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Journal articles on the topic 'Han tombs'
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1
Zhaoming, Xiong. "The Hepu Han tombs and the maritime Silk Road of the Han Dynasty." Antiquity 88, no. 342 (2014): 1229–43. http://dx.doi.org/10.1017/s0003598x0011542x.
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The extensive cemetery at Hepu in southern China represents one of the best-preserved tomb complexes of the Han period. It contains many elaborate tombs with exotic luxury materials that testify to the status of Hepu as the home port of the maritime Silk Road. This trading network carried Chinese products (notably silks) by sea to kingdoms and communities of South and Southeast Asia, and was the southern counterpart to the more famous overland Silk Road through Central Asia. The materials found in the Hepu tombs demonstrate the range and geography of contacts, including semi-precious beads from India and ceramics from the Parthian empire. This far-flung trade network had major impacts both on southern China and on the other regions that it connected.
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Xie, Tao, та Dolly Yang. "Investigating the Clan Affiliations of the Occupants of the Laoguanshan 老官山 Han Tombs in Chengdu". Asian Medicine 18, № 1-2 (2024): 63–78. http://dx.doi.org/10.1163/15734218-12341527.
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Abstract Inscriptions on funerary objects excavated from the Han tombs of Laoguanshan in Chengdu are key to unraveling the identities of the tombs’ occupants. Our analysis of these inscriptions, considered alongside the varying configurations of the tombs, the excavated objects, the earliest dates when the tombs were ransacked, and the physical characteristics revealed by the bones of the tomb occupants, together suggest that they were aristocrats from different regions. They were “out of state” officials who had immigrated to Chengdu. Identifying their clan affiliations provides an important clue for determining the clan affiliations of occupants of other high-specification tombs found in the Chengdu plain.
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Jung, In Seung. "The King’s Tomb of Jin·Byeon Han Period from the Archaeological Perspectives." Korean Ancient Historical Society 127 (February 25, 2025): 67–88. https://doi.org/10.18040/sgs.2025.127.67.
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In Korean archaeology, tombs containing heavily buried bronze weapons appear during the early Iron Age and the Proto Three Kingdom pried. The hierarchy of tombs also becomes noticeable. One such example is Yangji's Tomb No. 1, which was recently excavated in Gyeongsan(慶山) area, and a number of Chinese and Japanese Bronze relics suggesting international trade were buried. According to previous studies that defined the concepts of “wangmyo(王墓)” and “wangneung(王陵)” these tombs can be classified as “wangmyo.” In fact, Japanese archaeology does not hesitate to call many of the Bronze Age burial tombs of the Yayoi period as “wangmyo.” Nevertheless, Korean archaeology calls the burial tombs of the Three Han period before the Three Kingdoms period as “wangmyo” and they are very conservative. In archaeology, the term “wangneung(王陵)” is a name in which archaeological permission operates. It is said that a huge elite tomb in the ancient state stage that is comparable to a king can be called a “wangneung(王陵)”. Furthermore, there is a study that even in the pre-ancient state stage, hierarchical progress is advanced, gender is implied, and furthermore, if it is an elite tomb in a society where the existence of a warrior class is assumed, it can be called a ‘wangmyo(王墓)’. If you are an elite in a society where foreign trade with a higher civilization has been carried out at all times, you can call it a ‘wang(王)’. Furthermore, the tomb can be called a ‘wangmyo(王墓)’. However, in Korean archaeology, the elite of the society before the Three Kingdoms period are not called ‘wang(王)’, but the tomb is called ‘wangmyo’, what is the negative reason? I think one of the reasons is the influence of Japanese colonial era. It can be said that it is a problem that arose because Gojoseon(古朝鮮) and Samhan(三韓) society were not recognized as political subjects in the process of explaining the civilization of the Japanese archipelago far from Chinese civilization. It is important to break away from the research atmosphere that was set as Chalcolithic period(金石竝用期) from the standpoint of ‘The Japan-Korea Common Ancestry Theory(日鮮同祖論).
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Kang, Hyunsook. "Archaeological Implications of Koguryo’s Stone Chambered Tombs Excavated from the Central Korean Peninsula." Korean Ancient Historical Society 120 (May 31, 2023): 65–88. http://dx.doi.org/10.18040/sgs.2023.120.65.
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Koguryo tomb is the empirical data that Koguryo occupied the central Korean Peninsula. The tomb of Koguryo's stone chamber excavated from the central Korean Peninsula, was left by Koguryo residents of the time. In that the central Korean Peninsula is the newly incorporated Koguryo territory, it was expected that stone chambered tombs hereand were possible other interpretation from Koguryo tombs in North Korea or northeastern China. So, this article tried to set the type of Koguryo stone chambered tombs in the central Korean Peninsula and find the archaeological implications inherent in the stone chambered tomb’s type. The types of Koguryo stone chambered tombs are divided based on the chamber planar plan and constructin skill. Since the rectangle tomb’s chamber was wide distribution in the central Korean Peninsula, it can be seen that information about the tomb’s chamber planr planar is shared among the inhabitants of the newly incorporated Koguryo realm. And the construction skill was divided into Koguryo style, localized Koguryo style, and non-Koguryo style, so it can be interpreted the difference of the groups that built tomb’s chambers. Therefore the diversity of tomb’s types suggests that the inhabitants of newly occupied Koguryo was diverse. From these, it can be seen that the spread of residents of Koguryo in the central Korean Peninsula took place in two steps proceeding. The first spread of southward took place between the end of the 4th century and the beginning of the 5th century, and the center of inhabitants was the Chuncheon area of the Bukhan River basin. The second was took place at the end of the 5th century following the invasion of Hanseong, and the descendants of the first Koguryo residents north of the Han River or the native incoporated Koguryo residents, spread along the Han River to various places. Therefore, judging from the aspects of Koguryo tomb’s types, the main bases of Koguryo's southern control can be said to be Chuncheon, Yongin in the southern inland of Gyeonggi-do, and Chungju in the Namhan River basin.
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Vampelj Suhadolnik, Nataša. "Han Mural Tombs: Reflection of Correlative Cosmology through Mural Paintings." Asian Studies, no. 1 (December 1, 2011): 19–48. http://dx.doi.org/10.4312/as.2011.-15.1.19-48.
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The main research materials of this study were tombs with murals from the Han Dynasty (206 B.C.–220 A.D.). The article deals with the issue of the reflection of ancient Chinesecosmologic concepts in the iconographic design of Han mural paintings. A thorough analysis of the iconographic design of murals shows that they possessed not only a decorative function, but together with the architectural structure and other burial objects reflected the entire cosmic image. The analysis of tomb paintings reveals a developed correlative cosmology yin-yang wuxing which manifests its concrete image in symbolic codes of individual iconographic motifs. The article first displays a general review of tombs with murals, and then focuses on depictions in Han tomb murals, discussing representation of the images of celestial bodies, the symbolic polarity of the cosmical forces yin and yang, the symbolism of the four directions and the four seasons and the symbolic circling of the five xings.
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Zhou, Qi, and Catherine Xin Xin Yu. "Research on the Lacquered Channel Figurine Excavated from a Han Tomb in Tianhui." Asian Medicine 18, no. 1-2 (2024): 79–103. http://dx.doi.org/10.1163/15734218-12341528.
