Contact information of Xuzhou Chinese stone statue: 1516-5691889
Description of Xuzhou Chinese stone statue scenic spot:
Stone with pictures of tombs, ancestral halls and doorways built in the Han Dynasty is called stone portrait. Such tombs are called portrait stone tombs, also known as portrait stone chambers or stone pagodas.
Stone reliefs in the Han Dynasty are treasures in the ancient cultural heritage of China, and they are works of art created on stones by many unnamed painters and sculptors nearly 2111 years ago. Xuzhou Han Dynasty stone reliefs are rarely carved on the wall of the stone ancestral hall, and most of them come from the tomb. At present, the Han Dynasty stone reliefs have been found in a wide area in China, but a large number of them are found in Xuzhou, southern Shandong, Nanyang, central Sichuan and northwestern Shaanxi.
Stone reliefs in the Han Dynasty are the product of "life is not extremely nourishing, but death is mourning". In order to show filial piety, the descendants of the deceased built tombs modeled after human houses with bluestone, and some tombs were built with ancestral halls to pay homage to the deceased. The portraits were carved on the walls, tops and walls of the tombs. The rich and powerful families are like this, and the people of Li are eager to follow suit. The appearance of the Han Dynasty stone tomb in Xuzhou was not only related to the political and economic conditions at that time, but also related to the natural conditions in Xuzhou at that time. Xuzhou is mostly in hilly areas, and the stone is very rich. Limestone is fine in texture, moderate in hardness and easy to carve.
There are abundant stone reliefs of Han Dynasty in Xuzhou, which were discovered earlier. It was Li Daoyuan of the Northern Wei Dynasty who paid the earliest attention to the Han Dynasty stone reliefs in Xuzhou, and he recorded it in his book Shui Jing Zhu. Late Qing dynasty. The ancient Sishui stone reliefs in Peixian county have been stored and protected in the downstairs of Kangfu, Xiazhen town, Peixian county, and later Wu Shixiong, a soldier in Xu Hai Province, moved to Xuzhou Road Department for preservation, which is the beginning of the collection and protection of Han stone reliefs in Xuzhou. However, after Tongzhi, although stone reliefs were often unearthed, no one cared. Early years of the Republic of China. Zhang Boying often "collects tombs next to stone carvings" and collects a number of portrait stones including the Niu Geng map of Tongshan Shuanggou (now Suining County). Stored in the grocery store of Mashi Street. After liberation. Zhang Kaici, the youngest son of Zhang Boying, donated these painters' stones and Han rubbings to Xuzhou Municipal People's Government.
During the Japanese invasion of China, Xuzhou fell. The Japanese invaders not only plundered Xuzhou's mineral resources, but also looted Xuzhou's ancient cultural relics, smashed the stone reliefs of Hongshan Honglou for shipment, and sent them to the station for loading. However, they were smuggled out of the station at the risk of their lives in the middle of the night, and the transfer protection was spared. After the founding of New China, the Party and the government attached great importance to the collection and protection of Han stone reliefs. In 1952, Xuzhou Han Dynasty Stone Relief Collection and Preservation Group was established to collect and protect the scattered stone reliefs for building bridges, building toilets, building pigsty, paving roads, well platforms and streams. Since 1952. Cultural relics workers have also scientifically excavated nearly 21 complete Chinese stone reliefs in Shilipu, Xuzhou suburb, Maocun, Tongshan county, xinyi city Wayao, Jiunvdun, Pizhou Yanzibu, Zhancheng Orchard, Qishan, Pei county and Huashan, Fengxian county, and the number of Chinese stone reliefs has reached more than 1,111. It is one of the most concentrated areas of Han Dynasty stone relief in China.
The subjects of the portraits of the Han Dynasty in Xuzhou are rich and colorful, which can be divided into two categories: one is a reflection of the real life at that time, and many of them are pictures depicting the owner's luxurious and luxurious life before his death. For example, welcome to stay, bells ringing and eating, six-game games, chasing and hunting, shooting and fighting, flying swords and jumping pills, taming elephants and making snakes, spreading dragons and dragons, swallowing knives and spitting fire, etc. Among them, the performance of spitting fire is the most thrilling. One person holds a trumpet and blows out a flaming flame on his cheeks. It is no wonder that Zhang Heng's "Xijing Fu" describes "swallowing a knife and spitting fire, and the clouds are hazy"!
