What is the history of Wuhou Temple in Chengdu?

China has a long history. The Three Kingdoms period lasted only a short hundred years. It was a meteor moment, but it left a heavy and long historical mark on future generations. Chengdu Wuhou Temple Museum, as a cultural relic museum with the mission of promoting the culture of the Three Kingdoms, takes the history of the Three Kingdoms period as the carrier and carries the spiritual connotation of the Three Kingdoms culture. This paper focuses on the cultural relics collected in Chengdu Wuhou Temple Museum, reproduces history with cultural relics, and shows the profound charm of the cultures of the Three Kingdoms. 1. The cultural relics of the military struggle in the Three Kingdoms period have unfolded a picture of the history of the Three Kingdoms, and the military struggle is the most colorful one. In troubled times, many heroes rose side by side, competing for the Central Plains, and frequent and fierce wars connected the changeable development process of the whole Three Kingdoms era, leaving many classic and magnificent war legacies, military philosophy full of tactical wisdom, and many ingenious ideas, which were inherited and carried forward by future generations. In the Qing Dynasty, the pastel porcelain plate of Kangxi Empty City Plan had a round bottom and was painted with the well-known story scene of "Empty City Plan". "Empty City Plan" comes from Chapter 95 of Romance of the Three Kingdoms. In the case of being outnumbered, Zhuge Liang played along, unguarded and leisurely playing the piano. Instead, Sima Yi, who was almost at the gate, felt cheated and withdrew. This is actually a psychological war directed by Zhuge Liang. In the picture, Zhuge Liang is sitting on the wall, wearing a nylon scarf and playing the piano leisurely. Two children, one with a sword, stood beside him, and the other with a broom was cleaning the stairs at the city gate. At the gate, Sima Yi and his son rode a fine horse and watched carefully, afraid to move forward. A sun is painted on the upper right, and a rock and a pine tree are painted on the lower left of the city wall. The wall is painted with peony bound branches, and there are ***8 peony flowers, red and white. There is a blue and white ring with a diameter of 9.5 cm at the bottom, and blue and white lines are painted at the bottom. During the Republic of China, the story of "Three British Crusades against Lu Bu" was painted. "Three British Wars against Lu Bu" comes from the fifth episode of Romance of the Three Kingdoms. The background was that the 18th Route Governors crusaded against Dong Zhuo, and Lu Bu was Dong Zhuo's adopted son. Fighting Liu Bei, Guan Yu and Zhang Fei in Hulao Pass, Lu Bu was defeated by one enemy and three battalions became famous. In the picture, Liu Bei holds a double sword and his brow is locked; Guan Yu waved a broadsword and was angry; Zhang Fei dived down with a gun, his eyes wide open. All three men rode horses and rushed to Lu Bu in front. Lyu3 bu4 riding a red rabbit BMW, holding a halberd, turned over to the three brothers. On the other side of the tank, there is a seven-character poem written in ink: "After the war, the moon is cold. The drums on the wall are still echoing in the wilderness, and the blood on the sword in the sword box is still not dry. Taoyuan became sworn in three beauties, but Lu Bu was captured alive and fought bravely. The winner is king, and the British name will always be respected by everyone. " "Empty City Plan" and "Three British Wars against Lu Bu" are both stories of the Three Kingdoms created through artistic processing, but they are also praised by later generations. The charm of the culture of the Three Kingdoms lies in the amazing military scenes and ingenious tactics displayed in the unique historical background of that era. Therefore, related story themes have been widely circulated through different art forms, which has made the culture of the Three Kingdoms more deeply rooted in the hearts of the people. In addition, Chengdu Wuhou Temple Museum also collected some military weapons from the Three Kingdoms period. The crossbow machine is flexible in use and good at long-range shooting, so it plays an important role in the battlefield of the Three Kingdoms. The crossbow machine unearthed in Shimenkan, Nanjing, Jiangsu Province in the second year of Wei Zhengshi (24 1), the crossbow machine unearthed in