The tomb of Zeng Houyi is the tomb of Ceng Houyi in ancient China in the early Warring States period. The tomb pit is dug in the red conglomerate, and it is a polygonal vertical cave tomb with a wooden coffin, charcoal and green paste mud, and rammed earth on it.

The shape of the tomb pit and burial pit of the tomb of Zeng Houyi reflects the changes of the funeral system in the early Warring States period and occupies an extremely important position in China's funeral culture.

The tomb of Zeng Houyi is in the shape of "Bu", and the tomb pit is a wooden tomb with vertical holes in polygonal rock pits. No graves, no steps, north-south trend.

The whole tomb is composed of 65,438+0,765,438+0 giant rectangular wooden mats, floors, wallboard and cover plates, and the wood used is 500 cubic meters of nanmu. The main coffin of painted nanmu with copper frame in Ceng Houyi weighs 7,000 kilograms and is divided into four rooms: East, Middle, North and West.

The coffin in the tomb of Zeng Houyi consists of an inner coffin and an outer coffin. The outer coffin is a bronze frame made of bronze. After the precision falcon is connected, it mainly plays an auxiliary role. These frames are reasonably designed and beautifully made.

The inner coffin is decorated with painted doors, windows and guards.

In the direction of east, west, north and south, the east is where the sun rises, so the ancients thought the east was expensive, so the tomb owner lived in the largest east room.

In the middle room, funeral instruments are placed; Weapons and chariots and horses are placed in the north room; West Chamber 13 martyrs, each with a wooden coffin, are women aged 13 to 25.

Thick charcoal is filled in the upper part and around the coffin chamber to prevent moisture. The charcoal is covered with a layer of catalpa wood with a thickness of half a meter, and the catalpa wood is filled with more than ten meters of green paste yellow cinnamon soil, which has a strong sealing effect. Stone strips weighing several tons are densely arranged on cinnamon soil, which is called capping stone. Further up is a thick pile of soil.

There are five burial pits in Zeng Houyi's tomb, which are located at13m west of Zeng Houyi's tomb, and arranged in the north-south direction.

There are more than 500 items in the pit, mainly pottery and bronzes. Pottery is a daily appliance, including pots, plates, bowls, basins and so on. Bronzes are mainly chariot parts and tools for production and life.

According to textual research, these five burial pits are all excavated manually, arranged in an orderly manner and belong to a whole. The central axis of the whole row of pits is slightly north-east, and the direction is the same as that of Zeng Houyi's tomb. The arrangement and combination of objects in the pit are also specially arranged.

Pit 1 belongs to the garage for storing chariots and the tool garage for repairing chariots. Except for the serious disturbance of pit 5, no sacrificial objects were found in the other four places. The other three sacrificial articles are all pottery, and the utensils may contain sacrificial food.

The burial age of the five burial pits should be in the early Warring States period, that is, contemporary with the tomb of Zeng Houyi.

The tombs in different periods in ancient China have different shapes, and such tombs appeared in the late Paleolithic period. In the Neolithic Age, there were vertical holes in the middle and lower reaches of the Yellow River. In the late Neolithic period, wooden coffins and wooden coffins appeared.

In Shang dynasty, the pyramid-shaped mound appeared; Ding system appeared in the Western Zhou Dynasty. At the end of the Spring and Autumn Period, tall tombs and cemeteries appeared. During the Warring States period, a set of cemetery facilities was formed on the ground, including burial pits and tombs, and underground coffins continued to develop. In two weeks' time, a hierarchical system of multiple coffins and ding was formed to standardize the owner of the tomb, that is, the hierarchical system of funeral.

In the late Warring States period, a hollow brick tomb appeared in Luoyang, which is a new tomb shape. Because the feudal system was just established in this period, the remnants of slavery still existed universally, and the system of rites and music and patriarchal clan system still played a role in different degrees in various places.

Especially in the funeral system, the remnants of slavery are still quite serious, such as the phenomenon of martyrdom has not disappeared, and cemeteries cannot be bought and sold freely. Therefore, it was not surprising at that time that there were 2 1 person buried in the tomb of Zeng Houyi.

