Part of the painting of Chaoyuan in Yongle Palace, Ruicheng, Shanxi There is a saying that is particularly vivid: in Shanxi, in addition to coal mines, there are murals and colored sculptures precipitated by history. As long as you go to Shanxi, you can meet a long line of large coal trucks at any time on any expressway, National Road, provincial road, even County Road and township road. On the contrary, the Shanxi murals, including color sculptures, raised in the boudoir, are difficult for most people to understand, even if they are famous. For example, the Chaoyuan painting in the Yongle Palace in Ruicheng is known as the art model of murals in the Yuan Dynasty, the murals in Fanshi Yanshan temple are known as the "picture of the river during the Qingming Festival" painted on the wall, the murals on the Buddha seat in the main hall of Foguang temple in Wutai Mountain are the only surviving murals of temples in the Tang Dynasty in China, and the Hongdong Water Temple "Da Xing San Le Zhong Du Xiu is the only large-scale drama mural of the Yuan Dynasty in China, The mural Tomb of the Northern Dynasty in jiuyuangang, Xinzhou was selected into the preliminary evaluation project of the top ten new archaeological discoveries in China in 2013. A large group of colored sculptures in the virgin Hall of Jinci temple can be called a good product of ancient plastic arts. Moreover, on the land of the three Jin Dynasties, from the Tang Dynasty to the Qing Dynasty, there were 27259 square meters of colorful temple murals and more than 17000 colored sculptures. They were not professional Chinese. Even if they could borrow a pair of insight, they were still like sitting in a well and watching the sky, so it was difficult to see through the truth. The first time I saw Shanxi murals was that year when I went to Jiexiu, Shanxi, with a group of writers on both sides of the Taiwan Strait. In the ancient temple called Houtu temple, several craftsmen are busy on several walls. When they ask, they know that they are all from Dunhuang. Under their humble appearance, they are all top experts in repairing murals. When an expert makes a move, the corresponding thing must not be easy. That time, I only looked at the restoration process and didn't pay much attention to the mural itself. In the late autumn of 2018, I saw half a mural at Xunhu temple at the junction of Shanxi and Henan, but I had enough. It is said to be a temple. In fact, there have been no monks for many years. The temple itself has been integrated with the village house. Half of the main hall is the living room, and the meditation room is also the kitchen. The key is that even the village house has been abandoned. Half of the whole house has collapsed, leaving the half supported by stone columns and beams. On that half of the wall, there is a mural painted by Wu Daozi. On the broken walls, there are strong traces of fireworks in the world, which still can't hide the artistic brilliance. At the Houtu temple in Jiexiu, we actually saw Shanxi colored sculptures. Like the murals there, we also shifted our attention due to the skilled craftsmen from Dunhuang. Until two years ago, when I came to the Guanyin hall in Changzhi, I was surprised as soon as I entered the hall door. I can't help remembering the colorful hanging statue of Guanyin seen in the mani Hall of Longxing Temple in Zhengding, Hebei Province 20 years ago. The Bodhisattva with two legs crossed, his right hand and his left hand directing an orchid like a woman playing soot was once called the Oriental Venus by Mr. Lu Xun. In Changzhi, a small Guanyin hall and numerous painted Bodhisattvas, there are many kinds of natural and unrestrained, all kinds of casual and romantic, and countless beautiful gestures. The one with two legs crossed is really too ordinary to be ordinary. The only time in his life that Mr. Lu Xun stopped on the land of Shanxi was in his diary of returning to Beijing from Xi'an to the Yellow River from the Weihe River in 1924: "on August 8, he arrived at Tongguan in the afternoon, bought ten kilograms of pickled lettuce, and the spring was one yuan. He returned in the afternoon and parked in Wenxiang at night." "on the 9th, it was sunny. Against the wind. He arrived at Hangu pass in the afternoon..." strictly speaking, such a hurry is not even a glimpse of Hong, Otherwise, the reputation of Oriental Venus may stay in Shanxi. Murals and painted sculptures are also the convenience of career. I have seen many in recent years, including in some places in the northwest, entering some caves where only researchers have limited access for protection purposes, to see the great beauty of skills and sigh the vicissitudes of the world. Including several places seen with my own eyes in Shanxi, they are all labeled "national treasures". Compared with other types of "national treasures", the cultural attributes of murals and color sculptures are very straightforward. You can experience them when you see them. Ten years ago, he wrote in the half Zen records of Dahong mountain: all the people in the world have Buddha nature, and all Buddhas have human nature. No matter where the murals and colored sculptures, including here in Shanxi, draw Buddha, say people, draw people and say Buddha. All the high painted sculptures have gentle faces, slender eyebrows, narrow nose, small lips, thin but not bare, fat but not greasy. Or stand or sit or lie on your side, or point or think, without injustice and dignity, kind and peaceful, admirable. If Wudang is heroic and vigorous, it is full of spirit in bullfighting; Ruo Wen wears light gauze like heavenly clothes, elegant and elegant. Auspicious clouds are not the lotus peony, but the trees of the Wutong, the sky and the ground. If there are no clouds, there are yellow deer and white crane. On the painted wall and in the high hall, there is no room for the strange of sharp mouth and monkey cheeks, and there is no chicken singing and dog stealing. Although it is not all the norm of life, nor is it likely to be the truth of life, it must be the simple ideal of life and life for thousands of years. Yinshan Rock Painting in Inner Mongolia, as one of the early rock paintings of mankind, has turned the whole mountain into a gallery about 300 kilometers long from east to West in about 10000 years. In the years before the emergence of words, human beings used this method to express their emotions and exchange ideas. There is no doubt that murals appeared in human wisdom before words. Although words appeared later to facilitate people's communication and expression, many years later, painting is still painting, which can be impressed at a glance. Children all over the world have had and will inevitably experience a small time of graffiti. Although it is not a real mural, they dare not say that the graffiti is different from the traditional mural. Therefore, we prefer to put aside the material factors such as biological anatomy and human body structure for the time being, and use intuition to believe that there continues to be the tradition of ancestors in our genes. If the experience of remote ancestors and high ancestors chiseling stone carvings on the wilderness and cultural exchange with the unknown world is included in the invisible genes, then the explanation of graffiti is reasonable. (outlook new era)