Tomb Raider – Tomb of Li Jingxun 李静训墓

In 1957, at a construction site in Liangjiazhuang, west of Xi’an, a Sui dynasty tomb was unexpectedly discovered. Inside lay a stone sarcophagus carved in the shape of a miniature palace, complete with a traditional Chinese hip-and-gable roof. The front of the sarcophagus had three bays and a closed gate, with each side decorated with carvings of a female attendant. On its eave near the middle, four characters were engraved: “开者即死,” or “Whoever opens this shall die immediately.” Despite this chilling curse, over 230 burial objects were unearthed, each a masterpiece of its time.

[Tonight, we embark on our own archaeological adventures; this is a new series that showcase some of the famous tomb excavations in the 20th century, starting with the tomb of a young girl from Chang’an. ]

The Girl that Broke Her Grandma’s Heart

Li Jingxun 李靜訓 (600-608), aka 李小孩 (according to her epitaph), was a 9-year-old princess of the Sui dynasty when she died in 608. Her stone sarcophagus was found undisturbed in 1957 near the Old City in Xi’an, Shaanxi Province, China, at that time named Daxing (大興, “Great Prosperity”) as the capital of the Sui dynasty.

Born in 600 CE, Li Jingxun was raised in the palace by her grandmother Yang Lihua¹, under whose influence she also embraced Buddhism. For Yang, who had endured dynastic upheaval, the loss of her husband, and the death of another daughter, the clever and gentle Jingxun became a profound source of emotional comfort and spiritual solace. Growing up in such privilege, she possessed both the right and the opportunity to acquire the empire’s most exquisite adornments.²

In 608, Emperor Yang of Sui 隋炀帝 (r. 604–618 CE) launched a northern tour to meet the Turkic khan, and Yang Lihua brought Li Jingxun along. What began as an honorific journey ended in tragedy—the young girl fell ill and died in a temporary palace. Even the emperor mourned deeply: He suspended music, curtailed meals, repeatedly issued decrees for her ceremonial return to the capital, and provided generous burial gifts³ . His actions both expressed his sympathy for his sister Yang Lihua and recognised the Li family’s distinguished service.⁴

Li Jingxun’s remains were solemnly escorted back to Chang’an and interred six months later within Wanshan Monastery, a Buddhist nunnery near the imperial palace. She was dressed in fine silk garments and adorned with a floral gold headdress, a gold necklace, gold bracelets, jade ornaments, and other jewellery. Her body was placed in a stone coffin carved to resemble a miniature palace hall. Grave goods were arranged around her, including vessels for food, cosmetics, and daily use—many made of precious materials such as gold, silver, white jade, white porcelain, and glass.

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Gold Necklace Inlaid with Pearls and Gemstones 嵌珍珠宝石金项链

Beneath the bloodstone hangs a heart-shaped gold pendant inlaid with a 3.1-cm gemstone. The entire necklace dazzles with vibrant splendor and regal magnificence, standing as a peerless artistic masterpiece. Through studying the necklace’s faceted gold beads with their welded craftsmanship, the intaglio techniques on blue beads, and the gemstone pendants with pearl-rimmed borders, experts conclude this piece likely originated in Pakistan or Afghanistan.

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Gilt Gold and Silver Tree-Shaped Headpiece, Gold Hairpin with a Moth 鎏金銀花樹釵、闹蛾金钗

The gold hairpin with a “fluttering moth (闹蛾),” a fashionable accessory in the Sui court. The hairpin was crafted from thin gold sheets shaped into flowers, lotus leaves, and stems with a tiny moth on top formed from twisted gold wire that trembled at the slightest movement. The name “fluttering moth” evokes the vivid imagery of moths flying toward the light on Lantern Festival night. The insect’s complete metamorphosis, emerging from its cocoon, is also associated with rebirth. The hairpin is the earliest known example of a gold wire‑inlaid moth ornament, representing the pinnacle of Sui goldwork.

A Young Life Suddenly Ended

The tomb owner was a pearl on the palms of her distinguished parents, and when her life was cut short, she was buried with funerary protocol fit for a Princess. Li Jingxun 李静训 was only nine when she passed away. Her heart-broken grandma, who was the Empress of the nation, lavished her with burial goods that amazed us even in the modern day, for the breadth of the origins, and beauty and intricacies of the handicrafts.

Li Jingxun’s tomb is rectangular, has one ramp, and is 6.85 meters long. Her inner coffin (above) was made of stone. There were incised designs of two female attendants and of two male attendants on it. This kind of carved stone coffin can also be seen later in another tomb, that of Tang Princess Yongtai 唐永泰公主 (684-701), whose outer coffin confirms that such coffins were used by high-ranking individuals.⁶

Her tomb is unusual in several ways. First, many foreign-style objects were in her tomb, which was not a common practice in the Sui. Second, the tomb was found inside the Sui capital city — before this, burial grounds had always been separated from the space of the living.⁸

The coffin was encased by stone slabs and set within the tomb pit, with ceramic human and animal figurines arranged around the coffin in the space between it and the slabs. The underside of the epitaph stone⁹ and the surrounding area were covered with a continuous layer of charred black paper ash, suggesting that paper offerings—possibly including travel permits for the afterlife and spirit money—were burned during the burial ritual. After the tomb pit was filled, a Buddhist pagoda was erected above the grave, underscoring the burial’s distinctive religious context and its association with monastic space.

The burial assemblage contained a complete set of daily imperial utensils—pottery, porcelain, bronze, iron, bone, wood, and lacquer wares—leaving no aspect of Princess Li Jingxun’s earthly comforts unattended, as if fearing the little royal might experience any discomfort in the afterlife. What most moved archaeologists was the exquisite epitaph on the stone coffin, particularly the line “Her purity shone like pearls and jade pendants, her virtue fragrant as flowers and sachets,” reflecting her cherished status in the Empress Dowager’s heart. As for the “Open and Perish” inscription on the roof of the outer coffin, it resembles less a “Pharaoh’s curse” and more the grandmother’s final protective embrace for her beloved child.

