An Introduction to Mawangdui Han T ombs
Historic relics unearthed from Han Tombs at Mawangdui are relevant to many legendary and touching stories, therefore it’s not easy to introduce them thoroughly to our reverend visitors. But we can still enjoy the deli cate articles of ancient civilization to our eyes’ content as well as to our heart’s content. Next, we are to explore the historical and artistic wonders made by ancient Chinese people more than 2100 years ago.
This picture shows the outside scene of Han Tombs at Mawangdui. The Han Tombs are located at Wulipai in the eastern suburb of Changsha. They are about 4 kilometers from the downtown area. In the flat extending fields are two mounds of tombs. They are of similar size and are linked to form the shape of a saddle. It was recorded that this site was once the family graveyard for Ma Yin, King of the Chu State during the Five Dynasties Period, and therefore acquired the name Mawangdui meaning Mound of King Ma. But according to Tai Ping Huan Yu Ji’s recordi ng about Changsha, Mawangdui was the graveyard of Lady Cheng and Lady Tang, two concubines of Emperor Jingdi of the Han Dynasty. They were buried by Liu Fa, Prince of the Changsha State. Thus this graveyard was called “Shuang Nv Zhong” meaning the Tomb of Two Ladies. The authentic owner of this mysterious graveyard has been uncertain before Mawangdui Tombs were unearthed.
At the end of 1971, No.366 Hospital of Hunan Provincial Military Region was to construct underground wards and storerooms at Mawangdui. Before the construction, Hunan Provincial Museum excavated these tombs, revealing the myths buried in this thousand-year underground palace.
Here are Models of Tomb pits of the three Han Tombs at Mawangdui. They are numbered in the sequence of excavation. Tomb No.1 and Tomb No.2 lie aside from east to west. Tomb No.3 is located to the south of Tomb No.1. The opening of Tomb No.1 is of square shape, measuring 19.5 meters by 17.8 meters, with a dipper-shaped pit underneath. It is typical of western Han period. The pit measured from the sealing soil is 20.5 meters deep with 4 steps extending downward from the opening. A slope tomb channel leads directly from the ground to the pit bottom at the north of the tomb chamber. Over 1800 cultural relics of lacquer wares, textiles and paintings on silk as well as a well-preserved female corpse were unearthed. The opening and middle layer of Tomb No.2 are of round shape. Due to the fact that the tomb was not compactly sealed, it had been robbed several times and the outer coffin chamber had collapsed. Only around 200 cultural relics were left behind. Tomb No.3 is similar in shape with Tomb 1. It is well preserved with more than 1,000 cultural relics of inscriptions and paintings on silk, inscribed on bamboo slips, lacque r wares and textiles unearthed. The corpse in this tomb, however, was only a skeleton. It’s identified that the corpse belongs to a man who died in his early thirties. He was 1.85 meters tall.
Model of Filling Materials in T omb No.1
Tomb No.1 is well-preserved due to several reasons. At the bottom of the tomb is a 15cm-thick layer of white filling clay. Covering the whole outer coffin chamber is a layer of 40cm thick charcoal weighing more than 5 tons. On top of the charcoal is a 1.3cm thick layer of white filling clay. Then earth is rammed every 0.5 meter on its top. Charcoal serves as a moisture-proof substance. It takes in the small amount of water in the chamber. White filling clay is termed montmorillenite, a material for porcelains. It has high plasticity and low permeability. Thus with effective burying and sealing, the corpse, coffins and abundant burial objects are kept impact in the tomb.
Wooden T ablet with Burial Date
The inscription on the wooden tablet unearthed from Tomb No.3 reads, “On the f irst wu-chen day of yi-si, the second month of the twelfth year, the chamberlain in charge of funeral service, on holding a memorial with funeral articles, presents a list of the delivery for inspection.” Accordingly the date inscribed on the tablet is equ ivalent to the twenty-fourth of lunar February of the twelfth year in the reign of Emperor Wendi of Han, or 168 B.C. It is the exact burial date of the tomb-owner.
Part II: Walking into the Family of the Marquis of Dai
Li Cang’s Jade Seal
It’s archeologically established that Mawangdui was the family graveyard of the Marquis of Dai in the early Western Han Dynasty. Based on the unearthed jade seals inscribed with “Li Cang”, the bronze seals with Seal of the
Marquis of Dai” and “Prime Minister of Changsha State”, we conclude that the owner of Tomb No.2 is the first generation Marquis of Dai and the Prime Minister of Changsha State—Li Cang. He was born in the later years of the Warning States period and died in 186B.C. or the second year of the reign of Empress Gaohou. In his youth, he participated in the Peasants’ Revolution against the Qin Monarch and also in the warfare between Chu and Han. Due to his outstanding contribution to the western Han, he was appointed Prime Minister of Changsha State in the beginning years of the Western Han. He continued his efforts in consolidating the central government’s ruling and keeping unification of the country. It’s recorded in Shi Ji and Han Shu that he was conferred the rank Marquis of Dai in the fourt h lunar month of the second year of Emperor Hudi’s reign or in 193B.C. Dai is the name of his fief which is located between Luoshan county and Guangsha county in present-day Henan Province. He had 700 families under his jurisdiction in his fief. Compared with marquises with a fief of 10,000 families like Chen Ping and Zhang Liang, Marquis of Dai was not of the highest rank. However, owing to the peculiar location of his Changsha State, his family had sumptuous means and clothes, leading a life of extravagance. Even after their demise, they were buried with lavish funerals.
Seal with the legend “Qie Xin Zhui”
Xin Zhui buried in Tomb No.1 was Li Cang’s wife. Her name is known to us because of a seal unearthed from her tomb. Though she was a woman of prominent status, she saw the death of her husband in her youth and the death of her son in her later years, which must have greatly pained her. She died in the first year of Houyuan reign of Emperor Wendi or 163 B.C. at the age of 50 or so. Hunan Provincial Museum made a wax figure of Xin Zhui to show her graceful bearing with the help of Xi’an Superman Sculpture Research Institute, on the basis of her corpse and her painting on a piece of T-shaped silk
Boxwood Combs
Xin Zhui enjoyed high position and lived in comfort before her death. She cared much about her making up. In the two-tiered lacquer cosmetic box with nine smaller boxes and the single-tiered one with five smaller boxes were found rouge, oil paint, white powder and other cosmetics as well as utensils for making up, such as bronze mirror, mirror polisher, powder puff, combs, wooden tweezers, brush, horn knives with ring-ended handle, etc. The wooden tweezers were used for shaving brows and the brush for applying powder to the face. The hair of the brush on excavation was partly reddish, which might be left by rouge. The boxwood comb is worth observing. It is finely polished and the tooth gaps are fine and even. Within a length of 5 centimeters, the comb has 74 teeth. It is much delicate than the general co mbs used nowadays. It’s still amazing how it could be made so fine.
Map of Garrison
The owner of Tomb No.3 was Li Cang’s son, the Marquis of Dai of the second generation. According to the unearthed wooden tablet, he died in the twelfth year of Emperor Wen di’s reign, i.e., 168B.C. in his early thirties. From Tomb No.3 were found 38 weapons as well as a Map of Garrison. During the last years of the reign of Empress Gaohou, Zhao Tuo, King of the Nanyue Kingdom who set up a separatist region to the south of the Southern Ridges, launched an attack on the southern part of the Changsha State. In response, the Han Court and the Changsha State immediately sent troops on a punitive expedition. The war continued until the early years of the reign of Emperor Wendi. This map of garrison in his tomb revealed to us that the tomb owner was once a key military officer of Changsha State. He partic ipated and even was in command of the campaign. Contrary to a modern map, the south is shown at the top of this map and the south a t the bottom. The circles on the map identify the villages, called “Li” then, while the squares stand for the county sites. The barracks are indicated in irregular shapes. The headquarters represented by a triangle is located at the center of the garrison area where several rivers or brooks meet. Within the garrison area, 6 troops are allocated to the front, the left and the right of the headquarters along 2 lines guarding 3 valleys that lead from Nanyue Kingdom to Changsha State. It’s obvious that Changsha State took advantage of preferential geographic sites to defend itself. The distribution of troops shown on the map was proof for the rather high level of military thoughts and commanding art at the early period of Han.
