From June 18th to October 18th, Shanghai Fengxian Museum will launch the "Lavender and Deep - The Aesthetics of Life in the Tang Dynasty Exhibition", which will showcase the prosperous scene of Tang Dynasty society, as well as the daily life and aesthetic taste of the people of the Tang Dynasty through aspects such as food, clothing, housing, transportation, tea and wine culture, poetry, rituals and music.
According to the information of Fengxian District Museum, this exhibition is jointly organized by 8 cultural and museum units, and 323 cultural relics are exhibited. From vivid painted figurines, to tri-color wine cups of various shapes, from uniquely decorated wine god camels, to precious Kaiyuan Tongbao "limited edition", the types of cultural relics include ceramics, gold and silver wares, jade and stone wares, silk fabrics, etc. Among them, a gilded silver treasure box with a four-king top was discovered in the underground palace of Famen Temple in Baoji in 1987 and was listed as the first batch of cultural relics prohibited from being exhibited abroad.
Gilded Silver Treasure Box with Four Heavenly Kings on the Top, Collection of Famen Temple Museum of the Tang Dynasty
This gilded silver box with a four-kings-shaped roof is the second of eight boxes that hold the first Buddha's finger relic, the jade-made shadow bone. The box has a bottom length of 20.5 cm and a total height of 23.5 cm. It was unearthed in the underground palace of the Famen Temple Pagoda in Fufeng County, Baoji City in 1987. It is gilded all over, with a double dragon holding a wish-fulfilling jewel carved on the top and four Buddhist kings carved on the four sides. The four kings hold different weapons and are extremely majestic.
Eight-layered treasure box, the outermost layer of sandalwood silver-rimmed gabled treasure box was already decayed when it was unearthed, and the one shown in the picture is the seventh layer. Collection of Tang Famen Temple Museum
The gilded silver treasure box with four heavenly kings and a hip roof, which will be exhibited at Fengxian Museum, is the seventh of the eight layers of treasure boxes (first on the right in the above picture), and is also the largest of the remaining treasure boxes. It is formed by sheet metal and decorated with gilt patterns. The treasure box is square in shape, with a hip roof, a front guard, a golden lock and a golden key hanging on it, and a hinge at the back connecting the cover and the body of the box.
It is a gold and silver artifact bestowed by Emperor Yizong of the Tang Dynasty, the best among the many treasures of Famen Temple, and one of the first batch of 195 cultural relics prohibited from being exhibited abroad.
Cover top: Double dragons holding a wish-fulfilling jewel
The top of the lid is engraved with a pattern of two dragons holding a wish-fulfilling jewel, surrounded by flowing cloud patterns. The four sides of the box are engraved with the images of the Four Heavenly Kings of Buddhism and their names: the Great Saint Vaisravana (Vaiśravaṇa) in the north, holding a pagoda in his left hand and a closed canopy in his right hand; the Eastern Heavenly King Dhritarashtra (Dhritarashtra) on the left, holding a sword in both hands; the Southern Heavenly King Virupaksha (Zhengda) in the back, holding a sword in his left hand; the Western Heavenly King Virupaksha (Virtuosity) on the right, holding a bow in his left hand and an arrow in his right hand; the Heavenly Kings are flanked by many divine generals and yakshas, looking extremely majestic. The Four Heavenly Kings are the guardian gods of Buddhism. Their images are engraved on the treasure box, not only to protect the Dharma, but also to protect the relics in the box.
The Great Saint of the North, Vaisravana (Lord of the Heaven)
The Eastern Heavenly King Titolaita
Virupaksha (Indulgence) King of the South
Viruleyi (Kuangmu) the King of the West
The Four Heavenly Kings were originally gods in ancient Indian mythology. They appeared before the formation of Buddhism, and Buddhism regarded them as its own guardian kings to protect the world. After Buddhism was introduced to China, many Buddhist temples set up "Heavenly King Halls", which later evolved into the "Four Great Vajras".
【Appreciation of some exhibits】
Golden bowl with Kalavinka pattern, from the collection of Famen Temple Museum of the Tang Dynasty
Gray pottery painted music and dance figurines Tang Dynasty Zhengzhou Elephant Ceramics Museum Collection
Golden Tree Tang Xi'an Museum Collection
Gilded silver-backed bronze mirror, Tang Dynasty, Shaanxi History Museum Collection
Dionysus Camel Collection of the Sui Dynasty Shaanxi Provincial Institute of Archaeology
Three-color bamboo handle pot (Jixu) Tang Zhengzhou Elephant Ceramics Museum Collection
It is reported that this exhibition is divided into three exhibition areas. From clothing, tea sets to rituals and music, each exhibit is a vivid footnote to the atmosphere of the Tang Dynasty.
Scene 1 Colorful Feathered Clothes
In the "Glorious Times" exhibition area, it's like opening a scroll of Tang Dynasty ladies' paintings. The flowing curves of the high-waisted skirt, the agile and elegant shawl, and the confident and bold open-neck design together outline the unique body aesthetics of the Tang Dynasty. The carefully restored flower ornaments, slanting red, and dimples show the makeup techniques of the time.
Exhibits
Exhibits
Exhibition Hall Scene
The sharp lines of the men's futou, the simple cut of the round-necked robe, and the patterns of the ranks of civil and military officials showcase the diversity and inclusiveness of Tang Dynasty clothing in its combination of rigidity and flexibility.
Act II: Instruments as a vehicle for the message
In the "Golden Age" exhibition area, a group of gilded silver tea sets tell the elegance of Lu Yu's "The Classic of Tea", and wine vessels of various shapes reflect the unrestrained "Li Bai's hundreds of poems after drinking a cup of wine". The tea drinking trend was prevalent in the Tang Dynasty, and tea gatherings, tea parties, and tea banquets were frequent; the drinking trend was flourishing, with wine vessels of rich shapes, and the wine cups, cups, and pots exuded elegance; the food utensils were exquisite and grand, with flower and animal paintings on the food plates, painted and carved bowls, colorful lacquerware, and crystal clear glassware; the Tang people made, used, and tasted incense, from the palace to the people, from life to spirit, and infinitely admired it.
Some of the exhibits
Some of the exhibits
Some of the exhibits
At the exhibition hall, Tang Dynasty cuisine is introduced.
Act III: Rituals and Music of China
What are the etiquette rules for officials to kneel down? Is An Lushan's Huxuan dance a real historical scene? Did the Tang people really write poems after drinking and leave them for eternity?
Kneeling etiquette
Dancing pottery figurines
The "Revlon Deep" exhibition hall introduced the "popular dance" of the time.
The etiquette of the Tang Dynasty was based on "harmony". In the court ceremony, the clothes were neat and the aura was flowing, and the beauty of order and the sense of ritual were integrated. The art of dance and music integrated the Hu and Han cultures. "Nichang" and "Zhezhi" were both hard and soft, and the Jie drum and pipa stirred up the openness of the prosperous times.
The etiquette culture of the time can be seen from the exhibits
From the gorgeous and flowing beauty of colorful feathered costumes to the elegant taste of tea fragrance and ink rhyme; from the grand and majestic atmosphere of court rituals and music to the poetic fireworks of market life - the aesthetic code of the Tang Dynasty is hidden in these daily refinements and sophistication.
(This article is compiled based on the official account of Fengxian District Museum)