White-glazed Twin Vase with Dragon-Shaped Handle 隋白釉双龙柄连腹传瓶

The Chuan vase 傳瓶 is a funerary good (Mingqi 明器) popularly used by the nobility during the Sui and Tang Dynasties. In terms of shape, it originates from the local long neck vase 盘口瓶, and draws on the decorative characteristics of the double-handled amphora from the West. There is a certain grade specification in the use of funerary goods. The vase on the left was excavated from the tomb, while the National Treasure on the right, although excavated somewhere else, gave the vase its name. It is definitely not something a nine-year-old should be getting in her burial goods.¹¹

Girls Just Want To Have Fun

As a young girl in the royal family, she must have been lavished with many gifts, and many of these can be found in the collection. But it’s also not all play and no work. From the set of silver nail guards, she attended music enrichment classes just like a modern child,

Jade Rabbit Pendant 玉兔佩

The Silk Road existed long before the Tang Dynasty (618-907), fundamentally established by China’s Han Dynasty (206 BC–220 AD) through the explorations of Zhang Qian, opening regular overland trade routes westward for silk, jade, and other goods, and connecting with Persian/Parthian empires and the Roman world, with subsequent eras (Wei, Jin, Northern/Southern Dynasties) maintaining and developing these arteries despite fragmentation, setting the stage for the Tang’s later golden age.

White-Glazed Miniature Vase, Long-Neck Vase with Bowstring in Relief, and Jar with Cover 白釉小瓶、凸弦纹长颈瓶、盖罐

Petite and ingeniously designed, it is inferred that the vase had been a toy of the nine-year-old tomb occupant, buried to the side following her death. According to historical texts, Gongxian county in Henan province was renowned for the production of delicate small ceramic sculptures. Some scholars speculate that the exquisitely designed wares at Tang tombs in the Central Plains may have been fired at the Gong kilns.

Silver Nail Guards 银指甲套

Ten nail guards were unearthed, two of which were damaged. These guards were used to protect the fingernails. Some scholars believe they were auxiliary tools for playing on a plucked string instruments like a qin or zither. The Tang Dynasty poet Li Shangyin wrote in her poem “Two Untitled Poems,” “At twelve, I learned to play the zither, my silver nail guards never removed.”

Dining Vessels for Daily Use

As an essential part of daily life, food and dining utensils constitute another major finding among the objects unearthed from the tomb of Li Jingxun. Objects such as a jade cup with gold rim, a gold stem cup, a silver stem cup, a silver ladle, a bone ladle and silver chopsticks reflect the delicate and cultivated lifestyle of the young girl and exemplify the prosperity of the Sui dynasty (581-618). In addition to these functional utensils, miniature silver objects as well as pottery jars, bottles and bowls were also discovered, likely intended for her use in the afterlife.

Jade Cup with Gold Rim 镶金边白玉杯

An important jade artefact of the Sui Dynasty in Li Jingxun’s tomb is the jade cup with gold rim. This cup is very small, like a child’s toy, with a height of 4.1 cm, a calibre of 5.6 cm and a bottom diameter of 2.9 cm. The cup is carved with high-quality Hetian jade, and the shiny white jade is flawless, with a noble and elegant shape.

Bronze Jiaodou (Warming Vessel) 铜鐎斗

The conical vessel was used for warming and cooking, and was made of materials such as bronze, iron, pottery, and porcelain. Among the set of dining utensils unearthed from the tomb of Li Xizong (dated 540 AD) in Zanhuang, Hebei, a gilded conical vessel was placed in the center of a bronze dish, surrounded by five porcelain cups, a gilded bronze bottle, and a silver cup, providing important evidence of the combined function of such utensils.

Luminous Glass Along the Silk Road

During the Northern Dynasties (386-581), the soda glass formula and glass blowing technique from West Asia were introduced to northern China. After the unification under the Sui dynasty, the imperial court conducted systematic integration and imitation of the imported glassmaking technologies. Glass was among the most expensive materials of the time and was regarded as a luxury reserved for elite households. Its value was on par with that of gemstones, gold and silver, and sometimes even surpassed them.

Coloured materials were difficult to render transparent, while transparent materials rarely possessed colour; however, glass alone combined both qualities. This dual nature endowed glass with an air of mystery in the eyes of ancient people. More than 20 glass objects were unearthed from the tomb of Li Jingxun, including bottles, cups, egg-shaped objects and beads.

Glass Vessel 绿色玻璃瓶

Scientific analysis reveals that this small vessel is made of high-lead glass, a translucent green material produced by native Chinese glassblowing techniques. The thin-walled vessel (1-2 mm) features a narrow neck, rounded body, and a raised ring around the rim. Its form reflects Sasanian Persian style.

Glass Jar with Lid 绿琉璃盖罐

Over twenty glass objects were discovered in Li Jingxun’s tomb, including both soda-lime and high-lead glass wares. These findings indicate that by this period, Chinese artisans had adopted Western glassmaking techniques, producing both types of glass of refined quality. Despite adopting foreign techniques, vessel forms largely retained traditional Chinese styles, marking a new phase in the development of Chinese glassmaking.

Glass Bottle 玻璃瓶

The glass is dark green, made of coarse material, with a noticeable dent at the bottom, likely a scar left from the use of a top-and-bottom iron rod technique. The coarse material contains numerous air bubbles and impurities, and its dark colour indicates a high iron content in the raw material, suggesting it was not carefully selected and is of lower quality than typical imported soda-lime glass. Although this bottle employed the top-and-bottom iron rod technique, the deep dent at the bottom reflects an immature technique, generally indicating it is a domestically produced glassware.