Millet Cakes
A large quantity of food as well as eating and drinking utensils was unearthed from Tomb No1 and No.3. They are enough to prove that high ranking officials and aristocracy of the Western Han led a life of great extravagance. Besides, a total of 11 bags of ice, wheat, barley and other grains as well as various cakes were discovered from the tombs. The millet cakes found in the painted pottery box from Tomb No.1 were made by steaming the paste of ground or pounded millet powder. Ciba and ci-fantuan that are popular today in the south of China may have developed from the millet cakes.
Remaining Slices of Locus Root in the Lacquer T ripod with Cloud Design from T omb No.1 The primary non-staple foods in Hunan area at that time were fish, meat, vegetables, fruits and so on. Abundant samples of these foods were dug out from the Mawangdui Tombs. The vegetables have been carbonized completely. But we can still get the original forms of some. Much to our amazement, on opening the lacquer tripod with cloud design form Tomb No.1, we found soup made over two thousand and one hundred years ago with a contact layer of sliced lotus root floating on its surface. But it’s regretful to see the speedy disappearance of them due to chemical reactions in the air and unavoidable vibration. Experts in seismology said this phenomenon proved that no serious and destructive earthquake had ever taken place in Changsha area in the last 2100 years.
Bones of Wild Geese
Meat consumed by the family of the Marquis of Dai came from a variety of animals. From the buried meat in Tomb No.1 and Tomb No.3, we see they ate not only the meat of domestic fowls and animals but also the meat of wild ones. According to the inventory of burial objects, the buried animals included the commonly seen ones like pigs, goats, oxen, chicken, carps and crucian carps and rare animals such as sika deer, cranes, golden pheasants, turtledoves, wild geese, and mandarin fish. In a way, they range from the flying birds to swimming fish to reptile animals. The coverage of the food is really astonishing.
Drawing of Daoyin, the Physical Exercise Chart
This physical exercise chart found in Tomb No.3 is the most ancient one in the world on health care and physical exercise. “Dao Y in” means promoting flowing of qi and blood, and stretching the limbs. It is a treatment of therapeutic physical education combining movements of limbs and respiratory movement. On the chart, 44 Daoyin positions are illustrated. Judging from the remaining characters, they are of 3 categories: the movements of a body, the initiated movements of certain animal and the function of such a movement. If you are interested in this exercise, why not have a try with this ancient treatment?
“Guan Ren” Male Figurine
Over 300 wooden figurines, substitutes of the household servants in the afterlife, were unearthed from Tomb No.1 and No.3. This figurine has a strong built body and is wearing a tall hat and a silk gown. One of its shoe-soles is caved with “Guan Ren” in Chinese characters, meaning male servant. On excavation, there were sc ores of painted wooden figurines behind him in his command. Therefore, he should be the butler of the Marquis of Dai’s family. The maid figurines are crafted with excellent workmanship and extravagantly dressed in laced embroidery gowns. They should be the Maids of Honor attending the Marquise of Dai. Figurines with painted design are a share contrast to the above mentioned ones. They are of large quantity but the smallest in size. Their facial expressions are of unanimous sadness. They represent the servants of the lowest rank engaged in sundry duties in the household of the Marquis of Dai. We’ll see later on wooden figurines of singers, dancers and musicians. Their existence tells us the great variety of them.
Wooden Figurines of Musicians
Five figurines of musicians were discovered from the tombs. Two are in the posture of playing the Y u, a wind instrument and the others playing the Se, a string instrument, forming a family orchestra. Y ou can see they are in gowns and seriously preparing for their performance.
The figurines of singers have handsome faces. They are also in long robes and seating on the floor, seemingly producing melodious tunes. Figurines of dancers have round faces with rouge and powder. Their bodies are leaning
forward with knees slightly bending, seemingly dancing to the music and songs. The Marquise of Dai led a life of comfort and extravagance during her life time and continued to enjoy it after her death with so many figurines buried with her.
Yu: An Instrument
Eight kinds of instruments were found from Tomb No.1 and No.3 including Qin, Se, Zhu, Di, Y u, Xulv, Bian-Zhong (chimes) and Bian-Qing(stone chimes). They are of great value in Chinese history of music, offering precious materials for the study on Western Han’s music. There was once a story about an incompetent musician named Nanguo. He passed himself as one of the Y u players in an assembly. Thus came into being the Chinese idiom: “Lan Y u Chong Shu”, which means being there just to make up the number. The instrument “Y u” in this story is like what you see now. This Y u was unearthed from Tomb No.1. Well-preserved, it has the whole set of 22 tubes. But it is of no practical use, for it is just a model.
A Set of Liubo Chess
A set of game utensils was unearthed from Tomb No.3. It consists of a chessboard, 6 black chessmen and 6 white ones, 20 chess pieces, 42 counting chips and a dice. A special lacquer box is made to hold these utensils. The rules of this game are shown on the carved stones. Two players sitting opposite each other w ould choose black or white chessmen, and put them accordingly along twelve L-shaped and T-shaped tracks. They would alternately cast the dice, on two sides of which are carved “Jiao” meaning beneficial movement and on the opposite side, meaning disadvantageous movement. On the other sides of the dice are carved cardinals from 1 to 16. One moved his chessman according to the number he got and the one who obtained more chips would be the winner. Liubo chess was a fashionable game during the Han Dynasty at the Court or among civilians. But its popularity waned after the Jin Dynasty and after Tang it became the now popular Chinese chess.
The Beauty of Lacquer wares
Lacquer T ray with Cloud Design
The tray was designed for passing food. It’s in rectangle shape wi th 4 curved short feet under each corner. Ancient Chinese used the expression “Ju An Qi Men”—holding the tray level with the brows to show that husband and wife are treating each other with courtesy. On the exterior bottom are carved “Household of the Marquis of Dai”, proving the ownership of the tray. On excavation, the tray carried 5 small lacquer dishes containing remnant of beef and thin bamboo strips, two lacquer goblets and one flanged cup with a pair of bamboo chopsticks placed on top of it. The meal set on this tray reveals that the nobles of the Han Dynasty were served meals in individual sets.
Lacquer Flanged Cup with Inscription “Jun Xing Shi”
The flanged cup was used to hold food, wine, soup or porridge. It is named “Flanged Cup” due to the two handles for holding. During the Warring States Period, the two handles were seen as the two swings of a bird, so they called the vessel “Swung Cup”. The inscriptions in official script on the inside bottom “Jun Xing Shi” means “Help Y ourself to some food”.
Rectangular Lacquer Cosmetic Box with Raised Decoration
This kind of box was exclusively designed for precious things; therefore its shape and decorations are more exquisite and tasteful. The cover is in peculiar shape. The exterior is painted with blac k lacquer while the interior with red lacquer. The designs on this box are outlined with bulging white lines between which are filled with scrolled cloud in red, green and yellow. The rich colors in several layers present a three-dimensional effect. This method of painting is named “raised lacquer decoration” in documents. A black lacquer gauze hat was found in the box when unearthed.
Lacquer Cosmetic Box with Incised Design
Incised design or the incising technique is to incise, with an awl or a needle, patterns on the lacquer coating when it is not yet thoroughly dried. The incised lines on the box are finer than hair and they can only be seen in bright light. On the cover and the bottom are incised running rabbits, swimming fishes, flying birds and crouching squirrels surrounded by cloud and mist and several sets of cloud and phoenix patterns. On the exterior surface of the
box are incised cloud, an immortal on a dragon’s back, flying birds and a hunting scene. The hunting scene is a vivid presentation: a hunter is running after two deer, holding a long spear in his hand. One deer is just running for life, while the other has leapt into air.
Two-tiered Lacquer Cosmetic Box with Painted Design and Nine Small Boxes
It is an ancient cosmetic box with two tiers. The lacquer on the exterior surface is finely painted in dark brown, to which is applied a film of gold powder, mixed with little amount of silver powder. Finally, cloud and mist patterns are painted in yellow, white and red on the surface, which shines brightly with magnificent decorations. The upper layer of the box contains mitts, silk scarf, mirror bag and so on. The bottom of the lower layer is thicker, with nine concaves of various shapes carved in it. Smaller boxes of different shapes are inserted into the concaves. In these delicate boxes we found perfume, a powder puff, combs, a brush, rouge, powder, a wig and so on.
