Mawangdui Virtual Tour
China Institute Gallery Virtual Tour
As you travel through our galleries, you will notice captions and descriptions on some pages. On these pages, please feel free to explore further with your mouse for details and magnifications that will activate as you roll over the image.
North Gallery
To experience a 360 degree walk-around of the coffin, please select Auto for an automated view, or Rotate to manually rotate the image by using the mouse.
Western Han dynasty (206 BCE–25 CE)
Silk
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
48. Padded gown with changshou (longevity) embroidery.
This padded gown is made using what the Inventory of Burial Objects calls changshou (longevity) embroidery on thin silk, a plain gauze lining, silk padding, and a hem of brocade with piled circles—the earliest teased fabric discovered in the world so far. Auspicious objects such as dogwood and phoenix appear in the clouds of this design.
Western Han dynasty (206 BCE–25 CE)
Excavated in 1972-3, Han Tomb 1 or 3 at Mawangdui, Changsha City, Hunan
(left) 40. Vermilion luo with lozenge design, Silk.
A fabric made with twisted warp, luo (silk gauze) first appeared in the Shang dynasty (ca. 1600–1100 BCE). The fairly complicated weaving technique requires two people to operate a loom with both a jacquard device and a warp-twisting device. This luo is dyed with a lozenge design in a vermilion color derived from cinnabar. Ten bolts of single-width luo were excavated from Han Tomb 1 at Mawangdui. Among the unearthed garments, six padded silk gowns and one lined gown were constructed using luo fabric.
(right) 50 - 55. Wooden tablets.
Altogether 101 inscribed wooden tablets have been found in the tombs at Mawangdui, all tied to bamboo cases. Many of these cases contained actual food
Western Han dynasty (206 BCE–25 CE)
Silk
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
(left) 44. Chengyun embroidery on brown qi with double-bird and lozenge design.
Qi is a kind of jacquard silk fabric woven diagonally with a raised pattern or floating long-flower pattern on a tabby ground. Here, the woven design is composed of consecutive lozenge designs, filled in with patterns of flowers, plants, and birds. Silk embroidery floss is used to create patterns of clouds and peaches with eyes. The Inventory of Burial Objects refers to this piece as “chengyun embroidery” after the phoenixes riding on clouds.
(right) 43. Xinqi embroidery on dark brown damask with lozenge design.
The embroidered works unearthed from the Han tombs at Mawangdui may represent the very origin of the Hunan school, one of the four renowned schools of embroidery in China. In this piece, a design of floating clouds, flower and grass coils, and long-tailed birds is embroidered on damask woven with a lozenge pattern. The name of this design is recorded in the Inventory of Burial Objects as “xinqi.”
Western Han dynasty (206 BCE–25 CE)
Silk
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
41. Gauze printed with flame pattern in gold and silver.
To date, this is the earliest silk fabric discovered to have color patterns printed with the use of three blocks. In 1982, two metal relief printing plates were discovered in the early Western Han dynasty tomb belonging to the king of Southern Yue in Guangzhou. These plates bear patterns with characteristics similar to those seen on this fabric.
Western Han dynasty (206 BCE–25 CE)
Replica; ink and colors on silk (restored)
Excavated in 1973, Han Tomb 3 at Mawangdui, Changsha City, Hunan
(right) 59. The physical exercise chart Daoyintu.
The discernible text of this chart deals with health maintenance and treatment exercises. Daoyin was a set of therapeutic sports exercises that combined breathing with limb stretching. It was popular as early as the Spring and Autumn period and was further developed in the Han dynasty.
Western Han dynasty (206 BCE–25 CE)
Replica; lacquer on wood
Excavated in 1972, Han Tomb 1 at Mawangdui Changsha City, Hunan
61. Coffin with painted design.
The original coffin is a precious example of Western Han painting style and techniques, as well as the influence of Chu culture. It is third in a four-layer set of coffins from Tomb 1. Auspicious designs of dragons, tigers, pheasants, deer, and immortals are painted on the exterior. High mountains decorate the head end board and the left sideboard. The deceased is depicted ascending the peaks, presumably of Mount Kunlun, together with auspicious objects to reach the world of the immortals. A relief effect is achieved through the application of color and the lacquer embossment technique.