Jewels in Radiant Splendour

A variety of personal ornaments was discovered from the tomb of Li Jingxun. These include a gold necklace and gold bracelets all inlaid with pearls and gemstones, silver nail guards, jade hairpins, crystal hairpins, gold rings, jade rings, as well as crystal and agate beads. Crafted from precious materials such as gold, silver, jade and pearls, these ornaments employed techniques including hammering and inlay. In addition to these exquisite ornaments, the tomb also yielded bronze mirrors, basins, bowls and knives and other objects associated with washing, grooming and personal care.

From the perspective of archeology, the development of Chinese jade from the Wei and Jin Dynasties to the Sui and Tang Dynasties seems to have entered a low point, and very few jade artefacts have been unearthed. However, in these few pieces of jade, it can be found that China’s jade production has gradually completed the transition from ceremonial to daily use. These cup and hairpins have obviously got rid of the shackles of the jade production of the Han Dynasty and developed in a more practical direction.

Gold Bracelets Inlaid with Pearls and Gemstones 嵌珍珠宝石金手镯

The gold bracelet is divided into four sections, each wider at both ends and inlaid with beads. The sections are connected by small square sections inlaid with bluish-green glass beads. There is a button at the opening, and a petal-shaped clasp at the other end, inlaid with six small beads. The other end is a hook with a jewel inlaid at the tip. The hook and the other end of the bracelet are both hinged, allowing it to be opened and closed freely. The necklace may have originated in Pakistan or Afghanistan, the bracelet may have been made in North India, and the stemmed cup is in the Roman style; all were unparalleled works of art at the time. These artefacts also attest to active communication along the Silk Road from the Northern dynasties to the Sui dynasty, through the Hexi Corridor and Xinjiang to Central Asia and beyond.

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Bronze Mirror With Inscription And The Twelve Chinese Zodiac Animals “光正随人”十二生肖铜镜

This bronze mirror, inscribed with the twelve zodiac animals and the phrase “May your brilliance follow you,” was also a burial object of Li Jingxun. Archaeological records show that the mirror was carefully placed in a bronze basin upon excavation, with five layers of yellow paper underneath, demonstrating its high regard during and after its discovery. It was a personal dressing table item for a noblewoman and a precious burial object carrying the family’s wishes.

The mirror is circular, 16 cm in diameter, and 0.7 cm thick at the rim. Its wide surface and heavy body break away from the simple and thin style of Northern and Southern Dynasties bronze mirrors, representing a typical example of the flourishing style of Sui Dynasty bronze mirrors. The back of the mirror features a symmetrical, concentric layout, clearly divided into four functional areas from the inside out. The decorations are elaborate, meticulous, and well-balanced, showcasing extremely exquisite casting craftsmanship.

The inscription on the mirror, “May your brilliance follow you, and may your life be long and prosperous,” combines practical metaphor, auspicious wishes, characteristics of the era, and emotional expression. The twelve zodiac animals are the main decorative motif of this bronze mirror. According to scholars, once the images of the twelve zodiac animals truly matured in the Northern Dynasties, they were quickly combined with bronze mirrors, possibly because people believed they possessed mysterious powers to bring good fortune and ward off evil.

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Radiance of Green and White: Porcelain

The Sui dynasty (581-618 CE) represents a pivotal transitional period in the history of Chinese ceramics. In southern China, kilns such as the Yuezhou and the Hongzhou underwent significant technological innovations and stylistic transformations. In northern China, porcelain, especially white-glazed porcelain made by kilns including the Xiangzhou, Gongyi and Xing became mature, laying the foundation for porcelain production characterised by “southern greenish-glazed porcelain and northern white-glazed porcelain” in the following Tang and Five dynasties (618-960 CE). A total of 17 porcelain wares were excavated from the tomb, including jars, ewers and bottles. This assemblage comprises both greenish-glazed and white-glazed wares, serving as precious dated reference objects from the Sui dynasty.

The emergence of white-glazed porcelain represents a milestone in the history of ceramics. It is generally believed that white-glazed porcelain was successfully produced during the late Northern Dynasties (535-581 CE) and the Sui dynasty (581-618 CE), with the Xiangzhou, Gongyi and Xing kilns recognized as the most important early production centers. White-glazed porcelain wares were luxury items during the Sui dynasty and survive in relatively limited numbers today. Archaeologically, white-glazed porcelain wares of the Sui dynasty have been unearthed not only from kiln sites and surrounding areas such as Anyang city in Henan province and Xingtai city in Hebei province, but also from strategic locations of the period including Guyuan city in the Ningxia Hui autonomous region and Taiyuan city in Shanxi province.

Exquisitely and meticulously produced, this White-Glazed Jar with Cover 白釉盖罐 (left) belongs to the category of fine white wares, unearthed alongside a green glass jar with round bottom and cover of an extremely similar design. It was deduced that the glass item was imported. The ceramic item was most likely a new design pioneered on a foundation of absorbing foreign cultures.

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White-Glazed Ewer with Dragon Handle and Chicken Spout 白瓷鸡首壶

Sui dynasty white wares made great strides on the craft inherited from the Northern Dynasties (386-581). A batch of white wares unearthed from the tomb of Li Jingxun was of far greater glaze quality than those from the tomb of Fan Cui, with none of the blotches of yellow or green as seen in the latter. The exterior of the vase is white glazed throughout, with no glaze near the bottom, and fine ice cracks on the surface. The overall shape is straight and beautiful, with beautiful lines. On one side of the shoulder, there is a cock head, with a high comb and round eyes, and the head is raised in a crowing poise. On the opposite side is a straight curved neck-shaped dragon handle, and the dragon’s mouth is connected to the edge of the pot.