Pixian County, Sichuan Province in the fourth year of Shu (26 1), and two bronze crossbows unearthed in Zhoumu, Yixing, Jiangsu Province (3 16) all follow the old crossbows of the Han Dynasty. Zhuge Liang once made "one arrow and ten crossbows" and established a special army-even crossbow warriors, which showed great power on the battlefield. Shu-Han bronze crossbow machine is engraved with the inscription "Yan Xi, on April 20th, 16th year, Yang Ji, an official of Han Ministry of Industry, and Yang Ming, an oral worker, stood on a bench weighing two kilograms and five ounces". Judging from the inscription, Shu Han's crossbow machine has a certain pattern. In addition to the bronze crossbow machine of Wuhou Temple in Chengdu, the inscription on the bronze crossbow machine unearthed from the golden tomb of Taiping Commune in Pixian County, Sichuan Province is "On February 30, 2004, ten stone machines made by Zuo Dianye, Liu and Chen weighed three catties and twelve liang". The general style is "year number+Zhong Zuobu+official name+work name+strength and weight of crossbow machine", "Zhong Zuobu" is the official department in charge of crossbow machine manufacturing, "Diankou", "Sui Xu", "Zuo Dianye" and "Liu" are the officials in charge of crossbow machine manufacturing, and "Kou" and "Yang Jikou" are Cao Wei. However, Sun Wu's crossbow carving style is quite special. Except for the year number and the name of the craftsman, there is no name of the producer or production organization, but the name and position of the specific user are mainly engraved. Although the systems of Wei, Shu and Wu were different, the important value of crossbow machine manufacturing in this period was self-evident. Chengdu Wuhou Temple Museum also has a batch of Eastern Han copper tribulus. This thing is named because it looks like a thorn and is very similar to the plant Tribulus terrestris. When in use, the tribulus terrestris is thrown at will, three tips are supported on the ground, one tip stands upright, and the next tip rises again, so that people who come into contact with it are inevitably stabbed by its sharpness. Therefore, in ancient wars, it was often used to stab enemy horses and foot soldiers according to the terrain and environment, so it was also called "stabbing horses". According to "Zhuge Wuhou" compiled by Zhang Qian in the Qing Dynasty, "Zhuge Liang and Sima Yi were in Wuzhangyuan, and they were at loggerheads and were easily chased. Yang Yi's second long history passed on the iron thistle, which has existed since the Three Kingdoms. " A large number of copper tribulus from the Three Kingdoms period were unearthed in Dingjun Mountain, Mianxian County, Shaanxi Province, which was once the military base of Zhuge Liang's eight-year northern expedition. Through the above documents and archaeological examples, the important role of tribulus terrestris in the military struggle between Shu and Han dynasties is explained. Due to the lack of horses, it is difficult for the Shu army to compete with the powerful cavalry Wei Jun. In this case, tying the horse nail became the key to turn the tide, which made the Shu army take the initiative in the disadvantage. Because of its practicality, the horse nail is still widely used in wars in later generations and even in modern times. It is also called "the thing of the marquis of Wu" and is regarded as the crystallization of Zhuge Liang's wisdom. The bronze drum of the four-eared squatting frog in the Eastern Han Dynasty belongs to the Lingshan type, and the whole drum is covered with a pot shape. The center of the drum surface is decorated with sun patterns, 8 mans 12 halos, and each halo is decorated with coin patterns, ball patterns and herringbone patterns of deformed feathers. Six frogs are arranged on the edge of the drum surface at equal distance for squatting, three of them are tired frogs, and a small frog is attached to their back. The edge of the drum surface extends slightly to the outside of the drum body, and the shoulder and abdomen of the drum body protrude, waist is tied, and the left foot is empty. Four symmetrical ears are connected to the abdomen near the waist, and chains are tied in the ears. The drum body is decorated with 18 multi-line convex strings, and moire, thunder, coins and patterns are decorated between the multi-line convex strings. Decorate two symmetrical birds near the drum feet. People in southwest