At the entrance, there are " Yi Zhang Tu" and " Qing Long Bai Hu Tu" that have been baptized by time
At the entrance of the tomb passage, a ceremonial guard wearing helmets and armor was painted. Due to being close to the ground, the guard had fallen off, leaving only some painted armor fragments, and only the feet were left on the western wall of the tomb passage.
Subsequently, green dragons and white tigers were drawn between the rolling clouds on the east and west walls, and their upper half had also fallen off.
The "Qing Long Tu" on the eastern wall of the entrance
The "Bai Hu Tu" on the western wall of the entrance
The solemn and imposing painting “Que Lou Yi Zhang Tu”
The Quelou is divided into four parts: roof, body, pedestal, and pier. The roof is in a palace style, with a phoenix tail and eaves attached. It is painted with tube tiles and dripping water, and there are flying rafters and rafters below. The house has a width of three rooms and a depth of three rooms each. There is a corridor around it, and there are storefronts and door studs on the door. The column heads and dougong are made of five storefronts and double copied with a hidden heart. The flat seat can be divided into two parts: single hook diagonal and dougong, with Shu pillars and gold and copper ornaments on the mantle. The pier is a brick soil structure, with rectangular bricks built in the middle and grass patterns around it.
The “Quelou Tu” on the eastern wall of the tomb passage
The honor guards in the city are distributed on the east and west walls, each consisting of three parts: a convoy, a horse riding honor guard, and a walking honor guard. The Dongbi team consists of 3 sedans, 3 horses, 18 drivers, and 3 grooms, while the Xibi team has almost the same number of people. The car is composed of a roof, a canopy, and wheels, painted in red and gold. The equestrian honor guard consists of 5-6 people in each team, with one person holding a flag, wearing a Fu head, different colored robes, and some wearing an arrow pouch around their waist. Each team of the walking honor guard consists of 6-10 people, with one person holding a flag, wearing a fur head, a robe of different colors, and wearing a sword, bow pouch, and arrow pouch at the waist.
The “Yizhang Tu” on the eastern wall of the tomb passage
The east and west walls of the first cave are painted with scenes of four male attendants.
The east and west walls of the first cave are painted with pictures of four male attendants taming leopards, surrounded by rafters and pillars. The screen depicts the costumes and movements of four male attendants. The eastern wall is relatively intact, with the first person holding a training leopard tool in their right arm, pulling a leopard with their left hand, the second person pulling a beast, the third person pulling a leopard, and the fourth person pulling a beast.
The western and eastern walls are symmetrical, but they are severely detached. On the east and west sides of the south entrance of the first cave, there is a male attendant painted, wearing a Fu head, a purple robe, and three decorations. He wears black boots on his feet and manually holds a watt. On the east and west sides of the north entrance of the first cave, there is a male attendant painted, wearing a Fu head, a red robe, a crown decoration, a mandala holding a watt, and black boots on his feet. The scene on the east side is severely damaged.
The “Xunbao Tu” on the eastern wall of the first cave
On the eastern wall of the second cave, there is a vivid painting of "Jia Ying Xun Yao Tu".
The painting "Eagle Taming Harrier" is located on the east wall of the second cave, depicting the scene of the Hu people in the Tang Dynasty palace domesticating eagles and kites. The tamers of the eagle and kite in the painting are both Hu people, wearing black fur hats, a round necked yellow robe, a black leather belt, narrow legged pants, and black boots. Eagles flapping their wings to fly, while kites are gentle and obedient, and have a close relationship with their tamers. The eagle rider wears a black purse around their waist, with the right hand carrying an eagle and the left hand in the shape of a tamed eagle.
During the Tang Dynasty, the imperial court used eagles and kites for hunting, and five districts were set up in the central province to specifically domesticate these animals. The expression of the Hu people in the painting is rich in emotions, interacting with eagles and kites, expressing the spatial sense of the picture. The eagles and kites in the picture have different expressions, with light and sharp strokes, realistic colors, and sharp mouths and claws, which is in line with the description in Du Fu's "Painting Eagles". "The sideways gaze is like a sorrowful Hu," using the eyes of the Hu people to compare the eagle's eyes. This shows that the great poet observes the delicacy of life and the metaphorical image.
