The Qin and Han Dynasties were the period of the establishment and consolidation of China's unified multi-ethnic feudal country, and also the extremely important period of the establishment and development of China's national artistic style. In 22 1 year BC, after Qin Shihuang unified China, a series of reforms in political, cultural and economic fields brought about great changes in society. Carry out artistic activities, publicize achievements and show kingship. In fact, it promoted the development of painting. Western Han rulers also attached great importance to painting, believing that painting could serve their political propaganda and moral preaching. During the periods of Emperor Wu of the Han Dynasty, Zhao Di and Xuan Di, painting became an effective way to praise heroes, and palace murals made extraordinary achievements. In order to consolidate the world and control people's hearts, the emperors of the Eastern Han Dynasty also advocated the theory of "harmony between man and nature" and "Fu Rui". Auspicious images and historical stories flaunting loyalty, filial piety, chastity and righteousness have become the common creative themes of painters. The custom of thick burial in Han Dynasty enables us to see the painting remains of that time from the mural tombs, stone tombs and brick tombs discovered one after another today. The art of Qin and Han Dynasties, with its deep and heroic spirit, radiated dazzling brilliance in the art history of China.

1952, an ancient tomb of Han Dynasty was excavated in Dongerli, Wang Jun County, Hebei Province. The four walls of the front room of the tomb and the two walls of the tunnel are covered with murals. This painting is divided into two layers. The upper layer depicts the image of an official, while the lower layer depicts animals. Each animal has its own title. The front room symbolizes the tomb owner's front hall, and the south wall is painted with "the temple guard" and "the gatehouse pavilion", and the east, west and north walls. Such as "Drumstick Raft" in charge of drumming, "Benevolent Raft" in charge of prison, "Thief Cao" in charge of maintaining public order, "Benevolent Cao" in charge of registering merits and demerits, and "Wu Bai" in charge of guarding the owner's car. Because of different positions and responsibilities, the portrayal of characters has different postures and clothes, which highlights the image of characters. It is a gentle and leisurely "master book", which shows the typical image of civil servants in Han Dynasty. The expression method of painting outlines the morphological characteristics of characters with simple ink lines. The lines of clothes are simple but conform to the law of movement, and the pen is smooth and powerful. It can be seen that after years of accumulation and long-term exploration in artistic practice, China ancient painting in Han Dynasty has made some progress in the change and application of painting language. Although the application of online painting in Han Dynasty and the description of form are still in the rough and simple stage of China's painting, the whole mural has already reflected the artistic skills of artists in Han Dynasty in describing and understanding life, and it is a brilliant page in China's ancient works of art. 。

The painting art in Qin and Han dynasties generally includes palace murals, tombs and silk paintings. Paintings in the Qin Dynasty rarely spread in kind. Now, the only relics that can be used to understand the painting features of the Qin Dynasty are the die-printed portrait bricks unearthed in Lintong and Fengxiang, Shaanxi Province over the years, and the mural fragments, carved portrait bricks and architectural tiles unearthed in Qin Gong site in Xianyang. And decorative patterns on some handicrafts found in other areas. The Han Dynasty, which lasted more than four centuries, was an important period when the unique national spirit and formal style of China traditional art were basically established and further developed and consolidated. The rulers of Han Dynasty attached great importance to the art of painting. Mao Yanshou, Fan Yu, Chen Chang and Bai Liu were all famous royal painters in later generations.

From 1972 to 1974, two Han tombs in Mawangdui, Changsha, Hunan Province, and several painted silk books in No.9 Han tomb in Quanqueshan, Linyi, Shandong Province were unearthed one after another, which enriched the physical materials of painting in the Han Dynasty, made up the blank of painting in the early Han Dynasty, and made people have a clear understanding of the actual face of painting in the Western Han Dynasty. Among them, the painting of Mawangdui Tomb No.1 is the most mature, and it is the earliest meticulous painting treasure in China. The color is mainly mineral pigments, which are heavy, steady, bright and harmonious; The composition is dense, and the regular and balanced pattern structure is combined with realistic images. The main body is prominent, coherent from top to bottom, rich in content and strange in change. In Mawangdui Tomb No.3, there are three noteworthy silk paintings. One is Qigong, hidden in a lacquer cave, with characters arranged separately, showing their fitness posture and different shapes and costumes. The other two are hung on the east and west walls of the coffin room, considering their contents. In the composition, it overcomes the technique of arranging characters up and down in the prelude period, and depicts the whole picture of the chariots and horses from the perspective of overlooking. This is the earliest large-scale painting to record real life. We can only have a cursory look.