Lacquer T ripod with Cloud Design
The tripod called “Ding” in Chinese is a sacrificial utensil for holding food. It had been adopt ed as symbols of a state’s power and a person’s authority from the Xia Dynasty to the Han Dynasty. There was a set of rigid rules for the using of Ding: the emperor used 9 Ding, dukes or princes used 7 while general officials used only 5. From Mawangdui Tomb No.1 were discovered 7 Ding, which embodies the social status of the tomb owner. Well-preserved, each Ding was shaped by rotating a single piece of wood against a knife. They have grave shapes with black lacquer painted on the exterior surface. On the brim of the mouth of each Ding you can find a band of lozenge pattern. Red and gray green whorl and connected squares form geometric cloud on the surface of the cover and the body. On the feet are painted red beast mask and the handles are decorated with cloud. The interior surface is in red lacquer and has “Er Dou” inscribed on it indicating its capacity.
Lacquer Ji-table with a Dragon Design
In ancient times, people used to sit on the floor and used the Ji-table to support their hand for comfort or to support things they need for convenience. This Ji-table has a flat surface in black lacquer on which is patched a dragon souring among the cloud and mist. The Ji has a pair of fixed short legs and a pair of long moveable legs that can be folded up to the underside of the table. To raise the table higher, unfold the long legs and fasten the thatches; to lean on the table, the person just need fold up the long legs and put the short ones on the ground. The design of this Ji-table is really unique and practical.
The Brilliance of the Silk Country
“Xin Qi Embroidery” on Damask with Lozenge Design
The amount of Xin Qi embroidery is the largest among the unearthed pieces. Twenty of its kinds were unearthed from just Tomb No.1. Damask with lozenge design is a light textile woven with interwove warps of different thickness. The patterns are clear and elegantly simple. The embroidery on such light damask shows superior workmanship. This kind of embroidery has reasons to be named “Xin Qi Embroidery”. “Xin Qi” in Chines e means “at fixed time”. The motif of the embroidery is the swallow, which is a kind of migratory bird that come in spring and leaves in fall. Y ou see here on the textile are embroidered stylized swallows with long tails flying among clouds. They have bright red head and beak and brown or deep green swings.
Brocade with Piled Circles in Geometric Pattern
Brocade is a kind of textile with a raised pattern achieved by weaving several warps of different colors. The brocade with piled circles is of the most complex technique among the pieces of textiles from Tomb NO.1. It is obtained by weaving warps of different colors and wefts of single color. The circles on its surface pile in geometric pattern. They vary in size and length and therefore form layers of texture. This kind of brocade looks bright and well-developed, providing a three-dimensional effect. If we cut the circles open and let the threads of the circles spread, we get velvet with raised pattern of later periods. The unearthed textiles at Mawangdui Han Tombs pushed China’s history in making velvet back about three hundred years.
Gauze Gown with Printed and Color Painted Design
This finding is the first ancient silk textile with printed design. It has a surface layer of printed and color painted
gauze, a lining of gauze in a plain color and is padded with silk wadding in between the two layers. The design is stylized climbing plant. The stem and tendrils are finely printed and harmoniously distributed. The connecting area of the stem and tendrils has traces of the printing technique with wooden blocks carved in openwork. The flower buds, petals and leaves are in different patterns and various thicknesses of colors which can not be achieved by printing. Therefore, it is concluded that the color of various thickness were painted by hand after the stem and tendrils were printed. It took great pain to print and paint such a wide gown. The combination of printing and color painting was a breakthrough in technique as well as a masterpiece of ancient Chinese people in printing and painting.
Gauze Gown in Plain Color
Gauze in plain color needs neither printing nor painting. The gauze gown consisting of a jacket and a skirt has no lining.
The two parts weigh respectively 48 grams and 49 grams. The gown has been described “as thin as a cicada’s wing and as light as mist”. Compared with the most light fiber we have nowadays—georgette whose fiber number is 14, the fiber number of this gauze is just between 10.5 and 11.3, which means it is much finer and lighter. In the Han Dynasty, gauze gown of plain color was put on the bright colorful gown to make the magnificent patterns under the thin gauze partly hidden and partly visible.
T reasures on Silk and Inscribed Slips
The ancient nobles hoped to continue their extravagant life after death, for they believed they had an after life. Therefore, innumerous burial projects were buried with their bodies on their death. Before the tombs were sealed inventories of the objects and furnishings were made and put in the tombs. On the day of funeral, the person in charge would read the inventory, telling the dead the listed things were to arrive.
Prescriptions for Fifty-two Diseases on Silk
It is the earliest and most complete manuscript on medical prescriptions, involving 103 diseases in various fields of modern medicine such as internal medicine, surgery, pediatrics, gynecology and obstetrics, etc. It also includes 283 prescriptions and 254 kinds of medicine. In one prescription, a complete surgery on internal piles was recorded.
A dog’s urinary bladder was inserted into the patient’s rectum through anus. Then the bladder was inflated to force the piles out, which was then cut. Then pain-killing and antiphlogistic Chinese medicine---the powder of the root of large flowered skullcap was applied to the cut. But at times the rectum could not draw back to its position. First, lubricating medicine paste was applied to the rectum. Then the patient was hung upside down and cold water was splashed to his belly to make it contract. As a result, the rectum drew back automatically.
Divination by Astrological and Meteorological Phenomena or Tian Wen Qi Xiang Za Zhan on Silk About 250 drawings of clouds, mirages, rainbows, stars and comets are contained in this book, which tended to divine catastrophes or results in wars through the interpretation of astrological and metrological phenomena. The most wonderful part of the book is the 29 drawings of comets. Except the last one, each comet was drawn with a head and a tail. The head of the comets was represented with a tiny circle or a dot and inside some heads were found tinier circle or dot, showing the comet core had been found in the head by that time. The tails of the comets were in different lengths and widths. The book is the most ancient work on forms of comets, revealing ancient Chinese people’s outstanding achievement in observing and studying astrological phenomena.
Divination by Five Stars on Silk
It should be the earliest writing on astrology in the world. With 8,000 Chinese characters, it made recordings in sections. The first section recorded the movements of five planets: V enus, Jupiter, Mercury, Mars and Saturn, and divined luck through the forms or positions of the constellation.
The second section included diagrams about the positions of Jupiter, Saturn and V enues in a period of 70 years from 246 B.C., the first year of the reign of the First Emperor of Qin to 177 B.C., the third year of the reign of the Han Emperor Wendi. It also recorded the period of revolution of the planets through calculation. The recorded results are quite close to those of today. For example, it estimated that it would take the V enus 584.4 days to complete a periodic motion so as to be in line with the Earth and the Sun. That is only 0.4 day in excess of the present day
evaluation of 583.92 days. To our admiration, ancient people got such concrete and exact data without the help of precision instruments we nowadays adopt.
Topographic Map on Silk
Topographic Map of Southern Changsha State is the earliest map adopting scale in the world. It is on a scale of 1:180,000 with standard legend, but has the south at the top and the north at the bottom. The area covers the southern area of the Changsha State, approximately encompassing the present day Jiuyi Maintain and South Ranges. On the left of the map, scale-like whirl pools were painted to indicate Jiuyi Maintain and 9 columns to indicate its nine peaks. Altogether over 30 rivers including the Xiangjiang River, Zhujiang River and so on were clearly shown on the map. The wide dark lines represent the upper reaches of the Xiangjiang River, called Xiaoshui River. Along the waterways are more than 80 counties and villages indicated by squares and circles, which are connected by dark lines representing roads. The map drawn on the basis of range estimation and rough measuring can not be as precise as those drawn today with the help of aerial photography and advanced measuring tools. But some of its indications can still lead us to several counties. We have to admit the technology in drawing maps during the Han Dynasty had advanced to a rather high level.
Drawing of Guard of Honor
This drawing was found on the western wall of the coffin chamber in Tomb No.3. It can be divided in to 4 parts: at top left are two lines of people headed by one in the first line with a high hat and a sword. This man should be the tomb owner, a then military officer of the Changsha State; at bottom left is a phalanx of over a hundred guards, some of which are beating drums and striking bells; at top right there are chariots drawn up in a battle formation. Among them, about 40 chariots drawn by four horses are easily distinguished. At bottom right, there are columns of horsemen forming a grand troop of chariots and horsemen. The drawing presents to us a vivid scene before a war, telling us the troops of the Changsha State are ready to march to the front. Characterized by a strong sense of realism, it is regarded as the earliest-known painting in realistic style.
