After Mr. Wang finished speaking, he took the Simushu Dafang Ding and analyzed it. At the same time, he very carefully introduced Zhang Wufeng and his rich knowledge and profound knowledge to the professor-level elders.
"I am personally very pleased that my friend Zhang Wufeng can part with this little Fangding. So, here, I would like to thank my friend Zhang Wufeng again, thank you." Mr. Wang's voice was very sincere.
"Old Wang, I think you want to support the younger generation, so you wouldn't say this on such an occasion, right? Can that young boy be compared with us? As the saying goes, words can't work, so this little guy came out of his mother's womb.
Even if we were studying here, we wouldn’t have achieved the same results as we did now. It’s already a huge honor for me to be able to come in.”
A middle-aged man wearing glasses said very proudly.
"Yes, for people who are interested in learning, it is an insult to go through the back door. It's not that we can't trust Lao Wang, but you think this kid looks like a person who is engaged in learning? I'm afraid he followed the Jinxiu girl here."
“Really, what a shame”
…
A series of words made Mr. Wang feel a little dazed, and then his face quickly turned green.
"Xue Yang, you are such an old man, you even question my words? When has my old man, Wang, ever let anyone walk through the back door, or taken a penny and a half of other people's money? It is really unreasonable."
"Don't say I don't respect you. Maybe Lao Wang, you were also deceived by this kid. Is the knowledge about Taotie patterns something that ordinary people can understand?"
"That's right, the younger generation should have the humility of the younger generation. You can tell by the natural way you praise him that he is not an educated person. This is what is meant by the so-called half-filled bucket of water."
"Grandpa, since they don't believe you, ask Zhang Wufeng to give a speech and tell these people what it means to be short-sighted."
Wang Jinxiu did not speak, but when her grandfather looked over, she signaled with her eyes. This strong look made Mr. Wang startled slightly, and then he suddenly realized and sneered: "Okay, okay, since you think I accept
If you want to benefit others, okay, I will let Zhang Wufeng come up and give a speech. In order to avoid you saying that this is prepared, you can ask any questions you want. If there is anything you can’t answer, I, Lao Wang, will give up my seat in the association.
alright"
Lao Wang was immediately extremely angry.
In the past, he would not test the good seedlings recommended by these people, thinking that since they were interested in them, they would be bad. Who knew that they would not be satisfactory once or twice.
But this time, he just praised a few words and didn't say why he would recommend Zhang Wufeng. These people were so fierce. It was really infuriating.
"Brother Zhang Wufeng, you have seen it. I hope you can teach them a good lesson and let them know that 'one who has great ambitions is not one who is senior', and let them know that 'the master is the teacher'
"Haha, Mr. Wang, I agree to this matter," Zhang Wufeng said proudly.
"Hmph, who knows if you guys have colluded to memorize a paragraph to deal with it? Okay, if you don't talk about anything else, tell us about the evolution of the animal mask pattern."
The middle-aged man wearing glasses sneered.
The evolution of animal mask patterns is indeed a major difficulty. Of course, it is not difficult to say a few words casually, but it is somewhat difficult to grasp it as a whole. People who do not study it in depth cannot answer it at all.
"Haha, no problem, listen up." Zhang Wufeng stood up proudly. Although he was low-key, it didn't mean that he would be stepped on.
"The Taotie animal face pattern has existed since the Liangzhu Culture period, but it has always been called the animal face pattern. It was not until the "Bogu Illustrations" of the Xuanhe period of the Song Dynasty that this type of pattern began to be called the Taotie pattern. Its meanings are as follows:
"Heaven and Earth", "Connecting life and death", "Expelling ghosts and avoiding evil", "Mighty, brave, just", "Sacrifice to gods" and other symbolic sayings.
Although the Taotie pattern is composed of pieces, it does not mean that it is pieced together at will. The ancients had no concept of the specific image of the Taotie, but they found its due in various animals (especially large beasts) in real life.
characteristics, so when creating the image of Taotie, they integrated sheep (ox) horns (representing nobility), ox ears (good at discrimination), snake bodies (mysterious), eagle claws (brave), bird feathers (good at flying), etc.
The mysterious monster has the organs of familiar animals, which allows people to quickly experience the emotions they have towards the Taotie pattern. The mythical origin and exaggerated appearance make the Taotie pattern terrifying, mysterious and majestic, making people feel
Awe-inspiring.
