Mawangdui Han Tomb, located in Mawangdui Township beside Liuyang River 4,000 meters in the eastern suburbs of Furong District, Changsha City, Hunan Province. Three archaeological excavations, all three are rectangular vertical holes with tomb passages on the north side. The coffin chamber is built at the bottom of the tomb. The bottom and the surrounding of the tomb chamber are filled with charcoal and white plaster, and then filled with layers of soil and compacted and sealed. solid. Tomb No. 2 is Li Cang, the prime minister of Changsha in the early Han Dynasty, and was buried in the second year of Lv Hou (186 years ago). Tomb No. 3 is the son of Li Cang (Li Cang). According to the unearthed rectangular thin wooden planks in the tomb, the ink is drawn vertically from right to left. Book in Qin Li style text: "Twelve years, in February Yisi Shuo Wuchen, Jia Cheng Fen moved the main collection (burial) of the memorial, moved the collection (burial) of the first edition, the book arrived at the precursor, and played the main collection (burial) ) Jun". It can be seen that the time of the burial is the 12th year of Emperor Wen in the Western Han Dynasty (168 BC), the first tomb is Li Cang's wife (Xin Chai), and the burial time may be a little later.
A large number of cultural relics were unearthed from the Mawangdui Han Tomb. Tombs No. 1 and No. 3 are well preserved. The inner coffins of the two tombs are covered with painted silk paintings. Tomb No. 1 has unearthed female corpses that have survived for two thousand years. Tomb No. 3 has unearthed a large number of silk documents and weapons. The funerary items are placed in the 4 side boxes around the coffin room. There are mainly more than 3000 relics such as seals, silk fabrics, silk paintings, bamboo slips, lacquerware, wooden figurines, musical instruments, bamboo and woodware, pottery, Chinese herbal medicines, and "Qiance" bamboo slips. Pieces. It is one of the most important archaeological discoveries in the world in the 20th century. The well-preserved tomb structure and rich funeral objects are a complete presentation of the Han Dynasty lifestyle and funeral concepts. More than 700 pieces of exquisite lacquerware with complex craftsmanship reflect the glorious achievements of the painted lacquer industry in the Han Dynasty; more than 500 pieces of finely woven silk clothing, which strongly proves the "Sires" (Seres) records in Western literature; more than 50 " The "encyclopedia"-style silk and silk documents inherited the knowledge and wisdom of the philosophers; the weird and fantastic color coffin and silk paintings contain the fantasy of ascension to heaven and the desire for eternal life in the Han Dynasty; it is like a thousand-year legacy in a dream, creating a miracle of human antiseptic technology... …The Mawangdui Han Tomb is a window for people to understand the social scene 2,200 years ago, and is known as the benchmark of historical civilization in the early Han Dynasty.
"Changsha Mawangdui Han Tomb Exhibition" has an exhibition area of 5243.8 square meters, divided into four units: Preface Hall and Amazing Discovery, Life and Art, Collection of Bamboo and Silk, and Dream of Eternal Life. Through more than a thousand precious exhibits that blend history and art, and use story narrative techniques, it depicts a picture of the life of the Shi Hou family before his life. After his death, he was buried in strict ritual and took away the needs of life in the world after death, reflecting People's cherishment of life and multi-dimensional cosmology in the early Han Dynasty show the high-level material and spiritual civilization reached by China at that time, as well as the scientific and technological achievements and major contributions in the history of world civilization.
|Coffin Coffin|
Tomb No. 1 (Xin Chai) Coffin Coffin has 4 layers. The innermost coffin is the inner coffin where the tomb owner’s body is placed. The cover is covered with a "T"-shaped mysterious silk painting. This one is two meters long and The huge silk painting intact is the first discovery in the history of Chinese archaeology. The outermost layer of the coffin is a solemn black lacquer plain coffin without any decoration; the second layer is a painted lacquer coffin with a black background. The black background is painted in golden yellow with complex and changeable cloud patterns, with 111 monsters interspersed between the lines. Or a god, with rich imagination and rough lines; the third layer is a painted coffin with a vermilion base, with green, brown, yellow and other colors on the red base, depicting many patterns representing auspiciousness, and a total of 6 dragons are drawn , 3 tigers, 3 deer, 1 phoenix and 1 fairy. Compared with the outer coffin, this coffin looks magnificent; the innermost inner coffin, the body of the coffin is covered with black paint, and the outside is made of silk and embroidered brocade. decoration. After a week of cleaning, the 20 layers of clothing wrapped in the tomb owner, including silk and linen, were cleaned up for the spring, summer, autumn and winter. After embalming, the female corpse was sent to Hunan Medical College. When the antiseptic was injected, the soft tissues of the female corpse swelled up at any time, and then gradually spread, similar to a fresh corpse. This is not only a miracle in the history of world archaeology, but also a miracle in human history.
Wooden Coffin Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Wooden
is 672 cm long, 488 cm wide, and 280 cm high. On the 3 square sleepers originally placed at the bottom of the tomb, there are two layers of cover plate, one layer of top plate and two layers of bottom plate. The coffin chamber is composed of a coffin chamber and 4 side boxes, shaped like the character "jing", which is called "jing" in ancient literature. The 4 side boxes have a total area of 6.8 square meters and a volume of 9.7 cubic metersSquare meters, more than 1,000 pieces of various burial objects are placed. There are 4 layers of coffins inside the coffin, from the outside to the inside, they are black painted coffin, black painted coffin, vermilion painted coffin and brocade decorated inner coffin. The whole coffin is made of fir, the largest siding is 4.84 meters long, 1.52 meters wide, and weighs 1.5 tons. Such a huge coffin chamber, without a single metal stud, is made of buckle joint, tenon [sǔn] and stud. This is the most intact well preserved real object of the Han Dynasty unearthed so far. This kind of coffin room, imitating the living room of the deceased, represents the "eternal home" of the deceased.
outermost black lacquered plain coffin
second layer black painted lacquer coffin
material: wooden
size: length 256 cm, width 118 cm, height 114 cm
black painted wooden coffin for Mawang Dui No. 1 The second layer of the four-story wooden coffin unearthed from the coffin is covered with vermilion lacquer. On the upper middle and upper vermillion lacquer surface of the inner wall of the right side panel, there are black lacquer running horses and people. The strokes are sloppy and barely formed. The outer surface of the coffin is painted with black lacquer, with complex and changeable cloud patterns. In the cloud patterns, there are more than 110 gods and monsters such as "fairies descending leopards", "strange gods fucking snakes", "giant birds with fish" and "fairies playing". pattern. The pattern strokes are vivid and smooth, which is very romantic. The lifelike images of gods and monsters depicted on the dark ground show that the souls of the dead are entering the underworld protected by the gods. The patterns on the
painted coffin on the black ground, except that the four sides of the cover are covered with band-shaped cirrus moire patterns, and the five sides are 15 cm wide with a band-shaped pattern centered on the flow moire. The moiré patterns on the cover and the left and right sides are in six groups, two rows up and down, with three groups in each row; the moire patterns on the head and foot guards are all four groups, two rows up and down, two groups in each row. There are more than a dozen images of strange gods, monsters, immortals, birds, cranes, leopards, as well as cows, deer, and snakes. The one that appears most on the screen is a face that resembles a sheep and not a sheep, and a tiger and not a tiger. A monster with long horns and a tail. This kind of monsters often hold snakes and act like snakes, and they can also stand by people. The forms of these gods, monsters and beasts are different, the depictions are lifelike, varied, and they are arranged very decently among the clouds and full of romanticism. In the past, in Chu tombs in Changsha, Xinyang and other places, wood-carved monsters with long tongues, antlers on their heads, and two-handed snakes were found in Chu tombs. They are generally regarded as tomb-suppressing beasts that ward off evil spirits, and their images are not without similarities. The people of Chu "believe in ghosts and sacrifice," and Jiang Xiang is "a lot of weird gods." The ruling class at that time dreamed of being promoted to immortals after death, and it was natural for the coffin to draw many "snakes-carrying" weird gods.