South Gallery
Western Han dynasty (206 BCE–25 CE)
Bronze
Excavated in 1949, Guihuayuan, Changsha City, Hunan
62. Ox-shaped oil lamp with the inscription "Ancestral Temple" (lamiao)
When the lamp is lit, smoke rises and travels through the round tube in the center of the bell until it reaches the water-filled belly via the ox horn. The right side of the ox belly has the inscription, “four ox-shaped lamps for the ancestral temple, made under the supervision of director of rites and music.”
Western Han dynasty (206 BCE–25 CE)
(left) 31. Painted brazier, Grey pottery.
This brazier in the shape of a bronze dou vessel was used for burning incense. When excavated, it contained various aromatics: fragrant reed, galangal, ligusticum sinense, and magnolia.
(right) 64. Mirror with liubo design, Gilded bronze.
The design on the back of this mirror is derived from a playing board for liubo, a game popular in the Han dynasty. An actual liubo set was excavated from the Han tombs at Mawangdui; it included playing pieces, a board, and chips.
66. Seal with the legend “Changsha pu,” Stone.
The pu of Changsha was most likely the official in charge of horses and chariots for the king.
67. Fretted ornament, Jade inlaid with turquoise.
68. Lance, Glass.
This very rare ceremonial or funerary object is the only glass lance to have been excavated in China. It represents the continuation of glasswork from the Warring States period (475–221 BCE) into the Western Han.
Western Han dynasty (206 BCE–25 CE)
(right) 2. Two-tiered cosmetic box containing nine small boxes, Lacquer on hemp and wood, gold foil.
This cosmetic box was found in the north compartment of the tomb, wrapped in a thin silk embroidered with a xinqi (migratory bird) design. The lid and body of the box are made on a base of hemp cloth, and the two tiers are on a base hewn of wood. Three pairs of mitts, one silk scarf, a belt, and one thin silk mirror case with “longevity embroidery” were placed on the upper layer of the box. Nine small boxes containing cosmetics, rouge, silk powder pads, combs, and a needle case are fitted into the bottom.
(left) 3, 4. Combs, Boxwood.
5. Tweezers, Horn.
6. Knife with ring-shaped handle, Horn.
7. Cosmetic box with needle-incised design, Lacquer on hemp.
This is one of five small boxes contained in the two-tiered cosmetic box (no. 2). They were used to hold makeup and herbs such as Chinese prickly ash and fragrant reed. The technique of using needles to incise designs on objects coated with lacquer came into existence in the Warring States period (475–221 BCE) and is known as “awl painting.”
Western Han dynasty (206 BCE–25 CE)
Wood with pigments and fabric
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
33. Maid figurine with clothes
Ten such clothed figurines were excavated from the north compartment of Tomb 1, the symbolic living quarters of the deceased. They had been placed together with three painted wooden figurines and thirteen figurines of musicians, singers, and dancers. Wine vessels and a lacquer tray with food containers were placed in front of them, recreating a sumptuous banquet accompanied by song and dance.
Western Han dynasty (206 BCE–25 CE)
Wood
(right) 32. Figurine with carved dress.
A large number of wooden figurines were unearthed from the Han tombs at Mawangdui. During the Eastern Zhou (770–256 BCE), Qin (221–206 BCE), and Han dynasties, such figurines gradually replaced the practice of burying slaves and servants with the deceased. Painted designs on the carved dress imitate embroidered fabric and brocade with piled circles.
(left) 34–37. Group of Figurines.
These figures were carved from blocks of wood; then pigments were applied over a white powder ground. Their gowns are painted with cloud designs, and the hems are painted to imitate black brocade with vermilion flowers. Two of these figures, probably representing males, have a flattop hairstyle; the other two, wearing their hair in a bun, are meant to be females. This set of figurines reflects the graceful and delicate artistic style of the south during the Han dynasty.
