125Volume 3

Cui Fen 崔芬, style name Bomao 伯茂, was born in

Dongwucheng 东武城, Qinghe 清河 (the present-day

Wucheng 武城 County). During the Northern Wei period,

he took the post of the commandery gongcao 功曹 and

prefecture zhubo 主簿. In the 5th year of Wuding 武定

reign period of the Eastern Wei Dynasty (AD 547 ), he

took the office of biejia 别驾 of his prefecture. In the 8th

year of Wuding reign period, he was conferred the title

of Illustrious General and assumed the office of Zhangshi

长史 under Military Commander of the Southern

Campaign. He died at the age of 84 on October 19th,

550, the 1st year of Tianbao 天保 reign period of the

Northern Qi Dynasty. On October 9th in the 2nd year of

Tianbao reign period he was buried on the south slope of

Mount Fu 浮山, to the south of Spring Ye 冶泉 (the

present-day south slope of Mount Haifu 海浮山, Yeyuan

冶源 Township, Linqu 临朐 County). Cui’s tomb was

discovered on April 2nd, 1986 and the salvage excava-

tion was made from April 16th to May 16th.

I. Tomb Structure

The tomb is constructed at 150 degrees on the

compass and consists of the tomb passage, aisle, and

chamber. It is shaped like the Chinese character“甲” in

profile (Fig. 1). The joining place between the northern

end of the remaining slope-shaped tomb passageway

and the aisle is slightly out-curving and flanked by a

short earth wall on either side while the bottom is flat and

horizontal.

The aisle is paved with stone slabs and flanked by

walls made of a single stone slab on both sides and

covered by a slab on the ceiling. At the south end is a

General Cui Fen’s Fresco-walled Tombof Northern Qi Period in Linqu,

Shandong

Shandong Provincial Institute of Antiquity and Archaeology

and

Linqu County Museum

Keywords: Cui Fen tomb structure burial accessories fresco

stone-cut door with two panels. The door is sealed with

10 pieces of irregular stone outside at the lower section.

On the inner side of the door are engraved four rows of

bas-reliefs of acanthus or lotus design, each with five

diamond or ring patterns for decoration. On the upper

and lower ends of the door are carved acanthus designs

in band pattern; round the iron doorknocker are lotus

and acanthus relieves with interlocking branches and

leaves.

The tomb chamber is neatly layered with rectan-

gular stone blocks and the cracks between the stone

blocks are filled with lime. It is square in profile,

measuring 3.58 m in side length. The center of the

upper section of the four walls is slightly out-curving

and the ceiling of the chamber is shaped like an inverted

funnel, measuring 3.32 m in height. The chamber is

paved with stone slabs on the bottom. In the center of the

lower section on the south wall is a door leading to the

aisle. The flank of the gatepost bears acanthus patterns

in line carving. On the upper section of the eastern

gatepost are two Chinese characters in regular script

“□统”and on the eastern end of the threshold is an

incised inscription“大.”The door opens inward. Its

decoration is roughly the same as that of the stone-cut

tomb door, only with an addition of flying clouds pattern

in the middle section. The north and west walls each

feature an inset niche in the center of the lower section

(the side room). In the west section of the tomb chamber

is a coffin platform, most slabs of which had been

removed from their original places. The wooden coffin

painted black with flying clouds patterns in red had long

decayed with the skeleton inside.

126 Chinese Archaeology

II. Burial Accessories

The remaining burial accessories include celadon,

pottery, bronze and silver wares and stone epitaphs.

A celadon jar. Small upright mouth, round belly

and flat bottom. On the shoulder are symmetrically

arrayed four bridge-shaped loop handles and two kneaded

dual loop handles. The shoulder and belly are both

covered with reverted and upturned lotus patterns and

flying clouds patterns, green glazed, 28.2 cm in height

(Fig. 2).

A celadon pot with chicken-headed spout. Dish-

shaped mouth, deep thin neck, deep round belly, flat

bottom, with chicken-headed spout. The joining section

between the double bar-shaped handle and the dish-

shaped mouth is gone. Two bridge-shaped loop handles

on either side, four bands of line patterns on the neck in

intaglio for decoration. Green glazed both inside and

outside. The remaining height is 29.1 cm (Fig. 3).

