requestId:68499ae07dbe23.25985430.
Original title: “Tianshan Kangjia Shimenzi Painting and Modern China Interaction”
Author: Wu Xinhua (researcher at the Institute of Archaeology, Chinese Academy of Social Sciences)
Source: “Original Dao” No. 36, edited by Chen Ming and Zhu Han, Hunan Major Study Club published in April 2019
Time: Confucius 257 In the year 0, the 15th day of Jihai, Xinsi
The cliff carving discovered that at the end of the 1980s, Mr. Wang Binghua already had two academic works. In addition, the academic community has studied and paid more attention to the papers, and the research focuses on reproductive respect.
In recent years, the Liu Chengxi Teaching Team of the China Cultural Heritage Protection Association of the Southeast University has made new progress in painting content research. The author Long-term maintenanceA step further believes that the late-story characters are admired by the goddess and are inherently related to Sichuan Salt Source Tree-shaped Blue Copperware. It is an important source of the theme of Queen Mother of the West in Sichuan and Northeast China.
The Queen Mother of the West originated from the Tianshan Mountains and confessed the history of modern Xinjiang to the great development of Chinese civilization. Recently, a knowledge competition program with a doctorate as the protagonist is very popular. Cheng Wubi is the main one, which implies the main position of the Western Regions in China’s politics, civilization, economy and other fields.
Tianshan is named after the modern Chinese conception of destiny and itself as the main location of the exclusive access road to Asia and Europe. With this sufficient confession, modern Xinjiang is not a different area different from China, but rather a focus on the region of civilization generation.
Keywords: Tianshan; Queen Mother of the West; Shimenzi Painting; Focus civilization; Modern Xinjiang;
1. The geographical location and environment of Kangjia Shimenzi Painting
Kangjia Shimenzi Painting is located in the mountainous area in the northeast of Hutubi County, Xinjiang. It is 43°51´01″ in the north, 86°19´05″ in the east, and an altitude of 1,570 meters. The northeast line is 58 kilometers away from the county city (Figure 1).
The land is located in Tianshan MountainsBaohao.comThe Qiujia terrain on the northern slope is derived from the flooding and piled-up belt. The mountain terrain is obvious, and the uppermost end is close to Zhongshan Mountain, which is a horoscope of age. The silhouette is engraved on the bottom wall on the south side of a high-profile Jurora’s early Danxia landform mountain (Figure 2 and Figure 3).
The mountain is as high as 200 meters, and the mountain is steep and steepThe wall is as sharp as a knife. The surface overview of the silhouette forms many stubborn convexity. The middle and upper parts of the exposed mountain are mostly sedimentary slump and the bottom is sedimentary slump.
Picture of Kangjia Shimenzi Ping Painting Status (made by Tan Dahai)
The cliff at the site of the stone gate of the 2 Kangjia dynasty
Panorama of the mountainous landforms at the Sankang Family Stonemen Silk Painting Location (photo taken by the South East Cultural Heritage Protection Center)
2. Introduction to the results of the South East Cultural Heritage Protection Center
The South East Cultural Heritage Protection Center Liu Cheng’s teaching team, through observation and polishing彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩彩And under the support of the three-dimensional data of the painting, a large number of added characters in the painting were found to break the original.There are silhouettes, and there are differences in the characteristics of the character that breaks and is broken.
A further determined that the characters in the silhouette appeared and matched male characters for female silhouettes, and some even modified the appearance of the original female to become a male phenomenon. It is clearly stated that the content of reproductive respect was formed in the second era of Kangjia Shimenzi Painting. [1]
3. The latest research and development of the Cultural Relics Bureau of Hutumian County
The silhouette is concentratedly engraved at the bottom of the central position of the mountain exposed surface, with the slanting facing outward and many cracks. Important paintings are distributed on the surface of the land about 12.5 meters wide and 1.85 meters to 8 meters high from the air (Figure 4).
The distribution of the silhouettes is more concentrated on the left side, occupying a larger area and a higher position, with more large and more concentrated and clear figures; the silhouettes on the right occupy a smaller area and have a relatively low status, with smaller areas and scattered and vague figures.
In addition, there are some colorful patterns such as red-colored sheep, rider, palm shape and round dots on the walls 1.2-2 meters high from the sky under the silhouettes in this area; there are also some patterns on the walls and slumping blocks on the walls 10 meters away from both sides of the world, with important patterns including sheep, deer, etc., among which sheep are the main ones. The years and months of these paintings were late, and some were suspected to be in modern times.
Image Four important layout distribution ranges Photos and silhouettes (Tan Dahai Painting)
(I) silhouette graphics area and quantity
The abstraction of silhouettes in this range is mainly human images, and in addition cover contains a large number of images of animals and things. According to the observation statistics, there are 292 images that can be distinguished. The silhouette can be divided into four areas, namely the upper area, the left area, the middle area and the right area. (Figure 5)
Picture five-plot sub-district picture
The upper area silhouette is located at the highest point of the entire silhouette. The silhouette is mainly human form, with a total of 9 complete human bodies, two “matches” and a single person’s head. The silhouette is exquisite, with smooth lines, beautiful posture, and well-organized and dense. The whole picture looks very neat. (Figure 6, Figure 7)
Picture Six upper area view
Picture 7 Upper District Painting Line (Tan Dahai) )
There are more images in the left area, with a total of 100, mainly human figures, but the number of images of individual human heads and animals has increased, and the body shape, style and upper area have changed.
In addition to a “double” in the middle “The detail of the human body and the detail of the carvings are comparable to that of the upper area, the other carvings are rough, clumsy and clumsy, and the layout is more complicated. The images appear to break the pressure of each other, and the figures of the genitals appear on the abstraction of the human body and animals. (Figure 8)
Figure 8 The left-district painting
The middle-district painting images are more than 150. The overall situation of the painting is similar to the left, but the graphics are smaller in one step, and the number of individual head images increases one step further, and the layout is also more complicated. There is also the relationship between the images breaking the pressure relationship between each other. The graphics of the departmental painting (important on the right) are ambiguous. The inconspicuous and unobstructed, in addition to the relatively clean marking, it
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