The most important feature of the Taotie pattern should be its eyes. No matter how it changes, the Taotie pattern is indispensable for its pair of bright, calm and powerful eyes. It stares at the outside world, shocking people's hearts, but at the same time it also has strong
It attracts people's attention. The Taotie pattern mostly appears on the belly of the bronze as a theme pattern, with a small amount on the feet. The wide space gives it enough room for display, and the eye-catching position gives it more dominance and majesty.
In the history of ancient Chinese culture, the Taotie culture occupies an important position. Its ferocious, rough, uninhibited and uninhibited power symbolizes China's history of breaking away from barbarism and entering an important symbol of ancient civilization.
Ritual utensils with the image of Taotie show dignity, authority and strength, and are symbols of power and status."
Zhang Wufeng paused for a moment. Most of the old men and middle-aged scholars who were noisy and looked down upon with contempt now began to discuss in low voices.
Some nodded secretly, some frowned with dissatisfaction, some were thoughtful, and some looked at Zhang Wufeng from time to time with curious eyes.
“The Taotie animal facial pattern appeared in three periods: the Erligang Period, the Yinxu Period and the early Western Zhou Dynasty.
The bronze wares of the Erligang period have simple decorations, mostly in the form of ribbons, and few are full of flowers. The Taotie patterns of this period are also relatively simple, with multiple strips in the shape of strips, with linked bead patterns sandwiched up and down. They are generally single-layered, with no
The ground pattern used as the background is mostly represented by protruding lines. It is composed of rough curved and convoluted lines, all of which are deformed patterns. Except for the round and large animal eyes as symbols, the other stripes do not specifically represent various aspects of the object.
Parts. All animal face patterns are not based on thunder patterns. The wall surface of the bronze is relatively simple, with few and simple decorative patterns; and the picture structure is relatively simple, with clear distinctions between each pattern. It is a single-layer raised pattern, which looks simple and solemn.
The bronzes of the Yinxu period have thick shapes and gorgeous decorations, forming a new style with distinct layers, richness, complexity and mystery. At this time, the Taotie pattern is no longer a simple strip layout, but occupies a larger space on the vessels.
It has developed towards full-body flowers and three-dimensional multi-layer decoration. Most of them are decorated with ground patterns, that is, uniform and slender cloud and thunder patterns are engraved on the bottom blank space of the main Taotie pattern as a foil. Delicate and dense
The abstract animal face pattern is intertwined with the delicately carved fine thunder patterns and the neatly arranged and densely arranged feather patterns, forming a magnificent and mysterious triple pattern. Not only does the combination of patterns show the trend of complexity, but also the characteristics of the animals in the animal patterns (
For example, the horns of animal facial patterns and the feathers of bird patterns were also highlighted and exaggerated, and they were ever-changing. At this time, there were also composite patterns such as birds matching beasts and Kui matching beasts. It is also worth noting that a large number of faces appeared in this stage.
A complete and concrete Taotie pattern. For example, the Taotie animal mask pattern in Sanxingdui. The bronze animal masks unearthed in Sanxingdui can be divided into three types according to their shapes, with three pieces of each type, totaling nine pieces. They are all in the shape of thin sheets, using
They are cast in bas-relief. Most of their faces have long eyebrows and straight noses, large eyes with bulging eyes, and two rows of square teeth exposed in the wide and long mouth. These all show exaggerated human facial features. And they
There are a pair of wide and long curved horns on both sides of the head, a wider fork-shaped sword blade on the top of the head and a pair of small curved horns on both sides, and some casts have two long pointed ones with the upper ends hanging downward.
The ears show magical animal shapes. Some animal-faced statues also have two Kui dragons with their heads facing each other, forming a vivid shape that arches the animal's face. Taken together, these beast-like figures are not beasts at all.
, the beast-like figure that looks human but not human, the ferocious and mighty shape, the grinning expression, the strange decoration and the exaggerated shape, all give people a sense of surprise. It has both a rough style and a detailed depiction.
Amid their ferocious severity, they also reveal a bit of simplicity and kindness. These extremely imaginative masks, which combine the characteristics of human and animal faces, embody a rich original mysterious color.
In the early Western Zhou Dynasty, bronzes were basically the same as those of the late Shang Dynasty, and it was difficult to distinguish them clearly, and the same was true for the Taotie pattern. However, the bronzes of this period also showed a trend of simplification. The Taotie pattern gradually faded in the artifacts, transitioning to the plain surface of the mid-Zhou Dynasty. Rufu
The Guiding only has a band of decorative patterns under the mouth, and the pattern is simple and vague, with three legs in the shape of a raised tail. The rest of the tripods are plain.