Palace and temple murals

During the Qin and Han dynasties, murals were widely painted in palace offices, but with the gradual disappearance of buildings, murals were almost lost. The mural relics of Xianyang Palace in Qin Dou, which were discovered in 1970s, gave us the first taste of the splendor of the palace painting in Qin Dynasty. In the rest of the corridor in Hall 3 of Qin Gong Ruins, a team of seven carriages was found, each drawn by four galloping horses. Another surviving mural shows a maid-in-waiting. These images are drawn directly on the wall without drawing the outline in advance. It can be regarded as the earliest example of boneless traditional painting in China. Murals in the Western Han Dynasty were mainly created to flaunt the "Qingming" of bureaucrats. Wang Yanshou recorded the grand occasion of murals in the palace of a vassal Wang Jianzao at that time. When Xuan Di proclaimed himself emperor, he painted a mural of 1 1 in Qilin Pavilion, which was the first time that later generations painted a portrait of a hero. This brick looks like a brick statue. The composition is very careful. Two wine bottles and two boxes are dotted in the gap, indicating that this picture is a scene where cups and plates are completely removed and banquets and dances are held. The characters are accurately portrayed in simple relief, with line drawing added to the relief, which feels wonderful, simple and ingenious, with firm lines, skillful contours, full ups and downs, different thicknesses, powerful turning and very vivid and smooth. Serve the theme vividly. Male geisha holding drums, corresponding to female geisha with thin waist, are humorous and exaggerated, vivid and vivid. On the left side of the brick, there are three people singing and dancing with acrobatics, and one person will dance while stretching. The whole picture is full of warm atmosphere.

mural painting in tomb chamber

The remains of tomb murals in Qin dynasty have not been found so far. However, the discovery of tomb murals in the Han Dynasty began as early as the early 1920s. The Balitai hollow brick mural group in Luoyang is the first important discovery of tomb murals in the Western Han Dynasty. 193 1 The mural tomb of Yingchengzi in Jinxian County, Liaoning Province was cleared, and the mural painting of the tomb in the Eastern Han Dynasty was unveiled. In the following decades, it spread all over the country. It provides the most important object for exploring the development of painting art in Han Dynasty. During this period, the most important mural tombs and tomb murals have been found: Buqianqiu Tomb Mural in Luoyang, Henan, Tomb No.61in Shaogou, Luoyang, and Xi 'an Tiantu in Shaanxi; The mural of Xin Mang's tomb in Jinguyuan, Luoyang, belongs to the Xin Mang era; Belonging to the Eastern Han Dynasty, the mural painting of the Han tomb in Zaoyuan, Pinglu, Shanxi Province, the mural painting of the Han tomb in Anping, Hebei Province, the mural painting of TombNo. Wang Du 1 in Hebei Province, and the mural tomb discovered in Helinger, Inner Mongolia, etc. They depict celestial phenomena, five elements, immortal birds and animals, some famous historical stories, sacrificial ceremonies for horses and chariots, portraits of buildings and tomb owners, etc. Respectively, the meaning is complicated.