T-shaped Painting on Silk from T omb No.1
This painting is named after its shape by us, but it was called “Non-Garment” in the inventory of burial objects. On excavation, it was found covering the coffin with the painted side downward. Across its top side is a bamboo pole and to the lower side are attached tapes in silk or hemp cloth. It is believed to be a banner carried in the funeral procession to send the death’s soul to the Heaven.
The painting has a full length of 205cm and contains three sections from top to bottom, depicting scenes of the heavenly world, the human world and the underworld. At the upper middle of the painting is an immortal in serpent’s shape but with a long-haired human head. According to Shan Hai Jing, it is the immense candlelight dragon, which is in charge of the changes of weather and the shifting of night and day. On the right are painted 9 reddish suns looming among blue Fusang trees. Fusnag trees are legendary mulberry trees located at the extreme eastern limits of the world, from which the sum is supposed to rise. In this painting, it is from these Fusang trees that the ten suns take turns to be on duty. The absent sun may be the one on its shift. In the largest sun is painted a black bird, called Jinwu in ancient times. It reflects actually the observation of sunspots by ancient people. On the left is a crescent moon, under which a beauty in elegant robes is dancing. Some say she’s Goddess of the Moon, and is raising the moon with her hand; others believe she is Chang’er who is fleeing to the Moon Palace after st ealing the pills of immortality. With the lines of the moon, there is a little white rabbit and a round toad with a magic fungus in its mouth. These two animals form a sharp contrast in shape. Two heavenly guardians are making a slight bow to the Marquise of Dai with their hands folded in front at the gate to the heavenly world. In the human world, canopies serve as roofs of houses with rose finches decorated on the tops. Beneath the canopies, the Marquise of Dai extravagantly attired is moving forward with the help of her stick. Three maids of honor are attending her. In front of her, there stand 3 alchemists presenting to her pills of immortality. On both sides of the human images are double dragons symbolizing honorability and fortune. At the lower part of the painting, the scene is probably on the vigil kept by her family, whose facial expressions are of sadness and gloom. In the underworld, God of the Earth—Gun, holds up the earth and tramples on
two turtles to keep them from stirring up trouble. Moreover, there are ferocious dogs and staring owls to protect the Marquise of Dai’s soul from being disturbed by ghosts and demons.
This banner is a masterpiece combining legend, imagination and reality. It embodies ancient people’s imagination about the heavenly world and their quest for immortality. Therefore, it is of great artistic value and is a precious gem of art for Chinese people.
Part Three
Innermost Coffin Decorated with Brocade
The innermost coffin decorated with brocade was found in Tomb No.1. I t was used to hold the Marquise of Dai in the shroud. Its inside is coated with vermilion lacquer while the outside with black lacquer. The lid and inside walls of the coffin are decorated with silk fabric with poled embroidery and thin silk as well as colorful feathers. Thus the coffin looks quite magnificent and reveals the workmanship of that time through the matching feathers and delicately made fabric. The aesthetic level in the early years of the Han Dynasty and the creativity of the workmen are also embodied by the coffin. It is by all means an invaluable artistic gem.
Coffin with Painted Design on V ermilion Lacquer Coating
It was the coffin of the second layer in Tomb No.4. It is measured 2.3m long, 0.92m wide and 0.89m high. The vermilion lacquer was applied to it inside and outside. On the board at the head of the coffin are patterns of stylized high mountains. On each side of the mountains you can see a robust white deer. On the board at the end of the coffin is painted a pair of dragons crossing a jade disc. The dragons have large scales, phoenix’s feathers, staring eyes and sharp fangs. To the right board of the coffin are applied complex geometric cloud patterns while on the left board are curving brown dragons on both ends and a tiger, a deer, a pheasant and a god with long arms and feathers between the dragons. Look at the lid of the coffin. Grounded on flying clouds are two dragons fighting two tigers. The magnificent coffin bears testimony not only to the romanticism of painters of 2,000 years ago but also to the extravagance of Han’s nobles.
Coffin with Painted Design on Black Lacquer Coating
It is the coffin of the third layer, measuring 2.56m long, 1.18m wide and 1.14m high. The inside of the coffin is coated with vermilion lacquer while on the outside are painted changeful cloud scrolls and 116 weird images of animals, gods and monsters. Some of the images are singing and dancing; some are sporting. These images are presented vividly in various forms. They are distributed among the flowing clouds in a romantic and ingenious manner. The most often seen image is a kind of monster which is lamb-like and tiger-like and has horns on the head and tails at the buttocks. It is often seen either catching hold of serpents in its claws or holding serpents in its mouth. Therefore, it must be a protector of the coffin and the corpse.
The Female Corpse
The female corpse with a history of 2100 years was found in Tomb No. 1 of Mawangdui Han Tombs. She was wife of the premier of the Changsha State, the Marquise of Dai of the first generation. Xin Zhui was her name. When unearthed, the corpse measured 1.54m, weighed 34.3kg. Her blood is of A type. The body was found relatively intact with the head, neck, limbs and body. The complete skin also retained a certain degree of moisture and turned out to be yellowish brown. When touching it, one can feel it is greasy. The eyelashes, hair on the head and the hair in the nostrils still remained. The joints were moveable to a certain extent. There was abundant fat under the skin, where the soft tissue was still tender and elastic. Press the skin and leave it alone, it can quickly recover to its former condition. Moreover, after being injected preservative, the tissue bulge and them rapidly spread and took in the liquid. Checked with x-ray, the bones of the corpse were intact and in symmetry. The bones at the nose and the metatarsal bones were still recognizable and they were of the same as those of modern people. The eyeballs fell out a little, the mouth was open, the tongue slightly bulged out and the rectum was out of place. There are all signs of early stage decay. But due to the good sealing condition of Tomb No.1, the decaying was put to an end after the corpse was buried.
That the female corpse was preserved so long and so well is a marvel in the history of antiseptic, since it is obviously different from the dry “mummy” and the naturally dried and preserved wax-like dead body. Nor is it
similar to the corpse with soft bones due to the loss of calcium. The corpse w ith elastic soft tissue and intact visceral organs was named “Corpse of Mawangdui” and this name has been accepted internationally.
Samples of Visceral Organs
An analysis of the anatomy shows that Xin Zhui had suffered from various diseases including a coronary heart attack, cholelithiasis, general arteriosclerosis, protrusion of the lumbar intervertebral disci. Ova of Schistosome, trichuriasis and enterobiasis were found in her rectum and liver. The bone of the right forearm had traces of fracture. In her lungs there was found a small piece of calcification from TB. The 138 muskmelon seeds found in her stomach and intestines told us Xin Zhui died suddenly in a season abundant in melons, which should be in the late spring and the early stage of summer. The fat under her skin showed she could not have had a consuming chronic disease nor had she stayed in bed for a long time. She had no tumor or no cerebral hemorrhage. There was no trace of violence on her. Therefore, her sudden death was most probably caused by a coronary heart attack, which was in turn triggered by an acute episode of cholelithiasis. She died at the age of around 50.
Wooden Outer Coffin from T omb No.1
The coffin containing the corpse and the burial object are put in the outer coffin. This outer coffin from Tomb No.1 of Mawangdui Han Tombs is quite complicated in structure. It is composed of sleepers, the coffin and a cover. The coffin is on three massive wood sleepers and consists of four partitions along the four sides and a central coffin chamber. The outer coffin therefore can hold layers of wooden coffins. The divisions in the outer coffin forms the shape of the Chinese character “井”(jing), which means “a well”, so it is recorded as a “well”-shaped outer coffin in historic texts. It is made of blocks from Chinese firs. Altogether 70 planks are used for the construction. The largest plank measures 4.88m long, 1.52m wide and 0.26m thick, and weighs 1.5 tons. Such immense blocks were all shaped with simple tools like axes and adzes, and joined together by mortises and tenons without using any metal rivet. Such a tight and magnificent coffin made with simple tools is the best sample of the high-level workmanship of the Han Dynasty. It is worth admiring by modern people.