In the middle of the Western Zhou Dynasty, the style of bronze ware shifted to "valuing plainness". The original Taotie pattern of the "Literature" tradition gradually lost its former glory. Taotie animal face patterns, Taotie animal body deformation patterns, etc. all occurred.
There were drastic changes. The Taotie animal facial pattern gradually faded, and the unique rolled-body Kui pattern appeared. Correspondingly, subsequent bronzes also gradually moved towards life-oriented decorative patterns in the process of the decentralization of royal power and the collapse of rituals and music.
.The ferociousness of the bronze ware weakened and the liveliness became stronger. The decoration first became magnificent, complicated and circuitous, and then became sparse, open, concise and pleasant. On the bronze ware, the number of monster patterns decreased, and the number of sculptures praising life increased, with human life as the center.
The status of the Taotie pattern was replaced by the banquet and battle pictures. As a result, the Taotie pattern became an image memory of the past and gradually lost its original connotation in the course of history.
René Grusset pointed out in the book "Civilization of China" that the image of 'tie' has been widely popular in Chinese art for more than 20 centuries. It is actually the mysterious monster that often haunts people in that era.
Phantom.
The deep and protruding weird image of the Taotie pattern, the fine and tortuous decorative lines, and the solid and stable shape of the utensils are filled with vague and distant emotions, ideas and pursuits, full of savage and brutal deterrence, exuding primitiveness and innocence,
Simple beauty.
All kinds of gluttonous patterns highlight a primitive power that points to an infinite abyss. They present a ferocious beauty. In that seemingly ferocious and terrifying mystery, there is a deep historical power accumulated.
.
…
The Taotie is an imaginary mysterious monster. It is a common decoration on bronzes. It is a patterned animal face, so it is also called an animal face pattern. This monster has no body, only a big head and a big mouth. It is very greedy. When you see it, it is very greedy.
He ate whatever he wanted. He ate too much and was eventually starved to death. It is a symbol of greed. He is the ninth son of the Dragon King of the East China Sea.
The Taotie pattern first appeared on jade objects from the Liangzhu Culture in the lower reaches of the Yangtze River 5,000 years ago. In the chapter "Lu's Spring and Autumn Annals. Xianshi" it says: "The Taotie pattern in Zhou Ding has a head but no body, and cannibalism has not yet begun."
If swallowed, it will harm the whole body. The Taotie pattern appears on Erlitou and has been found on bronzes in the Xia culture. Taking the bridge of the nose as the midline, symmetrically arranged on both sides, usually the lower lip. The Taotie pattern appears on bronzes, especially on tripods.
There are many types of Taotie patterns in the Shang and Zhou dynasties. Some are like dragons, tigers, cows, sheeps, and deers; others are like birds, phoenixes, and people. The name Taotie patterns did not exist in ancient times.
It was named after the Song Dynasty when epigraphy was rising. The most perfect Taotie pattern mask is 2 centimeters high and is now stored in the Seattle Library in the United States. During the Western Zhou Dynasty, its mysterious color gradually faded away.
The first person to use the name Taotie pattern was the "Xuanhe Bogu Tu" of the Song Dynasty. Taotie is a gluttonous evil beast in legend; it is also a metaphor for greedy and vicious people. "Lu Shi Chun Qiu. Xian Shi": "Zhou Ding"
Eaten with gluttonous food, it has a head but no body, eating people without swallowing them, harming their bodies, and repaying them with words." "Zuo Zhuan. The Eighteenth Year of Wen Gong": "The Jinyun family had an untalented man who was greedy for food and took bribes.
, Invading desires and worshiping luxury, not being tired of surplus, gathering and accumulating real wealth, not knowing how to discipline. Do not distinguish between orphans and widows, and do not care about poverty and deprivation. The people of the world compare the three evils, which is called gluttony.' Du Yu's note: 'The greed for money is gluttony, and greed is gluttony.
Food is enough.'
In the Shang and Zhou dynasties when bronze ware was prevalent, bronze was often used to cast wine vessels. This Shang dynasty bronze statue with Taotie (yintaotie) pattern was unearthed in Qianshan County, Anhui Province in 1972. It had been buried underground for more than 3 years. When it was unearthed, it was not only intact, but also
The blue light is shining and the decoration is exquisite and clear. It is a national first-class cultural relic and is now collected in the Anhui Provincial Museum.