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Abstract Apart from the seven medical treatises excavated from Laoguanshan Tomb M3, there were also medical artifacts: an iron mortar and pestle for medicine, remains of plants that seem to be medicine, and a tiny figurine decorated with red and white lacquered lines. In accordance with the Han period funerary practice of “serving the dead as serving the living” (shi si ru shi sheng 事死如事生), these funerary medical artifacts are likely related to the profession and daily life of the tomb’s occupier, in this case, very probably a medical official. This article introduces the lacquer figurine and the “channels” (jingmai 經脈) it illustrates in relation to roughly contemporaneous textual accounts of similar channels that have been excavated from tombs that were sealed in the Western Han (202 BCE–9 CE) period, as well as to accounts in the medical classics that were passed down and printed over one thousand years later than the date of the Laoguanshan tomb.
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ARGUNŞAH, İsmail, and Sultan Murat TOPÇU. "TWO EXAMPLES OF TOMBS THAT HAVE SURVIVED IN HOKAND: DAHMA-I SHAHAN AND MADARI KHAN." ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN / JOURNAL OF WORLD OF TURKS / TÜRKLERİN DÜNYASI DERGİSİ 16, no. 1 (2024): 115–36. http://dx.doi.org/10.46291/zfwt/160109.
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The climatic conditions and geographical location of Fergana, one of the most important basins of Turkestan, have brought the region to the forefront throughout history. The region has been a place where not only foreign powers but also Turkish tribes constantly raided. The Khanate of Kokand, which ruled in Fergana between 1709 and 1876, maintained its political power in the region for a long time and also contributed to the development of the city of Kokand with its construction activities. The city, which showed great development in a short time, became the capital of the khanate. Different building types such as mosques, madrasahs, tombs, bridges, baths, castles and palaces were built in Kokand. The city of Kokand became the center of science, culture and art of its time. Among the building groups in the city, tombs have a special importance because they are sacred places and are constantly visited. Among the surviving works of the Kokand Khanate in Kokand, Dahma-i Shahan and Madari Khan Tombs are remarkable in terms of their architectural features. It is known that Dahma-i Şahan Tomb belongs to the khans, and Madari Khan Tomb belongs to the female representatives of the khanate. In this study, Dahma-i Shahan and Madari Khan Tombs, which reflect the architectural features of the Kokand Khanate, are examined in detail in terms of plan, material and decoration features. Keywords: Kokand Khanate, Kokand, Tomb, Dahma-i Shahan, Madari Khan.
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Elias, Hajni Pejsue. "Cliff Tomb Burial and Decorated Stone Sarcophagi from Sichuan from the Eastern Han Dynasty." Asian Studies 7, no. 2 (2019): 175–201. http://dx.doi.org/10.4312/as.2019.7.2.175-201.
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Cliff tombs and decorated stone sarcophagi from the Eastern Han period have been found in especially large numbers in Sichuan. The sudden rise of cliff tomb burial in the southwest and its decline by the 3rd century CE suggests that it was a trend that answered a particular call in a specific period. Their geographical concentration and use in a period of general social and political stability and economic prosperity in the region point to a distinctive new development in burial custom. Cliff tomb burial represented a fundamental shift in artistic and communicative objectives and a modification in cemetery layout. After examining cliff tombs found in Hejiang county, Sichuan, and especially the iconography and meaning of images carved on stone sarcophagi found therein, the paper suggests a number of possible reasons for the rise of cliff tomb burial, including a wish to eschew the ostentation associated with funereal practice at the time.
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Gu, Man. "Collating and Interpreting the Medical Bamboo Slips Excavated from the Han Tombs in Tianhui Town." Asian Medicine 18, no. 1-2 (2024): 19–37. http://dx.doi.org/10.1163/15734218-12341525.
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Abstract In July 2012 through August 2013, four earthen shaft pit tombs with timber chambers were excavated in a cemetery located in Tianhui Town, Jinniu District, Chengdu City. The tombs, which had been looted, were of similar size and aligned in the same south–north orientation. Tomb M3 contained 951 bamboo slips distributed across two compartments of its lower chambers: North II and South II. Most of the texts they contain are of medical interest, though twenty fragments appear to be from legal documents. Based on the content of the discovered slips, it has been suggested that the tomb’s occupant was a physician or medical official. Six of the M3–121 manuscripts found in North II concern medical theory, the causes and symptoms of disease, the nature of the channels of the body (mai 脈), diagnosis, acupuncture, and possibly moxibustion therapy. The dates the texts were transcribed fall within the period when Empress Lü 呂后 (187–181 BCE) was effectively in power and the reign of Emperor Wendi (r. 180–157 BCE) of the Western Han dynasty. The M3–137 manuscripts found in South II include two texts entitled the Book of Treating Horses and the Book of the Classic Channels. The dates the texts were copied were earlier than those assigned to the M3–121 manuscripts.
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Jingrong, Li. "The nature and function of theErnian lülingmanuscript unearthed from Zhangjiashan Han tomb no. 247." Bulletin of the School of Oriental and African Studies 82, no. 1 (2019): 143–58. http://dx.doi.org/10.1017/s0041977x18001507.
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AbstractLegal manuscripts excavated from tombs serve as important materials for research on Qin and Han laws. These manuscripts differ from received legal texts or law documents found at archaeological sites in nature and function, as they were stored as funeral texts in tombs. This article studies theErnian lülingmanuscript in terms of its nature and function. It argues that the manuscript compiled in the second year of Empress Lü (186bce) nearing the death of the owner was not produced for official use but specifically for burial in the tomb. This article further proposes that the burial of theErnian lülingmanuscript may have taken place to illustrate the social status and official capabilities of the owner to the underworld. The investigation of theErnian lülingmanuscript in its archaeological context helps us achieve a stronger understanding of the dating, origins, completeness, and compilation of its text.
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Lee, Soohong. "The Appearance and Transition of Chief Tomb in Yeongnam Province." Yeongnam Archaeological Society, no. 86 (January 30, 2020): 5–35. http://dx.doi.org/10.47417/yar.2020.86.5.
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Social stratification in the Bronze Age and the appearance and transition of chief tombs in the early Iron Age are reviewed based on the ancient tomb data in Yeongnam Province. Chief, which means a ruler of unequal societies, first appeared in the early Iron Age. Evidence to support the appearance is given as follows: the articles from , production and distribution of ironware, construction of tombs for not a community but an individual, and the beginning of trade between local regions. In the late Bronze Age, tomb clusters turned into a common cemetery, and huge dolmens with graveyards were built. With social stratification being intensified, communities would have been maintained by blood ties and regionalism. The construction of huge tombs was for a community, not for a single person. That is, it was the tomb of the leaders, not of a chief. The types of the leader tombs vary depending on the regions: huge dolmens with graveyards in South Gyeongsang Province, and tombs with long-sharpened daggers in Daegu. In the early Iron Age, chief tombs are categorized into a group of dolmens from the patternless earthenware culture and a group of wooden coffin tombs from the Koreanstyle bronze dagger culture. The former group of chief tombs can be seen in huge dolmen areas such as Gimhae Gusan-dong and Changwon Deokcheon-ri archeological sites, and it is more of an individual’s tomb rather than a community’s. The chiefdom of dolmens and the one of wooden coffin tombs coexisted only until the chiefdom of wooden coffin tombs took over the other. In Yeongnam Province, the wooden coffin tombs first appeared in the third century B.C., and the ironware began to be buried in the second century B.C. By the first century B.C., the wooden coffin tombs clustered and the Chinese Han relics began to be buried. This is when the chiefdom was formed and the Bronze Age came to an end. In South Gyeongsang Province, chief tombs are centered in Gimhae. In Daegu-North Gyeongsang Province, chief tombs are distributed by equal intervals on the road connecting Ulsan, Gyeongju, Yeongcheon, Gyeongsan, and Daegu; it is due to the consolidation of foreign negotiation command of a chief.