Two pieces of celadon dou-pedestral stand. Shal-

Fig. 1 Plan and elevation of Cui Fen’s burial

0 1 M

N

low disk, trumpet-shaped tall ring foot, fully green

glazed, 16 cm in disk diameter (Fig. 4).

A celadon bowl. Slightly contracted mouth, curved

belly, solid ring foot slightly curved inwardly, green

glazed, 12.2 cm in mouth diameter (Fig. 5).

A bowl with porcelain body. Pointed mouth, no lid,

short ring foot, 14.5 cm in mouth diameter.

32 pieces of mud coins. Circular or approximately

oval-shaped, a round hole in the center, kneaded by

hand.

A bronze mirror with patterns of mythological

creatures. With a hemispherical knob on a round seat.

Between the six circular nipples in the inner section are

decorated celestial beings and celestial animals. In the

outer section the square and hemispherical mei-project-

ing knobs are arrayed alternatively. On the square mei

are inscriptions“吾作明镜，幽 三商，大吉兮”

(meaning that I made the mirror for merchandizing. It’s

a great auspicious thing). On the rim of the mirror are

decorated dragons, birds, animals, and clouds patterns.

The mirror is 11.5 cm in diameter (Fig. 6).

A bronze bell. It is shaped like a globe, hollow

inside, with a small knob on the upper end, open on the

lower end, a movable small ball inside its belly.

69 bronze coins. All are wuzhu 五铢 coins of the

Eastern Han Dynasty, and a majority of their outer edges

have been cut.

A stone grinding-tool. Shaped like a short ox horn,

pointed on the upper end, curved on the lower end. The

lower section and the grinding surface of the tool are

painted red.

A box of epitaph. Made of bluestone. The cover is

square, bearing no inscriptions. The epitaph stone is

square-shaped with 663 Chinese characters written in

tablet inscription style entitled“魏威烈将军行台府

长史崔公之墓颂” (meaning the Epitaph of Lord Cui in

Weilie General’s Office of Wei) on the top.

Apart from these, there are also bronze rings, iron

rings, silver hairpins and shells. It is said that under the

east wall of the tomb chamber there had been painted

figurines of warriors, mounted figures, attendants, and

servant-maids originally. Yet now only the heads of 10

maidservant figurines remain, whose faces are painted

red and whose hair is dressed in double buns.

III. The Mural Paintings

The walls of the aisle, the passageway, and the

tomb chamber are covered in a thin layer of white lime-

wash, over which are painted magnificent colored murals.

127Volume 3

Fig. 4 Celadon dou-pedestral stand

Fig. 5 Celadon bowl

Fig. 6 Bronze mirror

Fig. 2 Celadon jar

Fig. 3 Celadon pot with chicken-headed spout

128 Chinese Archaeology

The murals will be introduced according to their themes

(Fig. 7).

1. The image of the warriors (Nos. 1 and 2). The

walls of the aisle each feature the painted image of a

barefoot, armored warrior. The two warriors are dressed

in helmets, armored breast-plates, kirtles and riding

breeches, with leather girdles around their waists. Their

upper arms are bound in cloth. Each rests one hand on a

shield. Both also have swords suspended on their wrists.

The walls of the aisle also bear two engraved images of

door guards wearing small caps and standing with their

hands clasped in front of their chests. They are attired in

loose robes and trousers, and shoes with upturned toes

(Figs. 8 and 9).

2. The Four Spirits and the 28 Constellations

The Green Dragon and the Seven Eastern Constel-

lations (No. 8) painted on the upper register of the east

wall and the lower register of the ceiling of the tomb

chamber. This image depicts a female deity wearing a

“flower-crown”and riding on the Green Dragon, in

front of which are two feathered beings who appear to be

guiding it, a sun-disc and trees. Behind the dragon are

Fangxingshi 方相士, trees, and mountains. Above this

image are the seven Eastern Constellations painted in

ink dots, namely, jiao 角, kang 亢, di 氐, fang 房, xin 心,

wei 尾, and ji 箕 (Fig. 10).

The White Tiger and the Seven Western

Constelllations (No. 6) painted on the upper register of

the west wall and the lower register of the ceiling. The

image depicts a female deity wearing a“flower-crown”

riding on a white tiger, in front of which are the moon

disc and trees and behind which are one Fangxiangshi

and small trees. Above this image are Seven Western

Constellations in ink dots, namely, kui 奎, lou 娄, wei

胃, ang 昂, bi 毕, zi 觜, and shen 参 (Fig. 11).

