Briefly describe the artistic achievements of stone reliefs and brick reliefs in Han Dynasty, and ask experts for guidance and examination.

Portrait bricks appeared in the late Warring States and prevailed in the Han Dynasty. Most of them appear in palace buildings and tombs, and some are carved on stone tablets, stone tombs, lintels and coffins. A large number of Han Dynasty portrait bricks have been unearthed in Sichuan, Henan, Shandong, Anhui and Zhejiang. Among them, the portrait bricks in Sichuan are the most distinctive. The picture content of portrait bricks is very rich, and some show labor production scenes, such as sowing, harvesting, rice milling and grazing. Some describe social customs and social life scenes, such as feasting, acrobatics and dancing. While others depict fairy tales, such as the Queen Mother of the West and the Moon Palace. , is a record of social production and life at that time. In the late Western Han Dynasty, a kind of hollow portrait brick was popular, which was mainly used to build tombs, and was generally located inside the wall bricks of tombs. Hollow bricks are often stamped with various patterns repeatedly. In addition to geometric patterns, there are hunting, dragons, phoenixes, tigers, leopards, trees, buildings, cars and other images, as well as some artistic patterns on it.

Stone relief refers to the art of carving plane images on stones, which prevailed from the Western Han Dynasty to the Tang Dynasty, and was more common in tombs and ancestral temples. Carving techniques are similar to portrait bricks, including yinxian carving, bas-relief carving and concave carving. Mainly distributed in Shandong, Sichuan Minjiang River Basin, Henan Nanyang, Shanxi, Shaanxi, Jiangsu, Anhui and other places. The most representative stone relief is Jiaxiang Wushi Temple, which is located in the south of Jiaxiang County, Shandong Province. There are four stone chambers and more than 50 stone carvings with complete composition. It's all carved. The content is extremely rich, reflecting the aristocratic travel, music and dance, war and hunting scenes. One of them is a "kitchen map", which depicts the pictures of killing chickens, cows and cooking in great detail. In the kitchen, there is also a duck hanging with soy sauce. The tripod in the kitchen is burning with flames, and it is full of energy and superb technology. In other frames, some depict Nu Wa, Fengbo, Shennong, Zhu Rong, Di Yao and Di Shun, while others describe the historical stories of Zhuan Xu stabbing Liao Wang and the assassin leaving, Yu Rang and Cao Mo. It is also engraved with the name of a stonemason.

. In artistic creation, stone reliefs and brick reliefs emphasize divinity, and the so-called general appearance pays attention to the common, but the painter just loses the appearance. This is that artists should not only pay attention to small places, but also pay attention to the whole, be good at grasping the overall situation, and not highlight the places and lose the whole. This is "gaffe". This shows the talents of outstanding artists in Han Dynasty. Image modeling is the primary starting point for artists to pay attention to. For example, the painted Shi Zhuan of Han Dynasty unearthed in Xinye, Henan Province, depicts the hunting scene. The images of horses and chariots in the painting are vivid, highlighting the momentum of horses and chariots in the March, and the characters in the painting are also artistic exaggeration.

Portrait stone carvings in the Han Dynasty are also good at properly representing and handling big scenes and big pictures. Some walls and sculptures are large and complex, and after the artist's clever arrangement, they appear orderly and have distinct themes. However, there are also some defects, such as many characters with edges, and they are not good at positive portrayal. In perspective processing, there is no certain stipulation, and the relationship between distance and depth cannot be shown. Summarize the development and characteristics of stone relief and brick relief in Han Dynasty.