China used to call bronze drums "Zhuge Drum", and the word "Zhuge Drum" was first seen in Ming Dynasty, but it was not recorded before Song and Yuan Dynasties. There are two legends: one is the bronze drum made in the army during Zhuge Liang's southern expedition, which was used to cook during the day and to sound the alarm at night; There is also a saying that Zhuge Liang made bronze drums and buried them in the mountains to suppress barbarians. These conjectures cannot be confirmed, but it can be seen that the appearance of "Zhuge Drum" is closely related to the far-reaching influence of Zhuge Liang's ethnic policy during his southern expedition. During the Ming and Qing Dynasties, the story of "seven captures of Meng Huo" in Romance of the Three Kingdoms was deeply rooted in people's hearts, which made the rulers at that time try to establish prestige in the process of suppressing people's resistance through Zhuge Liang's prestige and respect in the eyes of southwest ethnic minorities, thus contributing to the emergence of "Zhuge Drum". But in any case, the word "Zhuge Drum" embodies the successful influence of Zhuge Liang's policy of conquering the south. Today, the minority residents in southwest China still hold high respect for Zhuge Liang. Secondly, besides military struggle, we can also get a glimpse of all aspects of social life in the Three Kingdoms period from the cultural relics in the collection. Due to the split state of the three pillars, the monetary economy level in the Three Kingdoms period was lower than that in the Han Dynasty, and the monetary system was also chaotic. On the basis of using the old coins of the Han Dynasty, Wei, Shu and Wu also minted their own currencies and established completely different monetary systems. In the first year of Taihe in Cao Rui, Wei Mingdi (227), Cao Zhu was cast; On the other hand, according to its own economic and material conditions, Wu implemented a "big monetary policy" with imaginary value, casting large denomination currencies such as "five hundred springs", "five thousand springs" and even "five thousand springs"; Shu Han is located in the southwest border, with a small population and a weak country, and at the same time bears huge military expenses, so it also implements the policy of "big money". In the 19th year of Jian 'an (2 14), Liu Bei began to make coins, mainly including "straight hundred yuan" and "straight hundred and fifty baht". 150 baht banknotes are more commonly stamped or engraved characters on the back. In Yang Wen, the word "Wei" is worn on the left side of northern Guizhou, indicating that Qianwei County invested in Yizhou, and Qianwei is located on the southwest passage leading to foreign countries, so economic exchanges are relatively prosperous. Negative language mainly includes words, numbers and symbols. Grey pottery storytelling figurines in the Eastern Han Dynasty, sitting posture, with towels on their heads and flower knots on their foreheads. Full face, wide eyebrows, four wrinkles on forehead, big nose and open mouth. The Terracotta Warriors leaned back slightly, shrugged their shoulders, exposed their breasts and closed their stomachs. The right arm is decorated with ring ornaments, and the left arm is buzzed. Wearing narrow-leg pants, barefoot, right leg straight forward, left foot bent into a squat posture, sitting on a round cake-shaped base. Similar forms of rap figurines, almost all of which appear in Bashu area, can be described as a kind of pottery figurines with local characteristics, with interesting expressions, exaggerated and vivid movements and both form and spirit, which makes people laugh. In Han Dynasty, Sichuan was rich in natural resources and its economy developed steadily. With the development of landlord manor economy, people pay more attention to the creation of the world after death. At that time, the funeral concept of "death is like life" was popular, and entertainment was an indispensable part of the underground world. Therefore, many geisha figurines, dancing figurines and rap figurines were unearthed in the tombs of the Eastern Han Dynasty. The concentrated appearance of this kind of rap figurines also shows the prevalence of rap art in Sichuan during this period. This kind of rap figurine is not only entertaining, but also a combination of realism and romanticism. It not only freezes the life atmosphere in the space above the tomb, but also creates