This statue is 21.5 cm high, has a diameter of 19.4 cm, and weighs 2 kg. It has a trumpet-shaped mouth, a high neck, a bulging belly, and round feet. It is named after the Taotie pattern on the body. The Taotie pattern is a common decoration on bronzes, also known as
Animal face pattern. The pattern symbolizes the face shape of a gluttonous beast in ancient legends. It was often used as a theme decoration on utensils from the Shang Dynasty to the Western Zhou Dynasty. It was often lined with cloud and thunder patterns, and the patterns were often varied. The statue has an animal face with two eyes.
It is round and convex, majestic and mysterious. Each side of the animal face is decorated with a phoenix bird with a long crown and huge claws, soaring upward. The ground is decorated with cloud and thunder patterns, and the raised Taotie pattern is engraved with negative lines on the neck and feet.
Each is decorated with two convex string patterns. The decoration is diverse and the body of the vessel is powerful.
It is regarded as a vessel for holding wine, and it is also used as a vessel for pouring wine. "Shuowen": "It is a vessel specially used to hold wine during sacrifices or entertaining guests." In Lu You's "Miscellaneous Feelings", there is a saying: "A statue is easy to produce wine, and it is rare to see a stork and magpie in thousands of miles."
Lou' poem. The status of the bronze statue is second only to the tripod. In addition to the round shape, there are also square bronze statues, as well as those that imitate the shape of birds and beasts, collectively called "bird and beast statues". Bronze statues were very popular in the Spring and Autumn Period and the Warring States Period.
Rarely seen. This 3-year-old animal-faced statue has important historical value. From an artistic point of view, it is also an extremely valuable piece of arts and crafts because it has many patterns all over its body.
With shallow carvings, relief carvings, and intaglio carvings, as well as combining flat images with relief carvings, and combining utensils with animal images, the structure of the entire bronze statue is indeed exquisite enough. And all of these are expressed through the casting process.
, thereby achieving satisfactory results.
Bronze ware, also usually referred to as bronze ware, in Chinese archeology, mainly refers to utensils made of copper-tin alloy during the Pre-Qin period, including cooking utensils, food utensils, wine vessels, musical instruments, weapons, etc. The bronze ware we see now is from my country The creation of ancient working people. However, in slave society, bronze utensils were mainly owned and enjoyed by the slave-owning class. However, with the development of history today, if it is used as a wine pot, it will be off-putting, because from this statue Judging from the overall shape, it looks very much like a modern spittoon.
…”
Zhang Wufeng quoted from many sources, demonstrated and described in detail the evolution of the Taotie beast's facial pattern and related introductions to some of the corresponding cultural relics. The entire narrative lasted for more than thirty minutes, and his classic narration and detailed explanations made the entire story
The hall was quiet.
At this moment, Mr. Wang was still standing next to Zhang Wufeng, and Zhang Wufeng was still standing in the speaker's position.
After a long time, thunderous applause erupted uncontrollably from the venue, and many old people present spontaneously stood up to show their respect for Zhang Wufeng.
"Mr. Zhang, have you ever seen the Sanxingdui Bronze Beast Face Statue?"
"Mr. Zhang, do you have a collection of Sanxingdui bronze animal masks? Can you let me appreciate them?"
"Mr. Zhang, I was really ashamed to question you about your lack of knowledge before..."
"Mr. Zhang, do you have anything to add? According to the evolution of animal mask patterns, what are the characteristics of the slave society in the Shang Dynasty?" Among the many people, the middle-aged man wearing glasses looked slightly gloomy.
, and then asked proudly.
"Haha, I actually mentioned this just now. I thought you understood it. If you don't understand, okay, I really need to explain your understanding in more detail."
"you--"
"Well, the typical characteristics of the slave society of the Shang Dynasty are actually fully reflected in the works of arts and crafts, which are the products of the slave society's ruling class strengthening its own rule. The strong atmosphere of mystery, weirdness, and terror on the bronze ritual vessels is a reflection of the characteristics of its era.
Represented by bronze ware patterns, the Taotie pattern has a certain representative significance and has high aesthetic value and social significance. The solemn, solemn and mysterious artistic characteristics of the Taotie pattern not only meet the political needs of the ruling class of slave society, but also express
The most basic design idea of decorative patterns on ancient Chinese bronzes. It can be changed according to the need to attract people's attention, and the shape and decoration of the vessel can be used to meet the owner's requirements for rank and affiliation. Taotie patterns generally appear in the form of animal faces.