土火之艺——馆藏历代陶瓷展览 Exhibition of Pottery and Porcelain through Dynasties 2009/11/17 前言 水、土、火的碰撞，产生了绚丽多彩的陶瓷文化。陶器是全人类共同拥有的财富。而瓷器是中华民族对世界文明的重要贡献，中国因此而拥有了“瓷之国度”的美称。 早在新石器时代，我们的祖先就已经学会制造和使用陶器。商周时期出现了原始瓷。成熟的青釉瓷器烧成于一千八百多年前的东汉时期。经过三国两晋南北朝的初步发展，到了唐宋时期，我国的制瓷业进入第一个发展高峰。明清时期，我国陶瓷业发展到了巅峰阶段。 至少在唐代，我国已开始大量出口陶瓷器。此后历经宋、元、明、清各朝，日益发展，长久不衰。从东海和南海通向东亚、东南亚、中西亚、非洲、欧洲以及美洲的各条航线，无不见证了这一辉煌。因此这条海外贸易通道也被称为“陶瓷之路”。 广东最早的陶器出现在新石器时代早期。晋代开始出现青釉瓷器。唐、宋、元时期广东的制瓷业飞速发展，并大量输出国外。明、清时期，石湾陶器、广彩瓷器成为斐声中外的著名品种。 一部中国陶瓷史，反映的不仅仅是整个中国文化史的面貌，而且也书写了经济贸易史、工艺美术史、航海史、对外贸易史等方面的华彩篇章。 Introduction Collision of water, clay and fire gave rise to colorful pottery and porcelain culture. Pottery is a treasure of humankind. However, porcelain is an important contribution of the Chinese nation to the world civilization. China won its name as "Country of Porcelain". As early as the Neolithic Age, Chinese people had already got to know how to make and use pottery. Proto-porcelain had been made in the Shang Dynasty. Mature green glazed porcelain was made in the Eastern Han Dynasty and had well developed in the Three Kingdoms, the Eastern and Western Jin Dynasties, and the Southern and Northern Song Dynasties. In the Tang and Song Dynasties, Chinese ceramic industry reached its first peak of development. In the Ming and Qing Dynasties, Chinese ceramic industry developed to a summit stage. Porcelain had begun to export in the Tang Dynasty. In the Song, Yuan, Ming and Qing Dynasties, large quantities of pottery and porcelain exported from the East Sea and
马王堆导游词 各位朋友： 大伙儿好！欢迎参观长沙马王堆汉墓出土文物陈列馆，下面从三个部分给大伙儿进行说解。 前言（略）、照片、模型 马王堆汉墓位于长沙市东部地区原马王堆乡，距市中心约4千米。这个地方地势平整，地面有土冢两个，它们大小相仿，平地兀起，中间相连，形状颇似马鞍。相传这个地方是五代时楚王马殷的墓地，故名“马王堆”。但依照北宋《太平寰宇记——长沙县》的记载，这个地方是西汉初年长沙王刘发葬其母程、唐二姬的墓地，号曰“双女冢”。究竟马王堆这座奇特古墓的墓圭人是谁呢？在未发掘之前，实为千古之谜。 1971年底，湖南省军区366医院决定在此修筑地下病房和仓库。为了配合基建，我们对此进行了考古发堀，这才揭开了这座千年地官的奥秘面纱。 （模型）马王堆汉墓墓坑模型 马王堆共有三座墓，按发觉秩序的先后，分别编为一号、二号、三号。其中一号、二号墓东西方向平行并列，三号墓在一号墓南侧。一号墓墓曰呈方形，下面为斗形墓坑，是典型的西汉墓葬形式。墓口南北长19￣5米，东西宽178米，从封土算有20￣5米深。自墓口向下有4级台阶，墓室北面有一条由地面几乎直达墓底的歪坡墓道。墓中共出土漆本器、纺织品、帛画等各类文物1800余件及一具倮存十分完整的女尸。二号墓墓口和中部为圆形，下面3米处为方形，由于曾经多次被盗，且白膏泥密封较差，故整个墓葬已严峻坍塌，仅残余200余件文物。三号墓与一号墓形制相同，因该墓保存得较好，出土了帛书、帛画、简牍、漆木器、纺织品等1000多件文物。遗憾的是，该墓尸体差不多腐烂，仅残存一具骨架。经鉴定，墓主人是一具身高约185米，年龄30岁左右的男性。 一号墓填塞物模型 一号墓之因此保存得这样完整，要紧原因在于：首先在墓室底部铺垫15厘米厚的白膏泥，棺椁上部及四周填塞厚度约为斗0厘米、重5000多千克的木炭，再在木炭别处填放1．3米厚的白膏泥，白膏泥之上的填土又每隔半米厚时用夯锤夯实一次。墓中放置木炭要紧起防潮、干燥作用，墓中少量水分能够被它吸附。白膏泥的学名叫微晶高岭土，是创造瓷器的原料，它有较强的防渗漏和密闭特性。正由于当时采取了如此的筑墓方式，即深埋密封，该墓的尸体、葬具及大量随葬器物才干够完整地保存下来。 纪年木牍 三号墓出土的这支纪年木牍上有如此一段文字“十二年二月乙巳朔戊辰，家丞奋移主藏郎中，移藏物一编，书到先质，具奏主藏君。”把这段文字翻译成现代汉语算是：“卜二年二月乙巳朔戊辰，总管奋将随葬品及其一份清单递呈主藏郎中。主藏郎中收到清单后，先后对比实物——唱读和验收，最后将结果启奏主葬君。”在这支给墓主人去阴曹地府开具的“通行证”上，有“十二年二月乙巳朔”的记录。经考证指的是汉文帝十二年二月二十四日，即公元前168年2月24日，这算是三号墓墓主人下葬的准确日期。 第一部分走进轶侯家 “利苍”玉印 经过考古发掘，我们发觉马王堆是西汉初期驮侯家族的墓地。从二号墓出土的“利苍”玉印、“软侯之印”（铜印〉和“长沙丞相”（铜印）来看，二号墓墓主人应该是第一代皲侯、长沙国丞相利苍。他生于战圄末年，死于西汉高后二年（公元前186年）。早年利苍曾尾随汉高祖刘邦参加过秦末农民起义、楚汉之争，为西汉王朝的建立立下了汗马功劳。汉初他升任长沙圄丞相，极力巩固中央政权，维护祖圄统一大业，据《史记》和《汉书》记载，于惠
参观博物馆有感5篇 参观博物馆有感1 参观湖南省博物馆是暑假活动计划好的.所以,那天一早我和妈妈还有外婆便迫不及待地前往.原以为博物馆不会有太多的人,可从容参观.谁曾想,参观者络绎不绝,长长的队伍排出去好远,来观看博物馆>___楚文化展的人可真多啊! 首先我们直接来到了三楼,看到楚文化的展品可多了,那里有称为天下第一剑的“越王勾践自作用剑”,刻制优美的“彩绘凤鸟纹木雕漆座屏”,以及“曾侯乙铜冰鉴”,还有贵重的双耳金杯,可爱的彩绘猪形漆盒. 给我印象最深的是称为天下第一剑的“越王勾践自作用剑”,它虽然经过了千年,但还是没生一点锈,看上去还非常锋利,讲解员阿姨告诉我们这把剑是由青铜制成的,并且剑上还镶了宝石呢. 还有一件让我觉得挺有意思的文物是“曾侯乙铜冰鉴”,它的用处可大了,它夏天放冰块作冰箱用,冬天是放木炭作烤箱用的,真是神奇,我觉得古人真了不起.. 通过这次参观,让我觉得我们人类是非常聪明的,你看我们现在的科技这么发达了,不都是我们自己人类创造出来的吗?在这么好的环境下我们就应该努力学习,把我们的将来创造得更加美好. 参观博物馆有感2 我们怀着激动的心情参观了齐齐哈尔市历史博物馆.博物馆的讲解员认真,仔细的讲解了从原始社会到解放中国的这段历史.让我们对这
段历史又有了重新的了解,有了重新的认识. 博物馆里虽然有些文物是仿造的,但却非常逼真,甚至有些文物给人身临其境的感觉,让人体会一下当时的年代和人文景观. 同学们在听讲解员的讲解同时,也提出了一些他们不懂和不知道的问题,讲解员认真并且热心的为同学们解答了问题. 历史有时候是神秘的,神秘的让人无法相信.当我们看到一些小石头时,原始人类就用它来切割东西,这有时让我们质疑,但它确实是真的,也真正存在过的,那是我们的人类就很聪明.他们有时候想的办法连现在的我们也会想不出来.历史也是透明的,什麽事一看历史就知道.例如日本侵华战争,我们一看罪证便知是真事,日本那些右冀势力是否定不了的,因为历史在证明,历史不会欺骗我们. 这次活动很有意义,让我知道了一些以前不知道的事,也让我们的心灵受到了震撼,受到了洗礼.希望多有机会去参加博物馆,更多了解人类,了解革命烈士,了解历史. 参观博物馆有感3 基地分会组织我们参观了首都博物馆.首博新馆于2006年5月18日国际博物馆日正式投入使用.它集北京珍贵文化遗产和当代建筑成就于一体,是一座国际先进、国内一流的大型综合性博物馆.北京国宝荟萃,首博收藏了一大批极具文化和艺术欣赏价值的历史文物.在这里,我们不仅看到了历代宫廷古瓷,还欣赏了名家翰墨;从温润玉器中体会古人对平安生活的向往,从古朴的青铜器遥想燕赵悲歌.3000多平方米的展厅,陈列了《古都北京历史文化与城建》、《古都北京艺术精
应县木塔之名的历史演变 蔡升元 应县佛宫寺释迦塔（简称应县木塔）是当今世界上第一奇塔。而这座奇塔之名的历史演变更让我们对木塔十分敬重，对它的历史文化也有了深刻的意识。 （一） 应县木塔北魏时称“应州崇虚寺木塔”。 北魏太平真君三年（442）至太和十五年（491），这不到五十年的时间里，平城（今山西大同）人口急剧上升，居舍建到了静轮宫的四周，人神混杂，无法清净神道，于是孝文帝就于太和十五年（491）将静轮宫移到了“桑干之阴”的应州，改名“崇虚寺”。《魏书》有证：“八月戊戌，移道坛于桑干之阴，改曰崇虚寺。”（《魏书·高祖纪》168页）《资治通鉴二》第137卷767页也有同样的记载。 （二） 应县木塔唐代称“应州宝宫寺木塔”。 唐玄宗天宝元年（742）十分崇道，为了提高其地位，便把皇家敕建的道观升格为“宫”。这样一来，“崇虚寺”这个北魏孝文帝敕建的道观就更名为“宝宫寺”了。也有人讲，因崇虚寺内藏珍宝而改名。《山西通志》记载：“兴光元年秋，敕有司马为太祖以下五帝铸释迦像，各长一丈六尺，用赤金二万五千斤。”（《山西通志》第57卷4129页） 宋雍熙三年（986），著名画师冯清云游应州，写下了《登应州宝