Painting in the Han Dynasty was not only used in palaces, but also in tombs and stone pavilions. In Han dynasty, the custom of death is like life, thick burial is the virtue, thin burial is the light, and in the name of filial piety, you can gain both fame and fortune. This is to make the scale and quantity of painting activities (including drawing silk paintings that are thought to lead the soul of the deceased to heaven) to an unprecedented height. During the Eastern Han Dynasty, Zhao Qi painted murals for his grave even when he was alive. "Ji Zha, Zichan, Yan Ying and Shuxiang were in the guest position, and they all painted themselves and praised them" (Biography of Zhao Qichuan in the Later Han Dynasty). This can be confirmed by many murals, silk paintings and a large number of existing paintings such as stone reliefs and brick reliefs that have been unearthed in the Han Dynasty. Portrait bricks have two shapes, one is a square with a side length of about 40cm, and the other is a rectangle with a length of about 45cm and a width of about 25cm. The distribution area is mainly in Sichuan, and occasionally it can be seen in Henan and other places. Han Dynasty portrait brick is a kind of building brick with images printed, painted or engraved on its surface. It has diverse shapes, wonderful patterns and rich themes, which profoundly reflects the social customs and aesthetic style of the Han Dynasty and is a milestone in the history of China's art development. Since the 1960s, many Han Dynasty portrait bricks have appeared in the Central Plains. These bricks are painted with missing bridges, ceremonial riding vehicles, dances and music, auspicious animals, myths and allusions, exotic flowers and plants, etc. They are rare in content and simple in painting techniques, and have become precious cultural relics for studying politics, economy, culture and folk customs in the Han Dynasty, especially in the Eastern Han Dynasty. Over the past few years, portrait bricks have been cherished by academic circles, art circles and Tibetan circles. Many famous scholars and scholars have collected product titles, which are extremely exquisite, and the rubbings of Chinese portraits have also become a hard-to-find "treasure".

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Portrait brick

According to the unearthed situation, portrait bricks can be divided into Chengdu, Xindu District and Guanghan, Deyang, Pengxian, Qionglai, pengshan county and Yibin. There are about 50 different themes, which can be roughly divided into five contents: first, portrait bricks reflecting agriculture, sideline, handicrafts and commerce in Han Dynasty, such as sowing, harvesting, hulling, brewing, salt wells, mulberry fields, lotus picking, market towns and so on. This kind of portrait brick has the richest content and great research value. For example, the portrait brick of "Salt Well" unearthed from the No.1 Tomb in Yang Zishan, Chengdu, describes the salt production in the well in detail. In the picture, the salt well is equipped with a pulley for extracting brine; Brine is slowly flowing into the burning iron pot through the erected bamboo raft. It is the most rare data for studying the history of ancient salt industry. Two, the performance of the tomb owner's identity and experience of portrait bricks, such as car riding patrol map, pill sword dance map, etc. Most of the tomb owners of portrait bricks are local strongmen and dignitaries. For example, Huan Kuan said in The Theory of Salt and Iron: "The aristocratic family, painting on the clouds, the hub on the road ..., Zhongshan, caressing the flow in the class, singing drums and relaxing, and getting off work. Women wear Luo Wan, ladies-in-waiting and concubines like Xi Ning. Children and grandchildren travel by car, hunting in and out, and Yi Jie is healthy. " The content of this brick painting is consistent with the literature. Third, the performance of social life and political system at that time, such as portrait bricks with the theme of fairs, acrobatics, lectures, lectures and respect for the elderly. In Xijing Fu, Zhang Heng described the acrobatic performance scene at that time as follows: "Overlooking the square, the wonderful drama of Chen Jiao. Birds have tripods, all by the roadside, narrow swallows, cobalt front on their chests, and meet each other on the ropes. " These can be found in portrait bricks. Another example is "giving lectures and teaching classics", which vividly shapes the scene of doctors, lecturers and students attending classes, and the education of [Han Dynasty] can be summarized here. Fourth, express the freehand brushwork life of the tomb owner, such as feasting, courtyard, kitchen, music and dance, hundred plays and other portrait bricks. This also reflects the actual situation of architecture and folk customs in [Han Dynasty] from a certain angle. Five, brick carvings that express myths and superstitions, such as Fuxi, Nu Wa, Sun Moon, and Immortals.

Edit the development overview of this paragraph.