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Li, Jinglin. "Mythological Figures on Bronzeware: Funerary Beliefs and Decorative Expressions in a Western Han Tomb (202 BCE–8 CE) in Bailuyuan, Xi’an, Shaanxi." Religions 15, no. 12 (2024): 1451. http://dx.doi.org/10.3390/rel15121451.
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Between March 2018 and May 2019, the archaeological team of the Xi’an Institute of Cultural Relics Protection and Archaeology excavated a Western Han tomb complex near Bailuyuan. This paper focuses on a bronze xuan with human-shaped feet discovered at tomb M21 of the complex, offering a foundation for further comparative analysis. According to the archaeological report, the Bailuyuan tomb complex, to which tomb M21 belongs, is of high status, indicating that the occupant of the main tomb held a rank no lower than a feudal lord, while the occupants of the other tombs were also likely members of the elite class. This tomb complex may belong to the accompanying tombs of the Ba Mausoleum, as it is located less than four kilometers from the mausoleum and the main tomb M1 within the complex yielded jade burial suit fragments and bronze chime bells. The central argument of this paper posits that the unusual human-shaped decoration on this xuan provides a new perspective on the significance of human-like imagery in bronzes from this and earlier periods. Such human-shaped decorations serve not only ornamental purposes but also carry symbolic meanings on cultural and religious levels, elevating them beyond mere functionality. Findings of this paper reflect that the unusual imagery in this xuan casts new light on the meaning of human-like figures in contemporaneous and even earlier bronzes.
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Miao, Jingwen, Azizi Bahauddin, and Jie Feng. "Museum Fatigue: Spatial Design Narrative Strategies of the Mawangdui Han Tomb." Buildings 14, no. 12 (2024): 3852. https://doi.org/10.3390/buildings14123852.
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Museum fatigue refers to the physical and psychological fatigue that visitors experience when visiting exhibitions due to information overload, dense display, or monotonous space design. This study takes Mawangdui Han Tomb as an example, draws on Lefebvre’s spatial triad theory, and realizes the transformation of cultural connotation from tomb space into museum space by analyzing perceived space, conceived space, and lived space. This transformation process also proposes a spatial design narrative strategy for this study to solve the problem of museum fatigue. This qualitative study uses ethnography to understand the Taoist and ritual-influenced tomb culture of the Mawangdui Han Tombs, followed by a phenomenological analysis of the museum (lived space). The research results show that a reasonable spatial layout, coherent narrative clues, and a multi-sensory interactive experience significantly improve audience concentration and reduce fatigue. This study provides practical design suggestions for future historical and cultural exhibitions.
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Kim, Ilkyu. "Style of Central China on the Mural Painting in Anak Tomb No.3 and It’s Significance." Korean Archaeological Society 130 (March 31, 2024): 35–55. http://dx.doi.org/10.47439/jkras.2024.1.035.
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The main content of the mural painting of Anak Tomb No. 3, a tomb which belongs to the emergent stage of Goguryeo mural tombs, is the life of the tomb owner in his life. It is the same with the mural tombs of China from the Eastern-Han Dynasty. Anak Tomb No. 3 is quite similar to the mural tombs of central China and Liaoyang in terms of the structure of the tomb, as well as the composition and content of the mural painting. Various prestige goods such as a type of cart (通幰車), drapes and a tent (帷帳), a folding screen and flat bench (屛榻), a type of pole (節), a type of folding fan (麈尾扇) depicted on the mural painting of Anak Tomb No.3 represent the official rank, written in black ink on the mural painting of this tomb’s owner, and these contents are the same as those of the mural tombs of central China which are of the same level. This presence of objects originating from central China found on the mural painting of Anak Tomb No.3 and Deokheungri tomb indicates that the Daedong River Estuary basin (which includes the Pyongyang area) maintained a different social and cultural aspect from the Jian area, until the Goguryeo capital was relocated from Jian to Pyongyang in 427. There is a view that Dong Su was not the owner of the tomb, but a gate guard (門吏) written as “Jang Ha Dok” (帳下督) on the wall of the entrance of the western chamber. “Jang Ha Dok” is a subordinate official belonging to the first to third rank of the Wei-Jin Period. According to an ink handwriting record, Dong Su’s rank corresponds to the second to third official rank of the Wei-Jin Period. Therefore, Dong Su cannot be regarded as “Jang Ha Dok”. A type of pole called “jul” (節) on the mural painting reflects the office of “Sa Ji Jul” (使持節) written in black ink. In addition, the oxcart with the tomb owner is a type of cart called Tong Hun Gu (通幰車), which the second to third official rank rode. Therefore, it is most reasonable to regard the owner of Anak Tomb No. 3 as Dong Su, as is written in black ink.
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Wang, Ronghuang, and Wanqing Chen. "A Study on the Funerals of the Han Buddhist Monks of Lingnan during the Late Qing Dynasty via the Haichuang Temple in Guangzhou." Religions 14, no. 7 (2023): 924. http://dx.doi.org/10.3390/rel14070924.
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The funeral protocol of Buddhist monks is an important part of the rituals of Han Buddhism. The monks’ funeral rituals were recorded in detail in the Monastic Rules (清规) of Chan. The funeral of Chinese Buddhism monks after the Song Dynasty was known through the records of Monastic Rules. However, how it is concretely practiced is unknown. In the late Qing Dynasty, Westerners who came to China out of curiosity about the rituals of Han Buddhism recorded the process and details of the funerals of the monks in the temples they visited, among which Haichuang Temple (海幢寺) in Guangzhou ranks first. The funerals of the monks at Haichuang Temple in the late Qing Dynasty inherited the tradition of Chan funeral culture from the Song Dynasty. Meanwhile, the degradation into secular funeral culture appeared. Influenced by the secular funeral culture in Lingnan (岭南), the tombs of the monks in Chan Temples there, among them, Haichuang Temple is listed as a typical example, showed a trend toward the Shanshou Tomb (山手墓) in the early Qing Dynasty. In the late Qing Dynasty, some of the ancestral tomb-pagodas (祖师墓) in Lingnan Chan Temples abandoned the traditional form of pagodas completely and were almost the same as the Shanshou Tombs. The degradation of the funeral culture of Han Buddhism in the late Qing Dynasty reflects the declining trend of Buddhism.
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Kudinova, M. A. "Northern Wei Tombs in the Vicinity of Guyuan, Ningxia Hui Autonomous Region, China." Vestnik NSU. Series: History and Philology 22, no. 5 (2023): 95–104. http://dx.doi.org/10.25205/1818-7919-2023-22-5-95-104.
