Briefly describe the expression of the Han dynasty wall paintings (to portrait stone as an example)

The Qin and Han Dynasties were a period of the establishment and consolidation of the unified multi-ethnic feudal state of China, and also an extremely important period for the establishment and development of the Chinese national art style. In 221 B.C., after the unification of China, Emperor Qin Shi Huang carried out a series of reforms in the political, cultural and economic fields, which led to great changes in the society. Artistic activities to publicize the achievements and show the power of the king in fact contributed to the development of painting. The rulers of the Western Han also emphasized the importance of painting for their political propaganda and moral preaching, and during the reigns of Emperor Wu, Emperor Zhao, and Emperor Xuan, painting became an effective way of rewarding meritorious officials, and the murals in the palaces made remarkable achievements. In order to consolidate the world and control people's hearts, the emperors of the Eastern Han Dynasty also advocated the theory of "induction of heaven and man" and the theory of "auspiciousness", and auspicious images and historical stories that emphasized loyalty, filial piety, temperance, and righteousness became common subjects for painters to create. The Han Dynasty's practice of generous burials made it possible for us to see the remains of paintings of that time in the mural tombs, painted stones and painted brick tombs that have been discovered one after another. The art of the Qin and Han Dynasties, with its deep and majestic spirit, has been radiating an eye-catching luster in the history of Chinese art.

In 1952, a Han Dynasty tomb was excavated two miles east of Wangxian County, Hebei Province, and the four walls of the front room and the two walls of the tunnel were covered with murals. The paintings are divided into two layers, the upper layer is painted with figures of officials and the lower layer is with animals and birds, and each has its own inscription. The aisle coupons are decorated with clouds, air, birds and animals. The front room symbolizes the tomb owner's antechamber, the south wall door is painted on both sides of the "Temple Gate Pawns" and "Gate Pavilion Chiefs" who are in charge of guards, the north, east and west walls are painted with the officials, officials and guards in the temple during the tomb owner's lifetime, such as the "Drummers and Drummers" who are in charge of drums, the "Drummers and Drummers" who are in charge of prison, and the "Drummers and Drummers" who are in charge of the police and the prison. The "drummer" in charge of drums and drums, the "mercy rafter" in charge of prison, the "thief cao" in charge of maintaining law and order, the "gong cao" in charge of registering merits and demerits, the "gong cao" under the door who managed to raise and lower the reward and the "soldier" who guarded the car in front of the master of the tomb. The soldiers in front of the tomb owner's car "Pai Che Wu Bai" and so on. The characters are portrayed in different postures and clothing according to their positions and duties, highlighting the character traits of the characters. The small official under the door, brave and fierce, has the momentum of unstoppable, while the gentle demeanor and leisurely manner is the "main book", showing the typical image of clerical officials in the Han Dynasty. The method of expression of the painting is to outline the form of the characters with concise ink lines. The clothing pattern is simple but in line with the pattern of movement, and the brushwork is smooth and powerful. It can be seen to the Han Dynasty China's ancient painting in the long-term art practice after years of accumulation, continuous exploration, has been in the painting language changes in the use of certain progress, although the use of Han Dynasty paintings online, the shape of the portrayal is still in the stage of Chinese painting rough, simple, but the whole mural has reflected the Han Dynasty artists depicting the life of life, knowledge of life skills, is a brilliant page of the works of art in ancient China.

The Han Dynasty was a period of roughness and simplicity.

The painting art of the Qin and Han Dynasties, roughly including palace and temple murals, tomb murals, painting on silk and other categories. Qin Dynasty paintings, physical circulation is extremely rare. The only relics that can be used to understand the face of Qin Dynasty paintings are the molded portrait bricks unearthed from Lintong and Fengxiang in Shaanxi Province over the years, the fragments of mural paintings, carved portrait bricks, architectural tile patterns unearthed from the site of the Qin Palace in Xianyang, as well as a small number of decorative patterns on artifacts found in other areas. The Han Dynasty lasted for more than four centuries, and was an important period in which the specific national spirit and formal style of China's traditional fine arts were basically established and further developed and consolidated. The rulers of the Han Dynasty attached great importance to the art of painting, and Mao Yanshou, Fan Yu, Chen Li, Liu Bai and others were well-known imperial painters.