The third layer of painted lacquer coffin with vermillion base
Material: wood
Dimensions: length 230 cm, width 92 cm, height 89 cm
Zhudi painted coffin is a four-layer wooden coffin unearthed from the wooden coffin of Mawangdui No. 1 Han Tomb The third layer in the middle is painted with vermilion lacquer through the inside and outside. Red and the immortal realm are used to show that the dead have got rid of evil spirits and reached the realm of immortality. On the vermilion lacquer floor on the outside of the coffin, bright colors such as cyan, pink brown, lotus brown, russet, yellow and white are used to paint dragons, tigers, suzaku, deer and fairies and other "auspicious" patterns. The painting method of the lacquer coffin is chic and vivid, with unrestrained lines, clean and neat. The
cover is painted with a symmetrical pattern of two dragons and two tigers. The two dragons face each other and are located at the upper part of the screen. The dragons are coiled on both sides, and their tails extend to the left and right lower corners. The two tigers face each other between the two dragons, climbing under the dragon's head, and biting the dragon's body with their mouths. The dragon is pink-brown, with ochre borders, and it is covered with scales and has triangular arc markings. The markings are filled with green. The tiger is auburn with a realistic image, and the tail is decorated with flowing clouds. The periphery of the cover is decorated with ochre yellow and thunder pattern. The head shield mainly draws a patterned mountain, the mountain is made of an isosceles triangle, standing on top of the center of the picture, on each side of the mountain there is a deer with its head prancing high, and the surrounding is decorated with cloud patterns. The theme of the foot block screen is the Ssangyong Wearing Bi pattern. The white ancient wall is located in the center of the picture, and two red ribbons with sauce spots tie it from top to bottom. The ends of the ribbons are arranged on the lower side of the picture. Two curly dragons passed through the bii, and the prime minister was facing both sides of the ribbon above the bii. The dragon body was pinkish brown, covered in scale armor with phoenix feathers, giant eyes, sharp teeth, tiger claws and snake tail, and small horns. The side of the dragon is decorated with lotus root white cloud patterns. On the left side, there is a diamond-shaped cloud pattern on the periphery, and a red mountain is painted in the middle. There is a pink-brown dragon on each side. The dragon head faces the top of the mountain, and the dragon body is undulating. Behind the dragon head on the left, there is a russet tiger with sauced black markings.Looking back at the mouth, it is decorated with moiré patterns; in front of the dragon's tail, there is a lotus-brown deer with cloud-shaped mottling, the head of the deer is to the left, the two horns are thick, and the four legs are raised. Behind the dragon's head on the right, there is a Suzaku with wings spread out; in front of the dragon's tail, there is a pink-brown fairy with gray hair and climbing the dragon with both hands. The fringe on the right side is also a diamond-shaped moire, and the picture is a complex moiré. The dragon, tiger, vermillion bird and deer on the painted coffin of Zhudi are all the so-called "rich beasts" in ancient my country, and are listed as the "four gods" or "four spirits". The high mountains painted on the headgear and the left side should not be ordinary mountains, but so-called fairy mountains.
fourth-layer brocade-decorated black lacquer inner coffin
Material: Wood
Dimensions: length 202 cm, width 69 cm, and height 63 cm. The fourth layer in the coffin is the coffin directly containing the body of Mrs. Chenhou. The coffin is decorated with vermilion lacquer, and the coffin is painted with black lacquer. After covering the coffin, wrap two ribbons 12 cm wide and six to seven layers thick on the outside of the black paint layer. Then, on the cover and the four walls of the coffin, a layer of pasted brocade with diamond-shaped hooks and patterns was respectively pasted, symbolizing the smooth access to the immortal fairyland and the emergence of a fairy. On the outside of the siding, a line of 12 cm wide velvet embroidered brocade is attached to the periphery of the velvet flower pasted brocade, and a horizontal pasted in the middle is pasted into a "day" shape. In the past, in the tomb of the Warring States Period in Changsha, a well-preserved wooden coffin was discovered, but the phenomenon of pasting silk fabrics on the outside of the coffin for decoration was discovered for the first time, and it has very precious value.
Tomb owner (Xin Chai) remains
|Silk painting|
T type silk painting Mawangdui No.1 Tomb of Han Dynasty (Xin Chai)
Material: silk silk
size: 205 cm in length, end width of 0z4 in width 92 cm The cover of the brocade inner coffin of Mawangdui No. 1 Han Tomb is covered with a painted silk painting, which is intact, colorful, rich in content, vivid in image, and exquisite technique. It is a rare art treasure. This silk painting uses a single layer of fine silk as the ground. The silk ground is brown and T-shaped, wide at the top and narrow at the bottom. The production method is to put together three pieces of silk, with a long strip of silk in the middle, and then cut the silk equivalent to one third of the strip into two halves, and stitch them on both sides of the upper part of the strip. The top is wrapped with a bamboo pole and tied with a brown ribbon for easy hanging. The two lower corners of the middle and lower parts are decorated with cylindrical ribbons woven from fine linen thread, each measuring more than 20 cm in length. The silk painting of
can be roughly divided into two parts: the upper part, which is the widened part of the mosaic, is 67 cm long, and is painted with images of the sun, the moon, the rising dragon, and the snake body god and man; The wide part, 1.38 meters long, is painted with pictures of dragons and the owner of the tomb. The upper part of
symbolizes the realm of heaven. The content includes not only the sun, the moon, the gods, but also the heavenly gates and the door gods. It should be the vision of the "heaven" that the feudal ruling class dreamed of "rising" after death. A red sun is painted in the upper right corner, and there is a black bird in the sun, which should be "Golden Crow". There is a hibiscus tree under it, with eight small suns hanging between the branches and leaves. A crescent moon is painted in the upper left corner. On the moon there is a toad with a cloud mouth and a jade rabbit. Under the moon, there was a woman holding the moon with her hands, and she seemed to be dancing. It should be Chang'e flying to the moon. Under the sun and moon on both sides, there is a giant dragon on each side, and the two dragons face each other with their tongues open. Between the sun and the moon, there is a god with a snake-headed body, sitting in danger, with a long red tail ringing around and under the body, with five birds on both sides bending their necks upwards. At the bottom of the upper part of the picture, there are two horizontal pillars facing each other, forming a doorway. Each pillar has a little leopard. Between the pillars are two people who are well-dressed, with a headband "Prince", sitting opposite each other. Gatekeeper. There are two strange beasts riding cloven hoofed animals. The strange beasts each hold a rope to lead a special clock with a ring button. The two millings of the clock are tied with a belt. The animal that the strange beast rides is dressed in a white dress with red head and four feet. On the top of the clock, there are two birds with outstretched wings, which are similar to the birds on both sides of the god-man with the human head and snake body. The most prominent image in the lower part of the silk painting of
is that the two cyan and red dragons are lined up on the left and right, and they interact with each other through the valley-patterned giant wall in the middle of the picture. Two corners. Gu Bi Jiaolong naturally divided this part of the picture into two paragraphs. Above Gu Bi, between the two dragon heads, painted an old woman standing on a staff, two men on the left kneeling to greet each other with a case, and three maids on the right hand in hand. There is a long hairpin on the old woman’s hair bun, and the white pearl on the hairpin hangs from her forehead. The robes worn by the old woman and the maid are all curvy. The robes of the old woman are colored with patterns, and the robes of the three maids are yellow, red and white. The robes of the two men kneeling to meet are red and cyan. Under the feet of these figures, there are white platforms, and the sides of the platforms are decorated with hooked thunder patterns. Under the platform, a square board divided into sixteen is placed obliquely, with a red spotted leopard on each side of the board. At the upper part of this part where it connects with the "Tianmen", there is a canopy with a hanging curtain, two long-tailed suzaku standing opposite each other on the cover, a large flower in the center, and a monster with wings spread out under the cover. If the canopy symbolizes the roof, then the canopy on the two red leopards that inhabit the suzaku and the characters' feet may represent the decoration on the building. The old woman in the picture should be the image of the deceased. The long hairpin with white beads on the hair of the old woman is a kind of jewelry unique to aristocratic women in the Han Dynasty. The curvy robes worn by the old women and the maids were in the same shape as the objects in the tomb, which were characteristic of the noble women's clothing at that time. Gu Bi, hanging curtains with colorful patterns, as well as huge jade ornaments with gauze ribbons, on which two monsters with human heads and bird bodies live opposite. Below the curtains, there are scenes of feasting or preparing sacrifices. On a slab held by a giant with both hands, there are seven men sitting across from each other, four on the left and three on the right. There are three tripods and two pots on the front side, and a food table on the back side, full of tables. There are stacks of ear cups and other food utensils, and there is a side bar and a brocade to prepare for carrying food. The giant under the slab is naked; there is a red snake under the crotch, and the head and the tail are respectively climbing on the dragon's tail hanging from the upper part of the screen to the lower horns. Below the giant, there are two big blue fishes with red scales, one of which is red in color. There are little beasts on both sides of the fish. On both sides of the giant, there is a big turtle with a ganoderma-like mouth, and an owl on each turtle's back. The silk painting of
was used as a "soul flag" because of the portrait of the deceased. It was used as a guide during funeral and placed on the inner coffin lid during the funeral. The main theme is "Living the Soul to Heaven", which has a strong superstition color and prominently reflects the illusory delusion of the feudal ruling class for future life. The location of this silk painting in the tomb is the same as the inscription Jing used to express the identity of the deceased. The content of the image is too close to the flag used by the king. It should be closely related to the inscription Jing. Similar effect. The unearthed T-shaped silk paintings are of great value to the study of the history of ancient Chinese paintings and are designated as national treasures.
T-shaped silk painting Mawangdui No. 3 Han Tomb (Li豨)
Material: Silk and silk
When this T-shaped silk painting was unearthed, it was laid flat on the cover of the inner coffin, with the picture facing upwards, with the top in the north and the bottom in the south. Consistent with the coffin. The bamboo slips unearthed in the same tomb, Qiance 390, "No clothes, one length and two feet" refer to this.