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Purpose of this article is to characterize the tombs of the Northern Wei period discovered in the vicinity of Guyuan City, analyze the specifics of the funeral rite of these complexes and define the factors that influenced its formation.Results. The possibility of studying the funeral rite of the Northern Wei period in Guyuan is limited by the small number of known complexes, the fragmentary nature of the materials that have reached our days due to tombs looting, and the lack of scientific publications on some complexes. The tombs known to date are not numerous (only seven tombs have been discovered so far), but varied in design features and the composition of the grave goods, which is explained by the chronological distance and differences in the ethnic and cultural identity and the social status of the tomb occupants. The earliest tombs near Shiwacun Village in Xinji Township show similarities to the tombs of the period of the Sixteen Barbarian States. The burials of ordinary Xianbei who moved to the Guyuan region after its conquest by the Northern Wei testify to the preservation of their own traditions and the insignificant influence of Chinese (Han) culture on their funerary practices.Conclusion. The funeral rite of the Northern Wei tombs in Guyuan, on the one hand, inherits the burials of the Sixteen Barbarian States era, on the other hand, serves as the basis for the funeral rite evolution of the subsequent periods of the Western Wei and Northern Zhou.
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Wu, Haijing. "On the Murals of Han Dynasty Tombs in Shiyuan." Art and Design 5, no. 1 (2022): 80. http://dx.doi.org/10.31058/j.ad.2022.51009.
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Cho, Wonchin, and Moonsig Ha. "A Reconsideration of the Han tombs in Liaonan Region." Paek-San Society 122 (April 30, 2022): 105–32. http://dx.doi.org/10.52557/tpsh.2022.122.105.
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Li, Chen. "Rethinking the origins of Han Dynasty stone-carved tombs." World Archaeology 49, no. 5 (2017): 700–717. http://dx.doi.org/10.1080/00438243.2017.1403953.
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Guo, Qinghua. "Tomb Architecture of Dynastic China: Old and New Questions." Architectural History 47 (2004): 1–24. http://dx.doi.org/10.1017/s0066622x00001672.
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A significant number of tombs have survived from the Han dynasty (Western Han 206 BC-AD 8, Eastern Han 25–220), an important period for tomb architecture in China. The number of examples is in stark contrast to the lack of evidence of other architecture from the period. In fact, no timber architecture built before the Tang dynasty (618–907) exists today. While much care and scholarly effort has been devoted to the interpretation of ancient architecture, funeral architecture has not received adequate study and scrutiny.
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Lee, Myunghoon. "Transition from dolmen society to wooden coffin tomb society." Yeongnam Archaeological Society 99 (May 30, 2024): 5–39. http://dx.doi.org/10.47417/yar.2024.99.5.
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The biggest difference between the dolmen society and the wooden coffin tomb society is the existence of the dolmen. Since dolmen is a strategy to lead an agricultural society, the absence of dolmen means entry into a new society. In this review, the tombs in the Yeongnam region were comprehensively reviewed to identify the transition pattern. The transition is carried out in three stages. The first stage is the stage where the relics of the wooden coffin tomb society ‘appear’ from the tombs of the dolmen society. The second stage is the stage where the relics of the wooden coffin tomb society are “deprived” in the tombs of the dolmen society. The third stage is the stage where the shape of the tomb “change” to the wooden coffin tomb. However, even in the third stage, the attributes of dolmen remain. A representative example of the third stage is dolmen A2-1 in Gusan-dong, Gimhae. The transformation pattern is understood as a form in which the existing dolmen society has accepted the culture of the new wooden coffin tomb society step by step. Therefore, the subject of the transition can be seen as the dolmen society of the land. Even during the transition period, the dolmen society maintained the idea of building tombs with stones, the idea of expressing hierarchy through enlargement, and the idea of building dolmen. The maintenance of this notion shows that the subject of transformation is the dolmen society. Transition means the beginning of a new society. The social strategy of dolmen disappears from the new society. However, the change to a new era is not disconnected, but has a continuous aspect. Immediately after the transition is completed, the Yeongnam region emerges as a leader in a new era in a short time. An example of this is the concentration of Han Chinese-style bronze mirror in the Yeongnam region. Therefore, it can be said that the wooden coffin tomb society in the Yeongnam region was formed based on the potential of the dolmen society.
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Yang, Dolly. "A Brief Introduction to the Horse Medical Manuscript from the Tianhui Laoguanshan Han Tomb." Asian Medicine 18, no. 1-2 (2024): 304–28. http://dx.doi.org/10.1163/15734218-12341537.
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Abstract One of the most important archaeological finds excavated from the Tianhui Laoguanshan Han tombs in 2012–13 was a manuscript on horse medicine, dated around the third century BCE. Prior to the discovery of this highly specialized veterinary text, only a handful of horse recipes from the Qin and Han periods had been found, and a sixth-century CE agricultural treatise, Essential Techniques for the Common People, was generally regarded as the earliest surviving source of extensive veterinary material, including various medical treatments for horses. Although the Laoguanshan manuscript – given the modern title Book of Treating Horses by the Team for Collating the Medical Bamboo Slips Excavated from the Han Tombs in Tianhui Town, Chengdu – has suffered significant damage, it nevertheless gives us an insight into the knowledge and treatments for horses during the Qin and early Han periods. A variety of ways of treating horses are recorded in Treating Horses, including herbal remedies, piercing, cauterization, hot packs, bandages, massage, and bathing. The use of gold needles is also mentioned in this text, echoing the gold and silver sewing needles excavated from Liu Sheng’s (d. 113 BCE) tomb in Mancheng, Hebei Province. This paper offers a short introduction to this valuable text on horse medicine by examining the content of its fragments, including names of ailments, symptoms of certain diseases, etiologies, and treatment methods. The discovery of Treating Horses challenges the established view that horse treatment methods in ancient China were predominantly herbal and that techniques of bleeding and cauterization recorded in Essential Techniques were brought to China from elsewhere, together with the introduction of Buddhism. The paper argues that the “foreign influence” had already occurred at a much earlier date, in the form of interactions with nomadic tribes such as the Scythians, the horsemen par excellence of classical antiquity.
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Chen, Xuan. "Constructing Heaven: Ceilings of the Stone Tombs in Northeast Asia (1st to 7th Century CE)." Religions 14, no. 12 (2023): 1455. http://dx.doi.org/10.3390/rel14121455.
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This paper discusses the spread of several special techniques for tomb ceiling construction in Northeast Asia from the 2nd to the 5th centuries and the mixed beliefs of Buddhism and the cult of the Queen Mother of the West (Xiwangmu 西王母) that were embedded in the design of these ceilings. In the 2nd century, stone tombs with ceilings formed by stepped layers of stone slabs flourished in Shandong and northern Jiangsu. These tombs are usually believed to be the prototypes of the stone tombs with more complicated stepped ceilings that appeared in the Goguryeo Kingdom on the Korean Peninsula in the 4th century. However, the way in which the Eastern Han Dynasty (25–220 CE) stone tombs in eastern China influenced the Goguryeo tombs over relatively long distances in the following centuries is open for discussion. This paper argues that Youzhou 幽州, i.e., the Province of You 幽 ruling the areas including Beijing, northern Hebei, Liaoning, and the northwest of the Korean Peninsula, was a crucial area for the dissemination of these special ceilings of stone tombs. The officials of the Province of You were keen to introduce highly developed masonry craftsmanship from Shandong to construct their ideal shelters for an afterlife in an age full of regional wars and unexpected deaths. Newly introduced Buddhism and traditional beliefs in the immortal land of the Queen Mother of the West were potential driving forces for the dissemination and popularity of these stone ceilings as spaces for worship.
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Erickson, Susan. "Eastern Han Dynasty Cliff Tombs of Santai Xian, Sichuan Province." Journal of East Asian Archaeology 5, no. 1 (2003): 401–69. http://dx.doi.org/10.1163/156852303776173042.
