Elephant tangible vertical nose 汉 — Han Dynasty Chinese and foreign exchange vision in the elephant image research

Elephant tangible vertical nasal 汉 — research on elephant image in the field of Chinese and foreign exchanges in the Han Dynasty

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Elephant theme art works are an important part of the colorful world in the Han Dynasty. Different from the Elephant Zun in the Yi and Zhou Yi, the theme of the elephant theme of the Han Dynasty conveyed a strong religious significance, such as the Mr. Labor and Yu Weichao, etc., talked about "Six tooth White Elements" for the Buddhist content in Han painting, and opened up this study. In the precedent, Mr. Wu Hong also commented on the significance of the white elephant in Han painting. However, the current academic circles have failed to collect their image materials, and they lack meticulous research on their research. In this article, in the field of exchange of Chinese and foreign exchanges, through the image of the images of the theme of Elephant Elephant in the Han Dynasty, it reveals the religious meaning of its commonly built between the image of Hu Ren, so as to point out an art that collides with foreign images collision and misunderstandings and combines the art of foreign images. the way.

One Elephant Theme of Han Portrait of Han Portrait

The image of the elephant theme in the portrait of Han has been found dozens of cases, mainly portrait stone, with a small amount of tomb murals. From the region, it is mainly concentrated in Shandong, Xuzhou, Henan, Shaanxi and other places. The following discussions are expanded according to the region.

(1) Shandong area

The Han portrait elephant images in Shandong are the most found. According to statistics, there are more than ten pieces, which are mainly distributed in Jinan, Tengzhou, Zoucheng, Linyi, Weishan and other counties and cities.

1. Jinan Changqing Xiaotang Mountain Stone Temple

The elephant theme portrait found in the stone temple of Xiaotang, Changqing, Jinan, is distributed in the northernmost distribution in Shandong. The top of the Hu Han war map of the east wall of Xiaotang Mountain Stone Temple depicts the content of camels and people.

2. Tengzhou Longyang Store portrait stone

The two elephants are located directly above the image, and the four teeth are clearly visible. The elephant has six pointed hats on the back, with different attitudes. One of them was climbing from the head of the elephant from the left elephant to the head of the elephant (Figure 1). The elephant was filled with clouds.

Figure 1 Tengzhou Longyang Store portrait stone four -teeth white image map

3. Tengzhou Six -tooth White Elephant Portrait Stone

This portrait stone is the most famous and was first disclosed by Mr. Laogan. The image is damaged, there are two elephants, which slowly run from left to right. There are three people on the back, which is severely destroyed, but the number of ivory can be clearly distinguished. There is a person on the right side of the elephant (Figure 2).

Figure 2 Tengzhou portrait stone six teeth white image map

4. Tengzhou Xidou Portrait Stone

The screen column depicts a elephant, facing the right side, and a regular scales -shaped decoration on the body (Figure 3).

Figure Three Tengzhou West Family Portrait Portrait Map

5. Tengzhou Hongdaoyuan portrait stone

In the lower left corner of the picture, a pointed hat is touched with a nose with a hand, which seems to be holding a image.

6. Jining County Town South Zhang portrait stone

The picture is full of auspicious atmosphere, and the first layer is worshiped the Phoenix. The lower layer is a huge image, with seven people on the back. The five people sitting on the left were sitting quietly, bald head. On the right, there were two Hu people wearing a top hat, playing and dancing above the head of the elephant (Figure 4).

Figure 4 Jining City South Zhang Portrait Stone Elephant Monk Map

7. Portrait Stone of the two cities of Weishan County

The screen is divided into two layers. The lower layers are traveling with common local scenes. There are three sets of animals on the upper floor, all facing the left. The far left is a dragon with a wing of the shoulders; the center is a camel; the right is a low head, and there is a character at the tail of the elephant, which should be an elephant (Figure 5).

Figure Figure Five Mountain County Portrait Stone

8. Pingyi Yuan and three years (86 years) Huang Shengqing Xizheng

Elephant images are located on the south of the emperor Shengqing's west. Drawing two people sitting on the back of the elephant to the left.

9. Pingyi Zhang and the first year (87 years) Kung Cao 9

One person rides the camel, holds the reins in his hand, and the latter holds the hook to ride the elephant. Both of them go to the left (Figure 6).

Figure Liu Pingyi Gong Cao Cao Cao Camel, Xiangnu Tu

10. Zoucheng Jinshan portrait stone

On the right of the screen, there is a slave, suspected to be a camel (Figure 7).