With the continuous strengthening of feudal forces, the Ding system broke through the provisions of the Zhou Dynasty that emperors used Jiuding, governors used seven Ding, doctors used five Ding and scholars used three Ding. At this time, the princes also began to use Jiuding. The "Jiuding Eighty" in the tomb of Zeng Houyi is proof.

During the Warring States period, cemeteries were often densely distributed and arranged in an orderly manner, rarely breaking ethnic relations. It is also common for big noble's tomb to be mixed with lower-ranking tombs in the cemetery, which is obviously the result of family burial according to blood relationship.

There are a large number of exquisite bronze ritual vessels, musical instruments, weapons, chariots and horses in the tomb of Zeng Houyi, as well as a large number of gold, jade, lacquered wood and bamboo slips.

The bronze ritual vessels mainly include two iron pot ding, nine rising ding, nine feeding ding, eight reeds, four reeds, a pair of elephants, a couplet pot, a pair of ice guides, a set of two image disks and four washing pots.

Among the bronzes, there is another one called Liuhe, which is unique and eye-catching. It is a slender crane with two antlers on its head. It seems to be singing and spreading its wings.

At the same time, there are a large number of musical instruments in the tomb, such as knitting, drums, instruments, sheng, flute and so on. There are astronomical images on the lid of lacquer wood suitcase, including the names of Qinglong, Baihu, Beidou and 28 hotels.

In addition, there is a golden lamp, a golden cup, a gold belt hook and a 16 jade pendant with a length of 0.48 meters, which is very precious.

There are more than 200 pieces of lacquerware in the tomb of Zeng Houyi, which is the earliest and most wonderful in the middle age of Chu tomb. Its complete variety, large scale and simple style reflect the charm of Chu culture.

The bamboo slips of the tomb of Zeng Houyi are also the earliest bamboo slips in China, with a total of 240 pieces and a total of 6696 words.

Of course, the most amazing thing is that Ceng Houyi, a huge and well-preserved ancient percussion instrument in this ancient tomb, has 65 chimes made of bronze, including a gift from Wang Hui, Chu State, weighing more than 2,500 kilograms, which is beautifully designed and spectacular in shape.

Although it has been buried underground for more than 2400 years, the sound quality of the chime is still very good. Its discovery shocked the world and was hailed as "a unique treasure among the wonders of the world" and "the eighth wonder of the ancient world".

Ceng Houyi Zun Pan is a set of wine containers composed of Zun He Pan. Bottles are containers for wine, and plates are containers for water. Put it on a plate and use it for ice wine or warm wine.

The bronzes in the tomb of Zeng Houyi represent the skills of China at the peak of the Bronze Age, and this bronze statue is a model among the best products. This statue is decorated with 84 dragons and 80 flatworms.

The exposed part of the statue is trumpet-shaped, the broad outer edge is folded outward, and the upper part is beautifully decorated with transparent patterns. Looks like overlapping clouds. Zun's neck is decorated with banana leaf-like flat lines, and the banana leaves extend upward, which is harmonious and unified with the slight outward curvature of the top of the neck.

Between Zun's neck and abdomen, there are four crouching beasts carved in the shape of leopards. Their bodies are made up of flat patterns. All the animals climbed up Zun's neck, turned around and spat out their tongues, and their long tongues hung like hooks.

The abdomen and high feet are decorated with fine lines, and four high-relief dragons are added. On the whole, it has rich levels and clear priorities. The dish has a straight wall and a flat bottom, and four square ears are attached to the mouth edge of the four dragons' hoofs, all of which are decorated with flat patterns, which are basically consistent with the mouth shape.

There are two flat hollowed-out dragons under the four ears, and the faucet hangs down. There is a round carved dragon between the dragon and the dragon, crouching at the mouth, reflecting each other with the plain lines on the belly of the dish, thus breaking through the stiff and full feeling often found in the decorative plain lines.

More importantly, the hollowed-out decoration on the edge of the Zunpan was cast by lost wax method. The pattern of the hollow flat clam is divided into inner and outer layers, each circle has 16 patterns, and each pattern consists of four pairs of deformed flat clams with different shapes.