This silk painting uses a single layer of fine silk as the floor. It is now brown, with a "T" shape on the top and narrow on the bottom. The production method is to splice three pieces of silk, with a long piece of silk in the middle, and then take a piece of silk equivalent to one-fifth of the long piece, and stitch them on both sides of the upper part of the long piece. The whole picture is uniform, and the six corners of the upper and lower corners are each decorated with a cylindrical fringe-shaped streamer woven with dark brown fine twine. The
silk painting can be roughly divided into two parts: the upper part, which is the widened part of the mosaic, depicting images of the sun, moon, stars, rising dragon, phoenix, zombie gods, and gods riding fish; the lower part, the unpatched frames The widened part is painted with images of Jiaolong and the owner of the tomb. The content is basically the same as the T-shaped silk painting of Mawangdui No.1 Han Tomb. The upper part is a symbol of the realm of heaven. A red sun is painted in the upper right corner, and a black bird is painted on the front side, with the head facing inward and the feet bent. The branches and leaves of hibiscus trees are wrapped around the sun. A crescent moon is painted on the upper left corner, with toads on the moon, with ink hooks and vermilion spots. There are two cranes flying on the left and right sides of the toad, with a crown on its head and a belt on its neck. In the upper left corner, there is a white jade rabbit with red eyes running to the upper right. In the upper part of the screen, there will be more than 80 vermilion dots, most likely stars. At the top between the sun and the moon, there are birds, four on each side, a crown on the head, a neck tie, a long neck and high feet, with wings and tails curled up, neighing upwards, running like a running. Below is a bird, decorated with beads and jade, with a belt around its neck, and flying, the bird is shaped like a crane. The ancients believed that the crane was a divine bird that escorted the soul to the sky. Below the sun and the moon, there are two dragons, with vermilion on the left and cyan on the right. There is a giant phoenix on the left side of the dragon's tail, with its head stretched upwards. In the center of the picture is a person wearing a green robe, underneath it seems to be a snake entangled, fuzzy and unrecognizable. On a flat board below it, there are seven boxes, filled with white, vermilion, and blue colors. On the top of both sides are painted a god man riding a fish. The god man wears a "jue bian" on his head. The fish is prancing like a carp. The fish also has the soul of the deadIt is related to the ascension to heaven, because the ancients believed that fish can also "transform". On the left and right sides below the plate, there are two people who ride cloven hoofed animals, wearing "jubun" on their heads, bare abdomen and bare feet, wearing black shorts, holding a vermilion rope in one hand to lead the alien animal, and the other hand holding a special clock with a ring button. There is a belt under the bell, and the upper end is decorated with Yubao (ie pheasant tail hair). At the junction of the upper and lower parts of the silk painting, there are painted two pillars in an inverted T-shape with horizontal bases. The inner vermilion color and the outer stone yellow are decorated with cloud patterns and feathers, forming a doorway, which should be a gate in the sky. The two sitting opposite each other between the pillars, wearing elegant black and wide robes, wearing a "juebu", may be the "emperor" guarding the Tianmen. Two dragons are drawn on both sides of the lower part of the silk painting. The left is blue and yellow, and the right is red and white. One is up and the other is down. With mouth open, it crosses the giant valley pattern in the middle of the painting, the dragon body is extremely Long, the tail hangs straight to the two corners at the bottom of the screen. Taking the Gubi Jiaolong as the boundary, the lower part of the picture is naturally divided into two parts. Above Gu Bi, a group of figures are drawn between the four dragon heads. A tall man is drawn to the left of the center. Three men greet him on the left and six attendants on the right. This tall man, wearing a Liu crown with a magpie tail on his head, a sword at his waist, and a purple robe with a vermilion collar, arched his hands as if walking to the left, he should be the image of the owner of the tomb. Behind the owner of the tomb is an attendant Zhang Juhuagai, another attendant is holding a spear with a tassel under the spear, and there are four women behind it side by side. For these tasks, they all made half-profile portraits, wearing Zhu, Qing, and black robes. At the feet of the figure, there is a white platform composed of two layers, and three jade walls are decorated between the two layers. The two layers are interspersed and connected to form a continuous pattern. There is a red spotted leopard on each side of the stage, with its head and buttocks against the platform, leaning down, looking back and looking alert. On the upper part of the figure, a canopy with a hanging tent is painted. The hanging tent is vermilion and the canopy is black. On the cover, there are two long-tailed Suzaku standing opposite each other, and the center is decorated with pearl jade and Yu Bao. If the canopy symbolizes the roof, the opposing Vermillion Bird Jade and Yu Bao on the canopy may be the decoration on the building. Below Gubi hangs a purple-black curtain with a zigzag pattern in two colors of vermilion and white. The lower part of the curtain is decorated with huge jade ornaments tied with ribbons, and the jade ornaments are decorated with beads and bands. Below Yuhuang is the scene of feasting or preparing for sacrifice. On a slab held by a giant with both hands, there are eight half-sided women sitting on the left and right sides. There are four pots in the middle. There are four pots on the right side and a box on the left side. Two bottles, the mouth and abdomen are painted with zigzag patterns in vermilion. The underside of the slab is decorated with beaded jade, yubao and vermilion cloud patterns. The giant under the slab is naked, with a gourd-shaped bun on his head, a beard on his mouth, and black shorts. He sits on two big fishes that cross the head and tail with his hands on the board. On both sides of the fish, there is a large turtle, carrying a square on the turtle's back, and strapping it. There is a phoenix bird on each side of the giant, which perches on the dragon's tail. At the bottom of the painting, a white pot is drawn in the middle of the painting, the pot shape is hooked with ink lines, and the belly and neck are painted with moiré. On both sides of the pot is a person holding drumsticks, making a pot-like shape.
This silk painting is compared with the T-shaped silk painting of Mawangdui No.1 Han Tomb. Except for a slightly larger size, the nature and composition are the same, and the effect is the same. They are all used to "lead the soul to heaven" and are used by the ancient ruling class to mark the ceremony. One of the ritual instruments of the system.
｜ silk ｜
plain yarn garment (straight) Mawangdui No. 1 Han Tomb (Xinzhui)
material: silk
size: dress length 132 cm, sleeve length 181.5 cm
this plain yarn garment For the collar, the right gusset (rèn, the front of the clothes) and the straight line (jū, the front of the clothes) weigh 49 grams. The fabric is plain yarn and the edges are geometric velvet brocade. Because it has no color and no lining, it was unearthed and called it a plain gauze garment. Most scholars believe that it may be worn on the outside of the splendid clothes, which can increase its gorgeousness and produce a hazy beauty; some scholars believe that it was worn as underwear at that time. "Shuowen Jiezi" contains: "The clothes are not heavy. From the clothes, the single sound." "Book of Rites • Yuzao" contains: "襌为絅[jiǒng]", Zheng Xuan's note: "There is clothes but no lining." That is, clothes without lining. The silk yarn is extremely thin and weighs less than one or two. It can be described as "thin as a cicada's wings" and "light as smoke". It is the earliest, thinnest and lightest garment treasure ever seen. It is the pinnacle of textile technology in the Western Han Dynasty. It represents the highest level of silkworm rearing, silk reeling and weaving in the early Western Han Dynasty.
Printed colored yarn silk cotton robe Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Silk
Size: Dress length 132 cm, sleeve length 228 cmThe
printed colored yarn silk cotton robe fabric is printed colored yarn, the lining, sleeves, collar and rim are made of silk, with silk cotton inside. The sewing style is the same as other silk gowns. A total of 3 printed silk robes with colored gauze were unearthed from Tomb No. 1. The styles are basically the same, slightly shorter than the other 8 robes. This style of cotton robe should be another fashion that women like in the Han Dynasty is different from the deep clothes. Some scholars call it 襜 (chān) 褕 (yú). What it has in common with deep clothes is the connection of clothes, "deep quilt", etc., but the difference lies in the opening method of the skirt. In ancient times, deep garments were generally qu 裾 (jū) (triangular placket), while 襜 (chān) 褕 (yú) was straight 裾 (jū) (rectangular placket), not as tightly wrapped around the body like a qu 裾 (jū) deep garment . According to the "Sequence of Han Shu·Yufu Zhi", there was no clear system for the noble costumes from Qin to the Western Han Dynasty. It was as late as the second year of Ming Emperor Yongping in the Eastern Han Dynasty (AD 59) that the "system of crowns in the southern and northern suburbs" was established. Therefore, the costumes of the Western Han Dynasty were in various forms, with long and short cotton robes, and straight and curved skirts. The unearthed tomb 1 of
uses silk fabrics that combine printing and painting to make gown fabrics. This is the first discovery in my country. Its appearance confirms the reliability of the "painting clothes" and "painting texts" recorded in the literature, reflecting the superb printing and dyeing processing technology of the Han Dynasty, and it is also a rare treasure in the ancient color painting process. The color painting completely broke through the shackles of ancient embroidery patterns, highlighting freshness, elegance, and gorgeousness. It is the outstanding one among the existing Han Dynasty women's clothing.
Vermilion Diamond Pattern Rose Cotton Robe Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Silk
Size: Length 140cm, sleeve length 245cm, waist width 52cm
Vermilion Diamond Pattern Rose Cotton Robe Top and Lower Dress Connected, cross collar, right gusset, curly quilt, vermilion diamond pattern Luo fabric, plain silk lining and edge, silk floss inside. The placket is folded from left to right to the right side. Its style is similar to the ancient "deep clothes", which was widely popular among aristocratic women in the early Western Han Dynasty. The vermillion diamond rib fabric is a monochrome dark-flower twisted warp weave silk fabric, which is twisted and woven by two warps, with particularly obvious square holes. This kind of square hole is not easy to slip and is very firm. Some experts even call Luo the real yarn, while the plain weave yarn is called "fake yarn."
From the perspective of weaving technology, Zhu Honglingluo's craft is more complicated. There are about 330 warp threads and 200 weft threads in an organization cycle. The ground warp and the grain warp in the warp threads each occupy half, and the two are arranged in the same way. More than 80 ground meridians are symmetrical, requiring more than 40 lifting actions, and the remaining 80 are asymmetrical actions, requiring more than 120 individual lifting actions to be controlled. The twisted warp can be controlled by the twisted warp heddle. Half of the weft is twisting motion, which can be controlled by the tread wood. It is inferred that this intricate motion requires the cooperation of the heddle lifting device and the twisting device on the machine, and two people are required to cooperate with each other. Only by stepping on the wood and throwing zhù (zhù) work, the other person specializes in arranging the flowers, can weave this kind of raku with clear and distinct flowers. Its diamond pattern is called "Colorful Cup Wenqi" in the literature, so the diamond pattern Luo is also called the cup pattern Luo.
