In the old days, every Chinese New Year's Eve, every household had to stick to the door god. The door god, that is, the god who guards the door, is also called the door painting, and the gate of the courtyard should be pasted, and the door of the hall should also be pasted to drive away ghosts and avoid evil spirits, and pray for peace. Yang Bailao and Xi'er sang in duet: "The door god and the door god ride a red horse and stick it on the door to guard the house; The door god and the door god carry a big knife, and the big ghosts and small ghosts can't get in. (Opera "The White-Haired Girl").
The origin of the door god is the same as the Spring Festival couplet, which evolved from the ancient custom of "peach charm". At first, he painted images of gods or wrote the names of gods on mahogany chips and hung them on the door, and later wrote and painted directly on the door panel, and then printed and pasted on paper and pasted on the door. In ancient times, the meaning of the door and the household was different, the so-called "two doors, one door", both doors were pasted to call the door god, and a single door was labeled to be called the household god. Different eras have different images of door gods to partner with. Since the beginning of the Han Dynasty, the door gods are mainly Shen Tu and Yu Lei, these two are from the legend of the "Classic of Mountains and Seas". After the Tang Dynasty, Qin Qiong and Yu Chigong gradually became the most widely spread and influential combination of door gods. Zhong Kui, Sun Bin, Pang Juan, Xiao He, Han Xin, Zhao Yun and others all joined the ranks of the door gods. Guan Yu and Zhao Gongming, who fought with Qin Qiong in Hou Baolin's cross talk for several dynasties, are not only the gods of wealth, but also the gods of the door. In addition to subduing demons and eliminating demons, people naturally pray for wealth and treasure.
Door God Qin Qiong and Yu Chi Gong Courtesy of Shandong Zishengtang New Year Painting Engraving Museum.
Shandong Weifang Yangjiabu woodblock New Year paintings and Gaomi Beixiang Jiangzhuang, Xiazhuang area of the gray New Year paintings, all of the Ming Dynasty began to paint the door god, so far the door god is still the main feature of its New Year's paintings. Among them, the red-faced person holding a double hammer is Qin Qiong, and the black-faced person holding a double whip is Wei Chigong, and some also draw Qin Qiong's yellow horse and Yu Chigong's black horse into it.
Among the many door gods, the reason why I love Qin Qiong alone is very simple, he is a realistic figure in history, not as illusory as Shen Tu and Yu Lei. Whether it is official history, folklore, or even classical**, miscellaneous dramas, storytelling and drum lyrics, Qin Qiong is a heroic and heroic hero who is chivalrous, iron-clad, and "sticks a knife in both ribs" for his friends. More because he is a native of Jinan.
Qin Qiong is recorded in the old and new "Book of Tang" and "Zizhi Tongjian". Qin Qiong, the word Shubao, is a native of Licheng, Qizhou (now the main city of Jinan). When he was young, he served in the Sui Future Children's Protector Army and won his deep appreciation. At the end of the Sui Dynasty, when the smoke was everywhere, he went to Wagangzhai to follow Li Mi, served as a guard for the pro-army, and then defected to Li Tang with Cheng Yanjin. He accompanied Li Shimin, the king of Qin, to fight in the south and the north, and participated in the "Xuanwumen Change", assisting Li Shimin in punishing the crown prince Li Jiancheng and the king of Qi Li Yuanji. After Li Shimin ascended the throne, Qin Qiongguan became the general of Zuo Wuwei. In the twelfth year of Zhenguan (638), after his death, he was posthumously named the Duke of Hu. In the seventeenth year of Zhenguan (643), his portrait was included in the "Twenty-four Heroes" painted by Yan Liben of Lingyan Pavilion in Chang'an (now Xi'an).
Door God Qin Qiong Shandong Zishengtang New Year Painting Engraving Museum provides.
The images of Qin Qiong and Wei Chigong's door gods have been relatively formed in the Five Dynasties and Ten Kingdoms period. In a tomb of the Five Dynasties in Quyang County, Baoding City, Hebei Province, Qin Qiong and Yu Chi Gong were found to be stone carved and painted with gold and painted warrior statues, the two eyes were wide open, dressed in military uniforms, and held a sharp sword, which was the earliest image of Qin Qiong and Yu Chigong so far.
How Qin Qiong and Wei Chigong became door gods, the version of the legend was first seen in the Yuan Dynasty and the Ming Dynasty's "Three Religions Search for God Daquan", and later was written into "Journey to the West" by Wu Chengen. Legend has it that Li Shimin, Taizong of the Tang Dynasty, killed countless enemies, but he had palpitations, and when he slept at night, he would always hear a ghost howling outside the palace gate, so he ordered the ministers to find a way. Qin Qiong and Wei Chigong volunteered, wearing armor to guard Li Shimin at night, and they were really fine. Li Shimin couldn't bear to love the hard work, so he ordered the court painter to draw the two on paper and paste them on the palace gate, which also worked. Later, this practice was introduced to the people, and it was imitated by the public, and it has become a custom for a long time.
