First, we divide the tomb murals in Han Dynasty into two periods (namely, the Western Han Dynasty and the Eastern Han Dynasty), from three aspects (namely, the layout, content and style of murals; Character modeling in murals; Mural painting skills) to compare and analyze the Han Dynasty tomb murals.
Firstly, the layout, content and style of murals are analyzed.
Murals in Han tombs can be roughly divided into the following seven categories according to the theme: (1) farming, mulberry field, grazing, hunting, etc., showing the production activities in the owner's manor; (2) Tourism, office, officials, shogunate, dock wall, etc. , indicating the official experience and identity of the tomb owner; (3) Smoking utensils, kitchens, banquets, music and dancing, etc. , showing the freehand brushwork life of the tomb owner; (4) Propagandizing Confucian ethics and emphasizing the historical story of personal attachment; (5) fairy tales; (6) Auspicious images produced under the influence of the theory of the interaction between man and nature; (7) astronomical phenomena, such as the sun, the moon, the stars, the clouds and the four gods symbolizing the four constellations (Qinglong, Baihu, Suzaku and Xuanwu). The distribution of all kinds of contents in a tomb is generally (1), (2), (3) and (4) painted in the front, middle and back rooms or ear rooms, and (5), (6) and (7) painted on the top of the tomb and at the entrance to the tomb.
Next, the layout, content and style characteristics of murals in the Western Han Dynasty and the Eastern Han Dynasty are illustrated with examples.
First of all, the murals in the Western Han Dynasty are mainly arranged on the top of the tomb, the threshold, the four walls and the partition wall. In the early days, he mainly created with the themes of ascension, ancestors, monsters, and auspiciousness. In the middle and late period, the ancestors of heaven were replaced by the stars at the top of the tomb, but the Swiss beast was still very popular. In addition, because Confucianism gained a dominant position, reason gradually defeated monsters, and Confucian ethics, loyalty, filial piety and benevolence began to dominate people's thinking activities, so murals with historical stories appeared in the tombs. Its artistic features are exaggeration and romance. For example, the story of the Western Han Dynasty mural "Two Taos Kill Three Scholars" is contained in Yan Zi's admonition book in the Spring and Autumn Period, to the effect that Qi Jinggong used two peaches to cause an argument among his three domineering brave men, thus killing them. There are thirteen people in the photo, divided into three groups. The group on the right depicts three strong men, from right to left, namely Tanoko, Gong Sun Jie and Tian Kaijiang, with different postures. Tian Kaijiang is beside it, and there are two peaches on several plates. There are five people in the middle group. In the middle, Qi Jinggong stood tall and dignified, with four guards on both sides. Three of them were standing with spears and one was kneeling. This composition not only makes the characters vivid and natural, but also sets off Qi Jinggong's position. There are five people in the group on the left, among them, the short one should be Yan Ying, and the two people around him are short rulers used by the painter to set off Yan Ying. This mural depicts the characters carefully and vividly, and vividly shows the different personalities of many characters. For example, the brave and disdainful attitude of the Three Warriors, the respectful and cautious attitude of the spear waiter, the tall and majestic Qi Jinggong and the short and steady Yan Ying are all vividly presented on the screen.
Secondly, the high-point perspective technology was adopted in the early Eastern Han Dynasty, which can show the depth of the picture. In the middle and late period, a large number of high-point strabismus and bird's-eye perspective principles were used to draw, and the skills were improved obviously. Immortals and ghosts are still popular, but at the same time, due to the prevalence of powerful manor, the reality of pursuing fame and fortune and eating, drinking and having fun gradually replaced the idea of fantasy ascension in the Western Han Dynasty. In this way, the journey of horses and chariots embodying fame and fortune, feasting, singing and dancing, cooking and so on. Cao, an official thief, reflected real enjoyment and became the main theme of tomb murals in the late Eastern Han Dynasty. In addition, due to the introduction of Buddhism, some religious murals showing Buddhist thoughts appeared on the top of some tombs. Its picture distribution is further standardized, and different themes are drawn according to the division of labor in tombs. Its figures are numerous, large-scale, skillful and vivid, which makes the murals in Han Dynasty reach a high level. For example, the mural of No.1 Han Tomb in Bangtaizitun at the end of the Eastern Han Dynasty contains travel maps, banquet maps, kitchen maps and guard maps. It depicts a wide, detailed and in-depth social life with grand scenes. The Kitchen Map depicts the busy scene in the kitchen. Some cut meat on the kitchen table, some sit by the fire and barbecue, some pluck duck feathers, some wash dishes, and some juice. There are double pot rectangular stoves, wooden cabinets, pots, pots, cases, baskets, cages and other utensils in the kitchen. Turtles, animal heads, geese, pheasants, birds, monkeys, fish, pigs, etc. They are all hung on horizontal purlins, which can be described as varied. One of the pictures shows a man holding horns in both hands. The cow seems to be afraid, so the man pulls the cow to a large size.