Silk Lv Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Silk
Size: Length 26 cm, head width 7 cm. The shoe surface is woven with thread, and the bottom is woven with twine. This kind of shoes was relatively common at that time, and after the Eastern Han Dynasty, they could be worn by both noble and low. "Peacocks Fly Southeastward" contains verses such as "Take silk shoes under your feet, tortoiseshell light on your head"; "Let your skirts off the silk shoes, lift your body to Qingchi". Its system is inherited from the Tang, Song, Yuan, Ming and Qing dynasties, enduring for a long time, and has been used until modern times.
purple silk socks Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Silk
Size: bottom length 23 cm, head width 10 cm
This sock is straight, and the sock (yào, sock) is open at the back, and the opening is parallel Comes with a garter belt. It is made of purple silk, sewn on the instep and back, and the sole is seamless. The silk used for the sock is thinner, and the silk used for the sock is thicker. The garter is plain yarn.
socks were usually used as footwear in ancient times, and were generally written as "socks". For example, "Shi Ming•Shi Clothes" says: "The socks are at the end of the foot." Earlier, it was written as "韤" or "韈", "Twenty-five Years of Zuo Zhuan•Aigong": "Chu Shisheng Ziying is on the table." "Han Feizi•Foreign Reserve said the lower left": "The king of Wen cuts down to the phoenix and Huangxu, and the line is solved, because it is self-determined." "Shuowen•Weibu": "Yi, foot clothes.". A total of 2 pairs of identical socks were unearthed from the No. 329 bamboo frame of Mawangdui No. 1 Tomb, which were precious clothing objects in the early Han Dynasty.
"Longevity Embroidered" Pillow on Yellow-brown Silk Ground Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Silk
Dimensions: Length 45 cm, Width 10.5 cm, Height 12 cm
"Longevity Embroidered" Pillow Unearthed from Yellow-brown Silk Ground The wooden box on the north side of the wooden coffin of Mawangdui No. 1 Han Tomb is rectangular, and was filled with Peran leaves when unearthed. The pillow tops at both ends are made of woolen brocade, the upper and lower sides are embroidered with cornel, and the two sides are made of "longevity embroidery" fragrant silk. There are four cross-shaped knots on the top and bottom and the middle of the two sides, each with a row of crimson lines nailed into the heart Grass core. It is recorded as "embroidered pillow" in the book.
According to textual research, Peilan medicine pillow is the earliest health medicine pillow seen so far. Peilan is a plant of the Compositae family and is listed as the top grade in "Shen Nong's Materia Medica". It is called blue grass. A variety of Chinese herbal medicines such as Maoxiang, Xinyi, Du Heng, etc. were unearthed from the Mawangdui Han Tomb, which were placed in sachets, scented pillows, incense burners, and bamboo baskets. The use of sachets, scented pillows, and incense were the customs of the Chu region during the Warring States Period, and it was found in the Han tombs that were passed down from the Chu customs. The "Chu Ci" "Ren Qiulan thought to admire", the ancient literature contained incense "burning all day long can ward off plagues and distant evils", and Maoxiang "as a bath soup to ward off evil spirits and make the body fragrance", all refer to the fragrance, disinfection and prevention of these herbs. The role of disease. There are several pieces of sachets and burners unearthed from the Mawangdui Han Tomb, but this one is the only medicine pillow, and it is relatively intact, which is really precious.
"Xinqi Embroidery" Sachet Mawangdui No. 1 Han Tomb (Xinzhui)
Dimensions: length 50 cm, base diameter 13 cm
This is a sachet carried by ladies of the Western Han Dynasty. The upper part is made of plain silk, the lower part is sewn with the yellow "Xinji embroidery", the bottom is geometric velvet brocade, and the waist is tied. It is filled with Maoxiang, which is called "sachet" by Qiance. At that time, women used spices to ward off evil spirits, avoid insect bites, dispel evil, and avoid filth. These spices were mostly packed in sachets that they carried around. When Xin Zhui's body was unearthed, he held similar embroidered silk noodle sachets in both hands with vanilla inside. The custom in the ancient Chu region is “scented sachets during the day and scented pillows at night”. Four sachets were unearthed from the tomb, containing spices such as grass incense, prickly ash, Xinyi, and a medicine pillow filled with Peran leaves. , Can confirm this.
Smoke-colored diamond patterned Luodi "Xinqi Embroidery" Mawangdui No. 1 Han Tomb (Xinzhui)
Material: Silk
Size: Length 54 cm, width 40 cm
clothing materials. The embroidery has fine lines and exquisite embroidery. The diamond pattern is used as the ground, and the embroidery and the fabric diamond are mutually radiant. The layers are rich and have the effect of "icing on the cake". Among them, 19 pieces of "Letter Period Embroidery" were buried in tomb No. 1, including 3 single pieces, 10 complete clothes, and 6 broken clothes robes in the coffin. The patterns are embroidered with vermilion, brown-red, dark green, and golden silk threads to form patterns such as flowing clouds, curling flowers and long-tailed birds. The deformed long-tailed bird resembles a swallow, which means "like the return of a swallow", so Qiance calls this pattern "the letter period embroidery".
embroidery is a silk fabric (mainly silk) that has been woven, using fine needles to draw silk threads of various colors to embroider smooth and delicate patterns. Hunan embroidery in Hunan is one of the four famous embroidery in my country, with a long history. Embroidery unearthed from the Mawangdui Han Tomb may be the origin of Hunan embroidery.
Silk "Longevity Embroidery" Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Silk
Age: Western Han Dynasty
Size: Length 54 cm, Width 41 cm
"Longevity Embroidery" on silk is light brown red on silk ﹑Olive green, purple gray, dark green and other colored silk threads are embroidered with patterns of deformed moire, flower buds, branches and leaves and bird heads with lock embroidery stitches. "Longevity embroidery" of this kind of pattern appears the most. It is found on a few towels, embroidered pillows, mirror clothes and quilts unearthed from Han Tomb No. 1 as well as the broken brocade quilt that wraps Xin Zhui's body in the coffin. Due to the change of color, curling clouds stretched out among the branches and leaves of the fairy tree. If you look closely, auspicious creatures such as cornel and phoenix birds appear in the clouds. Perhaps this is an abstraction of the dragon and phoenix patterns of Chu in the Warring States period. Evolution, magical romance is very strong, with ancient art style. Cornel is a kind of beneficial herb. "Xijing Miscellaneous Notes": "Wearing cornel, eating bait, and drinking chrysanthemum wine make people live long." The phoenix bird is a divine bird. Qu Yuan's "Songs of the Chu" has the sentence "I make the phoenix bird fly, and then day and night", Phoenix bird appeared,Great Corning in the world. Corning of life also makes people live longer. In the decision to send burial goods, the Han people call this type of embroidery "longevity embroidery", which makes sense.
｜Wooden figurines｜
During the Han Dynasty, when the nobles had guests to feast, they would have singing, dancing and drinking wine. Especially in some aristocratic families, they specially raised a group of slaves who could sing and dance. Similarly, the nobles would A large number of singing, dancing and music figurines were buried in the tomb for continued enjoyment in the world after death.
Playing figurines at Mawangdui No. 1 Han Tomb (Xin Chai)
Dimensions: 32.5-38 cm high
There are 5 musical figurines playing at Mawangdui No. 1 Tomb, of which 2 are playing yongs and 3 are drummers, sitting on knees. Low forehead, high nose, black eyebrows and vermilion lips, bamboo sticks are inserted on the head, and a robe is carved with a right gusset. The carvings are exquisite and vivid, and the shape is different from the figurines of the Mawangdui Han tomb group. This is a portrayal of the life of singing and dancing before the life of the tomb owner. The wooden figurines adopt the technique of relief, pay attention to the carving of the head and face, and apply ink painting and red painting. The colorful paintings are also used to express the colorful costumes. It not only reflects the level and achievements of sculpture art at that time, but also verifies the life of the people at that time. Customs, clothing and funeral customs.
Clothing Singing Figurines Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Wood
Size: 32.5 cm high
No. 1 tomb unearthed 4 singing figurines, placed in the north box close to the east wall, two sets, They are fixed on a wooden board with bamboo nails. 4 dancing figurines were also unearthed from the same tomb. The 4 singing figurines all sit on the ground with their feet bent and knees back. Their faces are plump and oval, with white powder applied, black eyebrows and lips, yellow silk crossed collar and right gusset, sleeves crossed and bent in front of the knees. The figurines have no hands and their hair style is in a bun. The various furnishings in the curtains of the north box of
simulate the singing, dancing, banquet and drinking scenes of the deceased. At that time, the princes and nobles lived a luxurious and luxurious life, and after death they would also bring all kinds of enjoyments into the underworld. These 4 singing figurines wear long-sleeved dance clothes with their heads in a bun. They use half-meat carving techniques, pay attention to head and face carvings, and have vivid facial expressions. Ink painting and Zhu painting are applied, and they are dressed in colorful costumes. It reflects the life of singing and dancing before the life of the tomb owner, and can also verify the clothing and funeral customs of the people at that time.