There are many legendary relics of Qin Qiong in Jinan. Among them, the most are the big locust trees mentioned in "Romance of the Sui and Tang Dynasties", "Speaking of the Tang Dynasty", "The Legend of Ringing Horses" and "Qin Qiong Selling Horses". There is a thousand-year-old ancient acacia of old dry branches in the waist of Thousand Buddha Mountain, and there is Tang Huai Pavilion after standing, it is said that this place is the site of Qin Qiong Temple. There is a tablet next to the tree that says that Qin Qiong had tied a horse here when he went up the mountain to make a wish for his mother, and it was called "Qin Qiong tied to the horse". In the past, the orchard in the southern suburbs (near the parachute tower), Tushan (around the people's shopping mall), and the big locust tree village also had Tang Huai, and they were all said to be Qin Qiong's horse locust.
* When Qin Qiong returned to Jinan to pay homage to her mother's birthday, she and Wei Zheng, Xu Maogong, Cheng Yanjin, Shan Xiongxin and other "thirty-six friends" (there are also thirty-nine friends and forty-six friends) gathered in Jiajialou (as well as the names of Jia Liulou and Jiajiadian) to worship as brothers. There are two traces of Jiajialou in Jinan, one is said to be at the mouth of Xiguan Grate Lane, and Wulongtan is across the Yishi Street (now the Communist Youth League Road). The other is in the northern suburbs of the old city (now the North Garden Liansi), there is a building in the village at first, the village name is Jiajialou, the back building is abandoned, then it is renamed Jiajiazhuang, rich in white lotus root. Qin Qiong's wife-in-law and Li Mi's adviser Jia Yanfu is a native of Benzhuang and one of the "Thirty-six Friends".
Where is Qin Qiong's former residence, the legend is the most prosperous is Wulong Pond. In the old days, Jinan Pear Flower Drum (later known as Shandong Drum) sang: "It is said that Qin Qiong came to Qin Qiong, and Qin Qiong's family lives in Shandong." If you ask where Qin Qiong's family is? Crystal Palace in Wulong Pond. Wulong Pond is located outside the west gate of the old city of Jinan (ancient calendar city), one of the "seventy-two famous springs" in the old days, and called "pure pool" in the six dynasties.
Zhang Yanghao, a composer of the Yuan Dynasty and a native of Jinan, recorded in his "Fulong Xiangguan Shitian Ji": "I heard the old saying, this Hu Guogong Qin Qiongdi site, a thunderstorm overnight, collapsed into an abyss." Gui Fu, a calligrapher and seal carver and exegete in the Qianlong period who was two dynasties later than Zhang Yanghao, followed the hearsay of the old man of Yunzhuang, and his "Tanxi Jingshe Ji" said: "The former residence of Tang Yiguo Gong outside the west gate of Licheng. Turned into an abyss overnight, that is, the five dragon pools. "His so-called Yiguo Gong is a title given to Qin Qiong by Tang Gaozu Li Yuanwude in the fourth year (621).
During the Qianlong period, the "Licheng County Chronicles" contained: "Uncle Qin's treasure house is in Xiguan Shayuan (now the area of Jinshi). In the twentieth year of Daoguang (1840), the "Jinan Mansion Chronicles" contained: "Uncle Qin's treasure house is in Xiguan Shayuan, and his descendants have been engaged in iron smelting for generations, and they are known as the Qin family of cast iron. There is a stele on the south side of Wulongtan today, the book "the former residence of Qin Shubao, the general of Tang Zuo Wuwei, Hu Guogong", there is no inscription on the stele and the time of erecting the stele, the stele was once missing, and then re-erected here.
In 1924, "Renewal of Licheng County Chronicles: Former Residence" has Qin Qiong as "a native of the end palace of Licheng Nanshan (now Zhonggong), a dignitary who built a mansion by the Jingchi, and his tomb is at the Qinjia Daokou (now belonging to Yaoqiang Street) in Jishui, a township in the northeast of the city.
With an archaeological excavation, Qin Qiong's hometown was finally revealed to the world. In the spring of 1995, during the construction of a unit dormitory building on Xiaowei 6th Road, Jingqi Road, a stone chamber tomb was discovered, which was the tomb of Qin Ai (Zi Jiyang), the father of Qin Qiong. The epitaph records that Qin Qiong's great-grandfather Qin Xiaoda, grandfather Qin Fangtai, and father Qin Ai were all civil officials of the Wei and Qi dynasties, and Qin Ai was finally buried in Huaizhili in Licheng County, Qizhou in the tenth year of the Great Cause (614), and was buried in Huaizhili in the second year of Zhenguan (628).
Qin Qiong's father Qin Ai's epitaph (now in Jinan Museum) by Niu Guodong.
This excavation not only determined that Qin Qiong's hometown is Huaizhili, but also shows that the old and new "Book of Tang" omitted his family history. "Romance of the Sui and Tang Dynasties" and other **, commentaries on the story of Qin Qiong are mostly fictional. The so-called Qin Qiong in the relevant chronicles was from a humble background, and the "cast iron Qin family" and so on are all misinformation.