Western Han dynasty (206 BCE–25 CE)
Wood with pigments
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
38. Figurine of musicians. (Two views)
In the Han dynasty, the style of wooden funerary figurines became lively, delicate, and engaging. These five figurines of musicians were unearthed together. Two of them play yu and three play se instruments, forming a small family band and evidencing the pleasures of song and dance that the deceased had enjoyed. These figurines were made with the special technique known as “half sculpture” that emphasized carving of the head and facial features. They were then painted with black and vermilion colors to indicate the eyes, lips, and patterned gowns.
Western Han dynasty (206 BCE–25 CE)
Lacquer
Excavated in 1973, Han Tomb 3 at Mawangdui, Changsha City, Hunan
(left) 39. Seven-stringed qin.
The qin (seven-stringed zither) is a solo musical instrument used by literati in ancient times to accompany their chanting. Its playing was regarded as one of the four Confucian arts, together with chess, calligraphy, and painting. Traces of the instrument's seven strings have been left on its surface. This is the first Han dynasty qin ever discovered in China and the first "half-box-shaped qin" ever seen. This style of qin is most likely typical of the southern Chinese Chu-State. Unlike qin of later times, it lacked pitch marks, its base board is detachable, and its tail is solid.
Western Han dynasty (206 BCE–25 CE)
Lacquer on wood
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
(right) 22. Fang with cloud design.
When excavated, this fang contained wine dregs. The Inventory of Burial Objects, found in the same tomb, notes that it contained "rice wine" or "liquor." There is an indecipherable stamped seal mark on the exterior of the square foot ring. Among the lacquer pieces excavated from the Han tombs at Mawangdui, more than one hundred bear stamped marks indicating the place of production and the workshop name. Many of the Mawangdui lacquers were apparently made in the government workshops of Chengdu city.
(left) 24. Ding (tripod) with cloud design.
The smooth and fluent lines of the painted phoenix and cloud designs impart an air of unrestrained exuberance. Seven lacquer ding of the same size and shape were excavated from Tomb 1. One ding was found to contain a small amount of soup and slices of lotus root, which after 2,100 years were still clearly discernible.
(left) 20, 17, 18, 16. Group of flanged cups and Wine-cup container (alternate view).
Western Han dynasty (206 BCE–25 CE)
Lacquer on wood
(left) 14. Dish painted with cat design.
The trimmed wood base of this dish is coated with black lacquer on the inside and then freely painted with images of three cats and a turtle. In China the turtle symbolizes longevity and, together with the unicorn, the phoenix, and the dragon, was regarded as one of the "four auspicious animals." Mao, the Chinese word for "cat" is a homophone for septuagenarians, so the cat also connotes longevity.
25. Bi with painted cloud design.
Food ladles (bi) were often unearthed together with ding or found inside ding vessels. They were used to serve thick soup or rice dishes contained in the ding. The utilitarian shape of this bi reflects the decline of its function as a ceremonial object since pre-Qin times.
(right) 8. Tray with cloud design.
The bottom of this dining tray is inscribed "Daihoujia" (house of the Marquis of Dai). Dining requirements of the time meant "sitting on the floor" and "holding the tray level with the brow." In addition to the lacquer dishes and cups, excavators also found a set of bamboo skewers and a pair of chopsticks in Han Tomb 1 at Mawangdui. The use of chopsticks began in the Qin and Han dynasties and became common by the Eastern Han.
9 - 13. Set of Lacquer Dishes.
The center of each dish is inscribed "junxingshi" (gentlemen, please dine). An inscription translated as "one-and-a-half sheng" is written on the exterior. This tomb yielded twenty small lacquer dishes; six contained the remains of beefsteak, pheasant bones, mandarin fish bones, ox shin, and pastry, respectively.
21. Zhi (lidded cup) with inscription.
This cup was made by rolling a thin wooden sheet to form a cylinder. The ends of the sheet are glued together with lacquer and joined with wooden nails. A handle is then attached at the join. The base is hewn out of a thick wooden board and glued to the cylinder. The interior is inscribed "junxingjiu" (gentlemen, please drink); the inscription on the base, translated as "seven sheng," indicates its capacity.