Figure Seven Zoucheng Jinshan portrait stone elephant slave map

11. Zoucheng Huanglu Tun portrait stone

There are two elephants in the picture. Two people are loaded on the left elephant. The right elephant is severely damaged and can be identified as a nose. There are two hats on the nose. The left side of the two elephants is the arsenal map.

12. Tengzhou Han Portrait Stone Pavilion Collection Portrait Stone

On the left side of the picture, there is a camel on the left side. There is a fat elephant on the right side, the right side of the head, and the characters on the back are full of seven people, all bald heads, arranged in a word. The right side of the character holds the long hook and is tamed.

13. Linyi Wu Baizhuang Han Tomb

The picture from left to right is an elephant, a hook Hu Ren, a hip -haired hoe and a horseman (Figure 8). , But not with a crown.

Figure eight portrait of the Han tomb of Wu Baizhuang in Linyi

14. Zoucheng Museum Collection Portrait Stone

The picture is divided into two layers, and there are people on the lower layer riding a camel, and there is an elephant on the right. Among them, there is a hook taming between the camel and the elephant.

In general, the number of Han portrait stones in Shandong area ranks the crown of the districts. Among the 14 images recorded in this article, there are eight images of some people riding. The images of simple elephants are only one of the portrait stones of the Tengzhou West House. There are six images of hooking elephants. Except for the exception of Xiaotang Mountain, the remaining eleven images are from the Lunan area. The number of characters on the back is also different, with a difference between 1, 2, 3, 6, and 7.

(2) Xuzhou area

The portrait of Han portrait in the Xuzhou area is closer to the style and subject matter of the Lunan area. The number of elephant images in the portraits of Han portraits in Xuzhou area is second only to Shandong:

1. The portrait stone of the Han Tomb of Mao Village, Xuzhou

The figure depicts a complex world. The center is a two -neck sparrow, the left and right are nine beasts and phoenixes, the leftmost side is the character riding camel and riding elephant, and the right side is the feathers and the white tiger. Vaguely visible hooks of elephants (Figure 9). Figure 9 portrait of the Han Tomb of Mao Village, Xuzhou, Mama Camel, Great Elephant, and Swiss Beast Map

2. One of the stones of the Xuzhou Han portrait Stone Art Museum

The screen can be divided into three layers, and the first layer has a sharp hat image. You can see the elephant's nose bent and move forward to the left. There is a cushion on the back. There are cloud patterns around you.

3. One of the Tombs of Chu King's Mausoleum of Lion Mountain in Xuzhou

The picture is divided into three layers, and the upper in turn is the Swiss beast and the characters. In the bottom layer, there are camels and elephant pictures. There is one person on the back of the camel, facing left, and the elephant followed closely. There is a villain in the lower left corner of the camel.

4. Xuzhou Lion Rock Mountain Chu King Tombs Tibetan Tibetan Tibetan Stone

On the left side of the second layer of the picture is the elephant that has always been running on the right. There is an inverted beast above the elephant. The center is a sharp hat riding a camel, and there is a tiger on the right. The lower layer is the arsenal weapon map.

5.

Xiaoxian is only 30 kilometers away from Xuzhou, and it is classified as a system of Xuzhou Han portrait stone. The stone is hidden in the Xiaoxian Cultural Management Office. The theme picture is divided into three floors. One of the bottom layers is portrait, like a person on the back, holding a hook. Like a scale decoration on the body. There is a pair of peak camels above it, long neck, and dragon head, which can be regarded as a strange beast from the west.

6. Portrait Stone of the Han Tomb of Miao Shan, Tongshan, Xuzhou

One day above the picture, there were feathers dancing in the clouds. A Tianma looked back at Mercedes -Benz, with a elephant below. There are clouds near the nose, and the elephant shoulder and hips are born with wings, which should be a geomorphic (Figure 10). The Xuzhou Han portrait Stone Art Museum is now hidden.

Figure 10 Xuzhou Tongshan Miao Shan Han Tomb portrait Stone Yellow Emperor Shengxian Map

7. Xuzhou Han Portrait Stone Art Museum Two of Stone Stone Two

The stone is an independent picture, a camel on the left, and a elephant on the right, standing left.

8. Xuzhou Han Portrait Stone Art Museum Tibetan Stone Three

The lower end of the picture was carrying five people on the back, and the first person was holding a hook. There are clouds around you (Figure 11).