Between 1972 and 1974, Changsha, Hunan Province, Mawangdui two Han tombs and Linyi, Shandong Province, the whole sparrow mountain nine Han tombs of several painted silk unearthed one after another, enriched the Han Dynasty paintings of the physical data, make up for the blank of the early Han paintings, so that people for the Western Han Dynasty paintings of the actual appearance of a clear understanding of the situation. Among them, Mawangdui Tomb No. 1 painted painting is the most mature, is the earliest found in China's heavy color painting treasures, hook line even fine and powerful, flying swimming leap, and later summarized the "high ancient silk depiction" in line with; color to mineral pigment-based, heavy and stable, bright and eye-catching and harmonized; composition to the dense to the sparse, the use of regular, balanced pattern structure and realistic image of the combination of techniques, the main body of the prominent, up and down the continuity of rich and strange changes in the people. Rich and strange changes in people. In Mawangdui Tomb No. 3, there are three other noteworthy works of painting on silk. One of them is a qigong illustration hidden within the lacquer amber, the characters are arranged individually to show their fitness physique, with different shapes and costumes. The other two are hung on the east and west walls of the coffin room, and their contents are considered to be the expression of the ruler's "cultivation of the temple" activities, with hundreds of vehicles, horses and ceremonial weapons, which can be said to be a large; the composition overcomes the prelude period of the figures of the upper and lower flat rows of the technique, with the angle of the top view to depict the full picture of the vehicles, horses and ceremonial weapons, this is the earliest record of the real life. This is the earliest large-scale painting that records real life. It is the earliest large-scale painting to record the real life. Unfortunately, it is heavily damaged and can only be viewed in general.

Palace and temple murals

Palaces and government offices in the Qin and Han dynasties were generally painted with murals, but they were almost lost with the gradual demise of the buildings. Discovered in the 70s of this century, the remains of Qin Xianyang Palace mural paintings for the first time so that we can appreciate the splendor of the Qin Dynasty Palace paintings. On the remaining part of the gallery of the 3rd hall of the Qin Palace site, a procession of seven carriages, each drawn by four galloping horses, was found, while another surviving mural depicts a courtesan. These images were painted directly onto the wall without any pre-drawn outlines, and can be considered the earliest examples of traditional Chinese painting without bones. The murals of the Western Han Dynasty were mainly created to emphasize the "cleanliness" of the officials. Wang Yanshou's Lu Lingguangdian (The Fugue of the Palace of Lingguang) records the splendor of frescoes in a palace built by a vassal king at that time. During the reign of Emperor Xuandi, 11 ministers of merit were depicted in the Kirin Pavilion, which was the first time that ministers of merit were depicted in a mural. The portrait bricks are full of figures, the picture is dense but not chaotic, and the composition is strict. The two wine bottles and two cases in the empty space indicate that the picture is a scene of singing and dancing after the banquet. With simple relief, accurately portraying the characters, in relief on the image to add line drawings, doubly wonderful, in the simple and simple to see the dexterity of the lines strong sure, sketched skillfully, rich in ups and downs, thick and thin changes, twists and turns in a strong staccato, very vivid and fluent, interspersed between the surface, and the surface of the formation of a contrast. Points, lines and surfaces are naturally fused, very rich in rhythm, vivid image to serve the theme. In contrast to the thin-waisted female kabuki, the male kabuki with drums in their hands are witty and exaggerated, vivid and evocative. Brick left there are three people for acrobatic song and dance accompaniment, a man stretching to take advantage of the situation will dance, the whole picture is full of warm atmosphere.

Tomb murals

The remains of tomb murals of the Qin Dynasty have not been found so far. But the discovery of Han tomb murals began in the early 1920s. In 1931, the cleaning of the mural tomb in Yingchengzi, Jin County, Liaoning Province, unveiled the mural paintings of the Eastern Han Dynasty. In the following decades, more than forty mural tombs were discovered all over the country, which provided the most important physical data for exploring the development of painting art in the Han Dynasty. During this period, the most important mural tombs and tombs with murals have been discovered, including the mural paintings of Bu Qianqiu's tomb in Luoyang, Henan Province, the No. 61 tomb in Shuigou, Luoyang Province, and the mural painting of the tomb in Xi'an, Shaanxi Province, "Heavenly Signs and Symbols", belonging to the Western Han Dynasty; the mural paintings of the Xinmang Tomb in Jinguyuan, Luoyang, belonging to the New Mang Dynasty; the mural paintings of "Landscape Scenery" in Zaoyuan's Tomb in Pinglu, Shanxi Province, the mural painting of the Han Tomb in Anping, Hebei Province, the mural painting of Tomb No. 1 in Wangdu, Hebei Province, and the mural paintings of the Tomb No. 1 in Hualingge, Inner Mongolia, belonging to the Eastern Han Dynasty. Mural paintings found in the tomb of Inner Mongolia Heringer and so on. They depict the heaven, earth, yin and yang, the five elements, gods and goddesses, birds and beasts, some famous historical stories, carriages and horses, buildings and portraits of the tomb owners, etc. The meanings are complicated, but most of them show the life of the tomb owners and the good wishes for the ascension to heaven after their deaths, and hope that the deceased will enjoy a rich life in the underground world created by the artists.

