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Tomb Mural Paintings

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Tomb Mural Paintings The Newsletter No. 81 Autumn 2018 News from Australia and the Pacific Regional Editors 21 Cultural materials conservation in Asia Ana Dragojlovic, Edwin Jurriëns The Region and the Pacific and Andy Fuller Lost visual histories. China’s Tang dynasty (618-907) tomb mural paintings Tonia Eckfeld hina’s Tang dynasty (618-907) tomb analysed in numerous archaeological reports mural paintings are rare finds and in Wenwu, Kaogu, Kaogu yu wenwu and other study of them has grown since the first Chinese journals, Imperial Tombs in Tang C 2 archaeological discoveries and excavations in China (618-907), The politics of paradise, the early 1950s. Although thousands of minor The Complete Collection of Murals Unearthed Tang graves and about 400 tombs have been in China (Shaanxi Province)3 and other recent discovered, so far only around 60 Tang tombs detailed volumes on individual Tang tombs have been found to contain mural paintings. in Shaanxi and Henan. These have led to the While many questions are still to be answered, accepted premise that the Tang tomb murals each new discovery contributes to knowledge were subject to a strictly regulated system in this important field. of mortuary entitlement where the subject content and length of a mural program was The importance of tomb mural painting is required to match the status of the deceased stressed in the Principles for the Conservation tomb occupant. Reserved for extremely high of Heritage Sites in China (Revised 2015), status individuals – members of the Tang which highlights the rapid development imperial family such as princes, princesses context in which these mural paintings exist and dukes, and exceptionally distinguished and the need for sound conservation principles civil or military officials such as ministers or to be applied to preserve their artistic values, generals – about half the Shaanxi tombs with Tonia Eckfeld examining Tang tomb sancai horse and rider at the Luoyang Cultural Relics Bureau materials and technical methods.1 Consistent murals were located within the 17 cemetery with these Principles, this Australia-China complexes of the Tang emperors to the project is researching mural paintings north of the Chang’an, the primary Tang the murals have parallels with those listed While following standard format and the and archaeological site conservation. dynasty capital (present-day Xi’an in in the 9th century catalogues and it can be mortuary entitlement system these two mural Collaborative work involves the University Shaanxi Province), with only six discovered speculated that they were either the work of programs are highly individual, expressing of Melbourne, Shaanxi Provincial Institute of so far near Luoyang, the secondary Tang famous artists or strongly influenced by them. the life interests and achievements of each Archaeology, Henan Provincial Administration capital (in Henan Province). Their secular content, style and non-canonical deceased tomb occupant. Both included a of Cultural Heritage, Zhengzhou University As most of the mural paintings are located approach makes them an important category retinue of staff, and lively musical, singing and and the Australian Synchrotron. Technical near the Tang capital cities where the Tang of painting distinct from the Tang dynasty dancing performers. Li Daojian, a member study is providing data to increase dynasty had its political and cultural base, and Buddhist murals discovered at the dawn of of the imperial family, former diplomat, understanding of the materials, techniques can be accurately dated, they also provide the 20th century at Dunhuang and other sites Minister of Rites and Head of Royal Household and working methods used by the Tang visual evidence of important lost but described along the Silk Road. Affairs, had distinctive murals included in dynasty tomb painters and their workshops, master artworks. In the Tang dynasty, A number of recently excavated Tang tomb his tomb. His murals perhaps in reference and in turn to inform contemporary mural painting was the major painting form, mural programs, comparable in date, official to his diplomatic travels and extremely high conservation methods. prevalent in high status buildings such as rank and therefore mortuary entitlements, status, include a lion from the West on a Inscribed epitaph tablets found in most of palaces, government buildings, temples and reveal new evidence about patronage, beautiful fringed carpet, and three African the tombs provide exact dates and names and elite mansions. Information about these no aesthetic styles and subject matter. The attendants. Attendants carrying a paintbrush biographies of the deceased tomb occupants longer extant murals is known through Tang tombs of two imperial concubines of Emperor and water basin for brush washing indicate (many of whom are also