White-Glazed Porcelain Flask With Two Lugs And Animal Mask 白釉兽面紋双系扁壶

The spout is round, and the body is flat. Both sides bear the same impressed pattern: a beast face in the center, flanked by honeysuckle leaves on either side of the beast’s mouth, surrounded by a ring of beads. The entire decoration is heart-shaped with the tip pointing upwards. The body is glazed white with coarse crackle patterns; the glaze only extends to the lower belly, leaving the foot rim unglazed. The shape is novel. This type of flat-bottomed flask appeared in northern China during the Northern Wei to Sui dynasties. It is oval-shaped with a bulging belly, two lugs on the shoulder, and the belly is decorated with molded images of Central Asian figures, tamed lions, and phoenixes, commonly using beaded patterns. It is generally believed that the prototype of this exotic flat-bottomed flask originated from artifacts from West Asia, Europe, or the Mediterranean coast. Some scholars believe the prototype is a Sasanian Persian metal flat-bottomed flask, as the embossed decorations on it are similar to the hammering techniques used on Sasanian gold and silver wares.

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Greenish-glazed porcelain wares constituted the mainstream of porcelain production during the Sui dynasty (581-618 CE) and were produced at kilns in both southern and northern China. In the middle reaches of the Yangtze River, porcelain from the Yuezhou and Hongzhou kilns enjoyed widespread popularity across the country. In the south, kilns such as the Yue, Wuzhou, Huainan and Qiong kilns produced greenish-glazed porcelain wares including bowls, jars, basins, saucers, dishes, bottles and inkstones. In northern China, greenish-glazed porcelain wares from the Sui dynasty have been discovered at kilns including Xiangzhou, Gongyi, Xing and Ding kilns. The shapes and decorations of these northern porcelain wares feature applied ornamentation and high-relief decorations, which continued to be influenced by the style of gold, silver and glass objects of the late Northern Dynasties (535-581 CE).²⁷

Greenish-Glazed Jar with Sawtooth Decoration and Lotus-Root-Knobbed Cover 青釉刻锯齿边莲藕钮盖罐

The patterning on this jar possesses a unique and novel style, with a triangular sawtooth decoration expertly carved onto the shoulder and upper belly, embodying the supreme technique of the craftsmen.

Greenish-Glazed Porcelain Incense Burner With Openwork Design 青釉镂空熏笼

Incense burners were used for burning incense from the Northern Dynasties to the Sui Dynasty. Many similar incense burners have been unearthed, along with numerous figurines of female attendants holding them. The incense burner is covered in a pale blue glaze, with a warm and lustrous color. The body exhibits crackled glaze, while the bottom remains unglazed. This piece has a unique and novel shape; the glaze is thicker near the bottom than at the top, creating a natural variation in glaze color throughout.

So what happened to the original team of archaeologists that conducted the dig and opened the sarcophagus with the curse? The team of Tang Jingyu 唐金裕 (team leader, and author of the excavation report)³⁰, Zhang Ruiquan 张瑞荃, and Wang Pingzhang 王屏章 led by Wu Xinglin 吴梓林 (Head of Field Work of Shaanxi Institute of Archaeological Research) were all still active in 1980s with many later discoveries published in journals. Wu passed away in Apr 2026 at a ripe old age of 90.³¹

A Glimpse into 6th-7th Century China: Discoveries at Li Jingxun’s Tomb

On view: April 3 — October 8, 2026
Venue: Galleries S6 and S7, National Museum of China

For the first time, the National Museum of China is presenting a nearly complete collection of over 240 pieces/sets of related artefacts from its own archives. To provide a broader historical context, the display is supplemented by more than 150 pieces/sets of rare treasures on loan from over 10 major archaeological and cultural institutions across Shaanxi, Shanxi, Henan, Ningxia, and Tianjin.

The exhibition uses the famous tomb of Li Jingxun as a primary lens through which to view the transition from the Northern and Southern dynasties (386-589) to the Sui dynasty (581-618). Organized into four distinct sections, the exhibition integrates major archaeological finds from recent years to map out a vivid, systematic picture of the Sui dynasty’s political structures, economic vitality, diverse social culture, and deepening ethnic integration.

Li Jingxun’s tomb is widely regarded as a milestone in Chinese archaeology due to the incredible preservation and artistry of its contents. Beyond their aesthetic value, these objects offer concrete evidence for the study of daily life and imperial customs during the Sui era. The girl’s epitaph provides a window into the highest echelons of power; as the granddaughter of Yang Lihua, a Northern Zhou dynasty empress, and the great-granddaughter of Yang Jian, the founding emperor of Sui, Li Jingxun was a “pearl in the palm” of the imperial family. Her brief life was spent at the intersection of the Dugu, Yuwen, Yang, and Li clans—the four families that effectively steered the course of Chinese history toward the Tang dynasty (618-907).

All artefacts are excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) dated to 4th year of Daye Era (608AD), Sui Dynasty (580-618). They are all in the collection of National Museum of China, unless otherwise indicated.  All photos taken at National Museum of China Aug 2019, May 2022 (Special Exhibition of Li Jingxun), May 2023, Nov 2025 (Special Exhibition of One Belt One Road), Apr 2026 (Special Exhibition : A Glimpse into 6th-7th Century China: Discoveries at Li Jingxun’s Tomb) unless otherwise indicated.

