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Aesthetic characteristics of bronze decorative patterns in Shang Dynasty.
Author's Chinese name is Zhu; Shao;
The author's English name is Rong; Wait a minute. (College of Arts; Suzhou University; Suzhou215021; China);
Author: College of Literature, Suzhou University; Suzhou University College of Literature, Suzhou, Jiangsu 215021; Suzhou, Jiangsu;
Literature sources: Journal of Anhui Normal University (Humanities and Social Sciences Edition), Journal of Anhui Normal University (Philosophy &; Social science), editorial office mailbox 0 1 2003.
Journal honor: the journals included in CJFD, the source journal of ASPT.
Shang dynasty bronzes; Ornaments; Linearization; Gluttony;
English keywords Shang Dynasty; Bronze ware; Decorative lines; Gluttonous design;
This paper systematically expounds the aesthetic characteristics and historical changes of decorative patterns of Shang bronzes. The changes and evolution of decorative patterns brought by abstraction and line drawing formed the aesthetic characteristics of Shang bronzes. As far as aesthetic function is concerned, bronze decoration contains religious connotation, and as far as form is concerned, bronze decoration has the characteristics of symmetry, balance, rhythm and symbolism.
This paper systematically expounds its aesthetic characteristics and historical changes. The change of decorative lines has brought. Abstract lines and their development are the aesthetic characteristics of Shang bronzes. From the perspective of aesthetic function, these decorative lines imply some religious significance; From the point of view of form, they show the characteristics of symmetry, balance, rhythm and symbol.
Religious and cultural characteristics of gluttonous patterns on bronzes in Shang and Zhou Dynasties
ki.com.cn/Article/CJFD2003-AQSS200306029.htm
Gluttony pattern is the most common pattern on Shang and Zhou bronzes, and the analysis of its pattern characteristics in academic circles is mostly limited to the needs of classification standards. The gluttonous mode has distinct religious and cultural characteristics: it is stable and unified in its changeable form, which is naturally related to the religious culture in Shang and Zhou Dynasties. Both sides of the gluttonous pattern are matched with bird patterns to form a statue with eyes and eyebrows, which strengthens the ancestral culture.
Author: Fine Arts Department of Anhui Engineering Vocational and Technical College; Anhui Institute of Engineering and Technology Fine Arts Department; Wuhu, Anhui 241000; Wuhu, Anhui 24 1000
Keywords: bronzes; Gluttony; Religious culture; trait
Fund: Humanities and Social Sciences Research Project of Anhui Education Department (batch number: 2002jw 106).
Classification number: K876
DOI:CNKI:ISSN: 1003-4730 . 0 . 2003-06-029
Text snapshot:
The most striking pattern on Shang and Zhou bronzes is the gluttonous pattern, whose name comes from "Zhou Ding wrote gluttony, taking Kubinashi as his body, eating people without swallowing them, which is harmful to his body." (Lu's Spring and Autumn Annals) Since the Northern Song Dynasty, all epigraphy books have always called this grotesque ornamentation a gluttonous pattern. As for why it is called "gluttonous pattern" in Lv's Spring and Autumn Annals, we can't know exactly, but we can do one thing.
The Symbolic Significance of Bronze Decorations in Shang Dynasty and the Deformation of People and Animals
/A-ydxk200202006.html
Aesthetic Characteristics of Bronze Decorations in Shang Dynasty Aesthetic Characteristics of Bronze Decorations in Shang Dynasty
Zhu Rong Zhi roasted Qiu Jun.
This paper systematically expounds the aesthetic characteristics and historical changes of Shang bronze decorative patterns. The changes and evolution of decorative patterns brought by abstraction and lineation have formed the aesthetic characteristics of decorative patterns of Shang bronzes. As far as aesthetic function is concerned, bronze decorative patterns contain religious connotations. As far as form is concerned, bronze ornamentation. ...
Journal of Anhui Normal University (Humanities and Social Sciences Edition) Journal of Anhui Normal University (Humanities &; Social Sciences), No.0 1 2003.
Decorative Art of Bronzes in Shang Dynasty
Yin Chunjie
Chinese bronzes have a long history. Especially in the late Shang Dynasty, the bronze manufacturing industry developed rapidly, which further promoted the development of bronzes in the two-week period and reached the peak of bronze culture in China. Among them, the most striking is bronze decoration, which is worthy of being a model of ancient decorative art.
