The history of tomb murals, what are the main themes of tomb murals in the Han Dynasty

How many years have the tomb frescoes been in recent years?

The themes of the murals in the tombs of the Han Dynasty are mainly music and dance, subordinate officials, dock walls, farming and other themes.

The murals of the tomb maintained the tradition of realism and exaggeration, and the technique of outlining the outline with ink lines and then applying color was developed in the painting, and the composition began to pay attention to the proportion and spatial relationship, showing the development and progress of Han Dynasty painting. The important remains of the murals in the tombs of the Han Dynasty include: the murals of the Western Han Tomb of Bu Qianqiu in Luoyang, the murals of the Western Han Tomb at No. 61 Yaogou in Luoyang, etc.

The ideological origin of the theme of the mural paintings in the tombs of the Han Dynasty

The reason why the murals of Han tombs are prevalent is mainly because the rulers advocated filial piety and thick burials, and produced the idea of "death is like life". In particular, the implementation of the system of filial piety and honesty in the Eastern Han Dynasty was the only way for people to embark on the eunuch journey. Therefore, the so-called "worship funeral to say filial piety, lavish guests to seek fame" atmosphere is pervasive, and the wind of thick burial is becoming more and more intense.

Many people have built tombs for their parents or themselves, and painted a large number of life and historical miraculous images showing power, prestige and wealth on the walls of the underground tombs where the living people lived, in order to gain the reputation of "filial piety" and facilitate the path of eunuchs, which is the social root of the prevalence of Han tomb murals.

The Northern Dynasties period was a prosperous period in Chinese history, with a high degree of development in art and culture. At that time, tomb frescoes flourished, and there are many very excellent works. Among them, one of the representatives is the Longmen Mountain Tomb in Tang County, located in Huashan, Weinan City, Shaanxi Province.

The Longmen Mountain Tomb in Tang County is a large brick mural tomb, which is an underground tomb in the Northern Dynasties period, and the tomb is divided into three parts: front, middle and back. Its murals cover a variety of contents such as the royal palace and the scenes of clan life, showing the cultural and artistic level of the society at that time.

The frescoes in the tomb are very beautiful and brightly colored. Among them, there is a group of murals that are very eye-catching, showing the scenes of the ** people hunting at that time. This group of murals depicts dozens of men dressed in light costumes and armed with bows and arrows hunting and searching for models between the mountains and forests, which is vivid and of great artistic value.

In addition, the other murals of the Longmen Mountain Tomb in Tang County are equally exquisite. For example, the "auspicious map" shows the important position of totem culture in the life of the time. There are also "palace figures" and "gods and Buddha figures", all of which reflect the essence of the mural art of the tomb at that time.

The murals of the Longmen Mountain Tomb in Tang County depict the beauty of social life and culture and art at that time, showing the ecological environment of ancient China, people's social interactions, life interests and aesthetic vision, etc., which is a precious heritage for the study of ancient Chinese culture and art.

Ancient Chinese tomb murals began to appear in the early Western Han Dynasty and became more and more common in the Eastern Han Dynasty.

In the eyes of the Han Dynasty, the tomb was another world that belonged to the deceased, which was fundamentally different from the real world. A tomb is not only a place where the remains of the deceased are placed, but also a space for the soul of the deceased to continue to live. Here, the deceased needs everything they have and have not had in their lifetime.

Here, the deceased needs everything they have and have not had in their lifetime, including anointing syrup, BMWs, manor offices, boys and maids, music and dance, etc., and even express various understandings and ..... about gods, the universe, history, self, politics, and morality in the tomb

The picture of the river during the Qingming Dynasty is centimeter wide and centimeter long[1], ink and color on silk. In the form of a long scroll and scattered perspective composition, the work vividly records the urban appearance of Tokyo (also known as Bianjing, now Kaifeng, Henan), the capital of the Northern Song Dynasty in China in the 12th century, and the living conditions of people from all walks of life at that time, which is a testimony to the prosperity of the capital Tokyo in the Northern Song Dynasty and a portrayal of the economic situation of the city in the Northern Song Dynasty. [2]

This is unique in the history of Chinese and even world painting. In the more than five meters long picture scroll, a large number of people of all colors are painted, such as cattle, mules, donkeys and other livestock, cars, sedan chairs, large and small boats, houses, bridges, city towers, etc., each with its own characteristics, reflecting the characteristics of Song Dynasty architecture. It has high historical and artistic value.

The most representative is the wall of the Han tomb of the Tiger Pavilion in Mi County, Henan.

paintings, murals of the Han Tomb in Wangdu, Hebei Province and murals of the Lingelhan Tomb in Inner Mongolia, etc. Han Dynasty lacquerware, on the basis of traditional painting, needle carving, relief, silver buckle and copper buckle, newly created the "gold buckle" and inlay technology. Mainly represented by the lacquerware unearthed from the Lelang Ancient Tomb in Pyongyang, North Korea and the No. 1 Han Tomb in Mawangdui, Changsha, the composition is heroic, the needle carving line is as thin as a gossamer, the image is simple, the color level is rich and gorgeous, and the decorative effect is strong.

The weaving of the fabric is more excellent with brocade, generally woven with 4 or 5 sets of color, and the common form is the quadripartite continuous of two sides and diamonds, thus establishing the status of China as the "silk kingdom".

In 706 A.D., Li Chongrun, the prince of Yide, and Li Xianhui, the princess of Yongtai, were buried in the Qianling Tomb, and the murals of the tomb of Li Xian, who buried Zhang Huaitai, were buried in the tomb of Li Xian, the four walls of the tomb were full of ladies, the ceremonial scene was vast and strict, the painter was skilled, the lines were stretched and smooth, the characters were delicately portrayed, and the color was filled or painted or haloed, which was quite exquisite.