Footnotes :

1. Yang Lihua (Chinese: 楊麗華; 561–609) was an empress of the Xianbei-led Chinese Northern Zhou dynasty, and later a princess of the Sui dynasty. ↩︎
2. Zheng, Y.; Wang, Z.; Zheng, X. The Gold Necklace of Li Jingxun: Ritual Materiality and Trans-Asian Symbolic Authority. Arts 2026, 15, 2. https://doi.org/10.3390/arts15010002, https://www.mdpi.com/2076-0752/15/1/2#B74-arts-15-00002, accessed 28 Dec 2025.
   Li Jingxun’s mother, Yuwen Eying 宇文娥英, was born into the highest echelon of Northern Zhou 北周 aristocracy as the daughter of Emperor Xuan 周宣帝 (r. 578–579) and Empress Yang Lihua 杨丽华. The Northern Zhou was a multiethnic empire dominated by Xianbei elites, whereas Yang Lihua herself came from a powerful Han aristocratic lineage—together reflecting the deeply hybrid political landscape of early medieval China. In 581, Yang Lihua’s father, Yang Jian 杨坚—who later became Emperor Wen 隋文帝 (r. 581–604)—overthrew the Northern Zhou, and she was accordingly reduced to the title of Princess of Leping 乐平公主.
   Deeply resentful of her father’s usurpation and loyal to her deceased husband’s lineage, Yang Lihua steadfastly refused the emperor’s repeated attempts to compel her remarriage. Her widowed chastity, praised as exemplifying “loyalty” to her husband’s family, also left Emperor Wen with a deep sense of guilt toward her. Consequently, both she and her daughter Yuwen Eying received exceptional favor at the Sui court. Drawing on her political legacy as a former empress, the moral authority of her chaste reputation, and compensatory imperial patronage, Yang Lihua retained considerable influence within the Sui palace (Linghu 1971, p. 146; Wei 1973, p. 1124).
   Li Jingxun’s paternal family, originally part of the Xianbei 鲜卑—an Inner Asian steppe people—migrated into northern China and adopted the Han surname Li. They settled in Yuanzhou 原州 (modern Guyuan), an important Silk Roads and military corridor (Figure 2). In the sixth century, her great-grandfather Li Xian 李贤, together with his brothers Li Mu 李穆 and Li Yuan 李远, rose to prominence through military achievements; all served as governors of Yuanzhou and joined the core of the ruling military aristocracy. Li Jingxun’s grandfather Li Chong 李崇 died in battle against the Göktürks, and her father Li Min 李敏 was subsequently raised in the palace.
   Admired for his noble lineage, graceful demeanor, and skill in riding, archery, song, and dance, Li Min was chosen by Yang Lihua as the husband of Yuwen Eying. They married with the full honors of a ceremony befitting a princess, and their family entered the highest echelon of Sui nobility, permitted to “reside permanently in the capital, attend palace entertainments, and receive rewards surpassing those granted to meritorious officials” (Linghu 1971, pp. 413–22, 527–30; Wei 1973, pp. 1115–24; Luo 1985; Li and Yu 2020). ↩︎
3. Zhongguo Shehui Kexueyuan Kaogu Yanjiusuo 中国社会科学院考古研究所. 1980. Tang Chang’an Chengjiao Sui Tang Muzang 唐长安城郊隋唐墓葬 [Sui and Tang Dynasty Tombs in the Suburbs of Tang Chang’an]. Beijing: Wenwu Chubanshe. p25 ↩︎
4. Zheng, Y.; Wang, Z.; Zheng, X. The Gold Necklace of Li Jingxun: Ritual Materiality and Trans-Asian Symbolic Authority. Arts 2026, 15, 2. https://doi.org/10.3390/arts15010002, https://www.mdpi.com/2076-0752/15/1/2#B74-arts-15-00002, accessed 28 Dec 2025 ↩︎
5. Gold Necklace Inlaid with Pearls and Gemstones 嵌珍珠宝石金项链
   Gold, Pearl, Gemstones | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 金、珍珠、宝石 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
   这些展品的主人是卒年9岁皇族少女李静训，其祖父李崇是隋文帝杨坚手下大将，官至上柱国；外祖母则是隋文帝之长女杨丽华，是为真正的金枝玉叶。李静训自幼深受外祖母宠爱，然大业四年（公元608年）六月一日、殁于宫中，皇太后杨丽华万分悲痛、厚礼以葬之。
   项链原产地可能在巴基斯坦或阿富汗地区，手镯可能是北印度制品，高足杯则是罗马风格，皆为当时举世无双的艺术精品。
   Museum information card, May 2020  ↩︎
6. Wu Jui-man (University of Pittsburgh), Exotic Goods as Mortuary Display in Sui Dynasty Tombs: A Case Study of Li Jingxun’s Tomb, Katheryn Linduff, ed., Silk Road Exchange in China. Sino-Platonic Papers, 142 (July, 2004), p52 ↩︎
7. Silver Persian coin of the Sasanian empire 波斯萨珊王朝银币
   Silver | Peroz, King of Sasanian Persia (457–483) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 银币 | 波斯萨珊朝卑路斯王（457—483年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏
   此枚银币与银指甲套等一同盛在铜钵内。银币为波斯萨珊朝卑路斯王（457—483年）时期所铸。边缘残伤二处，火袄教祭坛上部有破孔一处。此件银币系作为坠饰使用。
   Museum information card, Apr 2026 ↩︎
8. Wu Jui-man (University of Pittsburgh), Exotic Goods as Mortuary Display in Sui Dynasty Tombs: A Case Study of Li Jingxun’s Tomb, Katheryn Linduff, ed., Silk Road Exchange in China. Sino-Platonic Papers, 142 (July, 2004), p49 ↩︎
9. 隋左光祿大夫岐州刺史李公第四女石志銘，並序。
   女郎諱靜訓，字小孩，隴西成紀人。上柱國、幽州總管壯公之孫，左光祿大夫敏之第四女也。族纂厲鄉，得神仙之妙；家榮戚里，被日月之暉。況復淑慧生知，芝蘭天挺，譽華髫發，芳流肇悅。幼為外祖母周皇太后所養，訓承長樂，獨見慈撫之恩；教習深宮，彌遵柔順之德。於是攝心八解，歸依六度，戒珠共明璫並曜，意花與香佩俱芬。既而繁霜晝下，英苕春落，未登弄玉之台，便悲澤蘭之夭。大業四年六月一日遇疾，終於汾源之宮，時年九歲。
   皇情軫悼，撤縣輟膳，頻蒙詔旨，禮送還京，賵賻有加。以其年龍集戊辰十二月己亥朔廿二日庚申，瘞於京兆長安縣休祥裏面萬善道場之內。即於墳上構造重閣。遙追寶塔，欲髣髴於花童；永藏金地，庶留連於法子。乃銘曰：
   光分婺女，慶合天孫，榮苕比秀，采璧同溫。先標令淑，早習工言，生長宮闈，恩勤撫育。法水成性，戒香增馥，金牒旦窺，銀函霄讀。往從輿蹕，言屆河汾，珠涓潤岸，鏡掩輕雲。魂歸秪閣，跡異吳墳，月殿迴風，霜鍾候曉。砌凝陰雪，檐悲春鳥，共知泡幻，和嗟壽夭
   