Painting on silk during the Han Dynasty

There are many works painted on thick silk during the Han Dynasty, but after thousands of years, very few of them remain. The most important discoveries so far are the Western Han silk paintings unearthed in the 1970s in Mawangdui in Changsha, Hunan Province, and in the Han tombs in Jinqushan, Linyi, Shandong Province. The meaning of the painting unearthed in Tomb No. 1 of Mawangdui is the most obscure, and scholars' interpretations are extremely diverse, but it is generally believed that the upper and lower parts of the painting depict the heavenly realm and the netherworld, respectively, while the middle two parts show the life of the deceased's wife, the Lady of Hou. The tomb owner and all kinds of birds and animals are vividly depicted, with smooth and straight outlines and solemn and elegant colors, showing the excellent level of Western Han paintings. In addition, the importance of the three silk paintings in Mawangdui Tomb No. 3 should not be overlooked, in addition to the owner of the tomb, but also depicts the "guide", ceremonial and other content, very beautiful. Jinqingshan silk painting content and Mawangdui tomb silk painting similar, on the sun, moon and fairy mountain, under the dragon and tiger ghosts and monsters, the middle part of the depiction of the tomb owner's life on earth, the painting "boneless" and the combination of outlining, reflecting the diversity of the Han painting techniques.

Jingke assassination of the King of Qin stone figure

Han portrait stone

Picture stone is the remains of a rich, very characteristic of the Qin and Han Dynasty art history materials. Artists used knives instead of brushes to create many beautiful images on the hard stone surfaces, which were used as architectural elements to construct and decorate tombs and stone queues. Thousands of Han portrait stones have been found in China. It is reported that the portrait stone in the Western Han Dynasty Zhao, Xuan period, the development of the new Mang, to the Eastern Han Dynasty to further expand, mainly in Shandong, Henan, Shaanxi, Sichuan and its surrounding areas, the late Western Han Dynasty portrait stone to Shandong Yishui Baozhaoshan phoenix carving stone, Shandong Wenshang "Lu Gong canteen portrait" as a representative of the new Mang Dynasty is represented by the portrait stone tomb of the Henan Province, Tanghe Feng Jun Ru Ren, the tomb engraved with more than 30 portraits depicting the life of the gods, monsters, animals and so on. Real life and gods, monsters and beasts. The representative works of the portrait stones in the early Eastern Han Dynasty are the Stone Ancestral Hall of Changqing Xiaotang Mountain in Shandong Province and the Stone Quay Painting Stone in South Wuyang. The most famous of the late Eastern Han Dynasty statues is the Shishi Ancestral Hall in Jiaxiang, Shandong Province. This stone shrine has been emphasized by jinshi scholars since the Song Dynasty, but it was covered by water in the Yuan Dynasty. It was not until the Qianlong period of the Qing Dynasty that it saw the light of day. Among them, Wuliang Ancestral Hall has the most exquisite statues, which are all carved with the technique of flat carving on a reduced ground and shaded line carving, and most of them are historical stories, gods and immortals, and exotic birds and beasts, which are skillful in their techniques. The author is good at capturing the conflict of historical stories, and is good at using the necessary scenery to explain the specific environment, and the echo relationship between the characters is also handled very well, such as "Jing Ke stabbing the Qin King". The "Traveling and Feasting Picture Stones" unearthed in the No. 1 tomb of Yangzishan in Chengdu and now hidden in Chongqing Museum is the best representative of Sichuan's Han Dynasty picture stones.

Fascia Stone Eastern Han Dynasty (25--220 AD) 40cm high, 196.5cm wide Unearthed from a Han tomb in Dabodang Township, Shenmu County, Shaanxi Province, 1996

Collection of the Shaanxi Provincial Institute of Archaeology Light gray sandstone. The scene is carved on a reduced ground, with the details painted and outlined in ink, and divided into two columns, the upper and lower columns. The upper column is a hunting circle, a tense and intense hunting scene, the left and right upper corner of the sun and moon wheel were painted in the jade rabbit, golden bird. Lower column for the carriage traveling round, a line of three cars. Before and after the caravan, there are three guides and escorts. This batch of painted statues is a brand-new data of Shaanxi statues.

Qin and Han Dynasty Picture Bricks

Picture bricks are a kind of architectural decorative elements in the Qin and Han Dynasties. Between the Qin and Han Dynasties and the early Western Han Dynasty, they were used to decorate the base of palaces and government offices; after the middle of the Western Han Dynasty, they were mainly used to decorate the walls of tombs; the Eastern Han Dynasty was the heyday of the art of painted bricks. The Qin Dynasty portrait bricks were made by both molding and engraving methods, and their shapes were divided into two categories: large hollow bricks and solid flat square bricks. The "Hollow Brick with Guard, Feast and Hunting Patterns" unearthed in Lintong and stored in the Shaanxi Provincial Museum is a masterpiece of the existing Qin Dynasty molded portrait bricks. Western Han Dynasty portrait bricks are represented by those excavated in Luoyang, Henan Province, and are famous for their simplicity and power, and vivid images. The Eastern Han Dynasty is represented by the most excavated bricks in Henan and Sichuan provinces. The highest artistic attainments are unearthed in Chengdu, Sichuan Province, the late Eastern Han Dynasty portrait solid brick, the picture of a molded and made, the composition is complete, most of the performance of real-life scenarios, representative of the "Eagle shot harvest portrait brick" and so on.