The Black Warrior and the Seven Northern Con-

stellations (No. 7) painted on the upper register of the

north wall, the niche top and the lower register of the

ceiling. The image depicts a short-bearded male riding

on the back of the intertwining black tortoise and snake.

In front of the Black Warrior are three Fangxiangshi.

Above this image are the Seven Northern Constellations

in ink dots, namely, dou 斗, niu 牛, nü女, xu 虚, wei 危,

shi 室, and bi 壁 (Fig. 12).

The Red Bird and the Southern Constellations (No.

3) painted on the lower register of the west side of the

south wall, the Red Bird is flying between colorful

clouds and mountains, with one lotus in its beak. On the

eastern end of the lower register of the ceiling are

painted 12 stars. They seem to be one of the seven

constellations left uncompleted.

3. The procession scene of the tomb occupant and

his wives (No. 9) painted on the panel over the niche of

the west wall. Solemn and dignified, the tomb occupant

Cui Fen wears a short beard and his hair is bound in cloth

and covered with a formal official’s cap. He is attired in

a long robe with curved collar and billowing sleeves,

and shoes with upturned toes, and attended by two male

servants. His wife has elaborately coiffed hair dressed

with ornamental hairpins and wears loose, flowing

robes with red sashes tied around her waist. A boy

servant and 11 maidservants attend them (Fig. 13).

4. The simulated screen featuring the Seven Sages

of the Bamboo Grove and Rong Qiqi 荣启期 (see Fig.

10).

The first image (No. 22) painted on the third panel

from the right on the lower register of the east wall. It

depicts a man with a short beard sitting on a square rush

mat, wearing a double-eared cap, a loose robe with wide

sleeves and a leather belt around his waist. His chest and

arms are exposed, with a small basin landscape in his

hands. In front of him is a maidservant. In the back-

ground are two locust trees and some ornamental rocks.

The second image (No. 21) painted on the fourth

panel from the right on the lower register of the east wall.

It depicts a man leaning against a rush cushion with his

back to the viewer, half reclining on a square rush mat.

His hair is dressed in two topknots. In front of him are

a basin and a vase. To his right is a maidservant, and in

the background are locust trees and ornamental rocks.

The third image (No. 20) is painted on the fifth

panel from the right on the lower register of the east wall.

It depicts a man with his right leg tucked beneath him,

left leg twisted, sitting on a square rush mat. His right

hand is cradling his cheek. He wears a drunken look. To

his left is a male servant and to his right a maidservant

standing sideways. In the background are locust trees

and some ornamental rocks.

The fourth image (No. 19) painted on the second

panel from the left on the lower register of the east wall

of the tomb chamber. It depicts a man in loose robe with

wide sleeves sitting cross-legged on a square rush mat

and leaning against a rush cushion to his left. To his right

is a maidservant. In the background are a locust tree,

ornamental rocks, and a large parti-colored vase.

The fifth image (No. 13) painted on the first panel

from the right on the lower register of the west wall in the

tomb chamber. It depicts a man sitting cross-legged on

129Volume 3

Fig. 7 Serial number of Cui Fen’s burial

1 2 4 53

12 1310 11 14 15 16 17 18 19 20 21 22 23

6 7 8

24

9

Aisle

Fig. 8 Mural on the east wall of aisle (No. 1) Fig. 9 Mural on the west of aisle (No. 2)

South wall West wall North wall East wall

130 Chinese Archaeology

a square rush mat. His hair is bound into a topknot and

fastened with a piece of cloth. He wears a reposed aspect

with his chest and arms exposed. To his left is a

maidservant. In the background are ornamental rocks,

locust trees, and a large parti-colored vase (see Fig. 11).

The sixth image (No. 16) painted on the second

panel from the right on the lower register of the north

wall in the tomb chamber. It depicts a man half reclining

on a square rush mat, leaning against a rush cushion.

Bare-footed, he looks much at ease with his chest and

arms exposed. In the background are a large vase, locust

trees, and some ornamental rocks (Fig. 14).

The seventh image (No. 15) painted on the second

panel from the left in the lower register of the north wall

in the tomb chamber. It depicts a man sitting on a square

rush mat. His hair is dressed in two topknots. Before him

is a low writing desk and he holds a brush in one hand

in the act of painting or writing. On the left a maidser-

vant is holding a lamp to illuminate his work. In the

background are a locust tree and some ornamental rocks

(see Fig. 14)

The eighth image (No. 14) painted on the first

panel from the left on the lower register of the north wall

in the tomb chamber. It depicts a man sitting on a square

rush mat slightly leaning forward with both hands

resting on the mat. His hair is dressed in two topknots.