Neijiang Science and Technology Neijiang Science and Technology [2006] No.09
Decorative Art of Bronzes in Shang Dynasty
Yin Chunjie
Chinese bronzes have a long history. Especially in the late Shang Dynasty, the bronze manufacturing industry developed rapidly, which further promoted the development of bronzes in the two-week period and reached the peak of bronze culture in China. Among them, the most striking is bronze decoration, which is worthy of being a model of ancient decorative art.
Neijiang Science and Technology Neijiang Science and Technology [2006] No.09
The symbolic significance of Shang bronze decorative patterns and the deformation of people and animals standardized the Shang bronze masks and the representative patterns of people's deformation to animals.
Jiang Yili Liu Yuan
Bronze ornamentation in Shang Dynasty has a certain structure and level. The characteristics of human and beast deformation, simplified shape, cicada pattern and swallowing posture show that it contains the symbol of Shang king's deformation power. This decorative pattern symbolizing the deformation force may be Gao Zuhuan.
Journal of Yindu, No.02, 2002
On the Religious Thought of Bronzes in Shang Dynasty
Chen chunhui
As a sacrificial ceremony, Shang bronzes contain rich religious thoughts. Predecessors have explored the religious meaning of the specific decorative patterns of Shang bronzes, but few scholars and works systematically discuss the religious thoughts contained in the bronze shapes and decorative patterns. With the discovery and research of bronze wares in Shang Dynasty, ...
Archaeology and cultural relics 2004 06.
From the archaeological and artistic data of the eldest son's tomb in Taiqing Palace, we can see the bronze ornamentation in the late Shang Dynasty, from the archaeological and artistic data at the mouth to the bronze line decoration at the tail. Tomb of the eldest son of Taiqing Palace.
Wang Dayong Wang Dayong
The late Shang Dynasty was the first peak in the development history of ancient bronze in China. The quality and quantity of bronze castings have been developed and improved unprecedentedly. The achievements of bronze art are also unmatched by the previous generation. Among them, the most striking thing is the decorative art of bronzes. This paper intends to analyze the bronzes in the late Shang Dynasty from the principle of formal beauty. ...
Journal of zhoukou normal university, 0 1, 2005.
Cicada Patterns on Bronzes of Shang and Zhou Dynasties in Henan Province and Related Issues
Tang Shujun
Jade cicada appeared as early as in Hongshan Culture and Liangzhu culture, and cicada pattern first appeared on Shang bronzes. This paper summarizes and combs the cicada patterns on bronze wares of Shang and Zhou Dynasties in Henan Province, and divides them into four categories: barefoot cicada pattern, bipedal cicada pattern, quadruped cicada pattern and deformed cicada pattern, and compares them with each pattern. ...
Central Plains Cultural Relics, No.06, 2004
On the aesthetic characteristics of Shang bronzes in Dayang Prefecture.
Zhushidi
Shang Dynasty bronzes in Dayangzhou, Xingan, are typical representatives of bronzes in southern China. Xing 'an bronzes not only attach importance to function in modeling, but also are lifelike and have the characteristics of combined creation. In terms of ornamentation, the tiger face pattern in the animal face pattern reflects the cultural characteristics of Wucheng, while the dovetail pattern and fish pattern are more simple and less deformed, so they are expressive and pleasing. ...
Jiangxi Social Sciences, No.07, 2007
Study on corrosion mechanism and protection of bronze germanium in Shang Dynasty
Wang Huizhen, Jin Pujun, Zhu Hong, Wei Guofeng
Human history has experienced a long bronze age characterized by bronzes. The Bronze Age and its culture play an extremely important role in the historical development of China. There are many kinds of bronzes preserved, with unique shapes, exquisite ornamentation, complex structure, rich inscriptions and concise words. ...
Archaeology and Cultural Relics No.200103
Image form of decorative patterns of bronze ritual vessels in Yin and Shang Dynasties
Sun xiuen
The image forms of bronze ornamentation in Yin and Shang Dynasties are deeply influenced by prehistoric and primitive art, and many prototypes of bronze ornamentation in Shang Dynasty can be found in prehistoric artifacts and ornamentation. However, from the perspective of genetics, the modeling and decoration of artifacts in prehistoric and primitive societies have abstract or aesthetic attributes of image forms. ...