Portrait brick

The appearance of portrait brick was earlier than that of portrait stone, and the art of portrait brick originated from the late Warring States period to the middle of Western Han Dynasty. Almost all the earliest portrait bricks were used in the capital palaces in the late Warring States period, mostly hollow bricks and large bricks, which were mainly used as the steps and steps of the palace, among which the portrait bricks unearthed in Liyang and Xianyang, Qin Dou were the most exquisite. At the end of the Warring States period, Qin dynasty first began to evolve from wooden tombs to brick tombs, and built tombs with hollow bricks as portraits. With the horn of Qin Jun's unification of the six countries blowing, the portrait of the hollow brick tomb was brought from Guanzhong to kanto region by Qin people. In the early Western Han Dynasty, this kind of portrait hollow brick tomb developed rapidly in Henan, and in the middle of the Western Han Dynasty, it affected the surrounding areas such as southern Shanxi, southern Hebei, northern Hubei, northern Anhui and western Shandong. From the end of the Western Han Dynasty to the end of the Eastern Han Dynasty, the art of portrait brick flourished. From the late Western Han Dynasty, the tomb of portrait brick began to get rid of the rigid box structure and quickly developed into a living room, and the portrait brick also got rid of the old model of hollow brick and developed into a variety. During the Eastern Han Dynasty, the art of portrait brick reached its peak. The distribution of portrait brick tombs reached Gansu and Qinghai in the west, the seashore in the east, Yunnan and Guizhou in the south and the vast desert in the north, forming two central distribution areas represented by Henan and Sichuan and Chongqing, among which Sichuan and Chongqing portrait bricks flourished until the Shu and Han Dynasties. Portrait bricks in the Eastern Han Dynasty have abandoned the patterned composition and used square, rectangular and strip solid bricks with complete pictures as the main carriers. Among them, the portrait bricks in Chengdu Plain in Sichuan are the most distinctive. The specifications of bricks are all rectangular, generally about 50 cm wide and 40 cm high. Each brick has a picture, and the image content has local characteristics. It is neatly embedded in the tomb of the brick house, with a certain distance from the wall of the tunnel. The period of Wei, Jin, Song and Yuan Dynasties was the decline period of portrait brick art, but in the Southern Dynasties, the portrait brick art in the Yangtze River valley with Nanjing as the center appeared a small peak period, and the huge inlaid portrait brick tombs discovered in Nanjing represented the highest level of portrait brick art in this period. After Sui and Tang Dynasties, although brick tombs were found in many places in the Yangtze River and Yellow River basins, there was never a central distribution area, and the contents of the portraits became more and more formal and simplified. After Yuan Dynasty, portrait brick, as a folk art form, faded out of the historical stage.

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Portrait brick

Hollow bricks have been found in the ruins of the Warring States period, but they are used for tombs. The poem "Chen Feng, Preventing Que Nest" says that "there was a nest in the middle Tang Dynasty", which means that the road leading to the main entrance by His Royal Highness through the atrium is brick. Brick walls are late. Generally, building bricks are all plain. Brick burning in Han Dynasty, because of its high temperature and hard as iron, is often used as inkstone material and becomes an antique. The bricks built in the tomb have many portraits and figures, which have always been valued by collectors. Bricks in the Qin and Han Dynasties are more precious, and there is a saying that "Qin bricks are Han tiles". Brick carving characters have academic value that can't be underestimated in researching classics, supplementing history and calligraphy art. Portrait bricks are very precious art treasures, some are printed with carved models, some are directly carved on bricks, and some are added with colors. In the Eastern Han Dynasty and the Six Dynasties, with the popularity of thick burial and brick tombs, it developed greatly, and its form also developed from a brick painting in the Qin and Han Dynasties to a large brick-printed mural in the Six Dynasties. In Qin and Han dynasties, most of them were molded bricks, and the expression techniques were generally large and large reliefs. The block material is round and thick, simple and simple, extensive and dynamic, and the brick is hard, and the technology has reached a high level. During this period, portrait bricks were mass-produced by molding. Portrait brick is a highly integrated treasure of ancient painting and carving art, and it is also an important material for studying carving technology in China. Portrait bricks are abundant in the vast areas of the Central Plains, Southwest China and Jiangnan, especially in Henan and Sichuan provinces.

