling off glaze, which fully proves that the craftsmen in the Tang Dynasty have rich practical experience and skilled firing technology. One of the main characteristics of Tang Sancai is its unique glaze style. After laboratory analysis, it can be known that the main elements of the tri-color glaze color are lead silicate Tang Dynasty craftsmen. After thousands of practices, it has successfully prepared white light yellow brown red brown red light blue green sky blue eggplant purple ochre black and other colors. Moreover, a rare silvery white glaze is prepared. After firing, the surface of the ware seems to be inlaid with a layer of shiny silver flakes. With the increase of skilled technical skills and chemical knowledge, craftsmen have mastered the properties and coloring mechanism of mineral metal oxides. They realize that brown red is iron, light yellow is iron, or antimony yellow is iron. The main components of various cyan-green-copper or chrome-blue-copper and cobalt-purple-black are Shi Ying lead powder and various metal oxides. It is used to assist the melting of enamel and increase the brightness of color. However, in order to achieve a special effect of coloring, craftsmen flexibly increase or decrease the proportion of various glazes and colorants, so that all kinds of glazes are the same.