宫寺木塔》之诗篇，这就告诉我们“崇虚寺”已改成了“宝宫寺”。 （三） 应县木塔五代时称“应州兴王寺木塔”。 明《应州志》载：“天王词，在古旧城帅府东北隅。唐魏公李靖创建。相传晋王李克用母，尝祷于祠，见壁裂，金甲神人跃出。后生克用。”（《应州志·营建志》第2卷49页）《大明一统志》云：“天王祠，在应州城内，旧为天王村，晋王李克用母祷此祠，有金甲神人跃出，果生克用。”天王祠即李靖的家庙，也有人叫“天王寺”，为纪念李克用出世，后改名为“兴王寺”。 “考异《地理志》云，兴王寺有白衣观音像，军还，入幽州，幸大悲阁，指此像曰‘我梦神人令送石郎为中国帝，即此。’因移木叶山，建庙告赛，尊为家神。纪未载。”（《辽史纪事本末》第10卷249页）据《辽史》记载：太宗天显十一年（936）冬十月甲子，封敬瑭为晋王，幸其府。十一月丁酉，册敬瑭为大晋皇帝。十二月庚寅，发太原。戊戌，次雁门，以沙太保所部兵分隶诸将。庚戌，幸应州。由上可见，大悲阁隶属兴王寺。而历史上人们曾把“应州”讹称“幽州”，宋辽大战中的幽州，也是根据民间传说演变而来的。实际上辽太宗“军还”时所幸的正是应州，并非“幽州”。 “《元一统志》云，大悲阁在旧城之中，建自有唐，自辽开泰中重修，圣宗遇雨，飞驾来临，改寺圣恩，而阁隶也，金皇统九年重葺，元至元壬午春复修，中奉大夫领道教事安藏撰记，二十四年四月立
妙文翻译公司翻译样稿 现在您即将进入“历史区”。在这里，您将详细了解到开发区的发展历程。右手边是“发展速度板”，那些不断变换的数字会告诉您开发区在短短的20几年间发生了怎样翻天覆地的变化，内容包括：GDP（亿元）、工业总产值（亿元）、出口创汇（亿美元）、外商投资项目数（个）、外商投资实际使用外资（亿美元）、财政总收入（万元）、基础设施及公共服务设施投资（万元）、土地出让（公顷）、年末总人口，从发展速度板上我们可以看到，发展速度最快的是出口创汇、工业总产值和GDP，而增长最慢的是人口，其中GDP在1984年建区之初只有0.36亿元，到2006年的时候达到了562.5亿元。 Now you are entering the “History Section”. Here you will understand every detail of the development of the zone. On the right side is the “Development Pace Board”. Those ch anging figures will tell you about the huge changes that have taken place in the development zone in a short span of two decades, concerning: GDP (hundred million Yuan), gross industrial output value (hundred million Yuan), foreign exchange earnings by export (hundred million US dollars), number of foreign-invested projects, actual amount of foreign investment utilized (hundred million US dollars), total financial revenue (ten thousand Yuan), investment in infrastructure and public facilities (ten thousand Yuan), area of land transferred (hectares) and total population at the year end. According to the figures shown on the Development Pace Board, we can see that the foreign exchange earnings by export, gross industrial output value and GDP have witnessed the fastest growth, while the population the slowest. Among them, GDP grew to 56.25 billion Yuan in 2006 from only 36 million Yuan in 1984 when the development zone was just set up. 我们的左手边是“大事链墙”，记述的是开发区从建区后每一年发生过的一些重大事件。 On our left side is the “Wall of Chronicle of Major Events”, which lists some of the annual major events in the development zone ever since its establishment. 我们迎面看到的“拓荒牛”雕塑由96只组成，“拓荒牛”是大连开发区早期建设者的象征和真实写照。1994年10月大连市委、市政府为表彰在开发区建设中做出突出贡献的各界先进人物，决定授予他们“大连开发区十年建设“老开发”荣誉称号“并向他们颁发铜牛雕塑。拓荒牛是开发区 的“纪念碑”，是开发区凝固的历史。透过历史，我们可以看到未来的发展。您现在所在的这个 展区内墙上的壁纸和地上的投影，是大连开发区的第一份报纸，于1990年8月27日正式出版发行。在您身后投影正在播放的是开发区同一地点不同年份拍摄的新旧对比照片，这些照片无声的诉说着沧海桑田的巨变。在这里您可以看到开发区的原始地貌和现在成熟期的开发区、建成前和建成后的银帆宾馆、铜牛岭的新旧貌等十余副对比照片。在您转身左手边的五台电脑触摸屏是我们的“电子档案台”。 The “Pioneer Cattle” sculpture head-on consists of 96 cattle. “Pioneer Cattle” is the symbol and true portrayal of early workers in Dalian Development Zone. In October 1994, to commend the leading figures that had made outstanding contributions to the construction of the development zone, Dalian City Committee and Government decided to award them the honorary titles of “Senior Pioneers in the Decade-long Development of Dalian Development Zone” and also the copper c attle sculptures. The pioneer cattle is the monument of the development zone and a concretionary historic symbol. Based on the history, we can look into the future development. The wallpaper and projection on the ground in the
Introduction of Shaanxi History Museum Hello, ladies and gentlemen, welcome to Shaanxi History Museum. First, I want to give you a brief introduction of this museum. Shaanxi History Museum is a sizable national museum with a wide range of artifacts, about 375,000 historical and cultural relics, which were all excavated in Shaanxi Province. It covers an area of 70,000 square meters, with a floor space of over 50,000 square meters. Shaanxi Province had been the cradle of the ancient Chinese civilization. And people often say that the ancient history of Shaanxi is a microcosm of Chinese history. The museum shows a great deal of elegance and originality in style. It was designed by Zhang Jinqiu, a very famous female architect in China, and assumes the architectural features of ancient Chinese palaces and courtyards of Tang Dynasty. PREFACE HALL Now we are in the hall. The giant stone walking lion was originally erected in front of Shunling Mausoleum, the tomb of Empress Wu Zetian’s mother of the Tang Dynasty. With its exquisite craftsmanship and imposing appearance, the lion is believed to rank the first in Asia. Since lion and their carving skills were introduced to China from Afghanistan through the Silk Road in ancient times, so this lion also represents the cultural exchange between