19. Flanged cup with the inscription "junxingjiu."
Western Han dynasty (206 BCE–25 CE)
Lacquer on wood
(left) 20, 17, 18. Group of flanged cups.
Tombs 1 and 3 yielded more than one hundred lacquer flanged cups. They are also called "feather drinking cups," perhaps because the two flanges resemble wings or because feathers could be put on them to urge people to drink quickly. In ancient times these cups were used to hold wine or thick soup. The interior of each cup bears the inscription "junxingjiu" (please drink) or "junxingjiu" (please dine). The inscriptions on the underside of each flange can be translated "one-and-a-half sheng" or "four sheng" to indicate the vessel's capacity. The Han document Treatise on Iron and Salt (Yantie lun) records that one cup required the effort of one hundred men to complete and that the price of one lacquer cup was equivalent to that of ten bronze cups. Lacquerware was thus a symbol of privilege and wealth.
(right) 16. Wine-cup container.
Both the rim of the lid and the body of this vessel are inscribed with the Chinese characters for "house of the Marquis of Dai." The vessel contained eight small wine cups, each bearing the inscription "please drink" written in black lacquer. Seven of the cups were stacked in the same direction, while the eighth cup was overturned to fasten the other cups.
Western Han dynasty (206 BCE–25 CE)
Lacquer on wood
Excavated in 1973, Han Tomb 3 at Mawangdui, Changsha City, Hunan
15. Flat dish.
Cloud and dragon designs are painted on the black lacquer, with whirlpool patterns forming the cirrus, horns, and scales of the dragon. The rim is decorated with wave and dot patterns. The side walls are covered with bird-head designs both inside and out, and the Chinese characters Daihoujia (house of the Marquis of Dai) are written in vermilion on the base. The same tomb yielded nine such dishes.
You have concluded the tour of our exhibition, Noble Tombs at Mawangdui.
Please visit http://www.chinainstitute.org/mawangdui for other resources related to the exhibition.
As you travel through our galleries, you will notice captions and descriptions on some pages. On these pages, please feel free to explore further with your mouse for details and magnifications that will activate as you roll over the image.North Gallery
To experience a 360 degree walk-around of the coffin, please select Auto for an automated view, or Rotate to manually rotate the image by using the mouse. Western Han dynasty (206 BCE–25 CE)Silk
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
48. Padded gown with changshou (longevity) embroidery.
This padded gown is made using what the Inventory of Burial Objects calls changshou (longevity) embroidery on thin silk, a plain gauze lining, silk padding, and a hem of brocade with piled circles—the earliest teased fabric discovered in the world so far. Auspicious objects such as dogwood and phoenix appear in the clouds of this design.
Western Han dynasty (206 BCE–25 CE)Excavated in 1972-3, Han Tomb 1 or 3 at Mawangdui, Changsha City, Hunan
(left) 40. Vermilion luo with lozenge design, Silk.
A fabric made with twisted warp, luo (silk gauze) first appeared in the Shang dynasty (ca. 1600–1100 BCE). The fairly complicated weaving technique requires two people to operate a loom with both a jacquard device and a warp-twisting device. This luo is dyed with a lozenge design in a vermilion color derived from cinnabar. Ten bolts of single-width luo were excavated from Han Tomb 1 at Mawangdui. Among the unearthed garments, six padded silk gowns and one lined gown were constructed using luo fabric.
(right) 50 - 55. Wooden tablets.
Altogether 101 inscribed wooden tablets have been found in the tombs at Mawangdui, all tied to bamboo cases. Many of these cases contained actual food
Western Han dynasty (206 BCE–25 CE)Silk
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
(left) 44. Chengyun embroidery on brown qi with double-bird and lozenge design.
Qi is a kind of jacquard silk fabric woven diagonally with a raised pattern or floating long-flower pattern on a tabby ground. Here, the woven design is composed of consecutive lozenge designs, filled in with patterns of flowers, plants, and birds. Silk embroidery floss is used to create patterns of clouds and peaches with eyes. The Inventory of Burial Objects refers to this piece as “chengyun embroidery” after the phoenixes riding on clouds.