   Epitaph of the 4th daughter of sir Li, Glorious Grand Master of the Left, and Prefect of Qizhou, with a prologue. Her first name was Lingxun, also called “Little Girl” (小孩), she was from Zhenji in Longxi. She was the granddaughter of Li Zhuang, Pillar of the State and Governor of Youzhou, and the fourth daughter of Li Min, the Glorious Grand Master of the Left. Her clan, registered in Lixiang, is remarkable and immortal. Her family shines over the region, covered in the light of the sun and the moon. In addition, she was virtuous, wise and naturally intelligent, straight as an orchid, had had a great reputation since childhood, and her fragrance brought joy. She was raised by her maternal grandmother, the Empress of the Zhou, followed the rules of Everlasting Happiness, and enjoyed her warm compassion. She was educated in the depth of the Palace, and learned the virtues of pliability and obedience. Then, she focused on the Eight Liberations [of Buddhism], and converted to the Six Perfections [of Buddhism]. Her rings and earrings shined in unisson, she had the scent of flowers. But then a great frost fell on the day, the beautiful flower fell in springtime. Without ever conceiving a child, the orchid tragically died early. She became ill on the 1st of June of the 4th year of Daye (608 CE), and died in the Palace of Fenyuan. She was nine years old…. (the epitaph finishes with the account of the mourning of her death, and a formal eulogy in four-character poetic form)
   — Epitaph of Li Jingxun, 608 AD ↩︎
10. White-Glazed Double-Bellied Vase With Double Dragon-Shaped Handles 白釉龙柄双联传瓶
    Pottery | Sui Dynasty (580-618) | H: 18.5 cm, D (mouth): 2 cm, D (base): 2.5 cm, D (body): 11 cm | Tianjin Museum collection. 陶瓷 | 隋（公元580年-618年） | 高18.5厘米，口径5.2厘米，底径2.5厘米，腹径11厘米｜天津博物馆收藏。
    胎体白中泛黄，白釉下施护胎釉，釉不到底。盘口，单颈，颈下端两侧各有一系，双腹相联，腹饰弦纹，双平底微内凹。肩左右两侧各塑一条修长的龙形柄，龙头探入瓶的盘口。底刻有铭文“此传瓶，有並”，意为此瓶成对或双腹相联。造型新颖别致，是隋代创新的器型。Museum information card, Oct 2024 ↩︎
11. 杨君谊，“传瓶”初考，南方文物2017年 第1期。传瓶是流行于隋唐之际供于贵族所使用的明器，在形制上发源于本土的盘口瓶， 并借鉴西域双柄银壶的装饰特征。 在随葬明器的使用中具有一定的等级规范，在类型演变中，与本土工艺结合， 是隋代至唐代中期一类陶瓷明器类型。 在装饰上，唐代大量借鉴佛教文化题材，与隋唐时期的陪葬风俗相一致。 传瓶是一类专门用于贵族陪葬使用，具有文化表象作用的明器类型。http://dianda.cqvip.com/Qikan/Journal/Summary?kind=1&gch=82645X&y=2017&n=1&from=Qikan_Article_Detail， accessed 27 Dec 2025 ↩︎
12. Greenish-glazed porcelain joint jars 青釉七联罐
    Pottery | Sui Dynasty (580-618) | H: 18.5 cm, D (mouth): 2 cm, D (base): 2.5 cm, D (body): 11 cm | Tianjin Museum collection. 陶瓷 | 隋（公元580年-618年） | 高18.5厘米，口径5.2厘米，底径2.5厘米，腹径11厘米｜天津博物馆收藏。
    此器由七个大小相同的瓷罐用瓷釉粘连而成，一罐居中，其余六罐绕成一周，这种“内一外六”的器型俯看时形似一朵盛开的花朵，罐体外腹部与罐內部均施豆青色釉，有冰裂纹开片，腹部以下无釉。七罐都呈圆口鼓腹状下附假高圈足，罐口沿下及腹部各有弦纹数周，为青瓷中的精品。
    Museum information card, Apr 2026 ↩︎
13. Silver Nail Guards 银指甲套
    Silver | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 银器 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏
    共出土十枚，其中两枚严童缺损，指甲套为指端保护指甲的用具。有观点认为此类银指甲套系弹拨类乐器的辅助用具。唐代李商隐《无题二首》有“十二学弹筝，银甲不曾卸”诗句。
    Museum information card, Apr 2026 ↩︎
14. Jade Cup with Gold Rim 镶金边白玉杯