The surface ornamentation is unrelated and independent, supported by internal copper stalks, and connected layer by layer to form a whole, achieving exquisite and distinct artistic effects.

The inscription on the inner bottom of the dish has polished marks and is engraved with the words "Ceng Houyi is the last". This shows that this device was inherited by Ceng Houyi from the late King Zeng Hou.

The method of making He Zun plates on the edge of the mouth is also very delicate. Casting, machining and welding the decorative patterns into several groups of units with small decorative patterns, and then welding them on the top of the inner bracket with copper.

Ceng Houyi Zunpan has hundreds of parts, and the number and complexity of its assembly are still amazing.

There are two sets of exquisite bronze swords in the tomb of Zeng Houyi, with the same shape and decoration. Sword is an ancient instrument used to ice wine or warm wine. Jian 'an is composed of and. It is in Jian 'an.

The bamboo slips and tombs of Zeng Houyi are decorated with deformed flat lines, hook lines and banana leaf lines, and both have the inscription "Ceng Houyi is the last one to use".

The ring seat of the sword is attached with four-cornered animal-shaped feet and crawling dragon-shaped ears on all sides. Square and bent-ruler-shaped accessories are hollowed out, and the square cover is hollow to accommodate the square statue and neck. The cover is decorated with deformed dragon pattern, embossed dragon pattern and groove pattern, and the edges of the sword mouth, neck, abdomen and ring foot are decorated with dragon pattern and banana leaf pattern respectively.

There is a big gap between the sword and the statue. You can put ice cubes in summer, store warm water in winter, and hold wine in Zunli, so that you can drink wine that is warm in winter and cool in summer.

Few gold wares were found in pre-Qin tombs, but nine gold lamps, leaky knives, gold cups, gold town, gold belt hooks and a large number of decorative gold foils were found in the east room of Zeng Houyi's tomb.

Cups are utensils for eating and drinking. The golden cup is slightly hemispherical, its abdomen is curved, its bottom is round and its mouth is straight. There are symmetrical ring ears on the cup body. There are three feet under it, which are inverted phoenix-headed; Equipped with a round cover, the cover surface is slightly bulging, and there is a ring button at the center of the top, which is connected with the cover surface through four columns.

This golden cup has a lid and a spoon in it. The whole gold cup is decorated with plain, moire, thunder and vortex patterns. One end of the golden spoon is hollowed out into a variant dragon pattern, so it is also called the golden leakage dagger, which is very beautiful.

The golden lamp has a dignified shape and a heavy shape. Although its volume is not very large, it has a very specific sense of quantity. The decorative patterns are exquisite and regular, showing a strong sense of order and regularity in the form of continuous strips. On the whole, it seems to have the charm of Shang and Zhou bronzes.

In ancient China, cranes and deer were regarded as divine birds and beasts, and they were the media to communicate with people and ghosts. The bronze antlers of Zeng Houyi's tomb are a combination of deer and crane, which are placed in the east of the main coffin in the East Room, possibly to attract the soul of the tomb owner to heaven or pray for the protection of the gods.

The work adopts the exaggeration and deformation technique commonly used in Chu art, and a pair of symmetrical antlers growing on the phoenix head are closed in an arc from both sides to the middle, completely changing the natural shape of antlers. Mo Lifeng's long neck seems out of proportion. However, it is these exaggerated deformations that show a magical giant bird.

The whole work highlights the modeling function of lines. The curved antlers, the long phoenix neck, the arched phoenix back and the powerful wings, legs and claws of the phoenix are all composed of smooth lines. The alternating motion of arc and straight line makes the whole work have a musical melody beauty.

The whole utensil consists of eight parts: crane body, crane legs, antlers, wings and seat board. The seat plate is cast separately, can be disassembled freely, and then connected into a whole by mortise and tenon, which has a very unique shape.

The crane stands upright, with its neck raised high, its beak hooked, its wings flapped, its back arched, its tail drooping, its long legs strong and powerful, and its calves with three claws standing on rectangular seats.