Behind him a maidservant is massaging his back. In the

background are locust trees and some ornamental rocks

(see Fig. 14).

5. The dancing scene (No. 17) painted on the first

panel from the right on the lower register of the north

wall in the tomb chamber. It depicts two dancing girls

with hair dressed in high coiffures who are dancing

sideways back-to-back. They wear close-fitting gowns

with narrow sleeves and long trousers, barefoot. In the

background are locust trees and some ornamental rocks

(see Fig. 14).

6. The mounting scene (No. 18) painted on the first

panel from the left on the lower register of east wall in

the tomb chamber. It depicts a groom who is leading a

saddled horse, with a broom in his right hand. In the

background are the locust trees and some ornamental

rocks (see Fig. 10).

7. The scene of tying a horse (No. 12) painted on

the second panel from the right on the lower register of

the west wall in the tomb chamber. It depicts a saddled

horse tied to the stem of a tree. On the background are

locust trees and some ornamental rocks (see Fig. 11).

8. Four scenes of locust trees and ornamental rocks

(Nos. 23, 24, 10, 11) painted on the first panel from the

left and second panel from the right respectively on the

lower register of the east and west walls. Both depict

locust trees and ornamental rocks (see Figs. 10 and 11).

The mural paintings of Cui’s tomb are firstly

outlined with ink lines and then filled with various

colors such as red, umber, blue, green, yellow, orange,

and white. Even now the outlines are still discernible

and the murals are colorful. The images are highly

proportionate, the moulds lively and the lines smooth

and running. They possess high research value for the

study of the painting art in the Northern and Southern

Dynasties.

The solemn and fierce warriors depicted on the

tomb aisle most likely represent the legendary demon-

quellers Shen Tu 神荼 and Yu Lei 郁垒, who are often

portrayed in human form and positioned as door guards.

The tomb occupant is praying the two deities to protect

his tomb.

The four parti-colored Supernatural Beings are

deities guarding the four directions and exorcizing

demons. They are also called si xiang 四象 or si ling 四

灵 (four mythical animals). This accords with the mo-

tion of the celestial bodies observed by ancient Chinese.

In the procession scene the human figures are

lively, the eyes and the eyebrows especially representa-

tive of their character. Cui Fen’s dignity and solemnity,

his lady’s dignity and grace and the cautious manners of

the servants are all well depicted in the murals. Among

the painting and sculptural works of the Northern Dy-

nasty secular procession scenes like this is very rare.

Of the screen-paintings of human figures in the

background of locust trees and ornamental rocks, the

main characters sitting on square rush mats in different

posture are mostly slovenly dressed and unrestrained in

manners. The eight persons represent the Seven Sages

of the Bamboo Grove and the hermit Rong Qiqi of the

Springs and Autumns Period. In the Eastern Jin and the

Southern Dynasty, paintings with the theme of the

Seven Sages of the Bamboo Grove are recorded in the

Lidai Minghua Ji 历代名画记 (Famous Paintings of the

Past) and Nanshi 南史 (History of the Southern Dynasty).

The moulded brick relieves of the Seven Sages of the

Bamboo Grove and Rong Qiqi are also discovered in the

four large tombs of the Southern Dynasty in Xishanqiao

西善桥, Nanjing南京, Hexian’ao 鹤仙坳 and Wujiacun

吴家村, Danyang 丹阳, and Jinjiacun 金家村, Jianshan

建山 excavated in the 1960s. All these indicated that

paintings with the theme of the Seven Sages were very

131Volume 3

0 50 CM

0 50 CM

Fig. 10 Copy of mural on the east wall (the upper is No. 8; the lower is Nos. 18–24 from left to right)

Fig. 11 Copy of mural on the west wall (the upper is No. 6; the lower is Nos. 10, 11, 9, 12, and 13)

132 Chinese Archaeology

Fig. 13 Mural on the west wall (No. 9)

Fig. 12 The Black Warrior and the Seven Northern Constellations (No. 7)