Henan portrait brick

There are four kinds of portrait bricks in Henan: rectangular hollow bricks, rectangular solid bricks, square solid bricks and hollow cylindrical bricks. Generally, Henan bricks are multiple or multiple groups of images with independent shapes that are repeatedly stamped by the impression, and combined on the brick surface according to a certain composition method to form a larger composite picture, which has certain creative randomness and decoration. The content and artistic form of bricks have different performances in different periods. The hollow portrait brick of the Western Han Dynasty unearthed in Luoyang has a highly generalized pattern, sparse layout, simple and round intaglio lines and abstract symbolic meaning. The works of the Eastern Han Dynasty unearthed in Zhengzhou and Yuxian have also added miraculous images, with dense pictures and repeated combinations; The works unearthed in Nanyang after the middle of the Eastern Han Dynasty are obviously influenced by the local stone relief art, with clear themes and strong painting. Portrait brick

Sichuan portrait brick

Sichuan is the most concentrated place where portrait bricks are found, and the most exquisite ones are unearthed in the northwest plain of Chengdu, mostly in the late Eastern Han Dynasty. There are three main shapes, that is, square bricks of about 40 cm and square bricks of about 46 cm× 26 cm, with the largest number and variety of bricks. Each brick is a complete single picture, which is stamped at one time. Some bricks need to be colored, and the surface is close to the painting. The relief of the square brick is very low. Rectangular bricks have a high sense of relief and a strong three-dimensional sense. There are thousands of known themes of portrait bricks in Sichuan, which reflect Sichuan's rich social economy and colorful life customs from the aspects of feasting, singing and dancing, courtyards, market manor, mulberry picking, fishing and hunting, sowing and harvesting. Compared with other areas, there are fewer historical stories and auspicious things in Sichuan portrait bricks, and themes such as productive labor and horseback riding account for a large proportion. Art forms benefit from the observation of reality. There are two main ways of composition: one is high-angle composition, where the spatial position of the object is clear and the depth of stereoscopic impression is quite good. The other is plane diffusion composition, that is, scatter perspective. The themes of portrait bricks can be divided into three categories: portraits, words and patterns:

Brick Portrait of Cliff Tomb in Jiangkou, Sichuan (6 pieces)

1 Historical legend: For example, the portrait brick of "Fishing Ding in Surabaya" in Henan tells the story of taking Ding in Surabaya. 2 evil spirits and auspicious signs: For example, in the Northern Dynasties, the image of the lion was a common artistic modeling theme in China, and it was regarded as an auspicious "auspicious beast" to ward off evil spirits. Other auspicious signs include dragons, phoenixes and suzaku. Mythological themes: bricks of the Queen Mother of the West and feathers of the Han Dynasty. Realistic themes: such as the shooting of fishing and hunting portrait bricks in Han Dynasty. Animal themes: such as cattle, tigers, horses, deer, fish and elephant-themed portrait bricks. 6 Buddhist theme: such as five Buddha portrait bricks in the Northern Dynasties.

class of character

Give priority to with calendar year, auspicious article, famous brick. There are various forms of writing, such as seal script, official script and regular script.

Pattern category

Divided into plants, moire, flame, treasure pattern, geometric pattern and so on. The decorative patterns in portrait bricks are very rich, and many patterns are often used together, which has high aesthetic value. In a word, portrait brick is an important cultural relic to study China's culture and art, production technology and folk customs. It has great research value and is an important cultural and artistic treasure of China.

