The Tang Dynasty (618-907) is a truly fascinating period of Chinese
history, not only for its high culture but also the personalities that left
their mark on the epoch. Not least of these were Emperor Gao Zong and his
Empress Wu Zetian. It is not surprising that they should have had impressive
burials and that in view of her powerful and dominating character that the
Empress should have shared her late husband's tomb. This is the only instance of
a mausoleum shared in this way and of course, Wu Zetian was the only woman to
have ruled China.
The Qian Mausoleum occupies a prominent site on the summit of Liangshan
Hill some 80 kilometers (50 miles) northwest of the Tang capital, Chang'an
(today's Xi'an). The design of the tomb site replicates the city of Chang'an and
in accordance with tradition is on a north-south axis. The southern approach is
set between two smaller hills and the way to the Emperor's tomb is lined with
stone animals as well as human figures. These include horses and ostriches,
winged horses and a pair of stone lions. In all there are 124 stone sculptures
and these are reminders of the fact that the Tang was very much involved with
trade and diplomatic exchange with the world far beyond China's borders as there
are distinct Western Asian and Greek influences in these sculptures.
The tomb is of a very strong and secure construction and is notable as the
only mausoleum to escape the unwelcome attention of tomb robbers.
In total the mausoleum site covered an area of 2.3 square meters (0.88
square kilometers) and within this area stood 378 buildings that included the
Sacrifice Hall, a Pavilion, a Hall of Ministers and numerous corridors.
Unfortunately, the above ground structures have not survived unlike the stone
sculptures that still delight visitors.
Two ornamented octagonal columns mark the south entrance and the mythical
winged horses are the first of the sculptures. The pair of ostriches was a gift
from Afghanistan; of the five pairs of horses that are next along the route only
three still have their attendant grooms. Ten pairs of military figures bearing
swords stand guard along the path. Further life-sized sculptures of men
represent the sixty one foreign emissaries that attended the Emperor's funeral
and were created on the instructions of Empress Wu Zetian, who wanted a
permanent reminder of their visit. Each figure is depicted in a long robe with a
wide belt and wearing boots. The name of each individual and the country he
represented is carved on the back of the statue. It is not known how or why but
regrettably each statue has been decapitated at some time in the distant
past.
The Qijie Bei (Tablet of Seven Elements), so called because it symbolizes
the Sun, Moon, Metal, Wood, Water, Earth and Fire, carries an inscription
composed by the Empress Wu Zetian that describes the achievements of her late
husband. The calligraphy is that of Emperor Zhongzong whom the Empress deposed
but later returned to the throne following her own eventual retirement from
office. An unusual feature is the Blank Tablet that has carved dragons and
oysters upon it but no inscription, there is nothing like this at any other
royal tomb site. It is thought that this tablet was erected upon the orders of
the Empress and that it would eventually bear a description of her achievements,
to be recorded by some future generation. Maybe she thought that in this way
only her good deeds would be remembered and recorded for posterity!
Tomb of Crown Prince Zhanghuai
There are seventeen other tombs, the most important of which are those of
Crown Prince Yide, Princess Yongtai and Crown Prince Zhanghuai. The underground
chambers of these tombs are richly decorated with colorful murals and they are
often referred to as the Underground Tang Art Gallery.
The Tomb of Crown Prince Zhanghuai
The second son of Emperor Gao Zong and Empress Wu Zetian, Zhanghuai was
created crown prince in 675 AD but was removed him from that rank in 680 AD by
his mother. Four years later, he was ordered to commit suicide when aged 31. He
was reinstated posthumously in 711 and buried along with his wife in this
tomb.
Three kilometers (1.86 miles) south east of the Qian Mausoleum, the tomb is
71 meters (233 feet) long by 3.3 meters (11 feet) wide and 7 meters (23 feet)
deep. It consists of a paved path, arches, a patio and two chambers sited one
behind the other. Fifty murals in an excellent state of preservation decorate
the walls. Covering some 400 square meters (478.5 square yards) these murals
illustrate scenes from the life of the unfortunate prince. One of the most
interesting of these is known as the 'Meeting of the Guests'. This mural shows
three Tang officials accompanying ambassadors from abroad such as Rome and Korea
as well as ethnic groups from north-east China and elsewhere. During the Tang
Dynasty Chang'an was a cosmopolitan city with a population exceeding a million.
