汉白玉是我国常用的浮雕材料，而在古代，古人也使用它来进行浮雕创作。在虞弘古墓中，就有一座汉白玉的棺椁。它由椁顶、椁壁、椁座三部分构成。椁顶形制为歇山顶，三开间。椁座下则在每个方向各垫两个面朝外的兽头。而在石椁的正面、里面正壁、两侧壁和椁座四周上，都都涂上了颜色的彩色浮雕。
    White marble is commonly used in China's relief materials, in ancient times, the ancients also use it to carry out relief creation. In the Yuhong tomb, there is a white marble coffin. It consists of the coffin, coffin, coffin wall seat three parts. The coffin shape of Xieshan, three room. A coffin in the beast head and each direction pad two outward facing. Positive, in stone coffin inside the wall, two side walls and the coffin is all around, all painted color embossed color.

    浮雕艺术展现手法
    Relief art display technique

    这些汉白玉浮雕采用的是非常传统的散点透视法，打乱人物之间的时空顺序而使画面显的饱满丰富，主次分明又不显杂乱。
    The white marble relief using is very traditional scatter perspective, disrupted between the characters of the spatial and temporal order and the screen was full of rich, prioritize without significant clutter.

    而同时，画面中的人物又都非常写实，人物的比例也好动作也好都很正确。即使是起陪衬作用的图画也非常精细。而浮雕上面还涂上了红、绿、黄、黑为主的彩色颜料，并且采用了黄色来做描金处理，直至现在也没有褪色，依然流光溢彩。
    And at the same time, the characters in the picture are very realistic, the character of the proportion or the action is also very correct. Even play the supporting roles picture is very fine. And relief above the painted red, green, yellow, black the color pigment, and the Yellow gilt, until now there is no fade still Ambilight.

    浮雕上的画面，不论是社会还是个人生活，都带有隋代文化的鲜明时代感，以及大气浑厚的气势。先人们对画面的处理，无论是写实的刻画还是虚幻的想象，都在精湛的技艺下绽放出灵感的火花来，具有极高的历史和美学价值。人们有时也用汉白玉来雕刻佛像。
    Relief picture, whether it is social and personal life, with the Sui Dynasty culture distinct sense of the times, and atmospheric vigorous momentum. First people on the picture processing, whether it is the portrayal of the real or illusory imagination, all in the exquisite artistry of the spark of inspiration, with a high historical and aesthetic value. People sometimes use the white marble carving statues.

    古典汉白玉雕刻的主题
    The classical white marble sculpture theme

    虞弘墓中的浮雕雕刻出了许多不同的场景，几乎包罗了社会万象。其中既有宴会的情景、乐舞的场面，也有平常的家庭生活，更有狩猎图和声势浩大的出行阵势等等情景。
    The tomb of Yu Hong in relief carving out many different scenes, almost includes social vientiane. The banquet scene, music and dance scene, normal family life, more hunting and massive travel battle and so on scene.

    因为这些生活太过丰富多彩，因此有人对这些画面的真实性抱有怀疑，认为这些画面不可能只反映了墓主人一个人的生活，有可能是一种对生活的理想；同样的，有人则认为这些画面是对当时社会生活的集中描写。至于另外一些人则认为这些画面是类似“乐舞百戏”的一部分，是百戏中的内容，在整幅作品中只是起到陪衬的作用。
    Because the life is so colorful, it is people for these images with suspicion that these images can not only reflect the owner of the tomb of a person's life, it is possible to is a kind of ideal of life; the same, while others believe that the picture is to at that time social life is described. As for the others think the picture is similar "music, dance and acrobatics" part of, acrobatics and role in the whole works is to foil.

    而事实上，无论它是不是百戏的内容，画面中那些列队而坐的人们或击磬或吹奏或伐鼓或弹拨的生动形象，已经使观赏者有了身坐戏台观赏表演的感觉。而图中之物更是无一不具有鲜明的地域文化特色。
    And in fact, whether it is not acrobatics, picture those lined up and people sitting or hammer chime or playing or cutting drum or plucked a vivid image, has made the viewer feel himself stage to watch performances. And the map of the material is no more distinctive regional cultural characteristics.

    以人物来说，无论是形象还是服饰都带着浓重的波斯气息，使用的一些器皿、动物等等也不例外，有些上面还带有西方典型的葡萄形纹饰，具有浓厚的波斯气息，而这些无一不反映了墓主人当时宗教习俗与萨珊的文化特色，迥异于中原文明。
    In figure, regardless of appearance or dress with a strong flavor of the Persian, using some of the vessels of the, animals and so on is no exception. Some of them also with typical Western grape shaped ornamentation, with a strong flavor of the Persian, and these reflect the owner of the tomb was customs and religion of the Sassanid cultural characteristics, different from the Central Plains Civilization.