The antlers on the left and right sides of the crane head diverge upward in an arc shape. The crane head, neck and antlers are decorated with vortex moire, triangle moire and round moire; Feathers, hooks, triangles and ridges of the inclined wide channel in the abdomen and back; On the wings, there are embossed flat small circle patterns; The seat plate is cast with moire, plain and Feng Huangwen. The crane's head, neck and antlers are decorated with gold, and its back and wings are inlaid with turquoise.

There are seven inscriptions on the right side of the crane mouth: "Ceng Houyi is the holding end." Only this one has been found in China, and it is a national treasure.

There are no animals in nature that are neither birds nor beasts. Obviously, the bronze staghorn crane was specially made by the tomb owner for himself. Putting deer and cranes together has far-reaching significance. The ancients used deer to indicate good luck, while cranes symbolized longevity.

Ceng Houyi was the monarch of the State of Zeng in the early Warring States, and there were many funerary objects in his tomb. A number of bamboo slips were found in the north room where chariots, horses, weapons and leather armor were piled up.

The bamboo slips unearthed from the tomb of Zeng Houyi are the earliest bamboo slips in China, totaling about 240 pieces. Most of them are complete or basically complete, and some of them can be spliced. After sorting, all words, including those with only square paragraph numbers, are numbered 2 15.

Judging from the traces of rope weaving left on the bamboo slips, these bamboo slips were originally woven together with the upper and lower ropes. The distance between the upper and lower words of the rope label is large, so it can be seen that it was written first. Because the braided rope has long been broken and some slips have been seriously damaged, it is difficult to completely restore the original arrangement of each slip.

There are more than 40 kinds of car names recorded in bamboo slips of Zeng Houyi's tomb. Bamboo slips record the types and quantities of vehicles, horses, chariots and horses, weapons, armor and other things equipped with them, and often indicate why the vehicles are owned by someone and why the vehicles and horses are given by someone.

Among the bamboo slips are cars donated by Wang, Prince, Ling Yin, Yang and others. Luyang and Yangcheng are both Chucheng, and Wang, Prince and Lingyin are undoubtedly Chu's.

There are quite a few chariots, horses and weapons recorded in the bamboo slips of Zeng Houyi's tomb. According to the existing statistics on the number of cars, 26 cars were donated by others and 43 cars were owned by themselves, making a total of 69 cars. You can also see a small number of cars that can't fall into this total in other short articles.

There are no statistics on horses and weapons carried by many cars in bamboo slips. According to the preliminary statistics of relevant literature, there are more than 200 horses and 20 pieces, including about 50 horses and more than 40 pieces. Other weapons are not counted.

Judging from the records in Zhou Li and other books, most of the chariots and horses recorded in bamboo slips will not be used for tombs. But people like Ceng Houyi probably have a certain number of chariots and horses buried in the chariot pit outside the tomb.

The wooden utensils buried with him are mainly in the east room and the middle room, and there are also a few in the north room and the west room. There are boxes, clothes boxes, tableware boxes, wine boxes and so on. There are boxes, cups, beans and so on. There are many artifacts with high technical level.

All five suitcases are in the east room, and the contents are rotten. The container body is rectangular with a raised cover, and handles are arranged at the four corners of the cover and the container body. The outside of the box is made of black paint and painted with red patterns; Auxiliary red paint or black paint.

One of the box covers is engraved with the words "purple brocade". It also painted images of hibiscus trees, the sun, birds, beasts, snakes and people shooting birds with bows. There are also 20 characters of lacquer book in the corner. The other trunk lid is marked with the names and locations of 28 hotels around Beidou, with images of Qinglong and Baihu painted next to it. This is the earliest written record of the names of 28 hotels in China.

Both cutlery boxes are located in the middle room. Rectangular, the cover is as big as the bottom. Copper buttons are nailed on both sides of the cover and bottom, which is probably convenient for carrying ropes.

The inside and outside of the instrument are painted with black paint. One piece contains two bronze dings and two copper boxes, and the copper boxes are placed between the three legs of the bronze dings; A copper pot with four rings in it, a copper spoon, a wooden box with three cages, a square tall box and a bamboo disaster.