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Allard, Francis. "Hepu Han Tombs by Zhaoming Xiong and Xia Fu (review)." Asian Perspectives 63, no. 1 (2024): 135–39. http://dx.doi.org/10.1353/asi.2024.a923668.
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Chaffin, Cortney E. "Strange Creatures of Chu: A Regional Approach to Antlered Tomb Sculptures." Arts 12, no. 1 (2022): 3. http://dx.doi.org/10.3390/arts12010003.
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Lacquered wooden sculptures of fantastic hybrid beasts adorned with real deer antlers are among the most extraordinary examples of sculpture found in Chu tombs dated from the sixth through the third centuries BCE. Conventionally known as zhenmushou 镇墓兽 or “protecting tomb beasts”, the antlered sculptures have grotesque features, including bulging eyes, fangs, and protruding tongues. In the fourth century BCE, production and use of these sculptures increased and peaked in the Hanxi region of Hubei province. Although most of these figures have been found in tombs in Hanxi (west of the Han River), distinctive variations of antlered tomb sculptures are also documented in regional areas of the Chu polity, including the Nanyang Basin, the Upper Huai, Eastern Hubei, and Jiangnan. Through a systematic regional analysis of Chu antlered sculptures, this paper presents a spatial framework for analyzing this unique genre of Chu funerary sculpture. This approach provides fresh insight into the interregional networks of interaction across the Chu state and beyond, via waterways and the Suizao corridor from the sixth through the third centuries BCE.
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Loewe, Michael. "The Imperial Tombs of the Former Han Dynasty and Their Shrines." T'oung Pao 78, no. 4 (1992): 302–40. http://dx.doi.org/10.1163/156853292x00036.
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Mao, Xiao Juan. "Study on Patterns of Woolen Costumes Unearthed from Sampula Tombs in Xinjiang - For Example Woolen Ribbon, Skirt Decorated with Plait." Advanced Materials Research 1048 (October 2014): 332–35. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.332.
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Sampula tombs located 14 km southwest of the Sampula Township, Lop County, Hotan City, Xinjiang. Lop County located south of the Tianshan，southern edge of the Taklamakan Desert, the northern foot of the Kunlun Mountains. The era of the tombs is about Western Han Dynasty late to the Eastern Jin Dynasty. There are four times excavation from 1983 to 1996, 68 tombs and 2 martyrdom horse tombs were excavated, among them nearly 130 pieces of woolen clothing. Which unearthed large quantities, complete styles, diverse patterns and rich themes are skirts of silk ribbon and belts.This paper mainly analyzes the patterns of the two kinds of the most representative clothing .
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Wang, Yushuang. "Dunhuang during the Western Han, Wei, Jin, Southern and Northern Dynasties period." Frontiers in Humanities and Social Sciences 4, no. 11 (2024): 191–95. https://doi.org/10.54691/s7sm7s07.
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This article introduces the situation of Dunhuang from the Han Dynasty to the Wei and Jin Dynasties, including the historical evolution of Dunhuang, the agricultural situation during the Wei, Jin, Southern and Northern Dynasties period in Dunhuang, the excavation of tombs in Dunhuang, the development of Buddhism in Dunhuang, and the unearthed artifacts related to the history at that time. It briefly summarizes the situation of Dunhuang during the Han, Wei, Jin, Southern and Northern Dynasties.
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Han, Liu, and Yang Cui. "The application of virtual reality technology in museum exhibition ——Take the Han Dynasty Haihunhou Ruins Museum in Nanchang as an example." E3S Web of Conferences 236 (2021): 04045. http://dx.doi.org/10.1051/e3sconf/202123604045.
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The opening of the Haihunhou Relics Museum of The Han Dynasty in Nanchang showcases the largest, best-preserved and most abundant legal-marquis tombs of the Han Dynasty discovered in China, and exhibits the historical sites and precious cultural relics of the Han Dynasty in an undamaged manner. The tomb of Haihunhou reflects the splendid civilization of an era, which is of great significance to the study of Chinese politics, economy and culture in han Dynasty. The display of the Han Dynasty Haihunhou Ruins Museum in Nanchang also represents the display level of today's China. Nowadays, people are more and more interested in and want to visit ancient relics. However, it is difficult for traditional museums to display ancient relics and visitors cannot understand the historical stories behind them. With the development of contemporary science and technology and virtual reality technology, museum exhibits more tends to digital, intelligent technology, through the cultural relics of the display of virtual reality technology, brings to the sea faint principality of nanchang han dynasty ruins museum different presentation, more fully play of the museum's education value and historical responsibility.
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Kudinova, M. A. "A New Example of Early Medieval Multiculturalism: The Tomb of Qu Qing and His Wife in Anyang." Vestnik NSU. Series: History and Philology 23, no. 4 (2024): 91–105. http://dx.doi.org/10.25205/1818-7919-2024-23-4-91-105.
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The materials of a new burial complex in Anyang (Henan Province, China) combining features of the tombs of Northern Qi and Sui, and of the “Sogdian” tombs of the 6th century AD are presented. From the text of the epitaph placed in the burial chamber it is known that aristocrat Qu Qing and his wife Lady Han were buried there. Qu Qing was the grandson of Qu Jia, the founder of one of the ruling dynasties of the Gaochang Kingdom. His wife came from a noble family, possibly with Wuhuan roots. The set of stone items, including door leaves, an engraved panel above them, an engraved screen, and a burial bed decorated with engravings, reliefs and paintings, serves as a valuable source of information about the heterogeneous culture of Early Medieval China. The images on the door and the panel above it are similar in content and style to the murals of the Northern Qi tombs. The plots of the compositions on both sides of the stone screen came from early collections of xiaoshuo prose, that can be classified as zhiguai xiaoshuo (“tales of the miraculous”). The stone bed is similar in design and partly in decorative motifs to the objects from the “Sogdian” burials of the Northern dynasties and Sui. The tomb demonstrates an example of adaptation and transformation of borrowed elements of funeral rites under the influence of Han culture. The combination of Confucian, Taoist, Buddhist and Zoroastrian images and motifs reflects the situation of religious syncretism typical of the early Middle Ages.
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Vampelj Suhadolnik, Nataša. "Guest Editor’s Foreword." Asian Studies 7, no. 2 (2019): 5–9. http://dx.doi.org/10.4312/as.2019.7.2.5-9.
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This special issue of the journal Asian Studies is dedicated to the meaning and transformation of Chinese funerary art during the Han dynasty (206 BCE–220 CE) and the subsequent Wei Jin Nanbei period (220–581 CE). The “horizontal-pit grave,” which first appeared in the middle Western Han period, marked a departure from the hitherto prevailing design based on a vertical shaft. This new form permitted the development of several burial chambers with distinct functions––a layout that would culminate in large-scale tombs with multiple chambers arranged along a central axis and flanked by side rooms and corridors. Another feature that distinguishes Han tombs from those of earlier periods is the use of brick and stone. The new horizontal-pit graves constructed from these materials provided an ideal substrate for a variety of decorations (stamped, carved or painted). These embellishments, which began to appear together with the new construction technique in the middle Western Han period, achieved their greatest diffusion during the Eastern Han period (25–220 CE). With the rapid outward expansion of the powerful Han state, accompanied as it was by the transfer of government officials and military commanders from the centre to the borderlands, the culture of the Han people, including their burial practices and tomb designs, spread to the frontier regions. As a result of the political and social disorder that characterized the latter years of the Eastern Han period, and which was accelerated by the dynasty’s downfall, the Central Plain was thrust into a state of war and turmoil, provoking even greater migration to the remote border areas in the northwest and northeast, as well as to the southern areas.
