Second, the art treasure-Yi Zhe Yi Zhe,197665438+February 15, was unearthed in No.1 cellar of Zhuangbai Village, Joo Won?. Made in the early Western Zhou Dynasty, it is a container for wine. The wine container is exquisitely shaped, and the whole container is a huge fat sheep with curved corners, protruding eyes and a huge nose. The big tail is drooping, the lines are smooth and delicate, and you can see everything before you peek. The mane of the sheep's spine is a dragon, and the faucet leans against the sheep's head. It has perfect eyes, huge mouth and teeth, a carved dragon body, and a feeling of craving for food. Sheep's buttocks are cast with twisted teeth and tongue, with protruding eyes, curly eyebrows, tattooed horns and turtle-tattooed tongue, giving people a mysterious power. The carving of sheep's tail is very strange. Clever combination with scorpions, seamless. The upper part is decorated with animal heads with upturned noses, the middle part is decorated with birds, and the lower part is decorated with upturned noses similar to human heads, which is very vivid. The trunk rolls up like a curved fish, and the wings of a bird are made up of two curved snakes. _ The interior is decorated with cicada patterns spreading wings, revealing vitality in mystery and agility in silence. The sides of the sheep's neck and the feet of the circle are decorated with curly-tailed looking back dragons. The sides of the sheep's belly and the circle feet are decorated with big gourmets, while a group of big gourmets are composed of two big gourmets, with long corners and curved mouths and crescent-shaped eyebrows. Two groups of paws touch the ground, which makes people want to go.
Third, the decorative characteristics of Western Zhou bronzes One of the characteristics of Western Zhou bronzes is that practical objects are more artistic, and most of them are decorated or artifacts with the images of various animals or monsters. Especially, the design of bronze decorative patterns has reached an unprecedented level. Decorative patterns are varied and have their own characteristics. Some are majestic, some are lively, some are luxurious, and some are simple and generous. Bronze decoration technology inherited and developed the Neolithic painted patterns and Shang bronze patterns in China. The theme of decorative patterns can be roughly divided into figures, animals, plants and geometric patterns, among which animal patterns are the most, followed by geometric patterns.
Design features of decorative pattern 1. Animal decoration is an important feature of bronze decoration in Shang and Zhou Dynasties.
1. 1 The design features of animal face patterns were called gluttonous patterns in ancient times, and objects were decorated with exaggerated animal faces and simple lines. I think people's religious beliefs are closely related to the patriarchal clan system at this time. Animal facial lines are characterized by taking the bridge of the nose as the center line, highlighting the front shape and symmetrically arranging on both sides. The top line is the horn, and there are eyes under the horn, which is a more specific animal face. It can be said that all animal facial patterns are basically shaped according to this model, but the expression and techniques are different with the development of the times.
1.2 dragon design features, the image of dragons in the eyes of the ancients is varied, so the patterns are also different. According to the pattern structure, there are climbing dragon pattern, rolling dragon pattern, intersecting dragon pattern, double dragon pattern and double dragon pattern. 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.
1.3 design features of the phoenix pattern Feng Niaowen, the phoenix first appeared in the Book of Songs, and was originally the phoenix emperor. Phoenix and dragon were auspicious animals in ancient times.
The fate of the mysterious bird was born in the business road, which shows that the mysterious bird is the totem of the business road. In ancient times, phoenix bird was the representative of bird totem. Feng Niaowen is divided into long-billed bird pattern, bird body and long beak according to the composition image; 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 earliest appearance on bronzes was the deformed bird pattern in Erligang period. 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.
2. Geometric patterns 2. 1 Yun Leiwen's design features Yun Leiwen is a deformed line stripe, which is often used as a background to set off the main pattern. Moire is composed of soft convolutions, and the plus square angle of convolutions is thunder, which prevailed in the middle and late Shang Dynasty.
2.2 The design features of vortex patterns are also called fire patterns. As the name implies, it is similar to a water vortex, so it is a vortex pattern. It is characterized by a circle. The inner ring is decorated with a rotating arc along the edge. There is a small circle in the middle, which seems to represent the uplift of water. There are five semicircular curves next to the circle, which looks like water vortex stirring. Some people think that the shape of vortex pattern is like the image of the sun, which is a skyfire, so it is also called fire pattern.
2.3 Design features of double-ring pattern The double-ring pattern consists of a slightly oval ring with one ring, two rings and three rings, and one side of the ring forms two right angles or acute angles. Sometimes it also appears with other decorative patterns.
2.4 The design features of stealing patterns are flat patterns composed of lines with hooks or shapes at both ends, often filled with eye patterns in the middle, which prevailed in the Spring and Autumn Period and the Warring States Period.
2.5 The design features of chest nail pattern are one of the simplest decorative patterns on bronzes. Nipples with convex patterns are arranged in a single line or a square matrix. There is also a pattern, that is, putting the breast nail in a diagonal square, which is called diagonal square breast nail pattern.
Fourth, the decorative beauty of bronze ornamentation bronze ornamentation has profound cultural connotations and is a symbol of mystery, terror and intimidation. They give people a mysterious power and abstract decorative beauty. The reason why it gives people a sense of beauty is that these images have a strong decorative atmosphere, and the unusual lines and abstract patterns appropriately reflect an infinite, primitive, primitive religious emotion, concept and ideal that cannot be expressed in ordinary words. Its decorative language, whether it is a single suitable pattern or a continuous combination of geometric figures, conveys people's vision, spirit and thinking. With the stable, dignified and generous primitive culture, we should further study the development law of bronze decorative patterns from the aesthetic point of view and apply them to form a unique decorative language.
References: Duan Yong, author. Study on the Fantasy Animal Patterns of Bronzes in Shang and Zhou Dynasties. Shanghai Ancient Books Publishing House. Ma Chengyuan, editor in chief. Chinese bronzes. Shanghai Ancient Books Publishing House, 3 14. Yue Hongbin, author. Study on bronze ritual vessels in Yin Ruins. China Social Sciences Press, 198-239. Xiao Ping, author. Ancient Shu civilization and Sanxingdui culture. Study on Shu culture. Huazhong normal university press. Editor-in-chief Jin Kaicheng. Bell and drum music as a reader of China's cultural knowledge. Jilin Publishing Group Co., Ltd. Fang Jianjun, Study on the Cultural Structure and Social Function of Shang and Zhou Musical Instruments. Shanghai Conservatory of Music Press, 200-206.