There is also a wine box in the middle room. Rectangular box with black paint outside and red paint inside. Paint ear 16 in the box, one round wooden box, four small square boxes, two wooden spoons and two bamboo enterprises.

A piece in the middle room was removed from three pieces of wood. Stand two boards a few feet, and embed one board horizontally. There are bad root holes on the inside of the vertical plate, and there are U-bends at both ends of the flat plate. The whole body was painted with black paint and a simple scarlet pattern was added.

Both barrels are in the north room. There is a well-preserved one, which is divided into two parts: the cover and the text. As a whole piece of wood, it is carved horizontally, that is, a whole piece of wood is carved into a circle, and then the inside is submerged. The bottom is flat, three short feet are left under the edge, and the upper part is left with a mouth to support the cover, and the cover is raised.

The whole body is painted with red paint and black paint, and there are three groups of patterns carved in the middle. One group is mainly a triangular geometric pattern, while the upper and lower groups and the cover are all variants of Yun Leiwen.

16 beans are in the east room and the middle room respectively. There are two kinds: covered and uncovered. There are two kinds of uncovered beans: tall and short. The four-piece set of beans in East Real Estate is more exquisite.

One of them has an oval mouth, a thick tire, a raised lid and a shallow plate. Two ears are attached to both sides of the bean board, the bean handle is thick on the top and thin on the bottom, and the seat bottom is flat. The plate, ear, handle and seat are made separately and well preserved.

The top and ears of the cover are patterned like copper relief dragons, lined with bright color paintings. The beans are covered with black paint, and there are deformed Feng Huangwen, ribs and grid patterns. They are all painted with Zhu, and several places are painted golden yellow.

Bamboo utensils mainly include bamboo mats, bamboo sheds and bamboo tubes. , all rotten. On the roof, on the floor of the middle room, in the coffin and on some utensils, there are bamboo mats with Chinese characters.

Bamboo barnyard grass is in the east room and the middle room, and some of them are equipped with semma. There is a small bamboo barnyard grass in the east room, with a broken cover and a rectangular body. It is made of a "herringbone" with bacteria and reinforced at the mouth and shoulders with wide insults. When unearthed, it contained a wooden comb, a small copper belt hook and three small round sticks.

Ceng Houyi painted music and dance mandarin duck lacquer box is 0.2m long, 0.012m wide and 0.016m high. Shaped like a mandarin duck, it has a round tenon under its neck, which is embedded in the mortise of its neck, so that its head can rotate freely.

Body fat, bonded by two halves, hollowed out inside, with a rectangular hole on the back and a rectangular embossed nightshade cover on it. Wings slightly upturned, tail flat, feet curled.

The whole body is covered with black paint, with gorgeous scales, sawtooth patterns and diamond patterns. Draw a drum diagram on the right side of the abdomen, with the animal as the drum seat and the drum covered. One side draws a wild animal beating drums with two drumsticks, and the other side draws a tall warrior with a sword, dancing to the drums.

There is a bell ringing picture on the left side of the abdomen, with two birds as columns. The pillar is divided into two layers, with two bells hanging on it and two chins hanging on the bottom. Next to them, a musician who looks like a bird is ringing the bell with a bell-ringing stick. The sound made by musical instruments is the most popular and intelligent language of human beings, regardless of region, territory, national border, ancient and modern times.

Two bronze statues were found in the tomb of Zeng Houyi.

The two big statues have the same shape, similar size and the same pattern, weighing 292kg and 327.5kg respectively. This is the largest and heaviest wine vessel in the pre-Qin period in China, and it can be called "the king of wine vessels".

This huge statue is not only a vessel for holding wine, but also a symbol of power more than 2,500 years ago.

Li Zun is an ancient wine container, and its shape originated from ancient pottery. This big basket not only has a huge size enough to be proud of its peers, but also the decorative patterns of the utensils show the fashion and new decorative skills at that time.