And Wulongtan is just the location of the Qin Qiong Ancestral Hall once built by local sages, and the monument of the former residence was also moved from elsewhere. There is no clear record of the time when the Qin Qiong Ancestral Hall was established, abandoned or demolished. In 2010, the north side of Wulongtan rebuilt Qin Qiong Temple, every Spring Festival, here held "door god Qin Qiong to send door god" activity, by the costume of "Qin Qiong" to the visitor to present the door god Qin Qiong.
Qin Qiong Temple located in Wulong Pond.
Xiguan Shayuan, Zhonggong Yingerzhuang and Luokou are the residences of the descendants of the Qin family. After Qin Qiong's death, he was buried in Zhaoling, Liquan County, Xianyang City, Shaanxi Province. The so-called tomb of Qin Qiong in Daokou Village, Qinjia, is actually the tomb of Qin Jin, the defense envoy of Dongping in the Yuan Dynasty.
As for the old Qinqiong Temple next to Tanghuai in Thousand Buddha Mountain, it should be misinformation. This was originally the former site of the Zeng Gong Ancestral Hall that was built during the orthodox years of the Ming Dynasty, in order to commemorate the merits of Zeng Gong in Jinan, there was a stele originally, it was dilapidated during the Kangxi period of the Qing Dynasty, only the building remained, and the statue of Zeng Gong and the stele were missing. The saying that this is the Qinqiong Temple spread. During the Jiaqing period of the Qing Dynasty, the Jinan poet Fan Yuan couldn't help but sigh after coming here to pay his respects: "Foshan Mountain is half Xiao Nanfeng, and the love is thousands of autumns. The orthodox remnant monument is nowhere to be found, and visitors come here to worship Hu Gong. (New Qiyin Wind Fallen: Its Thirty-Three).
In the 90s of the 20th century, Qin Ruoshi, a descendant of the Qin family and a scholar of literature and history, said in his article "The Legend of Qin Qiong" that the descendants of the Qin family (mainly referring to the salt merchants) "in order to improve their social status, they renovated the former residence of the big locust tree (it is said that the former house is next to the east and west roads, formerly known as Taipingzhuang - original note), and established the old house monument." There is a Chinese locust tree in front of the door, which is also valued by people, and the name of the village is called the big locust tree village. The Taipingzhuang he mentioned is near Xiaowei 6th Road, where Qin Ai's tomb was found, and there are still place names of Taipingzhuang Middle Street, East Street and West Street around it. The north side of these roads is Changqing Avenue (now Jingqi Road), the east-west trunk road that entered and exited Jinan City in ancient times. The Taiping Village he was talking about happened to be adjacent to the location of Qin Ai's tomb.
Photo by Niu Guodong on the former North Acacia Street.
The big locust tree village is located in the west of the 12th road and the north of the 2nd road. There is a Guandi temple in the east of Zhuang, there is a Tang Huai tree in front of the temple, people call it "Shenhuai", many people come here to worship and worship. In the last few years of the late Qing Dynasty, along with the construction of the Jinpu Railway to Jinan, the locomotive factory (later known as the railway factory) of the Jinpu Railway Company was located in the big locust tree village, and the old factory logo also had the big locust tree pattern, and the local people also commonly called it the big locust tree locomotive factory. Later, the roads outside the factory area continued to expand, and eight of them were named after "locust trees". As an administrative division, Huaiyin District is also named from this. It's a pity that the locust was removed when the road was expanded. There is an ancient locust tree in the dormitory area of the railway factory, which is said to have been planted in the Ming Dynasty, and is obviously the younger generation of the Shenhuai. Huaishuzhuang was formerly known as Panlongzhuang, whether it was once known as Taipingzhuang did not find relevant information, but there is still some distance from the aforementioned Taipingzhuang.
Li Ming, who presided over the excavation of Qin Ai's tomb, worked in the Archaeology Department of Jinan Museum at that time, and later served as the president of the Municipal Institute of Archaeology. He said that Huaizhili is not a street or lane in the modern sense, but a lane system implemented in the early Tang Dynasty, with about 500 households per mile. Referring to other tombs found nearby, it is concluded that this area was a burial area for nobles in the Sui and Tang dynasties.
I think that Huaizhili, which has 500 households, was also a large-scale community in the Sui and Tang dynasties more than 1,300 years ago, and the location of Qin Qiong's ancestral house should not overlap with the tomb of Qin Ai, but where is the Qin Mansion **? When Qin Qiong was in Jinan, did he set up another portal and Beppu? Is the homonym of the "Huai" of Huaizhili and the "Huai" of Huaishuzhuang a coincidence, or is "Huai" falsely rumored to be "Huai"? or for other reasons.
The word "Huai" has been endowed with many meanings since ancient times, and can even be the same as the sycamore tree, becoming a sacred tree for recruiting talents, as Zheng Xuan, a scholar of the Eastern Han Dynasty and a Gaomi person, said: "Huai's words are also Huai, and people come here and want to conspire with them." Perhaps, there was really a big locust tree in front of Qin Qiong's mansion.
Author: Niu Guodong Editor: Xu Zheng Proofreader: Yang Hefang