Looking at the exquisite stone carvings, Mo Ye and the others were all shocked, they really didn't expect that this underground ancestral hall would be built with such a magnificent atmosphere. Pen & Fun & Pavilion www.biquge.info

Of course, Mo Ye they are still watching the text, these Northern Qi inscriptions are really beautiful, looking at this word, people naturally think of the Northern Qi carvings in the Wa Palace, as well as the Xiaonanhai Grottoes.

Of course, the ancestral hall of the Zhang family can also be traced back to the Han Dynasty, and the stone ancestral hall of the Han Dynasty is naturally indispensable to the majestic and atmospheric Han portraits.

On the three walls inside the shrine and on the triangular stone beams, there are beautiful pictures carved into them.

Most of the drawings are engraved line drawings, vigorous and smooth, and it is rare that in such a large area, the layout of the huge pictures is grand, complex but not chaotic.

In the courtyard, there are also a lot of Han painting stones!

The long history and great artistic charm of the Han Dynasty portrait stone attracted even people like Mo Ye who did not have many artistic cells.

The portrait stone here really has the feeling that "there is a stone chamber on the mound, and the craftsmanship is skillful, and the characters and chariots and horses are engraved in it".

And a batch of portrait stones here, if exposed, will definitely cause a sensation, because in the Qing Dynasty Huang Yi discovered the portrait stone of Wuliang Temple, it caused a sensation in the Jinshi academic circles, and the research and description of Han portrait stones also reached a peak.

Weng Fanggang's "Records of the Two Han Dynasty Jin Shi", Bi Yuan and Ruan Yuan's "Shanzuo Jin Shi Zhi", Feng Yunpeng and Feng Yunhu's "Jin Shi Suo", and Wang Chang's "Jin Shi Cui Compilation" all describe or interpret Han portrait stones.

Although there are great limitations, it has opened a precedent for more in-depth research by future generations.

After the founding of the People's Republic of China, more scholars used scientific methods to conduct a more comprehensive investigation and research on the Han portrait stone, and made many discoveries and achievements, making it known and understood by more people.

First of all, it is the background of the era and carving techniques of the Han portrait stone.

Han portrait stone art existed from the late Western Han Dynasty to the late Eastern Han Dynasty, after more than 300 years.

Since the Spring and Autumn Period and the Warring States Period, the Qilu region has gradually become one of the most economically and culturally developed regions.

At the beginning of the Han Dynasty, due to the implementation of the policy of rest and recuperation, the social economy was greatly restored, and the national strength gradually became stronger.

By the time of Emperor Wu, the centralized feudal state was further consolidated, and the landlord economy with large land ownership was developed.

In the Eastern Han Dynasty, land annexation intensified, and the power of powerful landlords such as princes and kings in Shandong region was unprecedentedly developed, and their palaces, lives, and tombs were very luxurious, which provided conditions for the rise of Han portrait stones.

Culture, as a superstructure, is compatible with economic development, and the economic development of Qilu region has led to the prosperity of culture.

The wide spread of culture by Confucius, Mencius and the masters of the scriptures made the culture of the region very developed.

Confucianism, which is based on filial piety, adapted to the economic foundation of the time, and the ideas and behaviors of filial piety were valued and respected by the ruling class.

The Eastern Han Dynasty attacked the previous generations, "the world is virtuous with thick burials, and thin ends with contempt", and some people have to be buried with thick burials to show filial piety.

In this context, it is not surprising that the Han portrait stone in the Qilu region was produced.

The portrait stones of the Han Dynasty have obvious local characteristics, and the portrait stones found in the entire Qilu area are the same, including the Xiaotang Mountain Stone Temple.

The portrait stone inside the ancestral hall of the Zhang family is rich in content, the composition is intensive, in the carving technique, the vast majority of it is carved on the flat ground Yin line, and the lines drawn in advance are carved out on the flat and polished stone, which belongs to the same style as the painting.

In addition, the technique of flat concave line carving is also used in a small amount in the Han portrait stone here, and the portrait outline oblique knife is profound, and then the details are carved with a yin line on the stone surface inside, which is the uniqueness of the Han portrait stone.

And the content of the Han portrait stone here is also relatively rich, these Han portrait stones give people an impression, the most profound is the carriage and horse travel map that runs through the west, north and east walls of the stone shrine.

The whole picture is 8 meters long, there are 117 figures, 74 horses, 8 cars, camels, elephants, etc., one of which is inscribed with the words "King Car", which fully reflects the prestige and pomp of the feudal ruling class or the tomb owner during his lifetime.

In the middle of the north wall of the stone shrine are three tall halls, two floors above and below, the middle is carved with a pavilion-style gate, and the palace depicts the images of princes receiving gifts, worshipping and paying homage.

Below the hall, there are carved figures and chariots and horses, and there are allusions to Confucius seeing Lao Tzu in the figures.

The upper part of the east and west walls of the stone shrine is engraved with the ancient legend of Fuxi Nuwa, with a human head and a snake body, holding a curved ruler, but their image is not the common intersection of two tails, but is engraved on the upper part of the east and west walls, which is a form of expression of early portraits.

In the lower part of the Fuxi Nuwa clan are engraved with the East Prince, the West Queen Mother, there are immortals on both sides, and the East Prince, the West Queen Mother are respectively next to the thunder god, the thunder car and the jade rabbit pounding medicine, etc., and a large number of auspicious patterns are interspersed among them.

In the lower part of the west mural statue, the war scene of men and horses galloping and swords and guns colliding is depicted in a large area.