Clothing, singing and dancing figurines, Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Wood
Size: 45 cm high
The face is plump, oval, covered with white powder, and the hanging bun is separately carved with bamboo nails Nailed to the back of the head, head and upper body tilted forward slightly, knees slightly bent, no hands. Observed from the remaining clothes, they look like short coats and long skirts. Songs and dances were popular in the Han Dynasty, and the nobles searched everywhere for singing and dancing dancers to form family bands. The censer in the tomb (list of funeral items) shows that the Chenhou family once owned a band of 10 people who could perform Chu Ge and Zheng Dance. The buried singing and dancing figurines have white powder on their faces, drawn ink eyebrows, and red lips. They are slender and have long sleeves fluttering. They are typical of Chu women with slender waist and long sleeves.
A total of nearly 300 wooden figurines have been unearthed from the Mawangdui Han Tomb. These wooden figurines are all substitutes for family history and slaves. They have differences in hierarchy and division of labor.
Wooden figurines wearing crowns Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Wooden
Dimensions: Figurines height 79 cm, head length 14 cm, shoulder width 19 cm
Mawangdui No. 1 Han Tomb unearthed a total of two wearing crowns Wooden figurines. This piece was unearthed in the southern box. The body was carved from a piece of wood. The head was carved with half-meat techniques, and the mouth, nose, ears and eyes were straight. The torso is only contoured. The crown, shoes and small wooden strips under the chin are attached with bamboo nails. The clothes are all broken. Judging from the remaining parts, they are dark blue diamond-patterned Luoqi robe, long enough to cover the feet, wide sleeves, and the collar, sleeves and placket are all brocade. Wooden carved men's round-toed shoes are attached to the feet. The back of the head is crowned diagonally upward with a board, 12 cm long and 8 cm wide, with slightly higher edges on both sides, and the surface of the board is carved. A trapezoidal flat plate is attached under the board. On both sides of the crown, there are ink-painted bands that reach the chin and are connected with small wooden strips attached to the chin. This type of crown wear is the same as that of the nine men in the "T"-shaped silk painting unearthed from the same tomb in the silk painting, and they are all long crowns. Hair is dyed with ink on the top of the head, separated in the middle of the forehead, and then pulled from the back of the head to under the crown and combed into a bun. The face is thin, the eyebrows are painted in ink, and the lips are painted in Zhu. The two sleeves are supported by thin bamboo strips and cross the abdomen. This wooden figurine is tall and solemn, and its crown-wearing costume is different from other wooden figurines. The word "Crown Man" is carved from the sole of the shoe. "Crown people" means "women", experts speculateThey may be the steward of Chen Hou's house.
Painted Standing Figurines Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Wooden
Mawangdui No. 1 Han Tomb A total of 101 painted standing figurines were unearthed. Their looks, clothing, and hair styles are basically the same, and their sizes are similar. A piece of wood is used to sculpt a human figure and clothing outline, and then white powder is applied as the ground, the eyebrows and the lips are painted in ink. The clothes are decorated in red and black colors. The clothes are long robes, all with cross-collar right gussets, wide sleeves and curved gussets, and a few necklines are slightly turned outwards. The rim of the robe is painted with safflower brocade on a black background. The patterns on the robe are all moiré except seven diamond patterns. Qu Yuan wraps to the rear right and turns to the front left, and then he is tied with a red belt, which is the so-called "right gusset". Arched his hands in his sleeves. Make a bun on the top of the head. A bamboo stick is inserted on the top of the head, the length of which is 5-7 cm.
| musical instrument |
25-string Saima Wangdui No. 1 Han Tomb (Xin Chai)
Material: Wood
Dimensions: Length 116 cm, width 39.5 cm, height 10.8 cm
was unearthed with a drape. It is composed of panel and bottom plate and is hollow. The column position is clear. Twenty-five silk strings are tied to Mujian, each string has a movable tuning column and resonance windows at the bottom ends. There are two ways to play Sue. One is to put your hands in front of your knees and play with your hands together. The second is to place one end on the knee, and the other end obliquely on the ground, play the string on one end of the knee with the right hand, and press the string in the middle of the face with the left hand. Se's voice is infectious and can express rich thoughts and feelings. Therefore, there is a story of Emperor Shun not returning from his southern tour, and the emperor Xiang Ling weeping. This is one of the most complete existing Qin and Han Gusers in our country. It provides valuable material materials for studying the history of ancient music and the playing methods of Han Dynasty instruments, which greatly enriches our understanding of the level of Han Dynasty music culture.
Han Mawangdui No. 1 Tomb (Xin Chai)
Material: Bamboo
Dimensions: 78 cm in length, 10 cm in diameter, and 28 cm in length,
, made of bamboo and wood, with complete appearance. A practical piece of silk was unearthed from Tomb No. 3, but unfortunately it has been broken. But it has reeds, and more than ten are found. There are silvery white beads on the upper end, which are like metal. They are used to adjust the frequency of the reed vibration to control the pitch. This is one of the "point springs" still in use today. law. The 竽 is a bassinet instrument with a wide range. From the Spring and Autumn to the Qin and Han dynasties, it was the leader of various musical instruments. Rong often plays with Se and others and is loved by people of the time. According to the "Historical Records", there are no people in Linzi who know how to play 竽, and the idiom "Long 竽 fills the number" also illustrates the popularity of 竽 from the side. The ancient dragonflies were made from natural gourds, so in the classification of ancient musical instruments, the dragonflies belonged to the category of "匏". The use of wooden buckets instead of gourds in the Tang Dynasty was once considered an advancement in musical instrument making. The unearth of this yong proved that this advancement occurred as early as the Western Han Dynasty. Although the
is intact, there is no ventilation between the tube and the mouthpiece, and there are no pores, air grooves, and reeds that control the pitch. It is a funerary model. A piece of scorpion was also unearthed from the tomb of Lixun. Although the exterior is broken, the internal structure is complete. It is the earliest practical tool discovered so far.
Zhu Mawangdui No. 3 Han Tomb (Li豨)
Size: 31 cm long
This is a popular musical instrument in the pre-Qin and Han dynasties. There are five strings and thirteen strings. This building seems to be five strings. The tail is slender and slightly enlarged, and the body is similar to a long four-sided rod. There are five small bamboo nails on each end of the head, which are embedded in a line at equal distances. It is assumed that the original five strings are on it, but they are now incomplete. In addition to the bamboo nails on the head, there is a mushroom-shaped column with silk residual strings wrapped around it. It is estimated that the extra strings from the bamboo nails are wrapped here, and its function is like a piano or a piano foot.
A long box-shaped one end unearthed from the Yuyang Tomb in Changsha in 1993, one end is like a five-stringed hammer, similar to this. The method of playing is to hold the building with the left hand and hit the strings with the bamboo ruler with the right hand. Five strings build one string and one tone. You can also press the built string to increase the sound and produce a change in tone. It is suitable for playing tragic and generous music, so it is often used in the army to drum up morale and invigorate the army. According to the "Records of the Historian", when Jingke assassinated King Qin, when he set off from the Kingdom of Yan, Gao Jianli immediately hit the building to see him off. Hougao Jianli also tried to kill King Qin by placing lead in Zhuzhong. After the Han emperor Liu Bang defeated Yingbo, he personally sang "The Great Wind Song" at the banquet. The ancestor's concubine Ji Qi is also a master of Jianzhu. Jizhu used to be one of the eight great folk amusements at the time, but it has now been lost.
Qixian Qin Mawangdui No. 3 Han Tomb (Lixun)
Material: Wood
Size: Length 81.5 cm, 12-12.6 cm wide, 13.3 cm high
stringed instrument. The whole body has a thin black lacquer, and the panel is soft and looks like paulownia. The bottom plate is hard wood, like catalpa wood, floating on the top and bottom, and can be moved. There are seven string marks on the piano surface, and the inner side of Yueshan wears heavily, which is formed by plucking strings. The foot of the piano is carved from hardwood, with a cloud-like pattern on the side of the foot. There are residual strings wrapped around the neck of the foot, and a silk fabric cushion is wrapped under the strings, which may be used to prevent the strings from slipping off the neck. This piano is the first specimen of Hanqin discovered in our country, and it is also the first time that people have seen a "half-box" piano in kind. The
"half-box" violin is currently unearthed in the Chu cultural area in Hubei and Hunan. It should be a Chu style violin popular in southern China. Compared with later generations, it has no emblem and has a living surface. , The tail is solid. However, the method of stringing is the same as that of later generations. One end is tied to the foot of the piano through the "dragon gum" of the tail, and the other end is tied to seven "Zhen" (horny octagonal columns) through the "Yueshan". The piano is a typical solo instrument, and is often used as an accompaniment instrument for literati when singing, and is listed as the first of the four arts of "Qin, chess, calligraphy and painting". Famous violinists in history include Confucius, Cai Yong, Cai Wenji, Ji Kang, Li Bai, Du Fu, and Song Huizong.
Bamboo Flute Mawangdui No. 3 Han Tomb (Li豨)
Material: Bamboo
Size: One is 21.2 cm long, and the other is 24.5 cm long. When unearthed,
was placed in the narrowest strip of the lacquer book box. It is made of bamboo, with a bamboo joint seal at one end and an open end. There is a rectangular mouthpiece on the side of the sealing end. There are six holes in sequence from one end of the opening, and the surrounding is cut into a plane. The flute is a widely circulated wind instrument in China, made of natural bamboo. The history of the flute can be traced back to the bone flute about 9,000 years ago.
|lacquerware|
There are about 500 lacquerware unearthed from the Mawangdui Han Tomb. This is the largest and best-preserved batch of Han Dynasty lacquerware found everywhere. The utensils mainly include tripods, daggers, boxes, pots, francium, 卮, ear cups, plates, scorpions, cases, tables, and screens. Lacquer ear cups account for more than half of the total number of lacquerware. Many lacquerware have the "Chengshi" stamp, indicating that they were made by Chengdu government workshops. A large number of lacquerware for funerals, such as cups, plates, cosmetic boxes, etc., were unearthed from Tomb No. 1, with the words "Jun Xing Shi" and "Jun Xing Wine" written on the inner bottom of the cups and trays, and the capacity of the utensils was indicated. The appearance is as bright as new, which shows that the lacquer manufacturing industry in the early Han Dynasty was relatively developed.