第二过洞东壁的《架鹰驯鹞图》
On the south side of the small niche on the east wall, there is a painting of an eagle male attendant wearing a Fu head, a yellow robe, and black boots on his feet. One person carries an eagle on their right shoulder and tames it with their left hand; There are two male attendants in Beihua, one holding a bow, the other wearing a purple robe, and the right holding a plate.
The “Chi Gong Tuo Pan Nan Shi Tu” and “Jia Ying Xun Yao Tu” on the western wall of the second cave
On the east wall of the third cave, seven guards stood in line, and two maids stood dignified.
On the south side of the small niche on the east wall, seven attendants are painted. The leader wears purple robes and holds a wat with both hands. The other six are divided into three rows, wearing red, green, and purple robes, each holding a wat. On the north side, there are two maids, wearing a bun and red or green clothes, holding a fan. There is a male attendant at the east entrance of the north entrance of the cave, wearing a red robe and holding a wat in both hands.
The “Tuan Shan Gong Nv Tu” and “Shi Wei Tu” on the eastern wall of the third cave
On the south side of the small niche on the west wall, there are seven attendants, with the leader wearing purple robes and the rest wearing red, green, and purple robes, each holding a wat. On the north side, there are two maids wearing red and purple clothes, holding a fan. There is a man from east to west at the north entrance of the cave, wearing a red robe and holding a wat in his hand.
The top of the tomb passage is decorated with patterns such as round flowers and precious flowers.
The patterns of Tuanhua and Baoxiang flowers on the top of the third hole
The towering and upright Quelou is a ceremonial building at the imperial level.
The painting of Quelou is 3.05m high and 2.98m wide, located on the east and west walls of the tomb passage. It is the highest level and imperial level ceremonial building, and also a landmark building of the imperial palace. The picture depicts three complete towers, with a background of mountains and pine and cypress, and a solemn composition.
The Quelou has exquisite lines, delicately outlined with a ruler and willow branches. The background landscape is light and understated, highlighting the majestic momentum of the Quelou. The mountain stands out, and the rocks are dyed with floral blue and ochre, using the separation and covering dyeing methods, with some being thick and some being light and some being heavy.
In terms of color application, the flat coating method is used, with red as the main color and lighter colors, making the entire picture appear red and highlighting the royal momentum. Through the techniques, we can see the artistic characteristics of Tang Dynasty painter Li Sixun, especially in his paintings of mountains and rivers. His sharp brushstrokes and powerful lines create a strong visual impact on the entire picture, reflecting the solemnity and grandeur of the tower.
The “Quelou Tu” on the western wall of the tomb passage
The "Yi Zhang Chu Xing Tu" depicts an unprecedented military parade in Tang Dynasty.
The "Honor Guard Travel Map" is 3.58m high and 6.73m wide, located on the east and west walls of the tomb passage, with a background of green mountains and waters. This work depicts a large-scale military parade in the Tang Dynasty, with a massive scale and nearly 200 honor guards, with the chariot as the focus, dominated by red and covered in gold, symbolizing the emperor's ceremonial battle team.
The “Yizhang Tu” on the western wall of the tomb passage
The work is considered a reproduction of the life of Prince Yide's court and is interpreted as a compensation for his severe fate. The characters and the theme of the environment in the picture are presented using a bird's-eye perspective, showcasing superb skills. Nearly 200 characters with various characteristics have become valuable materials for studying Tang Dynasty costumes, showcasing the costumes of officials and ceremonial guards of different levels. The landscape and architecture in the painting complement each other, blending emotions and scenery, reflecting the superb skills of palace painters. In addition, the painting also presents a rare background painting in Tang Dynasty figure paintings, highlighting the painter's painting skills. Overall, the "Honor Guard Travel Map" has a grand scale and a large quantity.
On the second hole, male attendants either hold bows and trays, or train dogs
The painting on the west wall is incomplete, but on the south side of the small frame, there are two male attendants wearing Fu heads, one wearing a purple robe and the other wearing a yellow robe, both of whom are eagles. On the north side, there are two male attendants painted, one holding a kite in his left hand and the other wearing a green robe.
The flat foundation at the top of the cave is decorated with patterns such as Tuan Hua, Bao Xiang Hua, and Hai pomegranate.
The “Jia Yao Xun Quan Tu” on the western wall
On the western wall of the third cave, "Gongnv Tu" brings rich taste and aesthetic thinking.
