Brother Yu got up from the ground and thanked Ah Chun.
Because it was Ah Chun who was the first to say that the dagger could not hold up, so we had time to react.
Achun smiled and said, "You owe me once."
After collecting the rope and taking a rest, we continued walking forward.
In the notes Master Wu left for me, the place Guizailing was drawn with a red circle, but apart from the red circle, there was no mark on this place. Master Wu once told me personally.
The notes were not written by him. The original version was copied by him from some seniors in the Northern School.
After Colonel Mojin disappeared, the prototype of the Northern Sect took shape.
Those predecessors who were active in the early Republic of China were all masters like Li Yaya. They invented the Luoyang shovel, improved the cyclone shovel, used gap plates, and created the Guaizi needle for dealing with tapstone...
At that moment, I was thinking, had those seniors who wrote the original notes ever set foot in the place we went to?
I do not know.
The walls around here are smooth, there are no large areas of stalactites, and there are no goose pipes. The ground is also very smooth, with only some small gravels scattered here and there.
It was dark, like stepping into another world.
Very dark, very dark.
Searching with a flashlight, in the darkness, I heard Achun say loudly: "Look! What is that!"
He moved his head over the flashlight, took a few steps to the right, and looked up.
"It's a mural...There is actually a mural in this place..."
"how come....."
"No, the humidity in the air is so high. Once the time exceeds four hundred years, no mineral pigment paintings can be preserved. This cannot be too far ago. It should be from the Qing Dynasty."
Get your head right.
Shuidongzi and Banshuidongzi tombs have caused great damage to murals, silks, thangkas, and other things with mineral pigments.
It is dry for thousands of years, wet for ten thousand years, half dry and half wet for only half a year. Either the entire tomb is soaked in water to cut off oxygen, or it is very dry, like the tomb of Jin Youzi in the desert.
I am afraid of this anti-tide state. In this environment, iron tools will rust and bronze items will rot quickly. No one wants to build their own tomb in this environment. Not to mention the coffin, the bones will rot and turn into
dust.
"Head! There's one on the wall here too!" Dou Sprout shouted from the other side.
very strange.
Some of the stone carvings at Guizailing are thousands of years old, but it can be inferred that these murals are no older than the Qing Dynasty because they have been preserved.
The Han Dynasty inherited the Qin system. Since the Yingzheng faction Xu Fu went to sea to seek immortality, Emperor Wu of the Han Dynasty especially respected ghosts and gods. He believed in the words of Taoists and alchemists. He recorded the events in the underworld in the form of murals in his tombs, and regarded death as life.
Eastern Han, Western Han, Jin after Jin, Liao and Western Xia, Five Dynasties and Ten Kingdoms.
Tang, Song, Yuan, Ming and Qing.
The culture of tomb murals has never ceased. The ancients believed that well-painted murals can seek benefits and avoid harm, bring good fortune and longevity to immortals and gods, and provide blessings to future generations.
These murals generally have forms and cannot be painted blindly.
One is to draw the image of the house where the tomb owner lived during his lifetime, or something that the tomb owner did in his life.
The other is to paint fixed themes from past dynasties.
Flying feathered men, door gods, four divine beasts, flowing clouds, golden crows, stag tails, golden toads, yellow-skinned snakes, twenty-eight constellations, Ganoderma lucidum, deer and cranes, etc.
But these themes are not seen anywhere in the murals left here.
We turn on the flashlight to illuminate a larger area.
The murals on the stone wall in front of you are very large. Looking from right to left, they are divided into four parts. They seem to be recording a certain scene, or... they seem to be recording something.
Some of the mineral pigments on the murals are scattered, and a lot of them have fallen off.
Such a scene is painted on the right.
There is a small house under the water. You can vaguely see the word "man" on the house.
Follow the scene of the underwater house.
The mural depicts a group of little people carrying a coffin. Due to the moisture on the wall, the faces of the characters are blurred, and in some cases only half of the body can be seen.
The middle part of the mural was the most affected by moisture, and the whole thing was just a big ball of mineral colors mixed together, and nothing could be seen.
On the far left, where the head is standing, there should be a tomb. In the middle of the tomb is a stone platform with complex carvings all around. There is a black coffin on the top of the stone platform, facing the direction of the coffin.
, painted a red wooden door.
A three-dimensional painting method should have been used.
The mahogany door was opened a crack and ajar.
Half of the face of a fat white man appeared outside the crack of the door. This half of his face seemed a little sad and a little angry. This half of his face was just hiding behind the door, peeking into the tomb.
I don't know what I'm looking at, I don't know who it is, I just know that the person who painted the mural is very skilled, and he painted the half face hidden outside the door to give the feeling of "peeping".