recorded in the dynasty artistic texts.4 Although not all mural Zhongzong (r.684, 705-710) – Tang shi and Li’s personal interests as a painter. Hui Xiu’s Tang official histories). In this way the tomb programs have survived in their entirety, due to Cui shi Anguo Xiang wang furen – were tomb has palanquin bearers transporting murals provide visual first-hand records of collapse, destructive environmental conditions excavated in 2005 and recently conserved.5 large lacquered chests perhaps containing Tang dynasty history, politics, court life and or plunder for example, the known repertoire of These two tombs were built and painted in his treasured art collection. society. Examples of high status imperial painting is extensive, stylistically sophisticated, 706 near Luoyang, the same year as three Research undertaken in this project Tang tomb mural painting programs have vivid in subject matter and adept in methods imperial tombs at the Qianling mausoleum currently points to a centralised entitlement been visually documented, described and of technical production. Analysis reveals that complex that belonged to Crown Prince system and set subject matter program Zhanghuai (d.684), Crown Prince Yide (d.701) for Tang dynasty mural paintings, with the and Princess Yongtai (d.701). All five had coordinated employment of artists and met untimely deaths under the orders of the artistic practices across both the Tang ruthless female Emperor Wuzetian (r.690-705) capital cities. The relationship between these and were accorded grand reburials under her practices and works by named masters in son and successor, Emperor Zhongzong, on the Tang catalogues is being explored. The his ascent to the throne. Visual observations variations in individual mid-8th century high reveal that all five of the Qianling and status tombs, compliant with the official mural Luoyang murals programs have sequences painting entitlement system, need further typical of high status Tang tombs. The subject analysis based on recent discoveries. Analysis matter is largely conventional – directional of materials and working methods will shed animals (dragon and tiger), processions further light on artistic masters and workshops with fine horses, honour guards, palace as well as contributing to the conservation attendants and entertainers. The mural of the Tang dynasty tomb mural paintings paintings in the tombs of Zhanghuai and the into the future. two concubines tombs have similarities in both the style of painting (especially in the Tonia Eckfeld Principal Fellow, Arts brushwork and portraits) and subject matter Faculty, University of Melbourne (with the inclusion of camels and entertainer dwarfs) in all three tombs. These similarities may indicate that the same workshop groups worked in both the Tang primary Notes and secondary capitals (more than 1300 km apart). This proposition is being explored. 1 ICOMOS. 2015. Principles for the While evidence thus far indicates that the Conservation of Heritage Sites in 7th and early 8th century tombs adhered China. ICOMOS China and the State closely to a standard system of mural Administration of Cultural Heritage, Beijing; programs based on rank, new discoveries https://tinyurl.com/icomoschinaheritage; suggest that the situation changed around pp.67 & 69-70. the mid-8th century with more freedom to 2 Eckfeld, T. 2005. Imperial Tombs in Tang express highly personal interests. Important China (618-907), The politics of paradise. examples currently being analysed in this Routledge-Curzon. 3 Xu Guangji. 2011. The Complete Collection project include the tomb murals recently of Murals Unearthed in China, Volumes 6 excavated in Shaanxi Province belonging to & 7, Beijing: Science Press. two chancellors of the Tang court – Li Daojian 4 Zhu Qingxuan. c.840. Tang chao minghua (d.738, tomb excavated in 2017) and Han lu (Record of Famous Painters of the Tang Xiu (d.739, excavated in 2014). Comparable Dynasty); Zhang Yanyuan. c.847. Lidai in date and status, and neither within an minghua ji (Record of Famous Paintings emperor’s mausoleum complex, both contain of All the Dynasties). impressive mural programs including the 5 Luoyang City Second Cultural Relics earliest illustrations of landscape paintings Task Force. 2008. The Mural Tomb of the on screens (six-panel folding screen and Concubine of King Anguo Xiang of the Tang Dynasty. Zhengzhou: Henan Meishu single-panel respectively). While Li Daojian’s Chubanshe; Luoyang Cultural Relics tomb mural program is sombre, refined and Bureau and Luoyang Ancient Arts Museum. Camel and foreign groom, mural painting from Tang shi’s tomb (east wall of tomb passage, 2m high), subdued in palette, Han Xiu’s is lively and full 2010. Luoyang gudai muzang bihua. 706, Luoyang, Henan Province China. Photo courtesy of the Luoyang Cultural Relics Bureau. of vivid colour, using large quantities of yellow. Henan: Zhongzhou Guji Chubanshe..
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