    Jade, Gold | 4th Year of Daye (608), Sui Dynasty (580-618) | H: 4.1 cm, D (mouth): 5.6 cm, D (bottom): 2.9 cm | Unearthed from tomb of Li Jingxun at Xi an. Shaanxi Province, 1957 ｜National Museum of China Collection. 玉器｜隋 大业四年（公元608年）｜高4.1厘米、口径5.6厘米、底径2.9厘米｜1957年陕西西安李静训墓出土｜中国国家博物馆藏
    此杯由上等的和田玉雕琢而成，敞口，口沿镶金带一周，深腹，假留足，平底，通体光洁无纹饰。其柔和的玉质，凝练的造型使得这件玉器虽小却显得高贵典雅，也包含了“金玉满堂”之意，成为隋代玉器的一件代表作品。从现有考古发现角度来看，魏晋至隋唐时期中国玉器发展似是走入了低谷，出土的玉器也为数甚少，但就在这少数的几件玉器中，可以发现中国的玉器生产已逐步完成了从礼器向日用器的过渡。这件白玉杯便明显摆脱了汉代玉器制作程式的束缚，向着更实用的方向发展，已经是非常生活化的器物了。
    Museum information card, May 2023
    李静训墓中隋代玉器的重要代表作金扣玉盏。这个杯子非常小，像小朋友的玩具，高4.1厘米、口径5.6厘米、底径2.9厘米。杯子用上等和田玉雕琢而成，羊脂白玉完美无瑕，造型高贵优雅。现藏中国国家博物馆。http://www.silkroads.org.cn/portal.php?mod=view&aid=21080 ↩︎
15. Bronze Jiaodou (Warming Vessel) 铜鐎斗
    Bronzeware | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 青铜器 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏
    锥斗为温煮器，材质有铜、铁、陶、瓷等。河北赞皇东魏兴和二年（540年）李希宗墓出土的成套饮食器中，在铜盘内，鎏金锥斗置于中部，周围有瓷杯五件，鎏金铜瓶及银杯一件，提供了此类器物组合功用的重要实证。
    Museum information card, Apr 2026 ↩︎
16. Glass Vessel 绿色玻璃瓶
    Glass | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 玻璃 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏
    经科学检测，此件玻璃小瓶含铅较高，属于中国本土吹制而成的铅玻璃，通体半透明青绿色，器壁纤薄细颈圆腹。口沿饰凸弦纹一周，器型呈波斯萨珊风格。
    李静训墓出土的玻璃器多达20余件，其中既有钠钙玻璃，又有高铅玻璃，表明当时中国已采用西方玻璃工艺，既能制造高铅玻璃，也能制造出质量较高的钠钙玻璃，器物形态则依然多采用传统样式，表明中国玻璃制造进入了一个新的发展时期。此琉璃瓶证实北朝至隋朝通过河西走廊、新疆抵达中亚及以西地方，努力保持着丝绸之路的畅通。
    Museum information card, Nov 2025 ↩︎
17. Glass Jar with Lid 绿琉璃盖罐
    Glass | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 玻璃 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏
    此件玻璃器为贵族盛香料之用，它采用魏晋时期引入的西方技术生产，钠钙成分较高，其透明度、延展性都区别于传统的透明度不高的铅玻璃。
    Museum information card, May 2020 ↩︎
18. Glass Bottle 玻璃瓶
    Glass | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 玻璃 | 隋（公元580年-618年）深绿色，质料较粗，底部有一道明显凹痕，应是采用顶底铁棒技术留下的疤痕。这件玻璃瓶质料较粗，含较多的气泡和杂质，颜色较深，表明原料中的铁合量较高，原料没有经过精选，比一般进口的钠钙玻璃质量要差。此瓶虽然采用了顶底铁棒技术，但底部铁棒疤痕深凹，反映技术还不熟练，一般认为属于本土玻璃器。
    Museum information card, Apr 2026 ↩︎
19. Gold Bracelets Inlaid with Pearls and Gemstones 嵌珍珠宝石金手镯
    Gold, Pearl, Gemstones | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 金、珍珠、宝石 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
    这些展品的主人是卒年9岁皇族少女李静训，其祖父李崇是隋文帝杨坚手下大将，官至上柱国；外祖母则是隋文帝之长女杨丽华，是为真正的金枝玉叶。李静训自幼深受外祖母宠爱，然大业四年（公元608年）六月一日、殁于宫中，皇太后杨丽华万分悲痛、厚礼以葬之。
    项链原产地可能在巴基斯坦或阿富汗地区，手镯可能是北印度制品，高足杯则是罗马风格，皆为当时举世无双的艺术精品。
    Museum information card, May 2020
    金镯分成四节，各节两端较阔，上嵌珠，各节以方形嵌青绿色玻璃珠小节相连，开口处有一钮饰，另一端力花瓣形扣环，上嵌小珠六个，另一端为一钩，端部嵌一宝珠。金镯钩及环之另端均为活轴，可自由开合。  ↩︎
20. Bronze Mirror With Inscription And The Twelve Chinese Zodiac Animals “光正随人”十二生肖铜镜
    Bronzeware | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 青铜器 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏
    这件“光正随人”十二生肖铜镜也是李静训的随葬器。考古发掘记录显示，此镜出土时被妥善放置于铜洗之中，下方垫有五层黄纸，足见其在墓主生前与身后的被珍视程度，是贵族少女的贴身梳妆用器，也是承载家人祈愿的陪葬珍品。
    铜镜整体为圆形，直径16厘米，缘厚0.7厘米，镜面宽大、器身厚重，摆脱了南北朝铜镜粗简薄小的风格，是隋代铜镜鼎盛风貌的典型样本。镜背采用圈层式对称布局，由内至外清晰分为四大功能区，纹饰繁缛工整、疏密有致，铸造工艺极为精湛。
    镜铭“光正随人，长命宜新”八字，兼具实用隐喻、吉祥祈愿、时代特征与情感寄托。十二生肖则是这件铜镜的主要纹饰。据学者研究，当十二生肖动物形象真正在北朝发展成熟后，很快就和铜镜结合起来，可能被人们认为能够拥有趋吉避邪的神秘法力。