(right) 43. Xinqi embroidery on dark brown damask with lozenge design.
The embroidered works unearthed from the Han tombs at Mawangdui may represent the very origin of the Hunan school, one of the four renowned schools of embroidery in China. In this piece, a design of floating clouds, flower and grass coils, and long-tailed birds is embroidered on damask woven with a lozenge pattern. The name of this design is recorded in the Inventory of Burial Objects as “xinqi.”
Western Han dynasty (206 BCE–25 CE)Silk
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
41. Gauze printed with flame pattern in gold and silver.
To date, this is the earliest silk fabric discovered to have color patterns printed with the use of three blocks. In 1982, two metal relief printing plates were discovered in the early Western Han dynasty tomb belonging to the king of Southern Yue in Guangzhou. These plates bear patterns with characteristics similar to those seen on this fabric.
Western Han dynasty (206 BCE–25 CE)Replica; ink and colors on silk (restored)
Excavated in 1973, Han Tomb 3 at Mawangdui, Changsha City, Hunan
(right) 59. The physical exercise chart Daoyintu.
The discernible text of this chart deals with health maintenance and treatment exercises. Daoyin was a set of therapeutic sports exercises that combined breathing with limb stretching. It was popular as early as the Spring and Autumn period and was further developed in the Han dynasty.
Western Han dynasty (206 BCE–25 CE)Replica; lacquer on wood
Excavated in 1972, Han Tomb 1 at Mawangdui Changsha City, Hunan
61. Coffin with painted design.
The original coffin is a precious example of Western Han painting style and techniques, as well as the influence of Chu culture. It is third in a four-layer set of coffins from Tomb 1. Auspicious designs of dragons, tigers, pheasants, deer, and immortals are painted on the exterior. High mountains decorate the head end board and the left sideboard. The deceased is depicted ascending the peaks, presumably of Mount Kunlun, together with auspicious objects to reach the world of the immortals. A relief effect is achieved through the application of color and the lacquer embossment technique.
South Gallery
Western Han dynasty (206 BCE–25 CE)Bronze
Excavated in 1949, Guihuayuan, Changsha City, Hunan
62. Ox-shaped oil lamp with the inscription "Ancestral Temple" (lamiao)
When the lamp is lit, smoke rises and travels through the round tube in the center of the bell until it reaches the water-filled belly via the ox horn. The right side of the ox belly has the inscription, “four ox-shaped lamps for the ancestral temple, made under the supervision of director of rites and music.”
Western Han dynasty (206 BCE–25 CE) (left) 31. Painted brazier, Grey pottery.
This brazier in the shape of a bronze dou vessel was used for burning incense. When excavated, it contained various aromatics: fragrant reed, galangal, ligusticum sinense, and magnolia.
(right) 64. Mirror with liubo design, Gilded bronze.
The design on the back of this mirror is derived from a playing board for liubo, a game popular in the Han dynasty. An actual liubo set was excavated from the Han tombs at Mawangdui; it included playing pieces, a board, and chips.
66. Seal with the legend “Changsha pu,” Stone.
The pu of Changsha was most likely the official in charge of horses and chariots for the king.
67. Fretted ornament, Jade inlaid with turquoise.
68. Lance, Glass.
This very rare ceremonial or funerary object is the only glass lance to have been excavated in China. It represents the continuation of glasswork from the Warring States period (475–221 BCE) into the Western Han.
Western Han dynasty (206 BCE–25 CE) (right) 2. Two-tiered cosmetic box containing nine small boxes, Lacquer on hemp and wood, gold foil.
This cosmetic box was found in the north compartment of the tomb, wrapped in a thin silk embroidered with a xinqi (migratory bird) design. The lid and body of the box are made on a base of hemp cloth, and the two tiers are on a base hewn of wood. Three pairs of mitts, one silk scarf, a belt, and one thin silk mirror case with “longevity embroidery” were placed on the upper layer of the box. Nine small boxes containing cosmetics, rouge, silk powder pads, combs, and a needle case are fitted into the bottom.