Journal of Zhengzhou University (Philosophy and Social Sciences Edition), No.06, 2007.
A summary of the research history of bronze decorative patterns in Shang and Zhou dynasties
Zhang Juncheng
Although great achievements have been made in the study of bronze ornamentation in Shang and Zhou Dynasties, it is still relatively backward compared with the study of vessel type, inscription and casting. Therefore, it is necessary to have a bird's eye view of the achievements made in the study of bronze decorative patterns in the Western Zhou Dynasty on the basis of summarizing predecessors.
Journal of neijiang normal University No.03, 2007.
Bronze decoration and symbol
Keywords: bronzes, ornamentation
The bronze age in China was formed around 2000 BC, and it went through fifteen centuries in the Spring and Autumn Period and the Warring States Period. By the late Shang Dynasty and the early Western Zhou Dynasty, the technical level of bronze smelting and casting reached its peak. The strong emotional factors in bronze art mainly come from the unique decorative patterns in Shang and Zhou Dynasties. From the ornamentation of gluttony, dragons, phoenixes and birds, we can see their origin relationship with the ornamentation of pottery and jade in primitive society.
A glimpse of bronze decorative patterns
The patterns commonly used in bronzes are: gluttonous pattern, dragon pattern, dragon pattern (crawling dragon pattern, rolling dragon pattern, catamaran dragon pattern), dragon pattern, snake pattern (flatworm pattern, flatworm pattern), bird pattern, phoenix pattern, ripple and other bronze patterns.
1. The name of the gluttonous pattern comes from "Lv Chunqiu": "Writing gluttony has a body. He eats people and does harm to his body. " Its main feature is that its main part is a positive image of a beast's head, with prominent eyes, a big mouth crack, horns and ears. Some sides have claws and tails, and some sides are long and curly. In fact, it is composed of two dragon-shaped lines with the bridge of the nose as the center and opposite sides. The dragon pattern was also a popular decoration at that time. Used as an auxiliary pattern. The nose, horn and mouth of the gluttonous pattern change greatly. From the different shapes of horns and ears, we can know that its life prototype is mostly cattle, sheep, tigers and other animals. Cattle and sheep are the main victims of sacrificial activities.
Gluttony patterns are mostly used in the main decorative parts of utensils, engraved with flexible negative lines or raised positive lines. The composition is full, and the two sides of the main pattern are filled with varied Yun Leiwen, which has the beauty of complementary yin and yang.
Gluttony patterns were mainly popular in the Shang Dynasty and the early Western Zhou Dynasty, and became popular again after the Eastern Zhou Dynasty, but they have lost their original dominant position and ugly colors and become gorgeous decorations.
2. Dragon pattern is one of the decorative patterns on bronzes. This pattern shows a legendary animal similar to a dragon-Kui, which mostly has a horn and a foot, with its mouth open and its tail rolled up. In the description since the Song Dynasty, the reptilian objects on bronze wares are all called Solanum nigrum or Solanum nigrum, which is related to the record of "Kuiyi Foot" in ancient books. "Hey, God is like a dragon's foot." Some poems have developed into geometric decorations, which have changed a lot. It is common that the body is divided into two parts, or the body is diagonal, with two heads at each end. Popular in Shang Dynasty and early Western Zhou Dynasty.
Dragon pattern usually refers to the image of a long arched body with horns on the head, flippers under the abdomen, and some without side dragons. It has many changes and is flexible to use. Sometimes used as an auxiliary pattern, blank filling is carried out on both sides of the gluttonous pattern. It can also be used to form a continuous arrangement of decorative belts. The two-way continuous pattern in which dragon patterns and circular vortex patterns alternately appear is called fire dragon patterns.
3. Dragon pattern is one of the decorative patterns on bronzes. Dragon is an ancient legendary animal in China. Generally, the frontal image is centered on the nose, with eyes on both sides and the body extending to both sides. If its side is taken as an image, it forms a long body and a claw. The image of dragon originated very early, but as a bronze decoration, it was first seen in Erligang period of Shang Dynasty, and then there were different forms of dragon patterns in the late Shang Dynasty, Western Zhou Dynasty, Spring and Autumn Period and Warring States Period. In Shang dynasty, it was mostly in the form of buckling; In the Western Zhou Dynasty, several dragons were intertwined, or their heads were in the middle and their tails were separated. Legend has it that the appearance of dragons is related to water, and "Kao Gong Ji Ai Huashi" said: "Water is a dragon, and fire is love." The image of the dragon is used to symbolize the water god, so there are many scrolls or three-dimensional images of the dragon in bronze water vessels.