The process and achievements of editing this paragraph

Portrait brick belongs to sculpture art in essence. Although some hollow portrait bricks in the late Warring States period were directly carved on semi-dry bricks with hard pens, the portrait bricks after the Western Han Dynasty were all made by molding. The forming methods of portrait bricks can be roughly divided into two categories: "pat printing method" and "die printing method"

Printing method

Most of the hollow portrait bricks in the Western Han Dynasty were made by printing. Generally speaking, there are five processes: template carving, brick peeling, image printing, brick burning and painting. The first step is to make a template. Because of the large volume of hollow brick, it is necessary to arrange images with different contents on the brick surface. The modeler first draws the outline of the required image with ink lines on the square or rectangular wooden board prepared in advance, and then carves it into a concave or intaglio image template with a carving knife. Template is generally small in area, but in the late Western Han Dynasty, large templates with images printed on the brick surface also appeared. Step 2, take out the hollow brick blank and dry it in the shade until it is semi-dry. Thirdly, holding the template, printing or impressing an image on the semi-dry hollow brick blank. On the same brick surface, templates with different specifications and contents are often used to print out complex image combinations. Print decorative pattern borders on four sides of the same brick surface with long templates, and arrange images with different contents in the borders. The same template is often used repeatedly on the same brick surface, resulting in the same image appearing many times. Step 4, after the image-printed bricks are completely dried in the shade, they enter the kiln to burn bricks. The fifth step is to color the burnt portrait brick.

Die printing method

Mold printing is the most popular method to make portrait bricks after the Eastern Han Dynasty. Its manufacturing process includes four processes: making image blank mold, removing image blank, sintering brick and coloring. When making a blank mold, draw a sketch of ink lines on a square or rectangular wooden board with the same size as the brick, carve it into a template with a carving knife, and then add a wooden frame around it to form a blank mold. By using the method of removing ordinary bricks from the image blank mold, an image blank with an image can be manufactured. After the brick is dried in the shade, it is fired and colored in the kiln, and it becomes a beautiful portrait brick. Compared with printing method, die printing method saves the process of printing images, and the picture content is concise and prominent, which is undoubtedly a great progress in the process of making portrait bricks. Portrait brick

The popularity of stamp printing has not pushed the stamp printing method out of the historical stage. During the Southern Dynasties, the stamping method reached its peak and became a huge tomb brick statue made up of huge portrait bricks. There is no doubt that this kind of portrait brick needs superb and complicated technology, and the image is not printed on the front of the brick, but on the side and end face of the brick, which increases the difficulty of making it. Therefore, it must be carefully designed and calculated in advance. Making templates is the most complicated and delicate process. First, prepare a wooden board with the same size as the picture frame. Skilled painters will sketch the ink-line draft of the image on the wooden board, then carve it into a huge template by carving carpenters, then divide the template into small templates with the same size as the side and end face of the tomb brick, and finally print the image on the side and end face of the semi-dry brick in turn with the small templates. In this way, the whole image is distributed on a huge number of bricks. In order to assemble the burnt tomb brick into a complete portrait, it must be carefully built in strict accordance with the design drawings and the number of the tomb brick under the supervision of designers. There is no doubt that to make this mosaic tomb portrait brick, there must be a well-organized professional craftsman group composed of highly skilled painters, sculptors and bricklayers. This group may directly belong to the royal family or the court. It should be pointed out that before modern western sculpture art was introduced to China, there had never been a Greek or Roman sculpture based on human anatomy in China. Although the stone relief art was influenced by Gandhara art after Wei and Jin Dynasties, it was far from reaching the level of Greece and Rome. Just like China's traditional painting, the use of lines is the soul of stone relief and brick relief art. "Quasi-painting" stone relief and brick relief are basically composed of lines. Needless to say, stone reliefs and brick reliefs are also very different from Greek and Roman sculptures. What they pay attention to is not the texture and expression, but the scene language and body language outlined by the outline, and the texture plays an auxiliary or even exaggerated role. Any art is the product of the times, reflecting the spirit of the times and aesthetic concepts at that time. Through the changes in the use of lines, stone reliefs and brick reliefs in different periods show different artistic characteristics. [ 1]