Second, from the analysis of figures in murals:
(1) Similarities in the murals of the Western Han Dynasty and the Eastern Han Dynasty:
1. From the shapes of murals in the Han Dynasty, we can feel the way of thinking that China people know the world and the influence of the idea of "the harmony between man and nature" in the Han Dynasty. No matter in the Western Han Dynasty or the Eastern Han Dynasty, there are certain rules in the character modeling, mainly in the head modeling. The figure's head is 3/4 side, 1/4 side or front side, regardless of the front and side of the body or the appearance. There is only one realistic portrait of the tomb owner (Xin Mang Xin 'an Iron Tower Tomb), with accurate figures and serene posture. On the one hand, it shows that the sculpture level at that time has reached a high level, and the painter's realistic ability is very strong. On the other hand, it shows that the way of painting has been stylized.
For example: ① In the murals on the top ridge of the tomb of Buqianqiu in the Western Han Dynasty, Nvwa 、 Fuxi's head and body are all 3/4 sides.
(2) The figures in the travel map of horses and chariots in the tomb of Xingyuan Village in the Eastern Han Dynasty are all side faces.
2. The shapes of murals in Han tombs can be divided into dynamic shapes and static shapes, and dynamic shapes can be divided into character dynamics and animal dynamics. The dynamic modeling of characters is generally to show the plot of the screen content, reveal the inner world of the characters, and show the identity characteristics of the characters, which fully shows the superb skills of the painters in the Han Dynasty in dynamic modeling of characters. Craftsmen truly reproduce the vivid form of life on murals through artistic exaggeration, which is a true portrayal of life in the Han Dynasty. Animal modeling creates a combined image of god beast by depicting nature to express the romantic feelings of Han people. There are countless static shapes in the murals of Han tombs in Luoyang. For example, the demure and reserved Fuxi and Nu Wa in The Hongmen Banquet, Sean and Fan Zeng standing still on the left, the halberd-bearer in The Second Road to Kill Three Scholars, and the waiter standing on the host's side in the banquet screen all show extremely quiet posture, which is in sharp contrast with the dynamic modeling of the picture.
Such as: ① Hongmen Banquet at No.61Shaogou in the Western Han Dynasty. At the moment of the banquet, the surface was calm, but the different movements and demeanor of the characters set off a tense atmosphere, and there was movement in silence. The characters depicted are still naive in technique, but they have different expressions, or glare, or glare, or ferocious or sad, which has certain artistic appeal. The characters are sketched with smooth thin lines, depicting the clothes of several characters, which is even more exaggerated. The sleeves with flying lines seem to strengthen the strength of the characters, showing the painter's conscious use of lines.
(2) The music and dance pictures in the murals of Helinger Tomb in Inner Mongolia in the Eastern Han Dynasty. The owner of this tomb is Chen Shiceng, a senior official of the Eastern Han Dynasty, whose date of birth and death is unknown. This tomb depicts the official career experience of the tomb owner from raising filial piety, being a Langguan, being a long history of Xihe River, being a county magistrate, and repeatedly giving orders until the peak of his official career and being an envoy to protect a captain in Wuhuan. There are hundreds of ways to play in the painting, such as throwing swords, making pills, dancing wheels, resting in peace and other activities. The characters are almost sketches, and a few strokes vividly show various expressions and lively atmosphere in fierce movements.
(2) The differences between the characters in the murals of the Western Han Dynasty and the Eastern Han Dynasty:
1. Western Han Dynasty: During the Western Han Dynasty, realistic modeling was relatively rare, mostly virtual modeling. The main reason is that the theme of murals in the Western Han Dynasty is mainly deepening. For example, the square portrait in the cloth tomb of the Western Han Dynasty depicts a bear-faced monster with big ears, shirtless and barefoot, dressed in purple clothes and a red skirt, with a massage shape, and a dragon and a white tiger painted below. This drawing has been verified to be made by us. This painting is a humanoid animal face, which should be a combination of human and animal shapes, so it became an exorcist who held a Nuo opera ceremony in ancient times.
2. Eastern Han Dynasty: During the Eastern Han Dynasty, there were many realistic paintings. For example, the "Tomb Master's Couple Banquet" on the north wall of the mural of the Eastern Han Tomb in Zhucun has bright colors, smooth lines and vivid images, and has a high artistic level. The owner of the tomb, male, is on the left, wearing an ochre crown, good-natured, with a high nose, red lips, big ears, a moustache, a long beard, a black robe, a soap collar, white cuffs and a right-handed man, with his hands in his sleeves.