China and other countries. THE MAP OF SHAANXI PROVINCE Lying in the middle reaches of the Yellow River, and in the eastern part of the northwest region of China, Shaanxi Province serves as the gateway to the northwest of the country, and offers a link of communication between the Southwest, Northwest and East China. Shaanxi Province covers the area of about 205,800 square kilometer, and has the total population of 37 million. Topographically, Shaanxi Province can be divided into three natural regions. The top part is the Loess Plateau in the northern part of Shaanxi Province. The middle part is Guanzhong Plain, and here is Xi’an city where 13 dynasties set their capitals during 1,100 years in Chinese history. The southern part of the Shaanxi Province is mainly about some mountainous regions. This is Qingling mountainous region, which is not only the natural boundary in separating the northern and the southern part of China but also the watershed of the two greatest water systems in China—the Yellow River system and the Yangtze River system. THE PREHISTORIC AGE
观湖南省博物馆有感 坐了大概半小时的车才到省博物馆。那天一直在下小雨，路上行人稀少，但隔老远就看到有一堆人聚集在一起。由于是第一次来，我并不知道省博物馆具体的位置。我走进那一堆人，随便问一个大学生模样的女生：“请问，省博物馆怎么走？”她打量了我几秒钟，说：“就在前面。我们都排了半小时的队了，你看，我们都在排队呢。”我顺着她的目光往前望，长长的队伍一直延伸到一处小路口，拐弯处也有人，我又往后望，看到又有举着雨伞的人陆陆续续在后面排队，我顿时紧张起来，天啊，这么多人啊！ 那女生很好心的提醒我：“快排队吧，等下人越来越多了。”谢过她后，我就站到最后面排队了。 远远望去，红的伞、黄的伞、黑的伞，各色的伞在淅淅沥沥的小雨中静默的开放着，似乎在讲述着这座历经劫难的古城沧桑苦难的过往。 作为城市，长沙始于春秋战国时期，距今约2400年。长沙从诞生到现在一直未改变城址，是中国历史上保持城址不变最长时间的城市之一。1938年10月21日，日军占领广州，国民党当局下令武汉军民紧急疏散，27日，辗转到湖南长沙。但由于日寇进逼，一片混乱。蒋介石和国民党政府的要员们无心抗战，在长沙召开高级军事会议，作点官样文章，几天之后就匆匆转移到南岳衡山去了。11月12日上午9时，蒋介石密令张治中：“长沙如失陷，务将全城焚毁。望事前妥密准备，勿误！”张治中当即召集会议，负责筹备。周恩来、叶剑英对此事全然不知。叶剑英又照例检查了人员、车子等情况才上床睡下。谁知就在这时，长沙火起，八路军办事处也被火烧着。在危难中叶剑英首先想到的是周恩来的安全，急忙带着办事处人员从火海中脱险。叶剑英后来回忆当时的情景，说：“那天夜里，我们睡在办事处的楼上。为了防止有人偷汽车，就把汽车放在大门口，派个警卫员睡在汽车里头。没过多久，来了几个放火的人。他们砰、砰、砰地敲汽车，说：…他妈的，你们还不走，烧死罗！?警卫员邱南章起来一看，城内已是满天红光，马上咚、咚、咚跑到楼上来报告：…参谋长，参谋长，大火烧来了！?我一看，火都烧到我们房子了，就喊快救火。说着我走下了楼，到外面一看，满天红光，赶快跑回楼上找恩来同志。我们一起下楼来，出了大门，从一个巷子往外走。火已经快烧到巷子里来了，四面都是火。” 这场大火烧了几天几夜，烧毁长沙市区房屋5万多栋，居民死伤2万余人，而敌人此时还在200公里以外！国民党当局一手制造的这场骇人听闻的“长沙大火事件”，使好端端的长沙古城横遭浩劫，城毁人伤，惨不忍睹。这就是著名的“文夕大火”。 现在的长沙市在大火过后重建起来的，就像欲火的凤凰，在磐涅中重生。而省博物馆也像长沙一样，历经磨难，在战火纷飞中辗转。早在1897年，郴州学会就组建了郴州学会博物院，可惜寿命不长，随着戊戌变法的失败而夭折。1923年，政府出资兴建了湖南省教育会博物馆，1927年正式定名为“湖南省立博物馆”，但1930年的战火，又将该馆彻底焚毁，此后再未恢复。1951年3月，湖南省博物馆筹备处在长沙留芳岭的百琴园挂牌成立，1956年在长沙西北环境优美的烈士公园建成开馆。
应县木塔之结构定性分析 结22班江中华 2002010385 一、 背景知识 山西应县木塔建于公元 1056 年、现高为 65.86 米、塔底直径以木柱外接圆计算为33.15 米，平面呈八角形，有明层五层及明层间设平座层(暗层)四层，实际上是九层高耸木结构建筑。塔身全部用木材建造，各层均设内外两槽。在各层内外槽均有 8 个弦面，以柱、柱间叠枋和斗拱形成弦向平面构架，在角柱处交汇。在内外槽的径向，以内柱、外柱和梁栿及斗拱组成空间构架，内槽内供奉佛像，外檐柱内为游人空间。它是我国保存完好的年代最早的木塔，也是世界上现存的唯一木结构楼阁式宝塔。1961 年国务院将其公布为全国重点文物保护单位。 右图就是应县木塔的实体照片，可以看出 有以下建筑特点： 二层以上各层均以斗拱挑出平座并设置栏 杆供人登临凭栏远眺，塔身逐层向内递收，上 部高达十余米的相轮铁刹耸立，造型优美，轮 廓线变化富于韵律感，塔身雄壮巍峨，挺拔向 上，稳如泰山，正如古人赋诗赞曰： 远观擎天柱，近似百尺莲。 二、塔的结构定性分析 中国的塔不在少数，但是能够流传上千年 而依旧巍然挺立的并不多，而像应县木塔这样 有特色的更是寥寥无几，真可谓前无古人后无 来者了。要想知道为什么唯独此塔能够经历住 千百年的风雨侵蚀、地震、雷电、兵事而不倒，这里面的确有不少偶然的因素在里面，但更多的是反映了事物必然性的原理，因此不可不从其内部结构去进行探究。 塔属于高耸建筑物，对于高耸建筑物常常需要以下问题得到解决方能流芳百世： z沉降； z结构抗震； z抗水平荷载的能力。 下面分别对塔的这些问题一一进行探究。 1．沉降 对于高耸建筑物，沉降是个比较敏感的话题，因为它上部荷载大，截面小，对地基的承载力要求就高，为了防止出现沉降差，对地基土的均匀性要求也高。著名的比萨斜塔之所以会在尚未建完时就明显的有大倾斜，就是地基土承载力不够，最关键的是承载力不均匀。 现代也有不少大型或高层建筑发生整体变形或大规模损坏，大多由于地基选择、处理不当或基础达不到设计施工需求,导致地基或基础失效,从而发生不均匀沉陷、变形而造成，应该让我们引以为戒。 要控制建筑物的沉降，要么提高地基土的承载力，要么减轻结构本身的自重。对于应县木塔而言，前辈建筑师们既对地基做了适当的处理，如用灰土夯实作为垫层，同时在减轻结
发展是学校生存的唯一道理 ——射阳外国语学校办学掠影 前言 2003年，射阳教育掀开了浓墨重彩的一页，一所充盈着生命律动的民办学校，在射阳这块人杰地灵的土地上翻开了发展的篇章。她，就是射阳外国语学校。 七年来,睿智而进取的外国语人将“以人为本，和谐发展”这闪烁着人性光华和素质教育思想的八个大字豪迈地写在自己的旗帜上，坚守“为每一个孩子负责，为孩子的全面发展负责”的办学理念，践行着“让普通变得优秀，让优秀变得杰出”的诺言。 七年来，学校高起点搭建硬件平台,高层次构筑办学理念,高规格打造师资队伍，高标准推进质量建设。在艰苦卓绝的实践历炼中，实现了学校发展的快速跨越。 今天，我们已形成初中、小学、幼稚园在内91个班级5000名在校生，346名教职员工的办学规模，成为鹤乡大地上的一艘教育航母。 今天，我们的办学质量稳居市县一流，我们用无可争辩的事实，把“让普通变得优秀，让优秀变得杰出”的诺言诠释得具体而生动。 今天，我们已成为响誉盐阜的一张教育名片，成为莘莘学子心仪神往的求知殿堂。 一、创新管理理念，优化机制效能。办学以来，我校注重健全科学民主的决策和管理机制，保证了事关学校发展方向、师生员工切身利益等重大决策的正确性。在行政管理领域，建立以级部为主线、以班级为核心的管理机制扁平化的运行体系，做到“权力下放，责任上移”，学校各项工作系统严密，运转规范高效。 二、构建校园文化，深刻精神内涵。我校坚持“以人为本，和谐发展”的办学理念，将文化的碎片上升为文化的整体并积淀成为文化底蕴，逐渐形成了融精神、物质、制度与课程文化为一体的和谐的校园文化生态。 三、加强队伍建设，锻造精良团队。 我校始终坚持把教师的自我蜕变与提高、教师间的优化组合与凝聚作为队伍建设的着眼点，积极激发、聚集、释放教师的潜能，形成合力，成为学校发展的强劲势能。 四、打造办学特色，凸显品牌形象。没有最好，只有最特。办学以来，我校在传统中
博物馆英文欢迎词 篇一：大连英文导游词 半日游导游词 行车路线： 大连港—港湾桥—人民路—中山广场—延安路—大外—胜利路—观景台（停车15分钟）--胜利路—花园广场—五四路—鲜花大世界门口（停车15分钟）—附属医院后身—五四路---中山路—星海广场（停车20分钟）--滨海路---北大桥（停车10分钟）--老虎滩群虎雕像（停车，卫生间15分钟）--中南路—朝阳街—鲁迅路—友谊商城（40分钟） BusRoute 1.dalianHarbor 2.HarborBridge 3.RenminRoad 4.zhongshanSquare 5.Yan‘anRoad 6.dalianUniversityofForeignLanguages 7.ShengliRoad 8.GreenmountainViewingPlatform(parkingfor15minutes) 9.ShengliRoad