Figure 11 Xuzhou Han Portrait Stone Art Museum Tibetan Elephant Three Elephant Maps

9. Xuzhou Han Portrait Stone Art Museum Tibetan Stone Fourth

The picture is one right towards an elephant. There are two people on the back, one lying on the back, one stands on the elephant neck, and the hook is cited (Figure 12).

Figure twelfth Xuzhou Han Portrait Stone Art Museum Tibetan Elephant Four Elephant Maps

Elephant images in the portrait of Han in the Xuzhou area basically followed the artistic characteristics of the Lunan area, but new development has also appeared. There are five elephant images loaded on the back, ranging from 1, 2, and 5. Elephant images often appear with camel images, similar to Shandong. But the elephant manned image is more complicated than Shandong, and the character's posture is more complicated.

(3) Henan area

Some elephant images were also found in portrait stones in Henan.

1. New Mang Tianfeng Five Years (18 Years) Tanghe Feng Jun's Tomb Portrait Stone

The main image is a image, the nose is bent down, and two people are loaded on the back. One was sitting, right. The other tall nose and bald head are facing the sky, lying on the back of the elephant (Figure 13).

Figure 13 Tanghe Feng Junjun Tomb Portrait Stone Hu Ren Ride Picture

2. Nanyang Yingzhuang Han Tomb

On the left side of the picture, there is a tiger walking on the left. There is a puppet elephant on the right, and there is a cloud in the middle. There is a top hat on the right and a high -nose Hu Ren's hand hook (Figure 14).

Figure 14

3. Nanyang portrait stone

One person rides a camel, and there is an elephant on the right. There is one person on the camel. Both walk to the right.

4. Dengfeng Shaozhue Dongzhang

There is an image on the left of the picture, there is a man on the right, holding a horse with his left hand, and a hook taming in his right hand.

There are four images of Chinese portrait elephant images in Henan region, which is in the same vein as the whole of Shandong and Xuzhou. Except for the characters sitting in the portrait stone of the Tanghe Feng Junlian tomb, the rest of the constituent factors are not separated from the scope of the first two regions. , Such as hats and hooks are the same.

(4) Northern Shaanxi area

In addition to Henan, there is also an elephant image in Shenmu Da Bao in northern Shaanxi. The elephant is located in the auspicious clouds in the middle of the picture. There are people on the left side of the hook and taming, and there are people next to it (Figure 15).

Figure fifteen Shenmu Da Bao Danghan Tomb portrait stone tame map

In addition to the portrait stone of Han Dynasty, elephant images were found several times in the Han Dynasty mural tombs. The typical typical ones include Inner Mongolia and Lindel mural tombs, Wuwei's mouth, and Jiuquan Xiahe Qinghan tomb. There are also two elephant paintings in the Tomb of the Grandpa Temple of Dunhuang Buddha Temple, which can also be regarded as the continuation of the image of the elephant image in the Han Dynasty.

Elephant images in the Han Dynasty mural tombs were found in the edge area of ​​the Han Empire. Among them, and the Link Wall Tomb with a clear list of "Fairy Riding Elephant" is undoubtedly the most important, it helps us understand the true identity of the elephant riders.

In summary, we can summarize the basic characteristics of elephant images in the portrait of Han.

First of all, the phenomenon of elephant theme and camel theme is more popular. Some elephants have scales or shoulders, or they are lingering in the fairy, prove the identity of its Wonderland members. Elephants cooperate with camels, dragons, and unicorn and other beasts together constitute the colorful world in the hearts of the Han people. "Elephant Zai Yu" in "Hanshu • Ritual and Music":

Xiang Zaiyu, Bai Jixi. Food nectar, drink Rongquan. Chi Yanji, six members, unusual weng mixed, five collections. What God has seen, Zhi Zhifu. Dengpeng, the endlessness.

This song is tied with "Tianma Song", which is the reflection of this concept of auspiciousness. Secondly, there are many combinations of elephants. Characters often stand around elephants as elephant slaves, or ride on the back of the elephant. These people's logistics show a large number of Hu people's characteristics, or wearing sharp hats, or shaving their heads, or the characteristics of feathers. In most cases, the characters hold the hook, which is the main tool of the Han Dynasty. Elephant has some close relationship with Hu people. Based on the above understanding, we believe that the pictures of the Hu Renxue and Elephant in the portrait of Han faithfully reflect the activities of the Hu people in China in the Han Dynasty. They came from the West to the West by the elephant and camels, and were regarded by the Han people as auspicious. Buddhism, as the main belief of the Hu people in the Han Dynasty, is also reflected in the combination of these elephant images and Hu Ren images.