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Wallace, Leslie V. "Representations of Falconry in Eastern Han China (A.D. 25-220)." Journal of Sport History 39, no. 1 (2012): 99–109. http://dx.doi.org/10.5406/jsporthistory.39.1.99.
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Abstract Falconry has been practiced in China for nearly two thousand years, but its early history is obscured by a lack of visual, textual, and archaeological materials. Falconry first appears in visual and textual records dating to the Eastern Han dynasty (A.D. 25-220). Although the standard histories offer few details about the practice of falconry at this time, a growing number of excavated tomb reliefs provide information regarding the possible genesis of the sport. I first discovered this imagery when looking for representations of activities associated with foreigners in hunting scenes depicted in Eastern Han tombs from Shaanxi and Shanxi. In scenes of the hunt from this region, mounted falconers are depicted alongside mounted archers, figures that are connected in Han visual and textual sources with Northern nomadic pastoralists. This imagery immediately prompted a number of questions: when the practice began, who practiced falconry, and whether or not it was associated with foreigners at this time. This article is an outgrowth of research based on these initial questions. Focusing on Eastern Han depictions of falconry, I first examine where and how falconry was practiced in ancient China and what types of birds were used. I will then argue that the sport was originally learned by the Chinese from nomadic pastoralists living to the north of Han China. Finally, I will examine Han attitudes towards the sport, suggesting that although it may have originally been associated with nomadic pastoralists, in Eastern Han texts, falconry was connected with activities characteristic of a misspent youth.
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Holloway, Kenneth. "“The Five Aspects of Conduct” Introduction and Translation." Journal of the Royal Asiatic Society of Great Britain & Ireland 15, no. 2 (2005): 179–98. http://dx.doi.org/10.1017/s1356186305004992.
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AbstractIn 1973 a cache of silk manuscripts was discovered in Mawangdui tomb number three in Hunan province. This was the first extensive collection of silk manuscripts unearthed from such an early period: 168 BCE, during the Han dynasty (202 BCE – 202 CE). Guodian village in the province of Hubei was the site of another exciting discovery in October of 1993. Here archaeologists uncovered a tomb they labelled M1 from 300 BCE in the pre-Qin state of Chu that contained texts written on 804 bamboo strips. These two tombs are separated by one of the most significant period-defining events in ancient history, Qin Shihuang's unification of China. Excavated manuscripts now bridge this historic divide. Some are early editions of major works known from the received tradition. Others were previously unknown having been lost for over two millennia. Of the received texts, the Daodejing has been translated into English based on each of the editions found in Mawangdui and Guodian. The only other text that appears in both of these tombs is “The Five Aspects of Conduct”, which will be made widely available to an English speaking audience for the first time at the end of this article.
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Kyong-McClain, Jeff. "Barbarian Caves or Han Tombs? Republican-Era Archaeology and the Reassertion of Han Presence in Ancient Sichuan." Twentieth-Century China 35, no. 2 (2010): 4–24. http://dx.doi.org/10.1179/tcc.2010.35.2.4.
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Jeff Kyong-McClain. "Barbarian Caves or Han Tombs?: Republican-Era Archaeology and the Reassertion of Han Presence in Ancient Sichuan." Twentieth-Century China 35, no. 2 (2010): 4–24. http://dx.doi.org/10.1353/tcc.0.0029.
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Wei, Chen, and Cai Dan. "Yue Ren, Luli, and Anlu: the Tomb Occupant of Yunmeng Shuihudi Han Tomb No. 77 and the Village Where He Resided." Bamboo and Silk 3, no. 2 (2020): 232–74. http://dx.doi.org/10.1163/24689246-00302003.
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By examining the excavated bamboo slips and boards of Shuihudi 睡虎地 Western Han tomb no. 77 in Yunmeng 雲夢, it is possible to know that the name of the tomb occupant was Yue Ren 越人 and that he served as an Office Assistant 官佐 in Anlu 安陸 County from the ninth year (171 bce.) of the reign of Western Han Emperor Wendi 文帝 (r. 180–157 bce.) to the seventh year (157 bce.) of the Houyuan 後元 era (163–157 bce.) of his reign. In addition, we can understand a number of the actions and life events of Yue Ren and his colleagues and family members, and know that in the tenth month of the third year of the Houyuan era of Wendi’s reign (161 bce.), Yue Ren and his family moved their residence to Luli 路里. Moreover, by analyzing the slips and boards of tomb no. 77, and viewing these in connection with lacquerware items on which are inscribed two graphs spelling out “Luli” 路里 excavated from the Shuihudi Qin tombs, it can be concluded that from the Qin dynasty to the early Western Han dynasty, residents of Luli were entombed in the cemetery at Shuihudi. This provides what is currently the strongest evidence for arguing that the ancient walled town at Yunmeng 雲夢古城—also referred to as the “Walled Town of the Chu King” 楚王城—is the ruins of the walled town that was seat of Anlu County in the Qin and Han periods.
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Qiu, Mubing. "Objects of the Funerary Cult in the Han Dynasty. Gold and Silver Items. Aesthetics of Gold and Silver in the Han Dynasty." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (2022): 19–28. http://dx.doi.org/10.36340/2071-6818-2022-18-4-19-28.
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The unification of China under the rule of the Han Dynasty and the subsequent prosperity of the state inevitably led to a sharp increase in the production of gold and silver items. The emperors of the Western Han Dynasty often rewarded officials who had served with gold to the extent that cast gold discs and gold bars were included in circulation. Looking at the gold and silver items that archaeologists find in the tombs of the Han period makes one see the superiority of utensils in this era over the items of previous periods both in quantity and in their typology, and possibly in terms of manufacturing complexity. Having become an independent craft, separate from traditional bronze casting, it strongly influenced the art of subsequent Chinese dynasties. Gilding technologies appeared in China as early as the early Zhanguo period. This highly commendable art used in the decoration of bronze, which was densely covered with gold, reached its maturity in the pre-Qin period and gained popularity during the Han Dynasty. Most importantly, in the Han Dynasty, the fine art of decorating with silver and gold reached a new, higher level and, no longer being part of the bronze casting craft, received independent development. Silver utensils of the Han period are found evenly throughout the territory of modern China. Silver caskets, funnel-shaped vessels and many ornaments were found in the tombs of the Jing king, Liu Sheng, in Zhongshan, the Huai king, Liu Xiu, and the Mu king, Liu Chan, in the same city district. Gold and silver vessels are evidence of the development of the art of working with gold and silver. Silver and gold vessels that archaeologists find in the graves of the highest tribal nobility of the Han Dynasty not only speak of the high level of this industry in the Han Dynasty but also testify to a unique culture and help us better understand the society of this time.
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Tseng, Chin-Yin. "The Representation of Military Troops in Pingcheng Tombs and the Private Household Institution of Buqu in Practice." Asian Studies 7, no. 2 (2019): 221–43. http://dx.doi.org/10.4312/as.2019.7.2.221-243.