a fantastic atmosphere for the world after death. It may also have the function of entertaining the tomb owner to help him ascend to heaven and become immortal. Judging from the existing archaeological discoveries, a large number of writing bricks from the Han, Wei and Six Dynasties have been unearthed, among which a large number of chronological bricks from the Three Kingdoms period have also been found: in Cao Wei's tomb, four chronological bricks with the year numbers of Jingchu, Zhengshi, Jiaping and Jingyuan were found, and the era was concentrated in the late Zhong Wei; Bricks with year numbers of Taiping, Yong 'an, Ganlu, Fenghuang, Ce Tian and Tianji were found in Sun Wu's tomb, and the era was concentrated in the late Wuzhong period. There are few chronological bricks in the Shu-Han Dynasty. Only in the early and late Shu-Han Dynasty were two chronological bricks named "Jianxing" and "Yan Xi" found. In China, the title of the year (the first year of Yuanshou 1 12) was created when Emperor Wu ascended the throne. Brick tombs became popular in the Han Dynasty, so the popularity of the inscription of the title of the year is the product of this historical tradition. Thirdly, since the Tang and Song Dynasties, literati have come to Wuhou Temple in Chengdu to pay homage to the ancient temple, painting inscriptions in the mist of Cooper, leaving many precious ink marks for hundreds of years. Du Fu has a famous poem "Where is the temple of fame? It is in a pine forest near Silk City" in the Book of Scholars. From Ming and Qing Dynasties to modern times, great changes have taken place in China's social and political system and cultural trend of thought, and the art of calligraphy and painting has also changed in its form and structure. Scholars either choose classical books, or borrow ancient things to express their worries, praise things, integrate heart, meaning and environment, perceive things in paintings and observe their hearts in things, thus creating a unique painting history centered on the history of the Three Kingdoms in Wuhou Temple in Chengdu. Longzhongdui is a famous work that expresses Zhuge Liang's overall strategic thought and proposition, and it is also the beginning of the revival of the Han Dynasty with the concerted efforts of the monarch and the minister. Li Baiyou in the Tang Dynasty wrote a poem: "Fish and water blend together, clouds and smoke are everywhere." At this moment, the history of the late Han dynasty began to change. Yang Peng's "Qiu Fu Zi" in the Qing Dynasty said: "Poetry says:' Adults are virtuous, while teenagers are talented. People in ancient times did not despair and were famous for their recklessness. "There will be a fan! Once upon a time, Yi Yin set out from a novel and wild land, aiming at Yao and Shun and his people, and was able to cut down the summer with soup. Zhuge Liang's "Longzhong Dui" was used by Korea without dozens of words, so it became the overlord of the whole. Shen (1883- 197 1) is a famous calligrapher in modern times. In his early years, Shen studied the two kings and later came to Mihuang. He also studied the famous inscriptions in the Han and Wei Dynasties, and he can write articles in various styles. He is an open calligrapher. Its regular script inherits the characteristics of Wei Bei, with flexible structure, vigorous and refreshing pen, and elegant pen and ink. The book "Longzhongdui" is solemn and symmetrical, concise and elegant, with solemn and free brushwork, which shows Shen Shi's skillful techniques and profound charm in his later years and Zhuge Liang's strategy of timing in Longzhong. Baidicheng is located in Dongbali Old Town, fengjie county, Chongqing. In 223 AD, Liu Bei, the former owner of the Shu-Han Dynasty, died and asked Zhuge Liang for help. Do one's best this sentence comes from Zhuge Liang's "model", "do one's best until you die." Modern Lou Shibai's "Map of Bai Di City" takes this as the axis. After visiting places of interest in Sichuan and Chongqing, Lou Shibai came to Wuhou Temple in Chengdu, and felt the heroic spirit of Liu Bei and Zhuge Wuhou, the ancient masters of Shu and Han Dynasties, who were harmonious but different. Now, only the temple still exists, sighing that all its things have gone with them. This is the only temple left for people to admire. It's like a thousand years, and now they are thinking like a spring and writing with great enthusiasm. The pen is soft