Most of the lacquerware unearthed from the Han tomb at Mawangdui are decorated with patterns. There are many ways to decorate, the most of which is colored lacquer painting, that is, the raw lacquer is made into a translucent lacquer and then mixed with various pigments to paint. This kind of painted lacquer has bright colors and is not easy to peel off. The second is oil painting, which uses mineral powdery pigments such as cinnabar, stone green, azurite, white powder, etc. to adjust the tung oil and paint on the painted objects. The third is to use a needle to engrave, that is, to use the tip of a needle to engrave patterns on the painted objects, which is called "cone painting". Sometimes gold color is also filled in the pierced seam to produce a pattern effect similar to that of gold and silver on copper. Finally, there is gold and silver foil stickers, which are made of gold or silver foil to make various patterns and stick on the lacquer surface of the utensils to show the effect of "gold and silver flat". The patterns are delicate and fluent. The most common ones are dragon and phoenix patterns, cloud patterns, flowers and grass patterns and various geometric patterns. There are also near-realistic animal, bird and fish patterns. The lacquerware in the early Western Han Dynasty had rich and complicated patterns. In the Eastern Han Dynasty, the lacquerware unearthed from the Mawangdui Han Tomb was mainly composed of wooden fetuses and zhù fetuses. There were also a few bamboo fetuses. Wooden tires are made by spinning, cutting, gouging and rolling, and different methods are used for different tool shapes. Zēng (zhù) tires are first made of wood or clay as an inner mold, and then attached to the inner mold with layers of linen cloth or zēng (zēng), and then painted layer by layer. After drying, remove the inner mold , Then there is a fetus that is clamped (zhù), which is called the "birth method". Among them, wooden tires account for more than 90%, and wooden tires include rotary tires, zhuó tires and rolled wood tires.
Moire Lacquer Ding Ma Wangdui No. 1 Han Tomb (Xin Chai)
Material: Lacquer
Size: Height 28 cm, Diameter 23 cm
Ding is a food container, this lacquer tripod is oval spherical, the cover is spherical, top There are three orange ring buttons. The lid and the body of the tripod are fitted with a female mouth. The belly and the bottom are slightly rounded. The mouth is attached with two straight ears and has three hoof-shaped feet. The surface of the tripod is painted with black lacquer (xiū) and the inside of the vessel is painted with red lacquer (xiū). The mouth is painted with a diamond pattern, and the cover and body are painted with red and gray-green swirls and squaresAnd other geometric moiré. The feet are painted with vermilion lacquer on the animal face, and the ears are moiré. On the bottom of the tripod, there are the words "two buckets" in Zhu Shu, indicating the capacity of the utensil. The most surprising thing about
is that when the archaeologists were cleaning the moiré lacquer tripod in Tomb No. 1, they discovered that there were soup and lotus root slices in the pot, and the lotus root slices that had been soaked in the soup for more than 2,100 years were still clear. Discernible. What is even more puzzling is that the lotus root slices in the tripod keep decreasing with the number of moves and the prolonged exposure to the air. When they are transported back to the museum to see them again, all the lotus root slices have disappeared magically. Why did the lotus root slices not rot after being soaked in water for more than 2,100 years, but disappeared quickly after being unearthed? According to relevant experts, the lotus root slices that were still clearly visible at the time of unearthed, in fact, the internal fibers have long been decayed, and only a complete shape remains. After being unearthed, it will encounter air oxidation and inevitably shake during the lifting process. The lotus root will quickly dissolve in water. This phenomenon shows that there have been few major earthquakes in Changsha for more than two thousand years. Otherwise, if there are frequent earthquakes, or occasional major earthquakes, the tripod containing lotus root slices has already overturned in the coffin chamber, or the lotus root slices have already dissolved in the water.
Lacquered moire dagger Mawangdui No. 1 Han Tomb (Xin Chai)
Quality: Lacquer
Dimensions: Handle length 36.4 cm, bucket width 8.5 cm Blocks or wooden boards are cut into a shape. Divided into two parts and handle. The bucket is in the shape of a dustpan. The inside of the bucket is red lacquer without decoration, and the back is black, with red and gray-green moire patterns painted on it. The long handle has a wide stripe pattern of red and grayish green painted on the top of the handle and the middle of the handle. The rest is black. The back of the handle is black and has no patterns.
In ancient books, the dagger must be the same as the dagger. In archaeological work, it is often found that the dagger and the dagger are co-produced or placed in the ding. It can be seen that the dagger and the ding are closely related and are used to scoop food from the ding. This dagger was produced with the tripod, and it was used as a ceremonial vessel during the pre-Qin period. The lacquer tripods are inconvenient to heat. Obviously, they have evolved from a seasoned food ritual vessel to a simple food vessel. They are currently intact lacquer tripods in the Western Han Dynasty and can be called "standard vessels". The seven dinging tripods in the tomb of Xin Zhui reflect the "Seven Ding princes" hierarchy enjoyed by the Shihou family.
Painted pottery Francium Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Pottery
Dimensions: height 35.8 cm, diameter 10.7 cm, base diameter 14.7 cm
wine container. Muddy grey pottery. Unearthed in the southern box. The body is molded and made. Francium refers to a container with a square mouth and a belly, used to hold wine. The surface of the ware is polished and painted with [xiū] lacquer. Except for the lower abdomen, the whole body is painted with yellow, green, and silver-grey powder. On the two shoulders, each with a standing phoenix with its head high, and a petal-like moiré on each side and four corners; a curling moire on each of the four sides of the abdomen; a phoenix pattern on each of the four sides of the foot ring; Silver-grey and vermilion are painted with four pedicle lines, and the four slopes have yellow and gray string lines and wavy lines.
Moire lacquer Francium Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Lacquer
Dimensions: 52 cm high, 23 cm belly length
This moiré lacquer Francium (fāng) has a straight mouth and a flat lip. Part has a collar, bulging abdomen, and hoops. There is a lù top cover with four S-shaped buttons on the top of the cover, which is used as a decoration. The surface of the vessel is painted with black lacquer (xiū), and the inside of the vessel is painted with red lacquer (xiū). The top is covered with a "rice" pattern composed of vermillion-painted moiré, with orange buttons. The neck is painted with a bird head pattern in red and grayish green, the shoulder is a diamond pattern, the abdomen is painted with two red and gray green moire patterns, and the ring is painted with a vermilion phoenix bird pattern. The two characters "Four Dou" in Zhu Shu are written on the bottom of the outer part. The list of burial items is called "lacquer painting Fang (Franium)", and it states "sheng white wine" or "sheng rice wine".
In addition, there are stamps on the outside of the foot of the lacquer (fāng), and the handwriting is illegible. More than one hundred lacquerware unearthed from the Han tomb in Mawangdui were found to be branded. It is branded and then painted on the plain tire, so the handwriting is blurry. Comparing these stamps with each other, you can recognize the words: "Chengshi Cao", "Chengshi Sao", "Zhongyu Sao", "Nanqi Country" and so on. Different stamps often appear on an artifact. These stamps indicate the origin and production workshop. "Cao" was connected with "Zao" in the Han Dynasty, and "cao" was often used instead of "Zao" in ancient books. "Full" refers to painted utensils. "Chengdu" refers to Chengdu. This shows that many of the lacquerware unearthed from the Mawangdui Han Tomb were made by the official workshops in Chengdu.
Moire lacquer Zhongmawangdui No. 1 Han Tomb (Xin Chai)
Material: Lacquer
Dimensions: Height 57cm, Abdominal DiameterThe 35 cm
lacquer Zhong (zhōng) has a large abdominal cavity with red lacquer (xiū) on the inside and black lacquer on the outside (xiū). The neck is decorated with bird-shaped patterns, and the mouth and ring feet are painted with zigzags There are three circles of vermilion and gray-green moire patterns and geometric patterns on the shoulders and abdomen. The cover is painted with moire patterns and has three orange-yellow buttons. The lines are smooth and free and easy. The middle book at the bottom of the outer bottom has the word "Stone". "Stone" is 120 Jin made in Han, which is equivalent to 27 Jin today. According to the actual measurement, its capacity is 19.5 liters. The list of burial items will record its "shengwen wine", which is a low-alcohol wine made from fermented rice koji, similar to modern sweet wine. Such big lacquer Zhong is generally used for banquet occasions. The lacquer is made of a rotary wood tire, which is thick and gives people a sense of stability and solidity. It is very difficult to make such a large rotary wood lacquer, and it can be described as an exquisite work of art.