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In Northern Wei tombs of the Pingcheng period (398–494 CE), we notice a recurrence of the depiction of armed men in both mural paintings and tomb figurines, not in combat but positioned in formation. Consisting of infantry soldiers alongside light and heavy cavalry accompanied by flag bearers, such a military scene presents itself as a point of interest amidst the rest of the funerary setting. Is this supposed to be an indication that the tomb occupant had indeed commanded such an impressive set of troops in life? Or had the families commissioned this theme as part of the tomb repertoire simply in hopes of providing protection over the deceased in their life after death? If we set the examination of this type of image against textual history, the household institution of buqu retainers that began as early as the Xin (“New”) Dynasty (9–23 CE) and was codified in the Tang Dynasty (618–907 CE), serving as private retainer corps of armed men to powerful families, appears to be the type of social institution reified in the archaeological materials mentioned above. The large-scale appearance of these military troops inside Pingcheng period tombs might even suggest that with the “tribal policy” in place, the Han Chinese practice of keeping buqu retainers became a convenient method for the Tuoba to manage recently conquered tribal confederations, shifting clan loyalty based on bloodline to household loyalty based on the buqu institution, one with a long social tradition in Chinese history. 
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Gladney, Dru C. "Muslim Tombs and Ethnic Folklore: Charters for Hui Identity." Journal of Asian Studies 46, no. 3 (1987): 495–532. http://dx.doi.org/10.2307/2056897.
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The Hui minority, the largest of ten Muslim nationalities in China, is distributed throughout every province and city and over 70 percent of all counties (Map 1; Diao 1967:169). This paper endeavors to shift discussion away from conventional considerations of whether the Hui are really “Muslim” or merely inheritors of a cultural tradition somewhat different from the Han majority. Instead, I propose to examine one important area of interest to Hui communities throughout China, namely the lore and events surrounding various tombs and shrines, which I categorize as historic, Sufi, and local. Historic tombs reflect concerns that put local Hui identity in an international perspective; Sufi tombs link the Hui in national networks and often divide them regionally; and local tombs evoke interests that are more communal, reflecting practical concerns and personal identities.
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seo, yunkyung. "A Study on the 'Hunting Images' in the Han Dynasty Tombs, China." KOREA SOCIETY FOR SCIENCE OF EASTERN ART 59 (May 30, 2023): 31–69. http://dx.doi.org/10.19078/ea.2023.59.2.
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Xiang, Wu. "The Heaven-and-Man Oneness Concept and the Style of Funerary Plastic Art During the Han Dynasty." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (2022): 10–31. http://dx.doi.org/10.36340/2071-6818-2022-18-4-10-31.
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The article analyses the Heaven-and-Man Oneness concept, which appeared during Emperor Wu of Liang's reign (汉武帝) and was important for the art of ancient China during the Han Dynasty. On its basis, the ideological thinking based on the Confucian view was formed. This philosophical concept explains the desire for a harmonious coexistence of man and heaven, where man and nature merge and mutually influence each other. The author emphasises that it is necessary to consider that during the long period of Confucian, Taoist and other teachings development, they constantly intertwined and mixed. Such a merger led to the fact that the Han Dynasty Confucian ideas, which combined the rituals of a strict social hierarchy and Taoist metaphysics, actively strengthened the consolidation of social stratification and the divine origin of the ruling class. Therefore, Confucianism was recognised and fully used by those in power. The Confucian teaching of the Han Dynasty, led by its primary representative Dong Zhongshu (1), exalted the Heaven-and-Man Oneness concept（天人合一), implying that man and Heaven are one. Sculptures in mausoleums are a product of the funerary culture. They bear the ideas of ancient people about life, death and the universe, at the same time being an essential part of the ancient China sculpture, which reflects the achievements and aesthetic aspirations characteristic of the ancient China art. Under the influence of the Heaven-and-Man Oneness concept and the cultures of small-numbered peoples from the north and the kingdom of Chu（楚国) from the south, a unique style of stone carving was formed. The era of the Han Dynasty is the period of the emergence of funerary plastics. This historical period is divided into Western and Eastern Han. Until now, only stone sculptures erected in front of the tombs of officials have survived. The sculptures from the burial of Huo Qubing（霍去病）are an example of stone sculptures of Western Han tombs. Here, attention was paid to the original texture and shape of the stone; processing was minimal; the imagery technique was used （意象）through which the ideological approach of the harmonious unity of man and nature with the heaven-and-man oneness（天人合一) was expressed. At the same time, funerary plastic art was influenced by the traditions of the nomadic peoples of Northern China. Such features as naturalness and roughness of the image were formed. In stone sculptures in front of the tombs of the Eastern Han, man's fantasies about heaven were expressed, as well as the desire to gain immortality after death. At the same time, the stone sculptures were aesthetically influenced by the mystical and romantic realm of Chu. funerary plastic art was influenced by the traditions of the nomadic peoples of Northern China. Such features as naturalness and roughness of the image were formed. In stone sculptures in front of the tombs of the Eastern Han, man's fantasies about heaven were expressed, as well as the desire to gain immortality after death. At the same time, the stone sculptures were aesthetically influenced by the mystical and romantic realm of Chu.
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Müller, Shing. "A Preliminary Study of the Lacquerware of the Northern Dynasties, with a Special Focus on the Pingcheng Period (398–493)." Early Medieval China 25, no. 1 (2019): 42–63. https://doi.org/10.1353/emc.2019.a943127.
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Abstract: After the Han, lacquer finds in tombs in the Chinese world generally became rare both in the north and in the south. However, in northern China, especially during the Pingcheng period (398–493) of the Northern Wei, a certain resurgence was experienced. The later Northern Dynasties then see a drastic reduction in realia finds again. The lacquers in Pingcheng tombs were mostly used to present funerary offerings of sacrificed animals. Many lacquers were presumably products of previous ages, but some were newly manufactured in Pingcheng. In the Pingcheng funerary cult, lacquers were used in novel ways, and with novel ornamentation, as tableware for sacrifices took root in northern Shanxi. Such practices are not found elsewhere. The unique lacquer-painted coffins of Pingcheng bear images of Xianbei or Central Asians, accompanied mostly with motifs and patterns in the style of Yungang art. Based on a dominant human imagery accompanied by decorative elements, the possible origin of the famous lacquered screen from the tomb of Sima Jinlong is also briefly discussed.
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Zhiguo, He, and Vivienne Lo. "The Channels: A Preliminary Examination of a Lacquered Figurine from the Western Han Period." Early China 21 (1996): 81–123. http://dx.doi.org/10.1017/s0362502800003412.
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Excavations of a Western Han tomb at Shuangbaoshan in the vicinity of Mianyang, Sichuan, in 1993 have uncovered a black lacquered wooden carving of the human body. Naked, hairless, and roughly anatomical in character, the figurine is understood to be the earliest extant three-dimensional medical model in Chinese culture.Ten red lines are drawn on the figurine. This article undertakes a preliminary examination of the figurine and offers an interpretation of the lines from two different perspectives. Firstly, the authors compare and contrast the lines with the eleven anatomical pathways of the mai “channels” as described in the medical manuscripts excavated at Mawangdui and Zhangjiashan. From this point of view the figurine adds to the sources that bear upon the early development of theories of pathological physiology which were first formulated in Han times and eventually became central to classical acumoxa theory. Secondly, the lines on the figurine are considered in their relationship to yangsheng “nurturing life” practices popular in elite society of this period. Certain features of the figurine that set it apart from ideas of pathological physiology seem better clarified by reference to contemporary texts, also excavated from the Mawangdui and Zhangjiashan tombs, that treat of yangsheng practices such as massage, therapeutic gymnastics, and breath cultivation.
