The first exhibition hall shows the relief stones unearthed from the Han tomb in Miaoshan, Tongshan County. The tomb was cleared and excavated on 1956. The structure of the tomb is front hall and back room, all made of bluestone. There are 9 stone reliefs, including music and dance pictures, kitchen banquet pictures, contest dance pictures, sage pictures and Huang Xian pictures. Among them, Yan Huang is the most brilliant. Emperor Yan wears a hat and hemp fiber, holds thunder, and attracts phoenix to heaven; The Yellow Emperor has a head, spits immortal breath, has wings, and has a successful career. The second exhibition room mainly displays the stone tombs in Liu Xin Town, Tongshan County and Qishan Town, Peixian County, which were restored in the late Western Han Dynasty and Wangmang period respectively. 1977 The stone tomb of Qishan, Pei County, which was cleared and excavated, is rich in portraits, including laying the first ring, hunting horses, hunting animals, welcoming guests in two queues, evergreen trees and so on. It fully shows the rich artistic characteristics of tomb portraits in the early years of the Eastern Han Dynasty. Among them, the image of the Queen Mother of the West is the earliest stone relief found in the Han Dynasty. In the picture, Dai Sheng, the head of the Queen Mother of the West, sits upstairs. Downstairs, she feeds on a bluebird. Outside the building, there is a God-man, a three-legged bird and a nine-tailed fox on the roof. Then, she carves the snake head, horse head, bird head and an elder with a sword to worship the Queen Mother of the West. On the right side of this stone relief, there are images of shooting, building encouragement, cockfighting and other life contents. The third exhibition room displays scattered Han reliefs in Tongshan County, among which the Textile Map unearthed in Qingshan Spring in Tongshan County is a treasure in the collection. The textile industry in Xuzhou in Han Dynasty was relatively developed. At present, seven "textile drawings" have been unearthed, one for the Palace Museum, one for the Chinese History Museum and one for the Xuzhou Museum. The "Textile Map" in Qingshan Spring is a textile scene of ordinary people. You can see the whole process of weaving, winding and rocking weft from the picture. The woman on the loom is turning around and picking up the baby, and the life is very strong. The fourth exhibition hall * * * displays 40 stone reliefs, mainly concentrated in the Han Dynasty stone reliefs unearthed from Honglou Han Tomb, Hanwang Han Tomb and Guolihan Tomb in Tongshan County. The stone reliefs in the Red Mansion are mainly portraits of ancestral temples, and the contents of the portraits include "Welcome Banquet", "Travel Map of Horses and Horses" and "The General Meeting of the Immortals". These stone reliefs have huge frames, simple carving skills and rich contents. For example, "The Fairy Initiation Map of the General Association" is 2.2 meters long with a height of1./kloc-0. It is engraved with the trip of Lei Gong to rain the Lord. The play is like a slave, the fossil is thunder, the water man plays tricks on snakes, and the magic man spits fire. These contents are very similar to the performance scenes of large-scale hundred plays at that time described in Zhang Heng's Xijing Fu. The eight stone reliefs exhibited in the fifth exhibition hall were all unearthed in jiawang district, Xuzhou. The contents include rare birds and animals, playing with unicorn feathers, Nuo dancing, and Qin Shihuang's taking a tripod in Surabaya. The carving technique is bas-relief, dating back to the late Eastern Han Dynasty. Among them, "Surabaya takes Ding" is the most wonderful. This painting depicts the tension when the dragon bites the ding rope. "Historical Records of Emperor Wudi" contains: "Yu received the gold of nine shepherds and cast Jiuding, such as Kyushu." Jiuding is a symbol of kingship. "Historical Records of the First Qin Emperor" contains: Qin Shihuang toured the world, "crossing Pengcheng, fasting in the temple to pray for blessings, and wanting to go out to Surabaya, Zhou Ding, so that thousands of people can seek for themselves without water and get their blessings." "Shui Jing Zhu Surabaya" records: "When Qin Shihuang was in Qin Dynasty, he found the tripod in Surabaya ... and it was completed, but before it came out, Longya chewed off its system." The 1 1 relief stone displayed in the sixth exhibition room was unearthed in the Han tomb of Jiunvdun, Suining. It is a large stone tomb, which was cleaned and excavated in 1954. The contents of the portrait include dragons, white tigers, crossing the bridge by car, feasting for the host and guest, food offered by waiters, fairy lighting, jade exempting from guarding the tripod and so on. The stone relief in this tomb is grand in picture, rich in content and exquisite in carving, which vividly reflects the scene that the owner of the tomb ate and drank, was luxurious and rich, and hoped to become an immortal and enter the heaven after his death. The stone reliefs in this tomb are all plane carved ground lines, which can be traced back to the late Eastern Han Dynasty. The seventh exhibition hall shows the stone reliefs unearthed in Shuanggou, Suining County, collected by Mr. Zhang Boying and donated by later generations. Zhang Boying, a native of Yuzhuang, Tongshan County, was a famous collector and calligrapher during the Republic of China. Zhang Boying's collection of Han stone reliefs includes Niu Geng map; Fuxi and Nu Wa; Door que building, drawings of chariots and horses, etc. Among them, the map of Niu Geng reflected the development level of agriculture at that time, and Guo Moruo took this Han Dynasty stone relief as a symbol of the production level in the Han Dynasty in his book Historical Manuscripts of China. The South Pavilion, designed by Mr. Guan, a master architect and professor of Tsinghua University, is surrounded by green trees and shows the profound regional cultural characteristics of Chinese culture.
