Jiashang Wu Family Tombs Stone Carvings Museum

　　The Jiashang Wu Family Tombs Stone Carvings are situated to the north of Wuzhai Mountain Village in Zhifang Town, Jiashang County. They comprise Han Dynasty ancestral halls and burial sites, constructed during the reigns of Emperors Huan and Ling of the Eastern Han Dynasty. Entirely built from stone, the carvings feature rich imagery and exquisitely crafted reliefs, representing a complete and well-preserved treasure of Han Dynasty stone carving art in China. The site includes one pair of stone memorial archways (que), one pair of stone lions, two stone steles, and over 40 stone components from four groups of ancestral hall carvings. The Wu family tombs were first recorded in the Northern Song Dynasty in Ouyang Xiu’s Ji Gu Lu (Collected Antiquities) and Zhao Mingcheng’s Jin Shi Lu (Records of Metal and Stone Inscriptions). In the Southern Song Dynasty, Hong Shu compiled the inscriptions and images in his works Li Shi (Explanation of Clerical Script) and Li Xu (Continuation of Li Shi). In 1964, the stone que and lions, which had been buried in a deep pit, were excavated and elevated to their current ground level, and a spacious protective shelter was built. In 1961, the site was designated as a Major Historical and Cultural Site Protected at the National Level.

　　The stone carvings of the tomb complex are architectural relics from the late Eastern Han Dynasty Wu family burial grounds. Also known as Wu Liang Shrine or Wu Family Shrine, they are located to the north of Wuzhai Mountain Village in Jiashang County, Shandong Province. The surviving relics include a pair of double stone que, one pair of stone lions, two Wu family steles, and four sets of scattered ancestral hall pictorial stones, all finely carved.

　　The carvings are exquisitely made and demonstrate masterful craftsmanship, serving as valuable historical resources.

　　The Wu family tombs date back to the reigns of Emperors Huan and Ling of the Eastern Han Dynasty (147–189 AD). Except for the stone que, the other stone shrines collapsed after the Song Dynasty. The “Wu Liang Shrine” carvings were first mentioned in the Northern Song Dynasty in Ouyang Xiu’s Ji Gu Lu and Zhao Mingcheng’s Jin Shi Lu. In the Southern Song Dynasty, Hong Shu also recorded some of the inscribed texts and images in his Li Shi and Li Xu, marking the beginning of their recognition as “Wu Liang Shrine carvings.” During the Qing Dynasty’s Qianlong era, Huang Yi and others excavated the shrine stones. At that time, it was believed there were four shrines—Wu Liang Shrine, as well as the Front Stone Chamber, Rear Stone Chamber, and Left Stone Chamber, named based on their locations relative to the Wu Liang Shrine. Protective measures were planned, and shelters were built on-site. The pictorial stones were embedded into the walls, enclosed by a stone perimeter, with the double que positioned inside. The entrance was labeled “Wu Family Shrine.”

　　Later, enthusiasts gradually added scattered Han Dynasty stone carvings to the shrine, and rubbings were widely circulated. Chinese and foreign publications extensively documented them, with scholars such as Bi Yuan, Qu Zhongrong, and Rong Geng conducting specialized research and recording. In 1941, American scholar Wilma Fairbank attempted to reconstruct the shrine based on rubbing layers, but she couldn’t fully resolve the configuration of all shrine stones. In 1981, Chinese archaeologists conducted a comprehensive investigation of the original stones and reconfigured the Wu Family Shrine. It was confirmed that the site includes three shrines—Wu Liang Shrine, Front Stone Chamber, and Left Stone Chamber—and that the Rear Stone Chamber does not exist.

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　　The Stone Que and Stone Lions

　　The stone que and stone lions were originally part of the spirit way facilities of the Wu family burial grounds. The paired que are symmetrical, spaced 4.15 meters apart, and consist of a base, main body, dougong (bracket arms), and top. Featuring double eaves extending horizontally, the tops are carved with four-sloped tile patterns, flanked by single-eave subsidiary que. The entire structure stands 4.30 meters tall, with each base measuring 2.58 meters wide and 1.4 meters thick. The surfaces are covered with carvings of images and decorative patterns. The front of both que bodies bear an inscription from the first year of the Jianhe era (147 AD), consisting of over 90 characters. These inscriptions record the names of the people who erected the que—Wu Shigong and his brothers Suizong, Jingxing, and Kaiming—as well as the names of the craftsmen. A pair of round, sculpted stone lions stand facing each other on either side of the que, each 1.24 meters tall and 1.45 meters long. With gaping mouths, wide eyes, raised heads, and dignified postures, the lions are realistically carved and vividly expressive.

