The museum is located in Wangjiafeng Village, Yingze District, Taiyuan City, commonly known as "Wang's Tomb", when it was a pear orchard, in December 2000, after a heavy snowfall, because of a group of tomb robbers, archaeological experts found the tomb, the docent told an interesting story:
At that time, there was a robbery hole in the northwest corner of the mound, and the entrance of the hole was very narrow, so the experts tied a rope around their waists and climbed into it with their hands and feet. After climbing three or four meters deep, he saw a hole again, he held up the flashlight and shone it in, and saw that there were "people" standing below, and the flashlight suddenly broke down at this time, and another expert climbed down and changed to another flashlight, just turned on, and suddenly broke down. This incident was spread by the local people as extremely evil, saying that the king's tomb was very ghostly. Later, I found out that the "people" standing below were the murals on the walls.
Historically, Xu Xianxiu's tomb has been stolen many times, in the middle of the tomb, found a fragment of a porcelain bowl of the Jin Dynasty, presumably left by the tomb robbers at that time, before and after the tomb robbery, used for mysterious ceremonies.
At that time, the tomb robbers were not interested in murals and epitaphs, and archaeological experts deduced that the identity of the tomb owner was the Taiwei of the Northern Qi Dynasty and Xu Xianxiu, the king of Wu'an, who was the highest military commander and was in charge of the military and political affairs of the world.
Xu Xianxiu's life, happy and vigorous, is the ideal of many men. He was a young hero, at the age of 22, he caught up with the Six Towns Uprising, first cast Zhu Rong, and then followed Gao Huan, fought bravely, made many military exploits, drank the strongest wine, rode the most expensive horses, wore the most beautiful mink fur, and married the best wife.
There is no record in the history of Xu Xianxiu's wife, but according to the intermarriage customs at that time and the regulations on both sides of the painting, it should be a lot of origin.
The horse on the west side of the mural is handsome and handsome, and it should be the Dawan BMW, that is, the legendary sweat and blood BMW.
The cow on the east side should be the sacred cow of India, with a strong body and unruly body, in order to make it pull the cart well, a small operation was done, and there are sutures at **.
In fact, if you pay attention, the animals in the mural are all very arrogant and unabashedly revealed, which is the nomadic people of the Northern Dynasties, open and natural.
In addition to the tomb of Xu Xianxiu, there are also murals of the tomb of Lou Rong in Taiyuan, the tomb of Jiuyuan Gang in Xinzhou, and the tomb of Shuiquanliang in Shuozhou.
Lou Rong was the king of Dong'an in Northern Qi before his death, and his uncle was Gao Huan, the founding king of Northern Qi. Lou Rong has been fighting with Gao Huan for many years, and has repeatedly performed miraculous feats, but he has been greedy and insatiable, because he is a relative of the Xianbei Wang clan and the Northern Qi Dynasty. In the epitaph that accompanied the burial, he was summarized as "the good shepherd of the present and the famous man of the faithful generation." ”
Lou Rui indulged in lust before his death, and he still wanted to bring wealth into another world and continue to enjoy it after his death.
The narrator pointed to the "Saddle Horse Tour" and said that the paintings of the Northern Qi Dynasty were huge in size and magnificent in pattern, which was the pioneering and enterprising atmosphere of that era. But I saw some different clues, and six of them, dressed in robes and galloping on horseback, were supposed to be guards, but their expressions and movements seemed to have seen something terrible, and their faces were terrified.
So what do they see? Maybe it's the assassins who take risks, or maybe it's the people who rise up.
On the tail of the first horse, a string of horse dung is depicted, which is the stress response of the horse after being frightened, but the painting of these on the mural of the tomb may be a secret expression of the artist's anger at the "dung" of these powerful people.
The Northern Qi regime lasted only 28 years before it disappeared, and these murals may hide the code for their demise. Although the size of the mural is huge, there is no place for the common people, and there are only cattle and horses ridden underneath them.
The gatehouse map in the murals of Jiuyuangang is the most complete architectural image of the Northern Dynasties found so far. At present, the earliest wooden building in China is the Tang Dynasty, so the picture is of great significance. In a pot of flames above the gatehouse, several lotus flowers bloomed, which are said to be Zoroastrian elements and also represent entering the illusory world.
* There are more than 50 images of gods and monsters in the picture, which can be compared with the "Classic of Mountains and Seas", exaggerated and interesting, vivid and expressive, and marvel at the romantic imagination of the ancients.
The narrator said that these reminded him of the shape in the ancient puppet opera in southern Fujian, and he said that the leader of the "Ying Song and Dance" is the snake dance to open the way, which is very similar to the "Jiangliang" who swallows snakes here.
He opened Douyin and searched for ** for us to see, he sighed that more than 1,400 years have passed, in fact, many things have not disappeared, and have been quietly inherited.
One of the fairies riding a white crane reminds me of Bai Yunfei played by Anita Mui in "New Crane Needle", it seems that in the matter of fantasy, ancient and modern times have a lot in common.
Among them, there are also more than 70 square hunting maps. The nomadic people of the Northern Dynasties have a tradition of hunting, and the historical records record that Er Zhurong often used hunting to train his troops, similar to military exercises, to create a fierce army of tigers and wolves.
In one picture, the male giant bear waving his claws and roaring left and right, covering the desperate escape of his wife, children and children, is moving;
In the middle of the fight, the giant bear looked at the frightened bear child, and the hunter not far away was bending his bow and arrows, and galloping towards them.
In the brutal killing, the painter's compassion is revealed, which is a trace of human warmth.
Shuozhou Shuiquanliang Tomb, it is said that it was discovered by amateur ancient building enthusiasts, this tomb has been stolen many times, they went down to the tomb along the robbery hole, and found two rotting male corpses, surrounded by glue and tools to remove the murals, so they reported to the relevant departments, it turned out to be a group of tomb robbers who specialized in stealing murals, in the process of soling, carbon monoxide poisoning, died in the tomb, when they had already painted a blue line on the wall to divide the picture.
The age of the tomb is the late Northern Qi Dynasty, and the owner of the tomb should be the military and political chief of Shuozhou. Because the level is lower than that of other tombs, the level of painting has a feeling of graffiti, and it looks cute.
The "ox cart travel map" on the west wall is more famous, using perspective, and has the tendency to break through the wall. At that time, the number of horses had dropped sharply due to years of war, so ox carts were popular.
The third exhibition hall is a simple standard beauty, and the docent said that the main thing is to appreciate the lines in the murals. It was these lines that stretched away and developed into the brilliant and mature techniques of the Tang Dynasty.
When I walked out of the museum, it was already twilight, the remnant sun of winter shone on this land, warm and vast, the direction of the sun setting was the Jinyang of the year, it was a bizarre and contradictory era, like a swamp whirlpool as extreme darkness, giving birth to the dawn of the Sui and Tang dynasties. In the baptism of blood and fire, Hu and Han mixed and embraced, exchanged and learned from the East and the West, and completed the integration of ethnic groups on an unprecedented scale.
I think of Mr. Zong Baihua's evaluation of this period of history:
From the end of the Han Dynasty to the Wei, Jin, Southern and Northern Dynasties) was the most politically chaotic and socially painful era in China, but it was the most free, emancipated, wise, and enthusiastic era in spiritual history. Therefore, it is also one of the most artistic eras.
The beauty and ugliness in the human heart. Noble and cruel, holy and demonic, are also brought to the extreme.