What is the use of such a tall zhōng? According to the remaining wine sediments in the unearthed vessels and the "send policy" unearthed in the tomb, it is shown that it is an utensil used to hold warm wine. What is warm wine? In fact, warm is brewing (yùn). "Shuowen·Youbu" explains: "Bring (yùn), brew." It is a low-concentration wine made from fermented rice koji, similar to the current sweet wine. Archaeological data show that people in our country began to make music and wine as early as the Yangshao culture period of primitive society. In the Yin and Shang dynasties, people further understood that making wine must first be made into wine, which is the so-called "if wine is made, but only qu (qū) (qu)". The list of burial artifacts in Mawangdui No. 1 and No. 3 tombs contains the record of "qu (qū)", which is wine qu. The unearthed colorful lacquered food is filled with broken cakes, which should be included in the ququ. Koji is fermented rice. Liquor is produced by fermentation of carbohydrates. All rice wine brewed with koji is low-concentration liquor. By the Tang Dynasty, my country was able to brew a higher concentration of "shochu", which is now "baigan". Its alcohol content is generally around 60%, and it is a distilled spirit obtained through heating and distillation. Bai Juyi, a famous poet in the Tang Dynasty, once said in a poem: "The freshly ripened lychee comb is colored, and the shochu smells of amber at the beginning." In the Han Dynasty, the winemaking technique became more skilled.
Moire Lacquer Case Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Lacquer
Dimensions: height 5 cm, length 78 cm, width 48 cm The fetal bone of
lacquer case is planed, cut, cut, and chiseled The method is called zhuó. There are two lacquer cases with similar shapes and patterns in Mawangdui No. 1 Han Tomb. The red and black lacquer (xiū) is painted on the ground, and the black lacquer ground is painted with a smooth cloud pattern composed of red and gray-green, and the bottom is a red lacquered book. The three characters "軑 (dài) Houjia" indicate who owns the artifact. One of them was unearthed in the north box of the coffin room. When it was unearthed, there were five small lacquer plates intact on the case. The plates contained charred or decomposed steaks and other foods and a set of bamboo skewers. In addition, two were placed. A lacquer cup for drinking and a lacquer ear cup with a pair of chopsticks on the ear cup. What's interesting is that the cultural relics in the same side box as the case are lacquered screens, lacquer tables, embroidered pillows and some beauty products in the west, and servant figurines, singing and dancing figurines and other "servants" who take care of the owner's life or relieve her loneliness in the east. , And the four walls of the chamber are also covered with silk curtains. Undoubtedly, this box room is a simulation of Madam Hou's daily life scenes during her lifetime, and this lacquer case is the furniture that holds food in front of her seat.
There are five small lacquer trays containing different foods. Qi 卮 (zhī) is a drinking and drinking vessel, and chopsticks (zhù) are bamboo chopsticks. In the pre-Qin period, people mostly took it by hand when eating. Bamboo chopsticks began to be used in the Qin and Han dynasties, and it was more common to use chopsticks in the Eastern Han Dynasty. This kind of portable small food table was unearthed in the tombs of the Han Dynasty. It was used for Chen Ju's eating. It was similar to the function of a tray. It was convenient for people to "sitting on the floor" and the custom of low eating utensils and convenient for "raising the case with eyebrows." The case has the characteristics of thin table surface, light shape, four sides high to form a "water-blocking line" to prevent the soup from overflowing, and the food utensils to come out of the tomb at the same time. At the same time, this kind of decoration reflects the situation of the nobles' meal sharing system during feasting and drinking more than 2,000 years ago. Today, we no longer use the meal sharing system. Whether at home or in a restaurant, we usually eat together around the table. In fact, the history of this eclipse tradition is not long ago, but the way of sharing meals has a long history. Archaeologists discovered some wooden cases for eating and drinking at the Taosi site in Xiangfen, Shanxi, about 4,500 years ago, indicating that meal sharing system had already appeared at that time. The real meeting food system only started after the Song Dynasty, It is only a thousand years ago, and the history of meal sharing system has more than 3,000 years.
Lacquer Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Lacquer
Size: 28 cm in length, 23 cm in width
toilet. The wooden fetus, the three characters "Shihoujia" in the Zhushu on the outsole, and the faintly visible imprint of "Chengshicao", indicate that it was made in Chengdu, the famous lacquer production center in the Han Dynasty. There are four dancing phoenix birds in the murals, which are simple in outline, smooth in curves, clear and neat, and full of interest. The shape is simple and natural, much like a water scoop. The ancients had to wash their hands when holding important etiquette activities or before and after meals. The lacquer is a watering device, and the lacquer pan is a water receiver. Both the pre-Qin and Qin-Han tombs were unearthed in sets of pans and burials, which shows that at least in the early Han Dynasty, the rituals of pre-Qin wo toilets were still used. This kind of toilet was a special utensil used by the ancient nobles to wash their hands. When washing their hands, they were served by one servant and one young servant. The elders held the lacquer and watered it from top to bottom, while the younger held the tray underneath.
Double-layer lacquer lacquer Mawangdui No. 1 Han Tomb (Xinchai)
Material: lacquer
Size: 20.8 cm high, 35.2 cm diameter
toiletry, special utensils for toiletry utensils. The double-layer lacquered lacquer of the nine sons was buried in a box on the north side of Mawangdui No.1 Tomb, wrapped in a silk "embroidered period". The device is divided into two layers, and there are three parts together with the cover. The lid and the body are made of laminated tyres, and the double bottom is made of wooden tyres. The surface of the ware is painted with dark brown paint, and then gold leaf is pasted on the paint. Oil painting on gold leaf. The top, periphery, and outer walls of the upper and lower layers, the mouth rim, and the center parts of the upper and lower sides of the inner and upper middle partitions of the cover are all painted with cloud patterns in gold, white and red oil. The rest is painted with red paint. Place three pairs of gloves on the upper layer, one piece of silk cotton towel, group belt, and silk "longevity embroidery" mirror garment. The bottom floor is 5 cm thick, 9 grooves are chiseled, and 9 small cuddles are placed in the grooves, and cosmetics, rouge, silk puff, comb, grate, needle clothing, etc. are placed in the groove.
Wig Mawangdui No. 1 Han Tomb (Xin Chai)
is embroidered in the lower half of the real hair of the female corpse of Xin Chai, in a pan-up style. The old lady Xin Chai's real hair was sparse, brown, sparse and thin, containing type A substance; the wig was thick and black, containing type B substance, covering the head of the female corpse in a sleeve shape. Dense and black hair is especially popular with people, and ordinary women do not have such good hair. Therefore, the practice of women wearing wigs in the Han Dynasty is quite popular. Since Xin Zhui's real hair is sparse and yellow, he needs to be decorated with a wig.
In the spring and autumn, the trend of putting up a high bun with a wig for beauty appeared. This kind of wig is called "dí". "Zuo Zhuan" records such a story: When Wei Zhuanggong saw that Lu’s wife’s long hair was beautiful, he forced her to cut off her long hair and gave his wife Lu Jiang a wig called "Lu Jiang髢 (dí)" ".
After the first emperor of Qin unified the world and established the Qin Empire, women in the palace were required to wear peach-blossom makeup and wear fairy buns. The immortal bun was the heart-returning bun that was popular at that time, and it was a new type of bun besides the vertebral bun. As a result, the huán Wangxian bun appeared and later evolved into a twelve ring bun. However, at this time, the folks still took the zhuji and back bun as the mainstream. Later, the double ring bun became the main bun style for unmarried girls. After the Han Dynasty, women’s hairstyles have achieved unprecedented development, and their styles are rich and colorful. Due to the different braiding methods, various hair buns have been derived, such as stepping bun, fallen horse bun, deer bun, Yaotai bun, and Yingchun Updo, hanging cloud updo, pan-up updo, concentric updo, triangle updo, huán (huán) updo, double 鬟 (huán) updo, etc. Later, the style of chignon has evolved differently with the development of the times, which reflects people's pursuit of hair style and beauty in different periods.
Western Han Dynasty painted lacquer screen Mawangdui No.1 Han Tomb (Xinzhui)
Dimensions: height 62 cm, width 58 cm
rectangular screen board, bottom with horizontal foot screen. Painted lacquer, red lacquer on the front with light green oil painting simple patterns, the center is painted with a valley pattern, the surrounding is painted with geometric square patterns, and the edges are painted with diamond patterns. On the back of the black lacquer ground, red, green, and gray three-color oil paintings are used to paint moire and dragon patterns. The dragon is in a flying shape, with a green dragon body, vermilion scales, and moire winding, showing the tendency of rising clouds. The edges are painted with diamond patterns. The size is small and the production is relatively rough. It may be a burial ware imitating a practical screen. This is one of the intact painted screens in the early Han Dynasty.
| Bo with |
Bo is an ancient game of winning or betting. Gambling is a kind of elegant intellectual competitive activity. It originated very early in our country. According to the records of "Historical Records·Yin Benji": "Emperor Wuyi has no way, he is a puppet, and he is called a god. If the gods are invincible, they are humiliating." VisibleBo appeared no later than the Shang Dynasty. Gambling has become a favorite entertainment activity during the Spring and Autumn Period and the Warring States Period. "Zhanguo Ce·Qi Ce" records: "Linzi is very rich and real, and all its people are playing the drums... Lu Boju (tà) is a person." The "Historical Records·Comical Biography" also records: "If it is the meeting of Zhou Luzhi, Men and women sit together, hang out with wine, throw pots in the Sixth Expo, and lead each other as Cao, shake hands without punishment, and can't help but can't help." From this, one can imagine the lively scene of the Warring States gambling. It was popular in the pre-Qin period, especially in the Han Dynasty. From the emperor and hundreds of officials to the common people, they love it very much. According to historical records, Emperor Wen, Emperor Jing, Emperor Wu, Emperor Zhao and Emperor Xuan were all gambling fans in the Han Dynasty. Bo tools were even used as dowry. For example, the daughter of the king of Jiangdu married Wusun Kunmo during Emperor Xuan of the Han Dynasty, and Emperor Xuan gave Bo tools. At that time, people believed that the gods in the sky also loved gambling like human beings. Therefore, rituals should also be set up. As recorded in the "Hanshu·Five Elements Records", in the four years of Emperor Ai Jianping, "the alleys in the National Assembly of Jingshi County, set up Zhang Boju. , Song and Dance Temple West Queen Mother.” This shows how people in the Han Dynasty liked gambling. According to the current archaeological excavation reports, more than 30 ancient artifacts (including ghost artifacts) have been unearthed, of which 7 are from the tombs of the Warring States and Qin Dynasty, and more than 20 are from the tombs of the Han Dynasty.