The two elephant images are associated with Hu Ren image

During the period of ancient times and even the Shang and Zhou dynasties, China was a place of production. Judging from a large number of literature and archeological discovery, Henan, Jianghuai, Bashu and other places are all the breeding of elephants. Yinxu, Sanxingdui, and Jinsha sites have the discovery of ivory products. There are Bronze Elephant Zun in Ling in Hunan, which proves that the Huaxia people have an important artistic tradition of shaping the image of an elephant art image.

But in the Han Dynasty, the elephant was not unusual. In the history books, there are "South Vietnam Dedicated Elephant", "Yu Guo Guo Xiangxiang", and "Sun Quan's Elephant". At this time, the elephant became the "strange beast" in the royal garden. In the late Eastern Han Dynasty, the elephant became a precious gift for the tribute to the central government to the central government, and was given the political meaning of the "naturalization" of the central government to the central government.

On the one hand, the image of elephant elephant in the Han Dynasty inherited the artistic tradition since the Shang and Zhou dynasties; on the other hand, the combination of elephants and character images gradually replaced a single animal statue tradition to form a specific meaning. When the Han Dynasty craftsmen were created, they intended to associate with the Elephant, which was not in the art of Shang and Zhou Dynasties. This change is obviously based on the custom of Central Asia or South Asians that the Chinese people have touched after the Western Region. The theme of "Hu Renxuan" is also the same as other artistic mother questions. It is passed on the east of the "Guishuang-Western Region-Han Dynasty" Silk Road to the vast Han Dynasty, and eventually integrated into the torrent of the art of Han Dynasty.

First, the elephant slave.

The sign of the slave is hook in the hand. The combination of hooks and elephants often changes. As an important elephant, the literature on "hook" can be seen in the early Buddhist scriptures. "Fa Sentences, Metaphor of the Sutra": "How many things to ask the layman's icon in the Buddha. Answer:" Often use three things to adjust elephants. What is three, one is a bond with the hook. The reduction of food is often hungry. The three of the three have painful pain. Three things are tuned for this three things. '"Hu people in the portrait of the Chinese portrait use the hook taming, showing the consistency of the content of the Buddhist scriptures and the Indian elephant tradition. With clear foreign characteristics.

Second, the Hu people who are riding elephants.

This combination is less than the image of the slaves, and its core image is Hu Ren who has made special actions on the back. They wearing sharp hats, high noses and deep eyes, and making dance, climbing and other actions, can be regarded as a kind of Han Dynasty's 100 shows.

Third, the bald figure of riding elephants.

The image of the bald head on the back of the elephant is quite worthy of scrutiny. There are three or five to seven people who do not wait, and they all sit in a row. Mr. Yang Aiguo believes that they are "shaved monks." In addition to the characteristics of the bald head, there is also the characteristics of "wearing a fat robe", which is also related to Buddhism.

In the early literature, the Han Dynasty monks from the time from the time to the Three Kingdoms were almost from the Western Regions. These Hu Seng from different countries develop monks in China and translated classics, which has played an important role in promoting China's early Buddhist transmission. The scope of these Hu Seng group activities is mainly centered on Luoyang. After the chaos in the late Central Plains in the late Han Dynasty, the Buddhist center gradually shifted to the southeast. Buddhism in Lunan and Xuzhou is related to it. Among them, Tengzhou's "Six -tooth White Elephant Map" and the "Fairy Riding White Elephant" Han tomb murals discovered by Linkle are important examples of elephant images and Buddhist associations. The laborer and Mr. Yu Weichao have exquisite discussions. The "white elephant pregnancy, vertical nose" mentioned in Zhang Heng's "Xi Jing Fu", we can see that the story of the Buddhist scriptures in the Eastern Han Dynasty had been spread in Confucian students.

Three "Hu Ren -Elephant" image source and flow

The "Hu Ren -Great Elephant" mother image in the portrait stone of the Han Dynasty is a typical case of Indian art spreading in China. Mr. Wu Hong pointed out: "Many of the auspicious maps of the Han Dynasty were controlled by the tributers in the outer domain. The body of the body is bare and the head of the head (Figure 16) ... Turn these pictures with the image control of the Indian "control" image at the same time or earlier or earlier, you can see that there are many similarities in artistic performance. "Filial piety In the portrait portrait of the Temple, the ride is tied with the car and the car, it seems that it is not a Chinese tradition. In sharp contrast, in the early Indian art, the content of the character riding is everywhere.