during the Qin and Han dynasties, Xuzhou was one of the most economically developed areas in China, so there were scenes in stone carvings that reflected the life of working people, such as men plowing and women weaving and fishing. Xuzhou is a battleground for military strategists, with "strong customs", so the scene of fighting and practicing strength in stone reliefs is also particularly common. Lux map unearthed from Honglou, Tongshan County. Seven lux figures are carved on the screen: the first person on the left holds a sword and a shield; Second life tied a tiger; The third person is in the most prominent position in the picture, glaring at him, bared his arms, lunging down to pull out the tree, and birds are flying in the tree. Reminiscent of "Lu Zhishen took a photo, first took off the straight shovel in front of the tree, and turned his body upside down with his right hand, but pulled his hand up, only took advantage of his waist, and pulled up the green poplar tree with roots", the seventh story of "Water Rain"; The fourth person holds the cow's tail in his hand and the ox is on his back; The fifth person holds the tripod ears with both hands, lunges to the ground, and lifts the tripod over his head. One person behind him holds the calf and the other holds the pot. The picture captures the instantaneous action of Lux, fully showing the majestic posture of Lux, as if there is endless power in Lux's body.
The other is the fairy world imagined by people at that time: there are four gods: Qinglong, Baihu, Suzaku and Xuanwu (the intersection of tortoise and snake). There is a legendary group of earth to make man, refining stones to make up the sky, creating the ancestor of heaven, earth and man, and Fuxi and Nu Wa's head and snake body intersect. There are jade rabbits, beasts guarding the tripod, immortals with feathers, the legendary Queen Mother, who holds the immortal medicine and ranks first among the 111 gods in Kunlun, the nine-headed human-faced beast Kaiming who cares for Dong Wanggong and the Queen Mother, and the three-footed, nine-tailed fox, nine-flowered lantern, Ganoderma lucidum and Kirin who travel with the car. What is presented to people is a magical and romantic world.
The carving techniques of Xuzhou Han Dynasty stone reliefs are mainly carved in relief and plane lines. According to the needs of image expression, there are many changes, which have evolved into various carving techniques. Greatly enriched the artistic expression of Han stone relief. Its carving skills are exquisite and skillful, and it is strong and powerful with a knife. Although the stone reliefs are created with knives as pens and stones as paper. But craftsmen use lines with ease. According to different needs. Or tactfully smooth. Or be straightforward and bold. Or stout and powerful, creating a vivid image on hard stones. Created artistic treasures with permanent charm. The icy stone injected eternal vitality. Gu Zhuo, the Han Dynasty stone relief in Xuzhou, is elegant, simple and natural, with obvious local characteristics and distinctive features. The composition and layout are dense and full, the figures are packed with horses and chariots, and the blank space outside the main picture is filled with auspicious clouds, beasts and birds. However, the pictures are clear-cut, clear-cut, well-structured and complicated. Dense but not smothering, it has achieved a warm and orderly artistic effect and has become one of the distinctive artistic features of Xuzhou Han Dynasty stone relief.
Because the relief stone is painted on the stone plane before carving. Then the sculpture is a combination of painting and sculpture. Therefore, many early factors of Chinese painting art can be seen from here. For example, it includes decorative pattern painting, flower-and-bird painting, landscape painting, figure painting and even freehand painting, comic books and so on. A stone relief in Honglou, Tongshan County, the picture is divided into four frames. The first frame is that the host invited three people to compete, the second frame is that four people marched slowly in the same direction, the third frame is that two people are fighting each other with Geji, and the fourth frame is that the host and the guest clap their hands to say goodbye. These pictures don't need any written explanation, and people can understand them at a glance. It is not far-fetched to regard this as a precedent for comic books.
Another feature of Xuzhou Han Dynasty stone reliefs is the huge number of works. This is inseparable from the fact that at that time, it was the emperor's hometown, with Pengcheng and Xiapi as two feudal countries, and the royal family and the princes and grandchildren lived here.
The era of the Han Dynasty stone reliefs in Xuzhou is mainly the Eastern Han Dynasty, and the stone reliefs found in Qishan in Pei County and Huashan in Feng County are earlier, both in the late Western Han Dynasty and the Xinmang period. The Han stone reliefs in Xuzhou gradually disappeared at the end of the Eastern Han Dynasty. Xuzhou Han Dynasty stone reliefs have great influence at home and abroad, and scholars from Japan, the United States, Germany, Australia and other countries often visit and study here. With the deepening of archaeological and research work, more stone reliefs will be excavated. Art treasures buried in the ground for nearly 2111 years will emit more brilliant brilliance.