The cover is composed of fine and complicated vortex patterns, heavy ring patterns, plain patterns, purlin patterns, thunder patterns, banana leaf patterns, band patterns and flat snake patterns. , which is characterized by uniform patterns and lines, and consists of groups. It is hard to imagine that this complex pattern is simply carved or shaped by hand.

Although impression method can effectively improve the accuracy of objects technically, it will also lead to rigid decorative patterns and reduce the artistic value of object modeling to some extent. However, this big blow is rich and varied, and there is not much sense of rigidity.

Da Zun still has thousands of years of wine, which shows that Da Zun's seal is good.

In addition to a large number of exquisite bronzes and lacquered wood, there are also a large number of exquisite jade articles in the tomb of Zeng Houyi. Because the burial time of the tombs is clear, it is 433 BC or later, so these jade articles have obvious symbolic functions. In addition, this batch of jade articles has a large number and many categories, and some of them are particularly exquisite and have extraordinary significance.

There are many kinds of jade in the tomb, which can be divided into three categories according to their uses: accessories, jade buried with the grave and others.

Accessories are not only jade ornaments worn before death, but also can be used for burial, mainly jade, ring, yellow, block, Joan, power tune, hanging ornaments, solitary, sword, string ornaments and so on, which are cut into rings or human figures.

Buried jade is a kind of jade specially used for burial. Jade is carved into small animals and placed in the mouth of the deceased or other parts to prevent the corpse from rotting. Jade burial mainly includes jade clothes, jade retort, jade grip, nine-hole jade plug, jade pillow, xuanbi, jade coffin and so on.

The cutting of jade is a very hard work, which needs to go through the processes of material selection, cutting, modeling, granulating, polishing, drilling, hollowing out and difficult carving.

The jade articles in this tomb are all tailored according to their materials, and the objects with the theme of cutting the table are all designed according to the shape of the working materials, and even broken jade articles and scraps are used. At the same time, it inherits and develops the traditional process of using materials skillfully, and skillfully arranges the defects and variegated colors on jade materials in the special parts of the objects to make them seamless.

There are 24 pieces of Yu Pei in the tomb of Zeng Houyi, of which 16 pieces of Yu Pei are single dragons. There are five Yu Pei chess pieces in Yu Pei of Single Dragon, which belong to two pairs and one single piece.

A pair of large Yu Pei decorated in dragon shape, jade is bluish yellow, and the two pieces are similar in shape, with narrow dragon body, bow mouth shape and one-horned body. The dragon stretched out four feet. There are chords and diagonal lines around the dragon body, and plane lines on both sides.

The one on the right side of Yu Pei, the smaller one, has yellow and white jade in the dragon-shaped Yu Pei with valley pattern, and the dragon body is narrow. This pair of Yu Pei is basically the same size.

No matter from the artistic or practical point of view, these jades have achieved the effect of paying equal attention to aesthetics and practicality, and are also typical representatives of southern arts and crafts at that time.

The modeling design, pattern layout and carving skills of these jades all show the high achievements of jade crafts in the Warring States period. The Warring States Period is the most brilliant and developed era of jade in China. The jade carvings in the tomb of Zeng Houyi are exquisite and unique, with diverse patterns and rich and exquisite carvings.

Traditionally, all jade articles are mostly one blank and one device, that is, a fixed jade article is made of a piece of jade material. However, there are many pieces of jade in the tomb of Zeng Houyi, such as 16 pieces of dragon and phoenix ornaments and 4 pieces of dragon and phoenix ornaments, which can be folded flexibly, with novel shapes and strange ideas.

16 The dragon and phoenix ornaments are cyan. Carve 16 dragon and phoenix, wall decoration and ring decoration with five pieces of jade respectively, and then connect three oval movable rings and a Hosta into a string to fold. There are tenons and copper pins on the movable ring.

Hollow relief dragon snake and phoenix bird, decorated with silkworm pattern, mixed string pattern, moire pattern and rope pattern. It is a multi-link jade with complex patterns in the Warring States period, which can be called a masterpiece of jade carving.