There are seven chamberlains, the head of which wears a turban, a round-necked purple robe, a black leather belt, black boots, and a tablet. The other six are divided into three rows: the first row of the first person wearing a red robe; the second person wearing a green robe, holding a tablet. The first person in the second row wears a red robe; the second person wears a purple robe and holds an audience. In the third row, the two men are wearing green robes, and the second man is holding the tablet.
Drawing of the Chamberlain on the west wall of the Third Passage Cave
The painting of palace maids is located on the west wall of the third passage. In the center is a small tree with a palace maid on either side. The palace maid on the left is wearing a red dress and holding a ceremonial fan; The palace maid on the right is wearing a green dress and a red scarf. Regarding the controversy over handheld objects, some believe they are Bihan (an ancient butterfly catching tool), while others believe they are Yifan (considering that the theme of the murals south of the Third Cave is the military themed "Ode Guard Travel Map" and "Lie Ji Map", and these two palace maids should be holding Yifan).
There are three flaws in the picture: the red dress palace maid has an extra finger, which is not natural in her performance; The hand gestures of the Red Skirt Palace Maid holding objects are abnormal; The relationship between the green dress palace maid and the left foot shoe is too large, resulting in a loss of perspective. These details do not affect the overall aesthetic, but provide a sense of taste and aesthetic contemplation.
The “Tuan Shan Gong Nv Tu” on the western wall of the third cave
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The era commemoration to the Tang Dynasty royal family, as well as to farmers and handicraft workers
The tomb of Prince Yide unveils ancient mural treasures hidden for over 1200 years, surpassing others in scale and content. These murals offer insights into Tang Dynasty imperial tombs and court life. They reveal painters' identities and tools used, such as grinding stones and mineral pigments. This discovery challenges the notion that only heroes shape history, affirming the role of farmers and artisans in cultural creation. It enriches our understanding of Tang Dynasty artistry, contributing substantially to its art history research.
The tomb symbolizes the layout of the Eastern Palace, and the murals reflect Tang Dynasty life
Mr. Li Qiushi suggests that the courtyards in Tang tombs resemble the feudal ruling class's deep estates, proposing they symbolize palace gates and halls. Mr. Wang Renbo sees the tomb layout as reflecting deep palace courtyards, while murals depict Tang Dynasty social life. Mr. Fu Xinian posits that Prince Yide's tomb mirrors the Tang Eastern Palace's regulations, integrating various tomb parts with murals. While scholars aim to diversify knowledge of the Tang Dynasty's Eastern Palace, they acknowledge the tomb's depiction of the harem may lack specificity.
The magnificent Quelou Tu provides rich information for studying Tang Dynasty architecture
The Yide tomb passage's north wall depicts Tang Dynasty architectural drawings, a unique find in Shaanxi Province. The Quelou's four distinctive features include the "three exit" structure representing imperial hierarchy, magnificent piers, adorned seats, and spacious eaves. These murals offer crucial insights into Tang Dynasty architecture, enhancing our understanding of its evolution.
It showcases a wonderful fusion of the crown prince's tomb system and the imperial tomb system
Qi Dongfang and Su Bai suggested it might be a lower level than imperial tombs. Wang Xiaomeng studied Crown Prince Mausoleums, noting their larger scale and use of mourning books instead of epitaphs. Yide Crown Prince's tomb exemplifies a blend of Crown Prince and Emperor tomb systems: its structure reflects Crown Prince tradition, while mural content and figurines suggest imperial influence, due to Emperor Zhongzong's considerations regarding the Wu family's power.
The magnificent Quelou Tu provides rich information for studying Tang Dynasty architecture
The Yide tomb passage's north wall depicts Tang Dynasty architectural drawings, a unique find in Shaanxi Province. The Quelou's four distinctive features include the "three exit" structure representing imperial hierarchy, magnificent piers, adorned seats, and spacious eaves. These murals offer crucial insights into Tang Dynasty architecture, enhancing our understanding of its evolution.
The tomb of Prince Yide is grand in scale, adorned with murals
Prince Yide's Tomb, one of Qianling Mausoleum's seventeen, follows Tang Dynasty's "naming tomb as tomb" tradition. Emperor Zhongzong posthumously titled Yide, burying him at Qianling with elaborate rites, even arranging a symbolic marriage for a deceased relative. The tomb spans 100.8 meters, comprising passages, tunnels, and courtyards adorned with intricate murals. Nearly 400 square meters of murals, around 40 relatively intact, offer insights into Tang art and customs.
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