and round, the foreground is outlined by the center, and then colored. The rocks are painted with broad brush and ink, and the background is rendered soft with a lighter wet pen, which is beautiful and far-reaching, and quite a legacy of Song painting. Throughout this painting, there are distant peaks and white clouds, solitary sails chasing waves and overlapping mountains. Where the cliff stands, there are dense trees and temples. It complements the meaning of "Bai Di Confucius Temple, solitary clouds come and go" in Du Fu's poem "Upper Bai Di City", which implies a lofty sense of loneliness and shows the author's nostalgia for Liu Bei's dying orphan and Zhuge Liang's legacy, which is undoubtedly given by his predecessor and peaceful with Shu. Ming's anonymous "The Rise of Zhuge Wuhou" stands on the vertical axis, showing Zhuge Liang wearing a black silk scarf and a light robe, sitting on a unicycle with a calm expression and decisive command. There are many people riding horses, and the flying flags are imposing. In history, Zhuge Liang went to Qishan for the Northern Expedition, and the undulating land in the picture should be the way out of Sichuan. _ Skilled and magnificent, the middle scene is close at hand, the pine trees are dotted with green fine pens, and the peaks are winding and overlapping, and the rhythm is flowing. The composition as a whole presents a typical late Ming style, full of twists and turns, which is meaningful. Zhuge Liang once mentioned in "Longzhong Dui" that "if the world changes, a general will be ordered to take Jingzhou's army to Wanluo, and the general will lead Yizhou's people out of Qinchuan", and he will divide his troops into two northern expeditions to Cao Wei. But Guan Yu is dead and Jingzhou is lost. My late Lord died in Baidicheng. During the trip to the Northern Expedition, we should be weak against strong, outnumbered, from far to near, and combine work and rest. During the period of 228-234 AD, Zhuge Liang launched five northern expeditions, but none of them achieved great victory. However, Cao Wei failed in several counterattacks, and the war was deadlocked until Zhuge Liang died from overwork. Although the Northern Expedition was not completed, Zhuge Liang's perseverance in several northern expeditions and his loyalty to the regime of Liu Bei and Shu Han who died first inspired future generations. In modern Meng Liu, the official Calligraphy Association wrote: "A cup of clay is still magnificent, but it is barren for him. Where can I find the suspected tomb of Zhanghe River? "The three pillars stand in peace, leaving this ancient stone scale road, which reminds people of the palace ceremony in the Han Dynasty." In the end, the two sides were sealed, with Zhu Wen's seal script on it, which read "Mao Mei"; The following is a seal script in the vernacular, which reads "Liu Mengheng". This couplet is now located in the sleeping hall of Liu Bei Hui Ling, the ancestor of the Han Dynasty. It is inscribed with "Millennium Power", and the poem "In the Temple of the First King of Shu" written by Liu Yuxi in the Tang Dynasty: "Even in this world, the spirit of heroes has lived and ruled for thousands of years." The couplet was written by Shi Chong (1820- 1876) in Wan Yan in the Qing Dynasty, and another poem in praise of Liu Bei was left in Wuhou Temple, which read: "Make your monarch a hero in the world, return home orthodox, and the bell tower in Wang Qi has a mulberry car cover. Bashu was the end of the Han Dynasty, and the adherents were still there, dominating the Cooper Ancestral Hall. " Heng (1894- 1969) is a modern poet, calligrapher and seal engraver. He used to be the director of Sichuan Provincial Museum of Literature and History. There are many traces of Bashu calligraphy, which are cherished by people. This painting is rich and steady, with Fiona Fang, simple and vigorous weather, well-proportioned structure, simple and beautiful lines, and the whole painting has profound and far-reaching implications, which completely combines and sets off the quiet atmosphere in Xiao Su, Hui Ling, with better meaning than pen, and profound skill. Shuxiang, a modern running script, is one of Du Fu's masterpieces and his masterpiece after he entered Shu. Comments on Shu Xiang in Poetry of Tang and Song Dynasties (Volume 15): Lao Du entered Shu and paid tribute to Kong Mingsan. His ambition is also there. Poetic, heroic, numerous folds.