    参考资料：中国社科院考古所《唐长安城郊隋唐墓》，后晓荣《十二生肖铜镜初论》，陈根远《隋纪年墓出土铜镜的制作年代与历史价值》等 https://m.bjnews.com.cn/detail/1779090889168136.html, accessed 28 Jun 2026 ↩︎
21. White-glazed Twin Vase with Dragon-Shaped Handle 白釉龙柄双联传瓶
    Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | H: 18.6 cm, D (mouth): 4.5 cm, D (body) 6.3 cm | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 高18.6厘米、口径4.5厘米、腹径6.3厘米｜1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。 ↩︎
22. Miniature Vase with White Glaze 白釉小瓶
    Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
    隋代白瓷在继承北朝工艺技术的基础上，又有长足进步。李静训墓出土的白瓷与北齐范粹墓出土者相比，已不见早期白瓷釉色白中闪黄或闪青的现象，表明其釉质有了显著提高。
    Museum information card, Nov 2025 ↩︎
23. White-Glazed Vase with Long Neck and Bowstrings in Relief 白釉凸弦纹长颈瓶
    Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
    此瓶小巧精致，推测应为9岁墓主人生前玩具，死后随葬。据文献记载，河南巩县是著名的生产精巧小瓷塑的地方，故有学者推测中原地区唐墓出土的造型精巧的瓷器，可能产于巩县窑。
    Museum information card, Nov 2025 ↩︎
24. White-Glazed Jar with Cover 白釉盖罐
    Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
    该罐制作精致讲究，属于细白瓷类。与此罐同时出土一件绿色玻璃圆底盖罐，两者造型极为相近，推测绿釉玻璃瓶为舶来品，此罐应为吸收借鉴外来文化创烧的新器形。
    Museum information card, Nov 2025  ↩︎
25. White-Glazed Ewer with Dragon Handle and Chicken Spout 白瓷鸡首壶
    Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | H: 27.4 cm, D (mouth): 7.1 cm, D (bottom): 7 cm | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 高27.4厘米、口径7.1厘米、底径7厘米｜1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。 
    盘口外侈，圆唇，束腰式细长颈，丰肩，鼓腹下渐收，平底。肩部一侧塑一鸡首，高冠圆目，昂首张口作啼鸣状，与之相对的一侧为直体曲颈形龙柄，龙口衔接壶口沿。肩部置对称环式耳，均作双瓣重合状。瓷胎呈白色，通体施白釉，近底部无釉，表面有细冰裂纹。整体造型挺拔秀丽，线条优美。 ↩︎
26. White-Glazed Porcelain Flask With Two Lugs And Animal Mask 白釉兽面紋双系扁壶
    Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
    壶口为圆形，壶体扁平，两面有相同印纹，中间为一兽面，兽口左右各街一忍冬叶，外绕联珠一周。整个纹饰呈心形，尖端向上。壶体施白釉，有较粗的冰裂纹开片，釉仅施至腹下部，圈足露胎。造型新颖。此类扁壶內北魏至隋代时期，北方出现的一种扁壶，椭圆形鼓腹，肩附双系，腹部模印胡人、驯狮、凤鸟等纹饰，普遍使用连珠纹。一般认这种具有异域色彩的扁壶原型来源干西亚、欧洲或地中海沿岸的器物。也有学者认为原型为萨珊波斯金属扁壶，扁壶上凸印的纹饰与萨珊金银器上锤揲技法接近。
    Museum information card, Apr 2026 ↩︎
27. 青瓷是隋代瓷器生产的主流，南北方窑场均生产青瓷产品。长江中游的岳州窑、洪州窑产品在当时风行全国，此外南方还有越窑、婺州窑、淮南窑、邛窑等生产青瓷，器型主要包括钵、罐、盆、盏、碗、盘、瓶、砚等。北方地区相州窑等邺城周边窑场、巩义窑、邢窑、定窑等均发现有隋代青瓷产品，其造型、裝饰盛行贴花和高浮雕，延续了受金银、玻璃器影响的北朝晚期风格。
    Museum information card, Apr 2026 ↩︎
28. Greenish-Glazed Jar with Sawtooth Decoration and Lotus-Root-Knobbed Cover 青釉刻锯齿边莲藕钮盖罐
    Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）大业四年（公元608年） | 1957年出土于陕西西安李静训墓｜中国国家博物馆收藏。
    此罐花纹装饰别具一格，肩和上腹部起边并刻锯齿装饰，装饰手法新颖，充分体现出窑工高超的塑造技巧。
    Museum information card, Nov 2025 ↩︎
29. Greenish-Glazed Porcelain Incense Burner With Openwork Design 青釉镂空熏笼
    Pottery | Sui Dynasty (580-618), 4th year of Daye Era (608AD) | Excavated from Tomb of Li Jingxun at Xi’an, Shaanxi Province (1957) | National Museum of China Collection. 陶瓷 | 隋（公元580年-618年）熏笼次北朝至隋时期用于熏香的器具，相同形制的熏笼多有出土，持熏笼的侍女俑也多有发现。熏笼整体施淡青色釉，釉色温润，器身有冰裂纹开片，底部无釉。此器造型别致新颖，因近底部较上部分釉料厚重，整个器物呈现出天然的釉色深浅变化。
    Museum information card, Apr 2026 ↩︎
30. (Apr 2026) 官方挖掘她的墓是为啥, https://post.smzdm.com/p/a709047o/, accessed 28 Jun 2026 ↩︎
31. 白雪松, (16 Apr 2026) “开者即死”，那当年开李静训棺的同志们过得怎么样？, https://user.guancha.cn/main/content?id=1635504, accessed 27 Jun 2026 ↩︎