Figure Sixteen Sixteen Hebei Dingxian County Sanpan Mountain unearthed in the Han Dynasty inlaid copper car and horse riding image

In an inspection of the early Buddhist grottoes of Western India, the author found that there were images of a large number of aristocratic men and women riding elephants on the stigma of the early Buddhist grotto temples. For example, the thirty stone pillars in the 8th cave of the Galla Cave, the stigma sculptures are all elephant. The inscription clarifies the Nahapa rule of the Western Demo dynasty (119-124) (Figure 17).

Figure 17 Galla Grottoes 8 Caves 8 Men and Women Ride Elephant Elephant Starts West Polyto Domo's dynasty

In the northern and Central Asian Empires in the male, the works of elephant themes are also common. The Los Angeles National Museum has a sculpture, which depicts the picture of the royal family's ride on elephants (Figure 18). Four men and women were surrounded by gorgeous blankets on the back of the elephant, and a row of characters appearing on the back of the portrait of the Han portrait formed a sharp contrast. Figure eighteen Los Angeles National Museum Collection royal family members ride elephant sculpture expensive cream dynasties

A copper coin of Hu Weisea depicts the celebration scene of Guishuang King's riding (Figure 19). On the front, King Hu Weisea, who was wearing a crown, rode a image, facing the right, holding the elephant hook with his left hand, and holding the scepter in his right hand. The fixing of images on the coins helps this artistic mother's problem in the country of the Guishuang Dynasty, which is widely popular, and affects the Western Regions between China and Guishuang.

Figure 19 Hu Weisa Copper Coin Guishuang Dynasty 2 Century

The western countries play an important role in the spread of elephant images from India to China. In this region, it was also influenced by the Han Empire and the Guishuang Empire, and its culture also showed duality. A wooden box carving door of the Wei and Jin dynasties was unearthed in the Naya site of Minfeng County, which is the crystallization of Hu Han's art combined (Figure 20). The picture is similar to the portrait of Han, which can be divided into two layers. There is a gorgeous blanket on the back, and there is a bald figure standing on the right side, which may be Hu Seng. The lower layer is engraved with a left -fledged and tongue -tongue pterosaur. Elephant maps show the source of Guishuang culture. It is conceivable that at both ends of the Silk Road, the blending and collisions between China and India's two cultural factors in the long history of hundreds of years.

Figure 20 Nyya site unearthed wooden box carving boards.

These images from India via the Silk Road, under the spread of Hua Hu people, were accepted by the Han people, and combined and improved on the basis of the art tradition of the Shang and Zhou Elephant arts. In the portrait stone of Han, it has become a new -style Chinese painting problem that is welcomed by the employer. This area is also the main gathering area of ​​the Hua Hu people in the East Han Dynasty, as well as the prosperous area of ​​the early Buddhist beliefs.

With the intervention of Hu people who believe in Buddhism, images of the "Hu Ren -Elephant" model have become popular, but the meaning of primitive Buddhism has not been well known by the Han people, but is mixed in the fairy belief. The art represented by the theme of the elephant in the portrait of the Han Dynasty became a vivid case of the combination of Buddhist culture of the Guishuang Dynasty and the local culture of the Han Dynasty.

Four conclusions

After the analysis of the art of elephant theme in Shandong, Xuzhou, Henan, northern Shaanxi and other regions, we can conclude under the vision of Chinese and foreign cultural exchanges.

Elephant theme portrait stones are accompanied by many camel themes, and there are also complex combinations with characters. Among these characters, Hu Ren and bald figures are closely related to early Buddhism, forming a unique "Hu Ren -Elephant" image mode. Through the comparative research of the "Guishuang -Indian" art and Han portrait, we set out from the clues such as riding sculptures in Western Indian Grottoes, Guishuang Gold Silver Arts, Niya Box Carved Crimson Capsules, and outline this The path and method of exchanges between maternal arts and the traditional art traditions since the Shang and Zhou dynasties. These artistic mothers from India have been introduced to China together with Buddhist art, and formed specific images with exotic style in the eastern coastal areas such as Shandong and Xuzhou. The Han people knew about the meaning of their Buddhist meaning.

This article has been authorized by the author. Graphic materials are provided by the author.

This article was published in the "Palace Museum Journal" 2016, 2016, Issue 6

The following is the theme extension reading.

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