Yu Pei with a hollow section was unearthed in the tomb. This set of Yu Pei is ingenious in design, exquisite in craftsmanship, unified in style, and perfect in techniques such as carving, relief, line engraving and moving rings. Jade group was first seen in the Western Zhou Dynasty and reached its peak in the Warring States Period, becoming a distinctive jade category. Multi-section Yu Pei is the one with the most links and the most complicated decoration in Yu Pei during the Warring States Period, which represents the typical style in the early Warring States Period.

The hollow multi-section Yu Pei is made of five pieces of jade materials, with 26 sections in total, divided into five groups, which are detachably combined by three hollow oval jade movable rings with metal pins and a jade pin.

The jade pieces in each group are connected by Yuhuan. Each part is decorated with hollowing, relief and line carving, with silkworm pattern, string pattern, moire pattern and rope pattern as auxiliary decoration. Its complex ornamentation also has obvious jade ornamentation style in the Spring and Autumn Period.

This kind of jade ball is crystal clear and moist, with unique design and exquisite decoration, which vaguely reveals the energetic, romantic and free aesthetic taste of the Warring States Period. It is a unique treasure of the previous generation and a rare treasure of later generations.

There are also some three-dimensional circular jade carvings in the tomb, mostly animal shapes, which are particularly dynamic. Animals are lively and lifelike, and the meticulous workmanship can be seen from the unearthed tombs.

Jade in the Warring States period is a peak in the history of jade carving in China, and the jade in the tomb of Zeng Houyi is one of the important representatives of this period. The tomb of Zeng Houyi is the tomb of Zeng Guojun, and its age should be no later than 473 BC, belonging to the early Warring States period. A large number of exquisite jade works have been produced, showing the new face of jade carving development in the Warring States period.

[Side note]

The Spring and Autumn Period is a historical stage in China. From 770 BC to 476 BC, Confucius, the founder of Confucian culture in China, wrote a history book named Chunqiu, which recorded the history of Lu at that time. The time span recorded in this history book is roughly equivalent to the Spring and Autumn Period, which constitutes a historical stage, so later generations call this historical stage the Spring and Autumn Period, which is basically the first half of the Eastern Zhou Dynasty.

The Warring States Period in China refers to the period from 475 BC to 22 BC1year. It is one of the important historical periods in ancient China, and its main timeline is at the end of the Eastern Zhou Dynasty. The Warring States Period is one of the most serious and longest-lasting periods of division and confrontation in China's history, so it is called "Warring States Period" by later generations. During the Warring States period, a large number of cultural and historical allusions were presented for future generations.

Ancient food containers with round mouths and ears. It began to appear in Shang Dynasty and lasted until the Warring States Period.

Crane is a recognized first-class wenbird in Chinese history, which has nothing to do with pine trees growing on hills. But because the life span of cranes is 50 to 60 years, people often paint them with pine trees as a symbol of longevity. In ancient legends of China, cranes all appeared as mounts of immortals, which shows that the impression of cranes in China people is quite weighty.

During the Spring and Autumn Period and the Warring States Period, the highest rank of Ling Yinchu was the highest official who mastered political affairs and gave orders. He is in charge of a country's national hand, has a superior position, leads the people, presides over state affairs at home, wars abroad, and monopolizes military and political power. Lingyin was mainly held by the sages of Chu nobles, most of whom were Mi surnames.

Short for Phoenix. In the ancient totem era, it was regarded as a god bird and worshipped as a metaphor for virtuous people. It is the patron saint imagined by people in primitive society, which evolved from the image gradually and perfectly, symbolizing beauty and peace. It is also the king of birds in ancient legends. The man's name is Feng and the woman's name is Huang, commonly known as Feng. It is the symbol of Ji Rui in feudal times and the name of the queen.

One of the plain bronze patterns. The design is a legendary dragon without horns, which is a stinger. Some do two-way continuous arrangement, and some form a four-way continuous pattern. Popular in the Spring and Autumn Period and the Warring States Period.

Turquoise, also known as turquoise, is named after its color and shape like a green pine cone. It is one of the rare gems in the world.

The cassock unearthed from the tomb of Zeng Houyi