133Volume 3

popular in the Eastern Jin and Southern Dynasties. The

tomb murals of the Northern Dynasties discovered in

Shandong 山东 show a close stylistic link with the

painting art of the Southern Dynasty. In another fresco-

wall tomb excavated in Dongbaliwa 东八里洼, Jinan 济

南, Shandong Province in 1986, four figures of the

Seven Sages appear on a four-panel screen. The eight-

panel human image screen of Cui’s tomb are similar

with those discovered in Dongbaliwa and the moulded

brick-relieves in the four tombs of the Southern Dynasty

discovered in Jiangsu 江苏 Province in composition and

facial features. Undoubtedly the content of them should

also be the same. This fact indicates that paintings with

the theme of the Seven Sages may be also popular in

Shandong Province. The procession scene in Cui’s

tomb highly resembles The Luoshen Fu Tu 洛神赋图

(Nymph of the Luo River) attributed to Gu Kaizhi 顾恺

之 in people’s expression and the composition of the

whole painting. Additionally, the mural paintings of the

Green Dragon and the White Tiger are also similar to the

images depicted in the moulded brick relieves of the

Southern Dynasty. Those mural paintings are unique in

Central China of the same period. This points to the

possibility that these paintings may well have been

consciously modeled on works of the Eastern Jin and

Southern Dynasties.

IV. Conclusion

During the Northern and Southern Dynasties period,

Shandong was a main artery for cultural and material

exchanges. The Cui clan based in the district of Qinghe

played an important role in the exchanges. In the form-

ing process of the Northern and Southern Dynasties and

later, some important members of Cui’s clan moved

back to their homeland in the north and were held in high

esteem by the supreme rulers of the Northern Dynasties.

For example, Cui Yao 崔尧 and Cui Liang 崔亮 were

made prominent ministers of the court in the Northern

Wei period. The tomb epitaph of Cui Guang 崔光 states:

“Cui’s grandfather lived in Song of the Southern Dy-

nasty and took part in governing the state. Since they

came back to the north in the Northern Wei period they

also assumed offices in their homeland.”When the

social order had become comparatively steady, the

branches and relatives of Cui’s clan would certainly

communicate with each other through various means.

As a result, the culture and art of the Southern Dynasty

would surely spread to the north, especially in the

0 50 CM

Fig. 14 Copy of mural on the north wall (the upper is No. 7; the lower is Nos. 14 –17)

134 Chinese Archaeology

homeland of Cui’s clan in Shandong Province. There-

fore it is no wonder that the mural paintings in Cui Fen’s

tomb should have been modeled on the paintings of the

Eastern Jin and Southern Dynasties.

References

1. Yang Hong 杨鸿 (1991).“Shandong Beichao

mu renwu pingfeng bihua de xin qishi 山东北朝墓人物

屏风壁画的新启示”. Wenwu Tiandi 文物天地 1991.

3: 6–8.

2. Nanjing Bowuyuan etc. 南京博物院等 (1960).

“Nanjing Xishanqiao Nanchao mu jiqi zhuanke bihua

南京西善桥南朝墓及其砖刻壁画”. Wenwu 文物

1960.8: 37– 42.

3. Luo Zongzhen 罗宗真 (1963）.“Nanjing

Xishanqiao Youfangcun Nanchao damu de fajue 南京

西善桥油坊村南朝大墓的发掘”. Kaogu 考古 1963.

6: 291–300.

4. Nanjing Bowuyuan (1974).“Jiangsu Danyang

Huqiao Nanchao damu ji zhuanke bihua 江苏丹阳胡桥

南朝大墓及砖刻壁画”. Wenwu 1974.2: 44–56.

5. Nanjing Bowuyuan (1980).“Jiangsu Danyang xian

Huqiao, Jianshan liangzuo Nanchao muzang 江苏丹阳县

胡桥、建山两座南朝墓葬”. Wenwu 1980.2: 1–7.

6. Shandong Sheng Wenwu Kaogu Yanjiusuo 山

东省文物考古研究所 (1989).“Jinan shi Dongbaliwa

Beichao bihua mu 济南市东八里洼北朝壁画墓”.

Wenwu 1989.4: 67–78.

Note: The original report is published in Wenwu 2002.4: 4 –25, with 36 illustrations, including 10 photos and 18

colored photos, written by Wu Wenqi 吴文祺, Gong Dejie 宫德杰. The present version, an abridgment from the

original, is prepared by the first author and English-translated by Wang Shufang 王淑芳.