(left) 3, 4. Combs, Boxwood.
5. Tweezers, Horn.
6. Knife with ring-shaped handle, Horn.
7. Cosmetic box with needle-incised design, Lacquer on hemp.
This is one of five small boxes contained in the two-tiered cosmetic box (no. 2). They were used to hold makeup and herbs such as Chinese prickly ash and fragrant reed. The technique of using needles to incise designs on objects coated with lacquer came into existence in the Warring States period (475–221 BCE) and is known as “awl painting.”
Western Han dynasty (206 BCE–25 CE)Wood with pigments and fabric
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
33. Maid figurine with clothes
Ten such clothed figurines were excavated from the north compartment of Tomb 1, the symbolic living quarters of the deceased. They had been placed together with three painted wooden figurines and thirteen figurines of musicians, singers, and dancers. Wine vessels and a lacquer tray with food containers were placed in front of them, recreating a sumptuous banquet accompanied by song and dance.
Western Han dynasty (206 BCE–25 CE)Wood
(right) 32. Figurine with carved dress.
A large number of wooden figurines were unearthed from the Han tombs at Mawangdui. During the Eastern Zhou (770–256 BCE), Qin (221–206 BCE), and Han dynasties, such figurines gradually replaced the practice of burying slaves and servants with the deceased. Painted designs on the carved dress imitate embroidered fabric and brocade with piled circles.
(left) 34–37. Group of Figurines.
These figures were carved from blocks of wood; then pigments were applied over a white powder ground. Their gowns are painted with cloud designs, and the hems are painted to imitate black brocade with vermilion flowers. Two of these figures, probably representing males, have a flattop hairstyle; the other two, wearing their hair in a bun, are meant to be females. This set of figurines reflects the graceful and delicate artistic style of the south during the Han dynasty.
Western Han dynasty (206 BCE–25 CE)Wood with pigments
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
38. Figurine of musicians. (Two views)
In the Han dynasty, the style of wooden funerary figurines became lively, delicate, and engaging. These five figurines of musicians were unearthed together. Two of them play yu and three play se instruments, forming a small family band and evidencing the pleasures of song and dance that the deceased had enjoyed. These figurines were made with the special technique known as “half sculpture” that emphasized carving of the head and facial features. They were then painted with black and vermilion colors to indicate the eyes, lips, and patterned gowns.
Western Han dynasty (206 BCE–25 CE)Lacquer
Excavated in 1973, Han Tomb 3 at Mawangdui, Changsha City, Hunan
(left) 39. Seven-stringed qin.
The qin (seven-stringed zither) is a solo musical instrument used by literati in ancient times to accompany their chanting. Its playing was regarded as one of the four Confucian arts, together with chess, calligraphy, and painting. Traces of the instrument's seven strings have been left on its surface. This is the first Han dynasty qin ever discovered in China and the first "half-box-shaped qin" ever seen. This style of qin is most likely typical of the southern Chinese Chu-State. Unlike qin of later times, it lacked pitch marks, its base board is detachable, and its tail is solid.
Western Han dynasty (206 BCE–25 CE)Lacquer on wood
Excavated in 1972, Han Tomb 1 at Mawangdui, Changsha City, Hunan
(right) 22. Fang with cloud design.
When excavated, this fang contained wine dregs. The Inventory of Burial Objects, found in the same tomb, notes that it contained "rice wine" or "liquor." There is an indecipherable stamped seal mark on the exterior of the square foot ring. Among the lacquer pieces excavated from the Han tombs at Mawangdui, more than one hundred bear stamped marks indicating the place of production and the workshop name. Many of the Mawangdui lacquers were apparently made in the government workshops of Chengdu city.
(left) 24. Ding (tripod) with cloud design.
The smooth and fluent lines of the painted phoenix and cloud designs impart an air of unrestrained exuberance. Seven lacquer ding of the same size and shape were excavated from Tomb 1. One ding was found to contain a small amount of soup and slices of lotus root, which after 2,100 years were still clearly discernible.