With the theme of "Han Dynasty-Epic on Stone", the new museum displays the newly collected cultural relics after 1990, including six parts: "Shinto, Heaven, Ancestral Temple, Tianyun, Spring and Autumn Period of Han Dynasty, Millennium Underground Palace and Inscriptions". Explain the charm of China culture and the soul of Chinese culture with exquisite stone collection. According to the scientific classification, The Spring and Autumn Annals of Han Dynasty consists of 12 small units, which shows the social conditions of clothing, food, housing, transportation, fighting, music, dancing and immortality in the Han Dynasty.
Shendaotian road
Shinto carvings in the Han Dynasty include stone que, stone tablet, stone pillar, stone man, exorcism, Shi Hu, stone horse, Shi Niu and Shiyang. Stone Que is a symbol of Tianmen, which is used to ward off evil spirits. Stone horses have wings and immortals ride on stone sheep. Shinto stone carving is an outstanding representative of architecture and sculpture art in Han Dynasty. On the basis of simplicity and simplicity, it absorbed the three-dimensional perspective of western sculpture and formed the artistic style of heavy, round, full and smooth round carving in Han Dynasty.
Cheng Jing Tian zu
Ancestral hall, also known as temple and stone room, is the most important building on the ground in the mausoleum area of Han Dynasty, and it is also the main place for the ancients to worship their ancestors and the dead. The stone ancestral hall in Han Dynasty is carved from stone, which pursues simplicity, symmetry and coordination in style, giving people a calm and solemn feeling. Especially in the treatment of the roof, the overall use of large stone "to build rafters with carved stones to make them flat and natural" ("Li Daoyuan: Notes on Water Classics"), the walls are finely carved, depicting a picture of ancestor worship. Portrait stone ancestral hall is a comprehensive unity of painting, sculpture and architectural art, representing the highest achievement of Han dynasty art.
Tiangong shenyun
Stone reliefs in Han Dynasty are the art of combining painting and sculpture, and their artistic characteristics reflect the temperament and fashion of the times. Painters in the Han Dynasty have extraordinary artistic imagination. Their composition is not limited by the external environment, and they put the contents of different time and space in the same picture. In the creation of concrete images, we should take the spirit from the deformation, write the spirit with form, not seek the likeness, but seek the likeness of spirit, and pursue the artistic realm of vivid charm. Sculpture plays a very important role in the composition of the beauty of stone relief in Han Dynasty.