10.GardenSquare 11.wusiRoad 12.atthegateofTheFreshFlowerworld(parkingfor15minutes) 13.Backoftheaffiliatedhospital 14.wusiRoad 15.zhongshanRoad 16.XinghaiSquare(parkingfor20minutes) 17.BinhaiRoad 18.northBridge 19.TigerSculpturesonTigerbeach(parking,toiletfor15minutes) 20.zhongnanRoad 21.chaoyangStreet 22.LuxunRoad 23.FriendshipShoppingmall(40minutes) （码头引导客人上车，清点人数致欢迎词）首先自我介绍：我叫XXX,我来自XXX旅行社，我们的司机师傅姓X,我们可以称呼他X师傅，大家今天在大连的游览就是由我们两位为大家服务。(Guidethegueststogetonthebusatthedock,countthenumberoftheguests,mak eaself-introductionanddeliverawelcomingspeech) Goodmorningtoeveryone!Firstofall,i ‘dliketointroducemyselftoyou:i'm....,fromchinaTravelagency.ourdr ivertodayis….wecallhim......welcometothebeautifulcoastalcityofdalian!Pl
关于长沙英文导游词五篇 导游词是导游人员引导游客观光游览时的讲解词，是导游员同游客交流思想，向游客传播文化知识的工具，也是应用写作研究的文体之一。下面是搜集的关于长沙英文导游词五篇，希望对你有所帮助。 关于长沙英文导游词(一) Welcome to! I am your tour guide, my name is x, you can call me little x. For a fun filled visit to in order to facilitate everyone, let me first introduce you. Changsha, the ancient called "tam states", is a famous chu city, surrounded by city and happiness. Changsha as the first batch of historical and cultural cities in China, has three thousand years of splendid ancient civilization, is the ancestor of the chu culture and hunan culture, the archaeological wonders of the world "mawangdui han tomb unearthed here. Hunan changsha now the capital of hunan province, is the political, economic, cultural, transportation and science and education center, is also the ring
目录 一、《考察湖南省博物馆》综合实践活动成果主件材料 二、《考察湖南省博物馆》综合实践活动成果附件材料 1、活动照片 2、小组活动策划方案、资料收集卡 3、活动调查问卷表、采访表、统计表 4、活动小结评价表 5、学生活动体验日记
《考察湖南省博物馆》综合实践活动成果报告 一、问题提出 自从湖南省博物馆免费开放后，我们几乎每天都能发现湖南省博物馆的门口总有一条长长的排队等候领票的参观者，为什么每天都会有这么多人来参观呢？湖南省博物馆是什么时候建立的？里面到底有多少件馆藏品呢？湖南省博物馆会举办一些特色活动吗？对此，我们充满了好奇。 二、活动目标 （一）知识目标： 1、了解湖南省博物馆的基本情况。 2、了解湖南省博物馆蕴含的独特历史文化内涵。 （二）水平目标： 1、通过活动，学会用适当的方法去收集整理信息，如查阅报纸、杂志、书籍，上网搜索，参观，采访，调查问卷等。 2、通过收集整理资料、参观讨论、合作交流等多种活动方式，学会总结与反思的方法，提升总结与反思的水平。 3、通过汇报，提升综合使用多种方式交流成果的水平。 （三）情感目标： 1、通过考察湖南省博物馆，了解湖南省的历史文化遗产，领略湖湘
文化魅力，传承民族传统文化和湖湘精神，激发热爱家乡、热爱祖国的高尚情操。 2、激发探究兴趣，培养团结合作的精神。 3、体验与他人交流、分享成果、交流情感的快乐。 三、活动准备 经大家交流讨论后决定，我们小组的组名为蓝精灵，组长为陈莹；并且为了增加对湖南省博物馆的了解，老师带我们去计算机教室实行了网上查找，并教给我们收集资料的方法。 另外老师帮我们联系了湖南省博物馆，确定好参观时间；爸爸妈妈们帮我们准备好了交通工具。 四、活动策划 （一）分工并确定活动任务 为了使调查更具有针对性和实效性，我们设想主要从湖南省博物馆的基本情况、收藏的文物、参观状况以及博物馆举行的活动情况四个方面来实行调查，并结合每个成员的特点实行了合理分工。 组长：陈莹负责整个考察活动的计划、组织、网络技术的支持，研究报告的撰写和幻灯片的制作。 具体分工情况一览表：
湖北省博物馆英文导游词 Good morning ladies and gentlemen; Today, we will go to visit Hubei Provincial Museum. On the way to the museum, I ‘d like to show a present to express my warmest welcome to you. You may wonder what the present is. Well let me introduce it to you. The music you are going to listen to is the very gift. Now, please enjoy the music. Have you ever listened to the music? And what musical instrument is used to play the beautiful melody? That’s the serial bells, a wonder in the wor ld. Indeed a wonder in the world. Every year tourists from all over the world continuously come to visit them and appreciate the programs played by it. Each year they return with unforgetable memory. The building with red wall and green tiers before us is the very museum, Hubei Provincial Museum. Constructed in 1953, the museum is the center for collecting, studying, preserving and displaying historical and cultural relics in Hubei. More than 700,000 ancient relics are stored up in it. There is a collection of 100,000 books on history,
( 英文导游词) 姓名：____________________ 单位：____________________ 日期：____________________ 编号：YB-BH-009525 湖南长沙马王堆汉墓女尸英文An English Guide to the female corpse of Han Dynasty tomb in
湖南长沙马王堆汉墓女尸英文导游 词 mawangdui is located in the eastern outskirts of changsha, about 4km from downtown changsha,in the preceeding centuries, it was bured here, hence the name "mawangdui"formerly there were two eastern mounds here closely linked together. from 1972 to early 1974, chinese archacological workers unearthed three tombs of the wester han dynasty here and achieved tremendous results that attracted wide attention at home and abroad.they excavated more than 3000 cultural relied and a well-preserved female corpse from the tombs.according to seals unearthed from tomb no2"chancellor to the prince to changsha","seal of the marquis of dai" we know that the mawangdui was burial ground of licang , chancellor to the prince of changsha statte and mqrquis of dai in the early western han dynasty and his family. according to the historical records , licang died in the secong year of the reign of empress lu . the occupants in tomb no3 were believed to be