According to the structure of dragon pattern, it can be roughly divided into crawling dragon pattern, rolling dragon pattern, dragon pattern, double-headed dragon pattern and double-body dragon pattern.
Crawling dragon pattern, usually in the shape of a dragon's profile, is crawling, the faucet is opened, the upper lip is rolled up, the lower lip is rolled down or up into the mouth, the forehead is angular, the middle part is the trunk, and there is one foot, two feet or only fin feet below. Simple or not, the tail is usually bent and rolled up. Most of them are symmetrically arranged. It prevailed in the late Shang Dynasty and the Western Zhou Dynasty.
Dragon pattern, the dragon's trunk is curled, end to end, or spirally coiled, often decorated in the center of the plate. "Made by Li Yiyu": "The dragon scroll is a sacrifice." Zheng Xuan's Note: "Draw a dragon in clothes." Confucius' Ying Da Shu: "The dragon scroll is a sacrifice, and the scroll is named Kuai. Draw this dragon shape and roll it on clothes to worship the ancestral temple. " In ancient times, people thought that dragons and snakes were the same kind, so dragons were painted in a coiled shape. This kind of decoration was found in bronzes from Yin Ruins to Warring States Period, but the image structure was different.
Double dragon pattern, also known as "double-tailed dragon pattern" Its shape is centered on the faucet, and the trunk is spread to both sides. This kind of decoration is band-shaped, so the body has enough space to expand, which is actually a symmetrical figure of the whole dragon. Prevalent in the late Shang and early Zhou Dynasties. Most of them are applied to Fang Yi or Fang Ding's mouth.
4. Dragon pattern is one of the decorative patterns on bronzes. It is a decorative pattern in which the trunks of two or more dragons are intertwined. There are many different structures, such as single connection, the trunk of the dragon is regularly wound in the same direction, and many dragon bodies are intertwined to form multiple stacks. "The emperor painted a dragon, one like it rising to the court and the other like it rising to the bottom" is the image of dragons intertwined with dragons. It prevailed from the late Spring and Autumn Period to the early Warring States Period.
The snake pattern is a decorative pattern on bronze ware. It has a triangular or round triangular head, a pair of prominent big round eyes, a scaly body and curly strips. The characteristics of snakes are obvious, and they are often small. Some people think it's silkworm grain. Some of them are main patterns, which are found in Shang bronzes. The snake patterns in the late Shang Dynasty and early Zhou Dynasty were mostly arranged in a single line. Most of the snake patterns in the Spring and Autumn Period and the Warring States Period are small and twisted, so they are called "coiled patterns". Flat pattern is a geometric figure with a flat snake image. Popular in the Spring and Autumn Period and the Warring States Period. The flatworm is separated from the grain, and the pattern presents a legendary dragon with no horn, oblique mouth, curly tail and flat bend. Popular in the Spring and Autumn Period and the Warring States Period.
6. Bird pattern is one of the decorative patterns on bronzes. A bird's long feathers hang down or its long tail rolls up to look forward or backward. Most of them are symmetrically arranged on bronzes. The jade cong unearthed from Liangzhu culture has clear bird patterns. The earliest appearance on bronzes was the deformed bird pattern in Erligang period. Bird pattern has always been the main decorative pattern of Yin Ruins. From the early Western Zhou Dynasty to the Spring and Autumn Period, bird patterns appeared in large numbers. There were many short tails in Shang Dynasty and many long tails and high crowns in Western Zhou Dynasty. Bird patterns include Feng Huangwen, Owl, Feng Huangwen and Goose.
7. Feng Niaowen is also a bronze decoration in Shang and Zhou Dynasties, and its development and evolution have dating significance. As a kind of Feng Niaowen, it has a crown on its head, some horns and a tangled tail feather, and is often used as the main decorative surface. From the late Shang Dynasty to the Western Zhou Dynasty, bird patterns and long tail bird patterns were popular, which were mostly used to decorate belts or as auxiliary ornamentation.