Edit this China portrait brick.

brief introduction

Han Dynasty portrait brick is a kind of portrait brick decorated on ancient buildings mainly by forming, stamping, carving and painting. Distributed in today's Henan, Sichuan, Jiangsu, Shaanxi, Shandong and other provinces. It is also known as the silting world with the stone relief, and is known as "Dunhuang before Dunhuang". The Han Dynasty portrait brick has a wide range of themes and rich contents, which explains the cultural accumulation of the Chinese nation for thousands of years and reproduces the spirit of the Chinese nation's diligence, courage, wisdom, enthusiasm, enthusiasm, passion, love for life, cherish life, be knowledgeable and look forward to an ideal society. That vivid, vivid, dynamic and unparalleled artistic expression vividly and concretely shows the massiness and profoundness of Chinese culture. It is a precious material for studying the folk customs of the Han Dynasty, which has a unique historical position and high cultural relics collection value in China traditional culture.

The style of Khan portrait brick

Portrait bricks in the Han Dynasty cover the politics, economy, culture, folk customs and other aspects of the Han Dynasty. This is an encyclopedia for studying the history of the Han Dynasty. At present, most of the bricks on the market are mainly molded and printed, with few carvings and even fewer paintings. The large-scale hollow Han Dynasty portrait brick, which is mainly based on painting, is a national treasure and has important reference value for the study of Han Dynasty painting. By the Han Dynasty, agriculture and animal husbandry had made great progress, and the traditional fishing and hunting economy was relegated to a secondary position. However, hunting, as a necessary supplement to the agriculture and animal husbandry economy, is still a means for the lower class to make a living, and it is also one of the sports and entertainment activities that emperors, generals and nobles are very keen on. Sima Qian said in Records of the Historian Biography of Huo Zhi: "A wanderer, wearing a crown and a sword, is rich and tolerant even when riding a car. Fishing and hunting, breaking the morning night, risking frost and snow, rushing to the valley, not avoiding the harm of wild animals, for taste. " Emperor Wu of the Han Dynasty once occupied private land and opened Shanglinyuan Hunting Ground. Mei Cheng said in "Seven Hairs": "Train horses with high horses, ride a flywheel, have sex, chase cunning beasts and gather light birds. Therefore, it is extremely talented, and the foot of the trapped beast is poor. Thin body, white blade and crisscross spears and halberds, this faction is also strong in hunting. " This description vividly reflects the hunting scene in Han Dynasty. Hunting is often carried out by several people or one person alone with hounds in natural forests, which is irritating and dangerous. Hawks and dogs are both their pets and their assistants when hunting. In hunting activities, there are those who compete with it. Tournament is a popular entertainment item in Han dynasty, including fighting with swords, halberds and knives, archery during the contest and grabbing knives with bare hands. Fencing is the most common. The prey is raised when it is alive, and then animal training and fighting are derived. In the middle of the 2nd century BC, the Western Han Dynasty established the largest Shanglin Garden in the history of China in Guanzhong. In addition to the natural hunting grounds, there is a special amphitheater in the garden. At that time, the Emperor of the Han Dynasty and the Emperor of Rome, who were far away in the ocean, coincided with each other and regarded fighting animals as a kind of entertainment. There is only one difference. In ancient Rome, the beast fighters were filled by slaves, and the Han people, whether in government or in opposition, were proud of the humble cloth of Emperor Gaozu and had to regard the poisonous beast as an imaginary enemy. They fought wild animals with serrated claws of flesh and blood. The aristocratic class even used fighting animals as a way to show off their bravery. This is undoubtedly dangerous and cruel. However, in that warrior era, every autumn and winter, the Emperor of the Western Han Dynasty ordered the warriors to "shoot beasts in Changyang Pavilion and see how the Emperor boarded"; Sometimes when I feel itchy, I will take it off myself. Emperor Wu of the Han Dynasty in history was "an expert and a tiger". In 87 BC, Emperor Wu died of illness, and 190 martyrdom tigers and leopards were born in the mausoleum, which shows his obsession with hunting and fighting animals.