Hu Jun has a high crown, concave eyes and a protruding nose, and the image is distinct, among which the Hu people barbecue meat skewers may be the earliest image record of barbecue mutton skewers.

In addition, on the east and west walls of the stone shrine, there are hunting images respectively, the mountains and mountains in the picture are vertical and horizontal, all kinds of birds and beasts are infested in the meantime, the hunter or leads the dog, the lotus halberd, the execution, or the foot, the horse, the arrow shoots the net to catch, it is vivid and interesting.

The east mural is like a group of kitchen scenes, retort stoves, slaughtering cows, pigs, dogs, boiling water, drawing water, chopping wood, and noodles, as well as fish, rabbits, chickens, etc., which truly and vividly restore the scenes in life.

The acrobatic map of the hundred operas is located in the middle of the east mural statue, it is the most representative scene of the Han portrait stone reflecting the entertainment activities, mainly there are acrobatic activities such as weightlifting, drumming, standing pole, making pills, reflexive handstands, etc., sitting on the sidelines, the picture is lively and interesting.

The middle of the east wall is engraved with the story of Zhou Gong Fu Cheng Wang, the young Cheng Wang is in the middle of the front, the inscription on it is engraved "Cheng Wang", the left on both sides is Zhou Gong, the right is Zhao Gong, and each other is a salute.

The east side of the triangular partition beam, depicting the story of Yu Tuo Ding, there is a bridge in the picture, the opening in the bridge is like a well, 8 people on the shore use a rope to pull the tripod upwards at the same time, a person on the boat under the bridge uses a rod to support the tripod, the tripod rises to the wellhead, the tripod lug is disconnected, and the rope is suddenly relaxed.

On the west side of the triangular partition beam, a bridge of different shapes is also engraved, which shows that the bridge-building technology at that time had reached a very high level.

The bottom of the triangular partition beam is engraved with a celestial chart, in which the sun and the moon are opposite, the golden crow is opposite to the toad, the weaver girl sits next to the loom, the Vega constellation is engraved on it, and the two sides of the sun and the moon are engraved with the six stars of the Southern Dipper and the seven stars of the Big Dipper, vividly depicting the popular legend of the gods at that time.

In the portrait stone of the ancestral hall of the Han Dynasty, a large number of auspicious patterns are also engraved, which fully expresses the author's good wishes and imagination with superstitious thoughts, and plays a role in setting off the theme.

In addition to those murals, there are many text inscriptions in the Han portrait stones, which can be divided into two categories: one is the inscription of the original author; One is the inscriptions of later generations, and the latter is much more numerous than the former.

There are five inscriptions of the original creator in the Han portrait stone, namely the "Dawang Che" located in the upper left of the west room of the north wall: "Confucius" in the lower part of the east room of the north wall; "Chengwang" on the north side of the east wall; the "phase" above the east wall; Under the "King Hu" on the north side of the west wall.

In addition, there are many inscriptions of descendants on the octagonal pillar of the stone temple and the four walls of the temple, and some are small and difficult to distinguish, or diffuse and unclear.

The contents of these Han portrait stones are all-encompassing, revealing rich historical materials, and the contents of the portraits involving architecture, military, ethnicity, mythology, clothing, folk customs, etc., provide strong evidence for the study of ancient history and social and economic life.

The Han Dynasty portrait stone here is rich in content, rigorous in composition, and exquisitely carved, and it is like walking in a historical gallery, which represents the highest artistic level of Han portrait stone.

What is even more commendable is that it is very well preserved, and it has always maintained its original state, which is a very precious material material for studying the ancient painting and sculpture art of our country.

Only when you see this level of portrait stone can you understand what "only the Han Dynasty stone carving, deep and majestic".

"What's the fuss? Hurry up and go, starve! Just as Mo Ye was carefully admiring the portrait stone, he was woken up.

"Don't look at it?" Mo Xie looked at the time, more than five hours had passed.

"Look at these things, you might as well look at those treasures!" Zhang Fenglan said.

"The lights are running out of power, I can't stay here anymore, anyway, there will be time in the future!" Zhang Fengfu also opened the way.

"If you want to see it, there is actually a way, there are oil lamps all over the walls here!" Mo Xie said with a smile.

"Got an oil lamp? Is there still oil in that? Zhang Fenglin asked.

"Naturally, there is, you don't think that your ancestor can't even think of this, right?" Mo Xie approached the wall of the ancestral shrine, and there was an oil lamp here, and inside was a solid butter candle, so it could still be used until now.

"Why didn't you say it earlier, it was lit earlier, and we don't have to hold the lamp to look at these treasures!" Zhang Lingfeng said.

Mo Xie said helplessly: "That's butter candle oil, it's used up, we can't replenish it now!" ”

"Hey, this pale yellow candle oil is really beautiful, if you don't say it, I thought it was jade!" When Mo Ye lit the oil lamp, Zhang Fengguo said in surprise.

Butter candles are actually made when making candles, when boiling wax oil, put a little butter, so that the candle will be smoother and more colorful, but the top grade in this butter candle is really like jade.

"Hey, this one is good!" At this moment, Mo Tianming said.

"This is the lamp?" Zhang Fenglin asked.

"It doesn't look like a lamp!" Zhang Lingyun said.

The lamp is a utensil, a daily utensil containing liquids, the material is usually ceramic, wood, bamboo, metal, etc., commonly used items such as tea cups, oil cups, lamps, and here it should be a lamp, but it is more like a larger tea bowl.

"It's beautiful!" Zhang Lingfeng exclaimed.