　　The Wu Family Steles

　　Since the Song Dynasty, these steles have been frequently recorded by epigraphers. The Wu Liang Stele and Wu Kaiming Stele have been lost for a long time, but the Wu Ban Stele and Wu Rong Stele still exist. The Wu Ban Stele is wedge-shaped with a round hole in the top and stands 2.10 meters tall.

　　The Wu Family Ancestral Halls

　　The Wu Liang Shrine was originally a single-bay, gabled-roof stone structure. Six stones survive: three “Wu Liang Shrine carvings,” two “Auspicious Omens” stones, and one broken pillar stone from “Wu Family Forest.” The walls and ceiling of the shrine are covered in carvings. The upper sections of the three walls depict a wealth of historical stories and auspicious images, including ancient emperors from Fuxi to the Xia and Shang dynasties, loyal figures like Lin Xiangru, Zhuan Zhu, and Jing Ke, and filial exemplars and virtuous women such as Min Ziqian, Lao Laizi, Ding Lan, and Liang Gaohang. The lower parts of the three walls show scenes of the shrine owner’s processions, household life, and kitchen activities. The peaks of the east and west walls depict immortal tales of the Eastern King and Western Queen Mother, while the inner ceiling features various auspicious symbols such as divine cauldrons, yellow dragons, lovebirds, and inseparable beasts, all accompanied by clerical script inscriptions.

　　The Front Stone Chamber was originally a double-bay, gabled-roof stone structure with a recess at the center of the rear wall. Sixteen stones survive: twelve original “Front Stone Chamber carvings,” two to five from the “Rear Stone Chamber carvings,” one “Confucius Meets Laozi” stone, and one offering table stone. The interior is densely carved with images, including mythical tales of the Western Queen Mother and Eastern King, along with depictions of Confucius meeting Laozi, Confucius’s disciples, the shrine owner’s life events, processions, banquets, kitchens, and immortal myths. The western wall’s lower section features a large-scale battle scene on land and water. Behind the small recess on the rear wall is a carving showing the shrine owner’s residence in a multi-story building. The chamber ceiling depicts immortal myths such as deities traveling, Thunder God and Lightning Goddess, the Big Dipper deity, and Fuxi and Nüwa. The carriage procession images in the Front Stone Chamber contain many inscriptions, most of which match the life story recorded on the Wu Rong Stele. It is generally inferred that the shrine owner was Wu Rong.

　　The Left Stone Chamber originally had the same structure as the Front Stone Chamber. Seventeen stones survive: eight from the original “Left Stone Chamber carvings” (stones 2–9), seven from the “Rear Stone Chamber carvings” (stones 1–3 and 6–9), one broken ridge stone, and one decorative patterned stone. The content and layout are similar to the Front Stone Chamber. Some unique scenes not found in the Front Stone Chamber include the Duke of Zhou assisting King Cheng, the Two Peaches Kill Three Warriors, and Guan Zhong shooting Duke Huan of Qi. The ceiling includes scenes such as sea spirits, mountain travels, and ascension to immortality. There are no inscriptions, and the identity of the shrine owner remains undetermined.

　　Artistic Characteristics of the Stone Carvings

　　The stone carvings of the Wu family tombs predominantly use the relief carving technique known as ya di yin qi (pressing down the background to make the image stand out). This method maintains flat and even wall surfaces while making the images appear to leap forth. The areas surrounding the carved figures retain neat, dense vertical chisel marks. The compositions are arranged in layered grids, forming clear and organized visual hierarchies.

　　This collection of stone carvings has drawn worldwide attention for their rare combination of “ancient-style imagery and exquisite clerical script.” Renowned scholars and artists have eagerly made rubbings of them, and they have been extensively documented in both Chinese and international publications.