A batch of Song Dynasty brick carvings were unearthed in Renjiazhuang, Changzhi County
World of Cultural Relics, 2009.04, Li Yongjie, Cui Guolin
In March 2004, an imitation wooden brick chamber tomb was found in Renjiazhuang Village, Haojiazhuang Township, Changzhi County, and after the Cultural Relics Department of Changzhi City received the report, it immediately sent archaeologists to investigate and deal with it. The burial chamber has been disturbed and the burial status is unknown. Some of the door and window components and brick carvings have been removed from the outside of the tomb, although part of the structure of this tomb has been damaged, but the inlaid brick carvings in the tomb are very special and have important research value, which is now briefed below.
1. Burial chamber structure and painting
The tomb sits north to south, the tomb plan is rectangular, 2.54 meters long from east to west, 1.5 meters long from north to south, and 2.2 meters high. The south wall of the burial chamber is built with a tomb door, which is 1.10 high, 0.71 wide and 0.45 meters deep. The structure of the three walls of the east, west and north is the same, and a plate door is built in the middle of each wall, most of the door is broken, and the two squares, two circles and four door hairpins are built on the front of the door. On either side of the door is a symmetrical broken window, but some of it has been damaged. The burial chamber is built with imitation wooden pillars and tile edge structures, which are relatively simple but very distinctive. The method is: four pillars are built in the four corners, the forehead between the columns is built, the seat bucket is built above the pillar head, the bucket mouth is playing with the head, the mud road is built on both sides, and the loose bucket is built on the pole, and the head is twisted as a bucket. On top of the forehead between the four pilasters, a tween douqi was built, and the douqi paving method was the same as the stigma paving. The eaves are built on the chess pieces, and the round oak heads are built on the fangs; On the tiles, the top of the ticket is stacked with strips of bricks layer by layer to form a dome.
The painted paintings in the tomb are mainly vermilion and yellow, and the method is relatively simple. Pillars, foreheads, eaves part of the earth Zhu, Pu pai fang, mud chess cast yellow, sitting bucket together between the black, scattered bucket part with blue gray. The arch of the tomb door is painted alternately in two colors, and the plate door and the window part are earthy. The inner white ground of the chess eye wall is outlined with various peony flower patterns with black lines, and the orange red is used to fill in the blanks on the outside, leaving a white edge (Fig. 1, 1, 2, 3, 4, 5).
2. Brick carvings in the tomb
The brick carvings inlaid in this tomb are an important harvest of this tomb. The brick sculptures include common themes such as samurai keepers, animals, and filial piety stories. Brick carving has better shape and bright colors, and has high artistic value and research value. It is described as follows: samurai brick carving
The two pieces of samurai are symmetrical left and right, and they are slightly the same in terms of shape. The samurai's head is combed and grasped, and the upper and lower body resembles a round neck red robe, and the middle waist wears a tunic, and the body is fluttering with straps. One samurai holds a wolf's tooth and the other holds his hand in a majestic posture, with a natural and realistic appearance (Fig. 2).
Twenty-four stories of filial piety, recognizable are:
Dong Yongtu On the right side of the picture is a man wearing a black head, wearing a red robe, with his hands folded. On the left side, a woman riding a cloud and driving a fog seems to look at the man standing under it. From the analysis of the picture, it should be the story map of "Dong Yongdian's wife" (Figure 3).
Yang Xiangnu picture On the left side of the picture, a woman riding on the back of a tiger is depicted as a beating, and on the right is a man wearing a white robe with a white robe and a belt at the middle waist. The analysis from the picture should be the story of "Yang Xiang's daughter beating the tiger to save her father" (Figure 4).
Wang Xiangtu On the screen, a man is carved naked, lying by the river, and next to it is engraved two large fish exposed to the water, which is analyzed from the picture as the story of "Wang Xiang lying on the ice and seeking carp" (Figure 5).
Da Shun Ploughing The picture depicts a person, and on the left is two elephants ploughing the field. A man standing with his hand carved to the right. The analysis from the picture should be the story map of "Da Shun Cultivating the Field" (Figure 6).
Meng Zongtu Depicts a man wearing a black head, wearing a white robe and pants, with one hand at the waist and the other hand covering his face as a howling cry, and bamboo shoots carved next to him. The analysis from the picture should be the story map of "Mengzong Weeping Bamboo Shoots" (Figure 7).