Thirdly, from the analysis of mural techniques.
Luxurious tombs prevailed in Han Dynasty, and murals in Han tombs were rich in themes and varied in forms. With the brush as the main painting tool, mineral pigments in shades of Zhu, green, yellow, orange and purple are used, so the color of murals lasts for a long time and is generally bright when found.
1. Western Han Dynasty: The murals in the Western Han Dynasty are mainly colored with mineral pigments, which are heavy, steady, bright and harmonious. Modelling technique inherited the tradition of realism and exaggeration since the late Spring and Autumn Period, and adopted the method of combining regular and balanced pattern structure with realistic images. The theme was prominent, coherent and amazing. In terms of painting skills, it developed the technique of sketching the outline with ink lines and then drawing it flat from the Warring States Period to the early Western Han Dynasty. The composition is dense. But on the whole, the previous technology is relatively simple.
Such as: ① The murals of Buqianqiu Tomb in Luoyang are very extensive, free and powerful, with smooth lines, slow brushwork and changeable reality. There are four colors: scarlet, light ochre, light purple and stone green.
② Murals of tombs in the late Western Han Dynasty in Xi 'an, painted with white paste and painted with figures. Zhai, from the Archaeological Institute of Cultural Relics Protection in Xi City, said that the mural painting method is to brush a layer of white ash on the tomb wall or the top of the coupon, then draw a manuscript with ink lines on it, and finally fill it with red, blue, black, green, brown and yellow pigments.
2. Eastern Han Dynasty: In the mural tombs in the late Eastern Han Dynasty, it was found that the pigments used were mineral pigments such as cinnabar, cinnabar, earth red, ochre, azurite, stone green, earth yellow and stone yellow, and some plant colors such as cyanine and rouge were also used. Zhu is the color separated from cinnabar, which is the smallest color in cinnabar. Polishing is the most important step to achieve this color. Therefore, Zhu can be used independently, indicating that the technology of color making, grinding and flying has gradually matured. The application of stone yellow and earth yellow shows that the painter's separation technology of ore was greatly improved at that time.
For example: ① In the mural painting of the No.1 Han Tomb in Beiyuan in the late Eastern Han Dynasty, the painter vividly showed the life scene of the tomb owner before his death in a concise and general way. In terms of color setting, it is not plane painting, but "rendering method", which is used by people's clothes and horses to enhance the three-dimensional sense of objects. The branches of trees are directly colored, which is similar to the "boneless method". Among them, moire is arranged in vermilion, lavender, pink green or pink blue wide lines, which is close to the "fading method" of later generations. "Rendering method", "boneless method" and "fade-in method" can all be applied to the same mural, and the painter's painting ability and proficiency are self-evident, which also shows that he has made great progress in painting techniques.
(2) In the late Eastern Han Dynasty, the murals of Tomb No.2 in Dahuting, Mi County were rich in content and bright in color. The main colors used are cinnabar, cinnabar, ochre, stone yellow, stone green, khaki, gamboge, azurite and white powder.
References:
1. Zhang Herong's Layout, Content and Style of Murals in Han Tombs, huaxia archaeology, No.2, 1995.
2. Du Shaohu's Analysis of Mural Carving of Han Tombs in Luoyang, Journal of Luoyang Normal University, No.6, 2003.
3. Na Wei Society in Han Dynasty in the Murals of Han Tombs in Luoyang, Journal of Luoyang Normal University, No.4, 2005.
4. Ni Longjiao's Appreciation of Tomb Mural in Shaogou 6 1 Luoyang, Journal of Huainan Teachers College, Vol.8, No.6, 2006.
5. Li Xiaoan's Textual Research on Painting Pigments in Qin and Han Dynasties, Journal of Shaanxi Normal University (Social Science Edition), Vol.29, No.3, July 2002.
6. Li Zhongxue's Interpretation of the Western Han Dynasty Tomb Murals in Luoyang, Journal of Luoyang Institute of Technology, No.2, June 2004, Vol. 14.
7. (Japan) Lin Si Naifu translated Cai Fengshu's Annotations on Murals of Buqianqiu Tomb in Luoyang, huaxia archaeology No.4, 1999.
8. Zhu Cunming's Symbolic Study on the Portraits of Han Tombs, Art Exploration,No. 1, 2003.
9. He Xilin on the murals of Buqianqiu Tomb in Luoyang, Journal of the Palace Museum, No.6, 2000.
10. Xu Yilan's Thoughts of Confucianism and Taoism in the Murals of Han Tombs in Luoyang, Research on Religion, No.3, 2006.