Silk painting in Han dynasty

There are many works painted on silk in Han dynasty, but after thousands of years, few have survived. At present, the most important discovery is the silk paintings of the Western Han Dynasty unearthed from Mawangdui Han Tomb in Changsha, Hunan Province and Jinqueshan Han Tomb in Linyi, Shandong Province in the 1970s. The meaning of silk paintings unearthed from Mawangdui 1 Tomb is the most obscure, and scholars have extremely diverse explanations, but it is generally believed that the upper part and the bottom of silk paintings depict heaven and the underworld respectively. The middle two parts show the life scenes of the late wife. The description of the tomb owner and various gods, birds and animals is extremely vivid, with smooth lines and solemn and elegant colors, which shows the excellent level of painting in the Western Han Dynasty. In addition, the importance of three silk paintings in Mawangdui Tomb No.3 can not be ignored. In addition to the owner of the tomb, there are also descriptions of the "guidance" and the contents of the ceremony, which are exquisite and extraordinary. The silk paintings in Jinque Mountain are very beautiful.

Jing ke stabbed the stone statue of the king of Qin

Han dynasty stone relief

Stone reliefs in Han Dynasty are rich and distinctive historical materials of Qin and Han Dynasties. Artists use knives instead of pens to create many beautiful images on the hard stone surface, which are used as building components to build and decorate tombs and stone tombs. Thousands of stone carvings have been found in China. According to reports, the stone reliefs sprouted in the Zhao and Xuan periods of the Western Han Dynasty, developed in the Xinmang period, and further expanded in the Eastern Han Dynasty, mainly distributed in Shandong, Henan and Shandong. During the Xin Mang period, more than 30 portraits were carved in the tomb of Feng Junru in Tanghe, Henan Province, depicting real life and strange animals. The representative works of stone reliefs in the early Eastern Han Dynasty are Xiaotang stone reliefs in Changqing and Nanwuyang stone reliefs. Wuxi Temple in Jiaxiang, Shandong Province is the most famous stone relief in the late Eastern Han Dynasty. These stone reliefs have been valued by epitaphs since the Song Dynasty, and they were hidden underground after being flooded in the Yuan Dynasty. It was not until the Qing dynasty that the light was seen. They are all carved with the technique of cutting the ground and carving the negative line. Most of them are historical stories, immortals, rare birds and animals, and their skills are superb. The author is good at grasping the superb contradictions and conflicts in historical stories, explaining the specific environment with necessary scenery, and handling the echo relationship between characters well, such as Jing Ke Stabbed the King of Qin. The tomb of Yang Zishan 1 in Chengdu was unearthed and is now in Chongqing Museum.

In the Eastern Han Dynasty (AD 25-220), the lintel relief stone was 40 in height and 0 in width 196.5cm, which was unearthed from the Han Tomb in Dabaodang Township, Shenmu County, Shaanxi Province.

The light gray sandstone collected by Shaanxi Institute of Archaeology is divided into two columns. The upper column is a hunting circle, which is a tense hunting scene. The moon and the moon wheel in the upper left corner and the upper right corner are painted with a jade rabbit and a golden bird respectively. The next column is a round of horses and chariots, with three cars in a row. There are three people in front of and behind the motorcade. These stone reliefs are brand-new materials of stone reliefs in Shaanxi.

Qin and Han dynasty portrait brick

Portrait brick is a kind of architectural decoration component in Qin and Han Dynasties. From the Qin and Han Dynasties to the early Western Han Dynasty, it was mostly used to decorate the steps of palaces and halls. After the mid-Western Han Dynasty, it was mainly used to decorate tomb walls. The Eastern Han Dynasty was the heyday of portrait brick art. Qin portrait bricks are made by die printing and carving, and their shapes are divided into two types: large hollow bricks and solid flat bricks. A Portrait of Guards, Banquets and Hunting, unearthed in Lintong, is now in the Shaanxi Provincial Museum, which is the representative work of the existing hollow bricks of the Qin Dynasty. Western Han Dynasty portrait brick is represented by the unearthed products in Luoyang, Henan Province, which is simple and powerful. It is famous for its vivid image. The Eastern Han Dynasty portrait bricks unearthed in Henan and Sichuan provinces are the most. The portrait of the late Eastern Han Dynasty unearthed in Chengdu, Sichuan has the highest artistic attainments. The picture is printed at one time, and the composition is complete. Most of them show real life scenes. Representative works include "Painting Bricks for Harvest" and so on.