After the Wei and Jin Dynasties, gambling began to decline, and the Tang Dynasty was replaced by today's chess, and finally lost in the Song Dynasty. In the Song Dynasty, there was a gambling win-or-loss game that used tossing as a bet. It was completely different from the Han dynasty gambling game of tossing and playing chess.
Bo Ju Mawangdui No. 3 Han Tomb (Li豨)
Material: Lacquer
Size: The box is 45 cm long and 17 cm high.
This set of tools unearthed from Mawangdui No. 3 Han Tomb is relatively complete. . What's valuable is that it can be compared with a record of "send policy" (a brief booklet for registering burial objects) unearthed from the same tomb, which allows us to understand some of the gambling equipment. Mainly include: game (chess board), its (chess), suàn (chips), picking or 焭 (qióng) (die), knives, chips and spatulas, etc., and it is placed in a game box. This set of artifacts is exquisite and unusual. It is placed in a special lacquer box. There is a square painted (xiū) black lacquered wood board with ivory bars inlaid with boxes and tracks. 12 long ivory chopsticks, 30 short ivory chopsticks, 12 big ivory pieces, 18 small pieces, 1 small wooden spatula, 1 ivory chipper and 1 ring-head horny cutter. The plane of the box is a square, and the surface of the box is decorated with the so-called "cone painting" technique, that is, the needles engrave the patterns of flying birds and clouds, and the vermillion paint depicts geometric patterns. In the game, the chessboard of the six games is also square. The center and surrounding squares are inlaid with teeth bars to make L-shaped or T-shaped twelve tracks and four bird patterns. The bottom of the box is provided with rectangular, square and oval small grids for placing chess pieces and other items. The game requires tossing (ie dice), but no dice is found in the box. Later, during the cleaning, I saw the dice in a double-layer lián (lián). The dice are spherical octahedrons, wooden, painted (xiū) dark brown paint, 4.5 cm in diameter, and fit in the small grid vacated by the Bogu. The dice octahedron is engraved with numbers from one to sixteen, except for the sixteen sides. The two opposite sides have the characters "arrogance" in seal script on one side and the characters "wife fear" on the other side. Add this dice to confirm that this is a set of gambling equipment.
"Zhenhoujia" black ground vermillion moire lacquer plate Mawangdui No. 3 Han Tomb (Li豨)
Material: Lacquer
Size: 4 cm high, 57.8 cm diameter
flat plate. Rotary wooden tire. Straight wall, flat bottom. Painted in the plate [xiū] two groups of red lacquer and black lacquer. The black lacquer is painted with cloud dragon patterns, and the dragon's whiskers and scales are composed of swirl patterns. On the edge of the mouth, there are wavy lines and dotted lines. The inner and outer walls are in the shape of a bird's head, and the outsole is "Zhenhou's House" in Zhushu. A total of 9 such flat plates were unearthed from the tomb. The censer (list of burial items) calls it "lacquered and painted flat (pan)", which should be used to serve food during banquets.
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painted pottery 鐎hu Mawangdui No. 1 Han Tomb (Xin Chai)
Material: Pottery
Size: Height 10 cm, abdominal diameter 18 cm, handle length 6 cm
Mawangdui No. 1 Han Tomb A pottery jug was unearthed from the east box. Painted, straight mouth, flat lips, short neck, three short feet, no cover, oblate body. The animal’s head is placed on the shoulder and a tubular handle is placed on the abdomen. Grey tire, hand-made. The whole body is painted with white powder, and then painted with thick string patterns in red and black. The pot is simple in shape, a practical device in life, and belongs to a wine warming device. Use a simmer to warm the wine slowly. According to the volume of "Xuanying Transliteration": "Qin, warm wine also has three legs. "This pottery jug is in line with historical records. Z2z
Bronze inlaid jade bottle Mawangdui No. 2 Han Tomb (Changsha Prime Minister Hou Licang)
Material: Jade
Size: Height 18 cm, diameter 9.7 cm
A practical jade ware made with inlay technology, used to hold wine. The center of the cover jade piece is engraved with a persimmon stalk pattern, and the outside is engraved with multiple circles of cloud patterns. The jade piece is inlaid on the body with three sets of intaglio patterns from top to bottom. The upper and lower two groups are neat and dense moiré patterns, the middle group is the phoenix pattern that dances with the head, tail, and feet open. The bottom jade piece is carved with grain patterns. The [pàn] is white jade, and the surface is also carved with persimmon stalks. The edge is riveted to the copper hoop below the body in the shape of three animal face small hoof feet. The
bottle is tightly inlaid, and the inside and outside are polished brightly, and the production is exquisite and beautiful. This bottle is still the first time in Changsha, and its pattern is similar The patterns of the bronzes unearthed in the tombs of the Warring States Period in Changsha are quite similar.
Silk Book "Astronomy and Meteorology Miscellaneous Accounts" Mawangdui No. 3 Han Tomb (Li豨)
Material: Silk
Size: 150 cm long, 48 cm wide
There are six columns of pictures and texts in the main part, of which the third and fourth columns have a larger order in the new patch; there are four columns of essays at the end of the second half. Regarding the relationship between the two parts of "Astronomy and Meteorology", experts generally It is believed that these two parts may be two books of the same nature. The first part of "Miscellaneous Zhan" is mainly based on pictures, and the text belongs to pictures. The objects of the occupation are represented by pictures, or the image of the pictures is supplemented by text. Although the content of this part is miscellaneous, there is also a certain order, roughly in the order of cloud, sun, moon, and horoscope. The objects of the second part are all described in language. In the first part of the text In the first part, there are three "Bei Gong", "Ren", and "Zhao". These are the surnames of the Cham family. In the first part, there are "the same picture with different occupations" and "the same picture with different pictures". The two types of situations are worth noting. In this regard, the editor will arrange the two pictures of the same occupancy in a straight line up and down, or sequentially, save different images, and indicate the source. We can also see that 》There are more cases of the same account with different pictures than the same account with different images. A reasonable explanation for this phenomenon is: the image is more likely to change than the text in the process of copying. Accurately distinguishing the shape of the measured object is an accurate prediction of personnel Therefore, the editors pay special attention to the image differences between the books. It can be seen that the editors of "Astronomy and Meteorology Miscellaneous Accounts" have synthesized the similarities and differences of the pictures and texts of different bases, and have not only made a more systematic compilation, but also made The more detailed school chóu (chóu) was finally copied on the silk. What is certain is that the astronomy and meteorological miscellaneous accounts are drawn first and then added to the text. The silk book we see today can be regarded as one A collated and relatively complete final version at the time.
This silk book depicts about 250 celestial images of clouds, gas, stars, comets, etc. in two colors of vermilion and ink, and is accompanied by a short text description. It is a way of using celestial phenomena to account for A book to test the victory and defeat of the war. The most scientifically valuable in this book is the 31 comet diagrams, each comet is marked with a name, comet head and tail, except for the last one. The head is down and the tail is up, which is in line with the scientific law that the tail of the comet is always away from the sun, and the difference in the shape of the tail has been noticed. This is enough to show that our country has made amazing achievements in observing comets more than 2,000 years ago. This is the earliest surviving comet map in the world.
"Five Star Horoscope" Mawangdui No. 3 Han Tomb (Lixun)
Material: Silk
Size: Length 221 cm, width 49 cm
After research and textual research, the Venus conjunction period recorded in the "Five Star Zodiac" is 584.4 days , Which is only 0.48 days larger than the current measured value of 583.92 days, with an error of only a few ten thousandths; Saturn’s rendezvous period is 377 days, which is only 1.09 days smaller than the current measured value of 378.09 days; the sidereal period is 30 years, which is smaller than the current measured value 29.46 years is only 0.54 years older, and its accuracy is surprising. The silk book also talks about the Venus's rendezvous cycle "five out, for the day to be eight years old, and the rejuvenation camp out of the east in the morning", that is to say, the 5 rendezvous cycles of Venus are equal to 8 years. The famous French astronomer Framarion's "Popular Astronomy" Volume 2 said: "The 8-year cycle is quite accurate. In fact, the five conjunct cycles of Venus are 8 years minus 2 days and 10 hours." Such a meticulous record of the movement of the five planets was unthinkable without sophisticated astronomical instruments at that time, indicating that astronomers at that time were already very skilled in using the formula of speed multiplied by time equal to distance to study the dynamics of planets and calculate their positions. Connected organically. "Five Star Horoscope"There is no precise conclusion about the writing date of the book, but according to the clear memorials of "Kao Huiyuan" and "Gao Queen Yuan" in the silk book, it can be known that the copying date of this volume of silk book will not be earlier than the early years of Emperor Han Wen. And according to research, the "Five Star Zodiac"