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Li, Zongmin, Xiaojun Li, Jinyong Yu, Yihua Sun, Jianjun Geng та Xing Zhao. "The Lacquer Craft of the Corridor Coffin (徼道棺) from Tomb No. 2 of Tushan in Eastern Han Dynasty, Xuzhou". Coatings 14, № 9 (2024): 1222. http://dx.doi.org/10.3390/coatings14091222.
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Tomb No. 2 of Tushan in Xuzhou is the tomb of King Chu of the Eastern Han Dynasty, and it was an important archaeological discovery in China. The unique placement and crafting techniques of a lacquer coffin that was unearthed from the burial corridor are of significant importance in the study of tombs. In order to characterise the sample’s microstructure, elemental composition, and structural composition, as well as to study the crafting techniques of the coffin in the corridor, a range of analytical techniques were employed, including ultra-depth microscopy, scanning electron microscopy with SEM-EDS, Raman spectroscopy, FTIR, and XRD. The results indicate that the cross-sectional structure of the fragments comprises a pigment layer and a lacquer ash layer, with the latter being further divided into tile ash and bone ash layers. No lacquer film layer was observed. The primary colouring agent in the pigment layer was HgS, which contained a minor quantity of organic binder. The primary component of the tile ash layer was quartz, while the osseous ash layer comprised particles and collagen derived from mammalian bones. The lacquer crafting technique employed in the construction of the coffin was relatively simple and inconsistent with the assumption of it having a noble status. The findings of this research offer experimental data for the identification, preservation, and technical restoration of the corridor coffin in the future.
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Bi, Zhicheng. "THE EVOLUTION OF THE FORMS OF SHANDONG PROVINCE'S STONE RELIEFS COMPOSITION OF THE HAN ERA." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 19–28. http://dx.doi.org/10.17223/22220836/42/2.
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The stone reliefs of the Han era (206 BC – 220 AD) are a special type of funerary art with its own specific set of plots and art forms. Shandong Province takes the first place in China in terms of number of founding relief images. The peculiarity of the compositional construction of the Han's reliefs is that it isn’t based on the spatial principle of image transmission, but on the plastic-planar pictorial principle of a two-dimensional composition, which, with its thoughtful use, can carry the maximum emotional charge [Moshkov, Kuznetsov 1994]. Based on that, author’s own typology of the compositions of Han reliefs was built. Article the object of the study are stone reliefs of the Han Dynasty, Shandong Province, represented on stone sarcophagi, in stone tombs, temples of ancestors and steles, and passed the past two stages of its heyday. The purpose and objective of the study is to identify and study the laws of evolution of the composition of the stone reliefs of the Han Dynasty, Shandong Province, based on V.M. Moshkova’s principles of composition, using systemic and iconological research methods. Images on the stone reliefs of the Han tombs are distinguished by the peculiarity of the forms of compositional constructions, the process of development and evolution of which occurs in accordance with certain laws. As a result of the study, it was revealed that the starting point for the development of relief compositions of stone sarcophagi were two forms – symmetrical and nested (including several levels following the outlines and forms of stone material), which during the heyday of the Western Han Dynasty supplemented the “V”-shaped composition. Their further development is associated with the use of dispersed, zoned, irregular composition techniques, which spread around in turn of the CE. At the same time, a variety of compositional forms is also observed in the reliefs of tombs, temples of ancestors and stelae, in the reliefs of which during the period of the Eastern Han (25–220 CE) many different forms of compositional organization appear: for example, asymmetric, segmented, shingles wrong etc. The composition of combinations of geometric shapes, consisting, as a rule, of squares and circles, is also distributed. A variety of compositional forms is associated, on the one hand, with the complication of the architecture of burial structures and an increase in their scale. On the other hand, with the enrichment of the content and plots of reliefs, which is becoming more diverse and includes not only the image of Confucian’s symbols, but also narratives that reflect episodes from the lives of those buried. This indicates not only the process of improving art forms during the Han era, but also reflects a certain evolution of religious and philosophical thought, changes that took place in this period in the social structure of ancient Chinese society, and also, possibly, some external influences on the development of Chinese art.
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Kim, Jinyoung. "Re-recognition of the Stone Mound Tomb in the Central Eastern and Northern Regions of the Proto-Three Kingdoms and Baekje Hanseong Period." Paek-San Society 123 (August 31, 2022): 5–51. http://dx.doi.org/10.52557/tpsh.2022.123.5.
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This study aims to clearly understand the grave ceremonies of the Stone Mound Tomb in the central eastern and northern regions distributed along the Imjin and Han Rivers. The goal is to determine their structural forms, trace their lineage, and review the construction period to examine and thus re-establish the characteristics of the Stone Mound Tomb in the central eastern and northern regions.
 For this purpose, it was inappropriate to utilize the tomb classification system based on the traditional Goguryeo Stone Mound Tomb’s concepts of a grave and burial, which are related to the existence of a stairway. This is because these concepts do not properly capture the structural characteristics of the Stone Mound Tomb in the central eastern and northern regions. Hence, the Stone Mound Tomb was categorized into an “oval shape” and “quadrangle construction” as it was in contrast with the “rectangular type of construction” observed in Seokchon-dong, Seoul.
 The lineage of the tombs is not related to Goguryeo or Baekje, nor does it belong to a specific tribe called Yegye. The oval twisted-coffin type tomb representing the original tomb and burial ceremony were generated locally. Further, the rectangular burial Stone Mound Tomb type was examined as a complex type of tomb that illustrates all the elements of the square type Stone Mound Tomb in the central Baekje region and the oval tomb type in the central eastern and northern regions.
 Moreover, the elliptical frame type seems to have appeared in the first half of the third century and disappeared around the late fourth century. On the other hand, the rectangular type of tomb was constructed temporarily from the middle of the fourth century to the beginning of the fifth century, following the oval-shaped concentric-walled tomb.
 It is expected that these characteristics and dates of the Stone Mound Tomb in the central eastern and northern regions will provide new perspectives on the nature of the ancient political body in the central region and the growth process of Baekje in the future.
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Chen, Xiaoli, and Weijun He. "Conservation study of Jiazhutai lacquerware excavated from the Dayunshan Han dynasty tombs, Jiangsu, China." Studies in Conservation 59, sup1 (2014): S21—S24. http://dx.doi.org/10.1179/204705814x13975704317435.
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Liqin, Wang, Zheng Liping, and Dang Gaochao. "Spectrum Analysis of the Colored Pottery Figurines from Yangling Tombs of the Han Dynasty." Analytical Letters 33, no. 8 (2000): 1655–63. http://dx.doi.org/10.1080/00032710008543152.
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Dong, Xinlin. "A preliminary research on the burials of the Mongol Khanate period and Yuan Dynasty in northern area." Chinese Archaeology 18, no. 1 (2018): 164–71. http://dx.doi.org/10.1515/char-2018-0016.
Full textAbstract:
Abstract Based on the periodization and zoning of the burials of the Mongol Khanate period and the Yuan Dynasty and referring to the textual materials of the stone tablets and epitaphs and the different funeral customs, this paper classified these burials into the burials of the Mongol people, the burials of the “Mongolized” people, the burials of the “Semu ren (Miscellaneous aliens)” and that of the Han people, and preliminarily summarized the features of the funeral customs of the tombs of the Mongol people, provided references for identifying the tombs of the Mongol Khanate period and the Yuan Dynasty without inscriptions.