In 1886, the Swedish archaeologist Steven Heding discovered the ruins of a Buddhist temple in the Tang Dynasty in Dandan Ulrik, Xinjiang. This ancient Buddhist city is two kilometers longitudinal from north to south and one kilometer wide from east to west. In 1900, the British archaeologist Stein visited again and excavated a large number of reliefs, stone Buddha statues, and priceless woodblock prints and murals. However, this ancient Buddhist city that has excited the archaeological community has mysteriously disappeared into the sand.
It was not until 2006 that the Chinese archaeological team went to Dandan Ulrik again for archaeology and found this ancient Buddhist city of the Tang Dynasty that had disappeared for a hundred years. Along with the excavation of a large number of ancient books, coins, and carvings, three of the paintings aroused great interest. These three works are "The Rat God", "The Dragon Lady" and "The Princess of the Silk Story". The excavation of these three paintings has made archaeological experts re-examine the "Records of the Western Regions of the Tang Dynasty" compiled by Master Xuanzang.
The Diagram of the Rat God revealed: the magical story of the rat grave.
The Rat God depicts a strange king with a rat head and a crown, and two attendants beside the king who sits upright. According to the records of the Western Regions of the Tang Dynasty, there was a low earthen bag in the western suburbs of the capital of the kings of Khotan, which was called a mouse burial mound by the people. A giant rat with blond hair, the leader of the rats living in this area.
One day, the Xiongnu army of 100,000 invaded Khotan. Due to the weakness of the Khotanese soldiers, the king came to the grave of the rat to offer sacrifices and pray, hoping that the rat god would help defend against the Xiongnu army. On the night after the prayer was completed, the king dreamed that the golden-haired giant rat promised to help them. The next day of the battle, the Hun soldiers' bows, arrows, and saddles were all bitten by rats. After repelling the Xiongnu, the king named the giant rat as the rat king of Khotan, and ordered the people to worship the wooden portrait of the rat king.
The mystery of Princess Chuansi: The good deeds of Princess Datang.
The Princess of Chuan Silk depicts a Tang Dynasty noblewoman wearing a top hat. Beside the lady were two maids-in-waiting, one of whom pointed to the lady's hat, and the other carrying a basket containing fruit. Compared with the content in "The Legend of the Western Regions of the Tang Dynasty", archaeological experts found that the noble lady on the mural was the princess of the Tang Dynasty.
Although the Tang Dynasty did not allow silkworm raising and silk weaving techniques to be brought to Khotan, the princess of the Tang Dynasty felt pity and secretly hid the silkworms in her hat and brought them to Khotan. In order to thank the kindness of the princess of the Tang Dynasty, the people of Khotan began to worship the portrait of the princess of Chuansi.
The fantasy of the Dragon Lady: The river god and the woman in white.
The Dragon Lady depicts a woman with her hair in a high bun, a collar, and metal ornaments on her arms, standing in a lotus pond bathing, looking down at a boy with her legs wrapped around her feet. Legend has it that there was a large river in the southeast of the capital of Khotan, which suddenly broke off. The people thought that the dragon god in the river was haunting and built a sacrificial temple, but a woman in white appeared in the river during the sacrifice.
The woman in white claimed that her husband had died and that she was helpless, and hoped that the king would find her a new husband. The king of Khotan chose a courtier, and after the courtier jumped into the river, the river returned to its original state. Based on the treatment of Buddhist paintings, archaeologists speculate that the woman in the painting is a dragon woman, and the boy is the new husband chosen by the king of Khotan.
The paintings unearthed by Dandan Urik provide valuable material for understanding the history of Khotan, and their significance has far exceeded the value of the artwork itself. These three paintings unveil the mystery of the ancient Buddhist city of the Tang Dynasty that disappeared for a hundred years, leaving precious clues for future generations to restore history.
The three paintings unearthed by Dandan Ulrik, "The Rat God", "The Princess of Chuansi" and "The Dragon Lady", make people feel as if they have traveled back in time and glimpsed the mysterious history and religious legends of the Tang Dynasty in Khotan. The discovery of these works not only provides archaeologists with valuable physical materials, but also provides us with a new perspective to re-examine historical heritage and cultural exchange.
First of all, what fascinates people is the mythological story depicted in the "Rat God Picture". The golden-haired giant rat became the patron saint of Khotan, intertwined with the story of the Xiongnu invasion, forming an epic picture of ups and downs. This miraculous legend not only shows the reverence of human beings for the forces of nature, but also reflects the belief of ancient societies in the face of difficult situations. The reverence and worship of the Rat King in the painting shows people's gratitude to the gods of nature, and this belief played an important role in Tang society.
Secondly, "The Legend of the Silk Princess" sets our eyes on the benevolent act of the Tang Princess. In the case that the national policy did not allow the spread of technology, the princess of the Tang Dynasty secretly introduced silk technology to Khotan in order to help other countries. This mural vividly demonstrates the kindness of human nature and concern for the suffering of others, making the Tang princess an admirable cultural envoy. The spread of this kind of culture is not only the export of technology, but also a testimony to the exchange of civilizations and friendly cooperation.
Finally, "The Dragon Lady" introduces us to a mysterious legend of the waters. The appearance of the woman in white and the selection of a new husband in order to restore the water of the great river are reminiscent of the ancient worship of the god of water and the forces of nature. The painting recreates the cultural psychology of people seeking protection through sacrifices and prayers in the face of natural disasters. The mystery of the woman and the innocence of the boy in the painting push the story to a mysterious and touching climax.
These three paintings, with their unique perspectives and profound cultural connotations, present us with a rich and colorful historical picture. They are not only important witnesses of Tang Dynasty culture, but also a concentrated embodiment of cultural exchanges, religious beliefs and human emotions between China and foreign countries. Through these works, we seem to be able to get a glimpse of the society of the time, and feel people's unique understanding of life, faith and nature. This series of myths, legends and historical stories provides us with an opportunity to gain an in-depth understanding of ancient civilizations, allowing us to better understand and cherish the roots of our culture.
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