Edit this brick tomb of Han Dynasty

brief introduction

Tombs decorated with portrait bricks embedded in the tomb wall in the Eastern Han Dynasty. Concentrated in Chengdu Plain, Sichuan Province. Occasionally found in other areas. Most of the tomb owners are local strongmen. As early as the late Qing Dynasty, this kind of portrait brick has been recorded by collectors, but its position and exact meaning in the tomb are not clear because it has not been excavated. After the founding of the People's Republic of China, through the excavation of floor tile tombs in Chengdu, Xinfan and Xindu, the relationship between the contents of the whole group of brick tombs was clarified. Compared with the local stone tombs, it is simple, but basically similar. This kind of portrait brick is an important material for studying the social outlook and sculpture art of Sichuan at that time.

Grave structure

It can be divided into brick tombs and masonry mixed tombs, which are generally larger than ordinary tombs of the same period. There are only people like bricks embedded in the brick tomb. Take xinfan innocent township tomb excavated by 1955 as an example. The total length of the tomb is12.72m, and it consists of 9 rooms: front room, middle room, back room, side room and ear room. There are 54 portrait bricks embedded in 5 rooms: front room, middle room and back room. Masonry mixed structure tombs are mostly composed of portrait bricks and stones. Take the tomb of Yangzi Mountain 1 in Chengdu, which was excavated in 1953, as an example. The tomb is13.84m long and consists of three parts: front, middle and back. There are 10 portrait bricks embedded on both sides of the front room, and stone statues are distributed in the middle room. In the early years, most tombs were stolen, and the funerary objects included large pottery figurines, heads of town tombs, cash cows and five baht.

Theme and content of portrait brick

The portraits on the brick are all printed and painted with molds, and most of the colors have peeled off when unearthed. Among them, the tombs in Chengdu, Xinfan and Xindu are square, generally about 40 ~ 50 cm in length and width, with complex pictures, vivid images and fine production. Guanghan, Deyang, Pengxian, Xinjin, Qionglai, Pengshan, Yibin and other places are mostly rectangular, generally about 50 cm long and 30 cm wide, with simple and plain images and rough production. The portrait bricks of the same content produced by different tombs are often exactly the same, indicating that the family of the tomb owner bought several types of portrait bricks from the market according to the social status of the deceased.

At present, more than 50 kinds of portrait bricks with different pictures have been found, mainly with five themes: ① The activities of agriculture, sideline, handicrafts and commerce operated by the tomb owner, such as sowing, harvesting and shooting, mulberry fields, lotus picking, salt production, market trading, rice planting and brewing. ② Take a bus, respect the virtuous and provide for the aged, and give lectures. Shows the identity and experience of the tomb owner. (3) pavilions, houses, granaries, kitchens, banquets, music and dancing, etc. , showing the freehand brushwork life of the tomb owner. (4) Fairy stories, such as Fuxi, Nuwa, Queen Mother of the West, Six Immortals, etc. ⑤ Depicting social customs, such as the high picture of men and women meeting in groups under a tree on social day, reflects the traces of a primitive custom. The arrangement order of various portrait bricks in the tomb is generally the portrait of the city gate near the door, followed by horseback riding, production activities and the content enjoyed by the tomb owner. The brick portraits of immortals such as the Queen Mother of the West are mostly embedded in the back wall of the back room or side room. In addition to Sichuan, some small brick faces of brick tombs of the Eastern Han Dynasty in Shaanxi, Jiangsu, Jiangxi, Hubei, Yunnan and other places often have simple images, mostly historical stories such as immortal birds and beasts, chariots and horses, auspicious pictures, and Jing Ke stabbing the king of Qin. But these portrait bricks are different from those in Sichuan in both shape and style. I recommend a master's degree thesis, Du Lei's Research on Music and Dance Images of Stone Relief in Han Dynasty, which can be found online in China Journal.