The mural serves to remind us that much of the prosperity of the Tang was due to
their international relationships with more than 300 different countries.
Other murals depict parades, dancing, games, female courtiers, ministers
and a polo match, the game having been introduced from Persia and very popular
among the Tang aristocracy. In addition to the paintings, in excess of 600 terra
cotta items and tri-color vessels bear witness to the social systems and customs
of the day.
Tomb of Prince Yide
Situated to the south east of the Qian Mausoleum, this tomb is the resting
place of Li Chongrun, the eldest son of Zhong Zong and grandson of Gao Zong and
Wu Zetian. Yet another victim of his formidable and self-seeking grandmother, he
was sentenced to death at the tender age of just 19 for opposing her autocracy.
Officially known as Prince Yide, Li Chongrun was laid to rest in a grand
mausoleum decorated with stone lions and other figures and although the columns
are no longer whole, the edifice was a tribute to his importance. The tomb
comprises a paved way, three arches and seven courtyards together with eight
niches that probably would have accommodated statues. There are two chambers,
one behind the other; the whole being interlinked by corridors. The complex
extends 256.6 meters (841.9 feet) in a north-south direction and is 214.5 meters
(703.7 feet) in width and was richly endowed with a large number of fine
artefacts. Over a thousand items of ceramic figures, tri-color figurines and
pottery as well as items of gold, copper and iron have been found here.
The structure has a remarkable array of murals throughout, forty pieces in
all that illustrate the day to day life at the Tang court. Symbols of the
Prince, the Black Dragon and White Tiger are featured and the mural of the
'parade of the Crown Prince' is of great historical interest as this 2.8 meter
(9.10 feet) high picture shows the towers, city walls and other important
buildings of the ancient capital city. You can see the guard of honor riding in
chariots, on horseback as well as on foot as they prepare to march out from
Chang'an in a colorful royal procession.
Other murals illustrate hunts. Members of the Tang court were keen hunters
and used specially trained cheetahs to bring down their prey. The cheetahs were
presented to the royal family as tribute from client states. This again gives an
insight into the strategic influence and importance of the regime.
Tomb of Princess Yongtai
Li Xianhui, the Princess Yongtai was the seventh daughter of Emperor Zhong
Zong and grand daughter of Gao Zong and the Empress Wu Zetian. This maiden was
considered so beautiful that it was said that even the plum blossom lost its
brilliance in her presence. Adored by her imperial father for her beauty and
wisdom she was married to Wu Yanji in 700 AD. Her newly wed husband's father was
a nephew of the Empress but her family ties gave her no protection from her
grandmother. A year after her marriage and only seventeen years of age the
princess was put to death in the same fashion as her brother Li Chongrun, the
Crown Prince Yide. The young, ill-fated bride was recognized posthumously as
Princess Yongtai in 706.
This tomb is situated 2.5 kilometers (1.5 miles) south east of the Qian
Mausoleum and was built to the same specifications as those of an empress' tomb.
Once again, this tomb is renowned for the quality of the many items found in it
as well as the extremely fine wall paintings. Although the paintings depict
famous buildings and towers, the rich trappings of courtly life and magnificent
ceremonial parades, it is the painting of sixteen maids of honor that catch the
attention of visitors. One of these elegant young women is known as the 'First
Oriental Beauty'. Her round face with her well shaped eyebrows, enticing lips
and graceful figure has evoked admiration from all who have looked upon her.
These images are a wonderful reflection of the glories of the Tang court in its
heyday. Despite the intrigue and perils that surrounded members of the
aristocracy the court enjoyed wealth, culture and a degree of elegance that made
it a source of wonder.
The murals have been removed to the Shaanxi Provincial Museum for
safekeeping and replaced with replicas. This tomb had been subject to raids and
many grave goods have been stolen. However, some 1046 pieces have survived
intact. Ceramic figures, tri-color figures and wooden figurines represent 878 of
these pieces. Among them, 700 ceramic figures include heavenly kings, male,
female and ethnic equestrians, musicians complete with their musical instruments
and animals. The tri-color figurines are of many subjects in a variety of poses.
By contrast there are thirty carved wooden figures that are all male.