(left) 20, 17, 18, 16. Group of flanged cups and Wine-cup container (alternate view).
Western Han dynasty (206 BCE–25 CE)Lacquer on wood
(left) 14. Dish painted with cat design.
The trimmed wood base of this dish is coated with black lacquer on the inside and then freely painted with images of three cats and a turtle. In China the turtle symbolizes longevity and, together with the unicorn, the phoenix, and the dragon, was regarded as one of the "four auspicious animals." Mao, the Chinese word for "cat" is a homophone for septuagenarians, so the cat also connotes longevity.
25. Bi with painted cloud design.
Food ladles (bi) were often unearthed together with ding or found inside ding vessels. They were used to serve thick soup or rice dishes contained in the ding. The utilitarian shape of this bi reflects the decline of its function as a ceremonial object since pre-Qin times.
(right) 8. Tray with cloud design.
The bottom of this dining tray is inscribed "Daihoujia" (house of the Marquis of Dai). Dining requirements of the time meant "sitting on the floor" and "holding the tray level with the brow." In addition to the lacquer dishes and cups, excavators also found a set of bamboo skewers and a pair of chopsticks in Han Tomb 1 at Mawangdui. The use of chopsticks began in the Qin and Han dynasties and became common by the Eastern Han.
9 - 13. Set of Lacquer Dishes.
The center of each dish is inscribed "junxingshi" (gentlemen, please dine). An inscription translated as "one-and-a-half sheng" is written on the exterior. This tomb yielded twenty small lacquer dishes; six contained the remains of beefsteak, pheasant bones, mandarin fish bones, ox shin, and pastry, respectively.
21. Zhi (lidded cup) with inscription.
This cup was made by rolling a thin wooden sheet to form a cylinder. The ends of the sheet are glued together with lacquer and joined with wooden nails. A handle is then attached at the join. The base is hewn out of a thick wooden board and glued to the cylinder. The interior is inscribed "junxingjiu" (gentlemen, please drink); the inscription on the base, translated as "seven sheng," indicates its capacity.
19. Flanged cup with the inscription "junxingjiu."
Western Han dynasty (206 BCE–25 CE)Lacquer on wood
(left) 20, 17, 18. Group of flanged cups.
Tombs 1 and 3 yielded more than one hundred lacquer flanged cups. They are also called "feather drinking cups," perhaps because the two flanges resemble wings or because feathers could be put on them to urge people to drink quickly. In ancient times these cups were used to hold wine or thick soup. The interior of each cup bears the inscription "junxingjiu" (please drink) or "junxingjiu" (please dine). The inscriptions on the underside of each flange can be translated "one-and-a-half sheng" or "four sheng" to indicate the vessel's capacity. The Han document Treatise on Iron and Salt (Yantie lun) records that one cup required the effort of one hundred men to complete and that the price of one lacquer cup was equivalent to that of ten bronze cups. Lacquerware was thus a symbol of privilege and wealth.
(right) 16. Wine-cup container.
Both the rim of the lid and the body of this vessel are inscribed with the Chinese characters for "house of the Marquis of Dai." The vessel contained eight small wine cups, each bearing the inscription "please drink" written in black lacquer. Seven of the cups were stacked in the same direction, while the eighth cup was overturned to fasten the other cups.
Western Han dynasty (206 BCE–25 CE)Lacquer on wood
Excavated in 1973, Han Tomb 3 at Mawangdui, Changsha City, Hunan
15. Flat dish.
Cloud and dragon designs are painted on the black lacquer, with whirlpool patterns forming the cirrus, horns, and scales of the dragon. The rim is decorated with wave and dot patterns. The side walls are covered with bird-head designs both inside and out, and the Chinese characters Daihoujia (house of the Marquis of Dai) are written in vermilion on the base. The same tomb yielded nine such dishes.
You have concluded the tour of our exhibition, Noble Tombs at Mawangdui.Please visit http://www.chinainstitute.org/mawangdui for other resources related to the exhibition.
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