Cao E figure On the screen is carved a woman with long hair and a skirt, covering her face with her hands to cry, and the analysis from the picture should be "Cao E's female crying river" story diagram (Figure 8.
Guo Jutu Three people are engraved on the screen. On the left is a woman wearing a red tunic, wearing a long skirt, her hands arched in her sleeves, and her arms in her arms. Inscribed on the right is a man with a shovel digging a pit. The analysis from the picture should be the story map of "Guo Ju buried his father" (Figure 9.
Yuan Jue tu Two people are engraved on the screen. On the left is a man wearing a man with a bowed head and a round neck robe. On the right side, a teenager is carved with a fence on his shoulder and stands in front of the man. The analysis from the picture should be the story diagram of "Yuanjue Lazhen Persuasion Father" (Figure 1 O)
Bao Shantu Is depicted three people on the screen, and on the left is a samurai wearing stomach armor riding on a horse. On the right, a man with a basket behind him, and an old woman sitting in the basket, is running. From the screen analysis should be "Bao Shan back mother escape" story map (figure 11)
Liu Gangtu At the top left of the picture is a samurai wearing a helmet and armor. Stand above the clouds. On the right is a man wearing a red round-necked robe with his head folded on his hands and standing on the ground. The analysis from the brick carving character form should be the "Liu Stock Xingxiao" story chart (Figure 12).
Liu Mingda figure The picture is engraved with two people. On the left, a woman with a comb bun and a skirt and a half-shirt pulled a boy to stand on the ground and look. On the right, a samurai wearing a helmet and stomach armor, holding a young child in his arms, galloped away on a horse. The analysis from the brick carving characters should be the story map of "Liu Mingda Selling His Son and Filial Piety" (Figure 13).
The picture of the Separation of the Tian Clan is depicted with three men, wearing a head and a round collar robe, standing with their hands folded around their waists as they cry. The analysis of the characters from the brick carving should be the story map of the "Separation of the Tian Clan" (Figure 14).
There are two people engraved on the picture. On the left, a man in a round-necked robe stands on the ground with a load of firewood next to him. On the right carved an old woman sits still. The analysis from the brick carving characters should be the story diagram of "Zeng Zhi Mother" (Figure 15).
Cai Shuntu On the left side of the brick carving, a man with his hands and sleeves standing still look panicked. On the right, a samurai wearing armor and holding a sword sits on a stone platform as a reprimand. The analysis from the brick carving picture should be the "Cai Shun" story map (Figure 16).
In addition to the stories of samurai and takako, various brick carvings of auspicious animals are also inlaid in the middle of the burial chamber, Meruza. Recognizable are tigers, sheep (Fig. 17), elephants (Fig. 18), and so on.
3. Conclusion
No chronology has been found in this tomb, which can be analyzed from the following aspects.
1. Although this tomb is not large, it has obvious characteristics of the times. Judging from the shape of the tomb door built on the south wall of the tomb, this door is not located in the middle, but in the southeast corner of the south wall. From the analysis of the pillar, the top of the pillar is not built with a general pat, but directly out of the bucket, making a chess paving. The fighting chess practice not only used the simple head twisting method common in the Song Dynasty, but also cut out the head of the split bamboo on the fighting chess. These practices clearly retain the common structural characteristics of the Five Dynasties of the Tang Dynasty and the early Song Dynasty. In the Song tombs in the Changzhi area, the structure of this tomb chamber is basically the same as that of various departments and the Song tombs in the northern suburbs of Lucheng.
This burial chamber painting is a relatively simple one common in Song tombs, only using Tuzhu Tuhuang, which is consistent with the Song "Construction French Style" painting "Tuzhu Brush Decoration", which is a more common low-grade painting method widely used below the hall in the Song Dynasty.
2. In the relief brick carvings inlaid in the tomb, both character stories and animal brick carvings are common works in the Song Dynasty. From the perspective of character costumes, the round-necked robes worn by men and the skirts and backs worn by women are common clothes for women in the Song Dynasty, which are slightly the same as the brick carvings of song tombs in Wuma Village, Changzhi City, Shanxi. The brick carving figure and picture dynamics are consistent with the style of the Song Tomb in Huguannan Village, Shanxi. In particular, the two samurai brick carvings are not only special in shape, but also vivid in image. The costumes also have the style of the Tang and Five Dynasties periods, which is the first time to be found in the Song tombs in the Changzhi area and has high research value. From the above situation analysis, the age of this tomb should be more appropriate for the Song Dynasty.