Hanshi Chunqiu
Stone reliefs in the Han Dynasty, with realistic methods, reproduce all aspects of social life in the Han Dynasty and show people's attachment to real life. At the same time, romanticism created the imaginary world of ghosts and gods at that time, which reflected people's pursuit of death. There are many textile scenes depicting "women's weaving" at that time in the Han Dynasty stone reliefs of Tianyi in the Silk Kingdom and Cai Huahua in Hanfu. Dressing is a symbol of status, and dressing appropriately is a necessary accomplishment for nobles. The prominent features of the clothing system in Han Dynasty are high crown, wide belt and deep clothes. These images can be seen everywhere on stone reliefs. The costumes of officials in the Han Dynasty are colorful, which is the so-called "Zhang Fu" system. Grow crops and eat the sky. People in the Han Dynasty paid special attention to eating and eating etiquette culture. A large number of images in Xuzhou Han Dynasty stone reliefs show people's food culture at that time. In ancient times, people often set the kitchen in the east of the main hall, so it was also called "East Kitchen". Cao Zhi's poem "On Disaster" said: "The days are short, and there is more than enough fun. It is to set up a jade bottle to run an eastern kitchen." For example, a large number of existing Han Dynasty architectural sites in palace buildings are mostly stone structures such as Han Que and Ancestral Hall. However, the architectural image information in this period is very rich, and a large number of Han dynasty portrait bricks, stone reliefs and funerary wares have made concrete supplements to the image of real buildings, indoor layout and the layout of buildings. The common music and dance performances in Xuzhou stone reliefs include long-sleeved dancing, architectural inspiration, Nuo dancing and so on. , as well as large square performances and acrobatic programs. The main means of transportation in the Han Dynasty are chariots and horses, which are the most popular subjects in Han paintings. Based on the image data of Xuzhou stone chariot and horse travel map, we can see the chariot and horse system and welcoming etiquette in Han Dynasty. The most common game content in China stone reliefs is Liu Bo. Liubo has a long history. In Xu Shen's Shuowen in the Eastern Han Dynasty, "The ancients wrote Cao Wuzhi's blog." "Shiben Zuopian" also said that "Cao Wu is a blogger". Cao Wu was a courtier of Xia Jie more than 3500 years ago. Bo Xi rolls dice for two people to increase the count. There are many portraits of love between men and women in China stone reliefs. Like the Cowherd and the Weaver Girl. In many love portraits, there are some scenes that directly show the love between men and women by realistic methods, such as kissing pictures of men and women and coitus pictures of men and women. Historical Stories, Suppressing Evil and Promoting Good There are many historical stories in Xuzhou Han Dynasty stone reliefs, whose themes and contents are based on profound stories recorded in historical books, creating realistic pictures. This part of the content, carefully selected materials, in order to tell the history, explain feudal ethics, and theocracy, including Confucius seeing Laozi, Confucius asking teachers, Confucius disciples, Duke Zhou assisting in becoming a king, killing three scholars with two peaches, and Qin Shihuang taking a tripod in Surabaya, etc. Most of these paintings depict ancestral temples, which means "evil is a warning to the world and good is a sign of the future". Buddhists' reverence for Buddhism in the early days of its initial spread was symbolized by symbols representing Buddhism (such as the tree of knowledge). Therefore, when Buddhism was introduced to China in the early years of the Eastern Han Dynasty, people only used the contents of Buddhist scriptures to show their respect for the Buddha. Xuzhou Han Dynasty stone reliefs reflect the contents of shooting competition and Greek competition. From the ninth year of Jianwu in the Eastern Han Dynasty (33 years) to the first year of Yan Xi (158 years), the Eastern Han Dynasty waged a long-term large-scale national war with the Xiongnu. Stone reliefs in the Han Dynasty recorded this important historical event. Weird, there are myths and legends of Dong and the Queen Mother; Three-legged bird, nine-headed beast; Kunlun wonderland, rare birds and animals, etc. As the burial place of the dead, Qian Qiu Underground Tomb was regarded as the residence of the underworld in ancient times and was highly valued. In the Han dynasty, when powerful families were born, they enjoyed themselves and devoted themselves to it. After death, thick burial is respected, and the atmosphere of tomb decoration is prevalent. According to local natural conditions, different materials were selected and different styles of tombs were built. Coupled with the worship of ghosts and gods, I have a strong superstition about good names, and I love to carve things I admire and admire in the paintings in the tomb. At the same time, there are abundant limestone and bluestone near Xuzhou, which provides a source of stone for building stone tombs. Therefore, there are many Han stone ancestral halls and tombs popular in Xuzhou area. There are many Han steles in Xuzhou, which can be found in historical books or stone carvings, among which eleven kinds of stele names can be tested. Most of the Han steles handed down underground in Xuzhou have been lost. A number of inscriptions on Han stone reliefs found in Xuzhou, about 20 square meters, are partly carved on portrait stones, which are called inscriptions; Some are carved directly on the stone, called stone carving. On the stone reliefs of the Han Dynasty, what is carved next to the artifacts is called "list title", and what is carved outside the picture is called "inscription", which includes date, owner's name, identity, life story, construction cost and so on.