8. Ripple (band pattern) is a wide and smooth curve pattern with vivid and smooth image. In the Western Zhou Dynasty, the dragon pattern decorated with pot belly was used with ripples. The dragon pattern made by relief technique winds into a big wave shape, which fluctuates according to the front and width of the pot body.
Symbolic interpretation of bronze decorative patterns
1, totem tag
Totem is a kind of natural image, more of which is animal image. A primitive clan believes that this natural image has a special relationship with their own clan, or regards it as the ancestor of their clan, or as their relatives or protectors, so they worship and worship it with great devotion. Such as dragon pattern, real dragon pattern, Feng Huangwen, cicada pattern and so on. Dragon pattern is the most auspicious and sacred decoration of the Chinese nation and the most representative symbol of China traditional culture. The dragon pattern in Neolithic Age is close to the image of lizard and gecko, and gradually evolved into dragon pattern and dragon pattern in Bronze Age. Phoenix patterns evolved from mysterious birds on primitive painted pottery. The basic image of the Western Zhou Dynasty is pheasant. The main feature of early Feng Huangwen was its wings flying upwards. So Feng Huangwen is the most beautiful decoration in bronzes.
2. Worship of God
Gluttony is the most religious pattern in bronze decoration, and there are various opinions about gluttony, mainly two: one thinks that they are the legacy of totem concept in primitive society; One is that they are sacrifices to the ancestors of ghosts and gods, or they are extended to "bronze wares with all kinds of animal images working in heaven and earth." In the eyes of ancient humans, the whole world is full of all kinds of strange spirits, some are masters or friends of human destiny, and some are monsters who are only enemies of human beings. Ancient humans blamed demons for all kinds of natural or social disasters. Exorcism is one of the important activities of primitive people. This activity is usually called exorcism. For example, Simuwu Fang Ding, a fine bronze ware in the late Shang Dynasty, is decorated with fine moire patterns to set off the theme of animal face relief, and the overall appearance symbolizes the majesty of kingship with a symmetrical and ferocious animal face.
3, exorcism
In the decorative patterns of Shang and Zhou Dynasties, we can see deified animals eating people to ward off evil spirits. This image of using totem animals to hunt monsters to ward off evil spirits reflects the struggle between god and demons, and also reflects the struggle between man and nature in a tortuous way. Tigers eat people, and the bronze body looks like a tiger sitting and crouching, with the tiger's hind paws and tail as three support points, while the tiger's front paws are effectively grasping people with broken feet to eat, which is very vivid. This complex shape shows superb casting technology. We can understand it as evil spirits and embody the myth of "tigers eat ghosts"; It can also be said that man and beast embrace each other and practice witchcraft artificially; Some people think that tigers are sacred and that eating people by tigers is "the unity of man and nature".
4. Decorative function
The natural objects in bronzes are mostly represented by variation, the most common ones are Yun Leiwen, vortex pattern, water ripple, etc. They have been widely used to fill the circular decorative belt to be decorated and large-area "ground pattern", also known as "ground pattern". This "variation phenomenon" not only shows the way of thinking inherited by primitive ancestors who tried to transcend reality with the help of imagination, but also shows the fantasy inspired by social class and power consciousness in the slave age. Three-dimensional, embossed gluttonous patterns, poems, etc. Under the background of Yun Leiwen and other bright and dark patterns, dense and complicated patterns are formed. Strong religious feelings stand out on bronzes, which are mysterious, strange and magnificent.
The development of Chinese bronzes mainly experienced three historical periods: Xia, Shang and Wednesday. During this period, the style of bronzes changed from solemn artistic style to simple, concise and lively style, and the social function of bronzes gradually changed from ritual vessels to practical instruments. The decorative patterns of bronzes range from solemn gluttonous patterns and literary works to the rhythmic patterns of stealing music and endless belts, and then to the vivid patterns of clams, banquets and fights, during which the fierce supernatural magic of animal decorative patterns gradually weakens until it disappears. This change of decorative patterns is not only caused by the improvement of manufacturing technology or people's aesthetic level, but also related to the improvement of human productivity and social changes. The appearance of bronze ornamentation is the crystallization of industriousness, simplicity, intelligence and wisdom of the working people in China. It is the support of people's good wishes and the concrete expression of people's simple desire to fight against nature, survive and realize the "harmony between man and nature". They left us with superb casting skills an artistic treasure symbolizing Chinese civilization.