, has the characteristics of insects, fish, birds, beasts and other animals, and is composed of eye lines, nose lines, eyebrow lines, ear lines, mouth lines, and horn lines. The facial structure is relatively distinct, and it is precisely by using these characteristics that the face is
People are introduced to a mysterious world of art. The Taotie pattern of the Shang Dynasty is particularly effective in attracting people's attention. The Taotie pattern is fierce and solemn, with rigorous structure, exquisite production and mysterious realm. It is one of the best works of bronze decorative patterns.
, represents the highest level of bronze decorative patterns
In the late Spring and Autumn Period, slavery began to disintegrate, social unrest, and active thinking were also reflected in arts and crafts. It also reflected that during the Spring and Autumn Period and the Warring States Period, compared with the brutal slave society of the Shang Dynasty, the degree of people's dominance was relatively weakened, which allowed arts and crafts to flourish.
, showing fresh, lively, smart and changeable styles, changing the dignified, majestic, bulky and bulky characteristics of bronze ritual vessels. The theme of the work has changed from mysterious and grotesque idol patterns to educational wars, historical stories and other themes in real life.
Transformation. For example, the square pot with lotus and crane has beautiful shape and clever conception. It mainly has the pattern of beige and beetle, which gives people a fresh, lively, natural and relaxed feeling.
Among all visual images, the most basic one is decoration. Decoration is the basic unit of decorative surface and the starting point for the construction of other images. Traditional Chinese culture has recognized and emphasized the role of decoration from the beginning. The world-famous painted pottery culture in prehistoric times;
The bronze decorations of the Yin and Shang Dynasties were the product of the consciousness of "casting tripods like objects, and preparing them with hundreds of things, so that the people would know the gods' traitors" (from "Zuo Zhuan. Xuan Three Years").
Buddhist ornaments such as 'curly grass pattern', etc. A large country with a long history breeds rich traditional culture, and many cultural relics from ancient times to the present show the active understanding and mastery of ornamentation by Chinese traditional culture."
"Okay, then what are the styles and characteristics of traditional Chinese patterns from past dynasties?" the middle-aged man wearing glasses asked unwillingly.
"There are many types of traditional patterns in my country and they are rich in content. They not only represent the long history of the Chinese nation, the development and progress of society, but also the huge wealth in the treasure house of world civilization and art. From those endlessly changing, simple and vigorous traditional patterns, we can see To the level of craftsmanship in each era and the cultural traditions of the Chinese nation, many traditional patterns have endured and are still in use today, maintaining strong vitality. The patterns in various historical periods in China are rich and diverse, each with its own characteristics. The Neolithic period was solemn and elegant. , the natural and harmonious patterns, the powerful and mysterious patterns of bronzes of the Shang and Zhou dynasties, the lively and diverse, clever and changeable pattern styles of the Spring and Autumn Period and the Warring States Period, and the combination of Buddhism and traditional Chinese patterns after the introduction of Buddhism to China, etc., these all illustrate the design of traditional patterns. Whether in terms of shape or decoration, they have gone through a process from simple to complex, single to diverse. At the same time, in different regions and eras, the characteristics of decorative patterns are also different, in terms of topic selection, expression techniques and art. They all have different characteristics in style.
…
According to the characteristics of the pattern itself, the reasons for its formation are analyzed. The first point is the accidental occurrence of the pattern.
Engels stated in "The Origin of the Family, Private Property and the State" that "it can be shown that in many places, perhaps everywhere, pottery is made by coating a woven or wooden frame with clay to make it resistant to fire"
In doing so, it was soon discovered that the molded clay could be used for this purpose without the inner container. People still retained traces of these braids on the surface of the container after they were no longer used.
The production of pottery is accidental. It is caused by the specific life background of primitive society-the primitive people who are evolving into human society change their lives through labor. Their attempts in labor make the production of pottery possible. Decoration on the surface of pottery
Patterns were also produced under similar circumstances and further beautified human life in subsequent social development.
Represented by primitive culture, basket patterns and rope patterns are generally formed by rolling or tapping the surface of pottery with a pottery or wooden bat with grooves carved on it. The rope pattern and basket pattern are because the patterns are the same as those of ropes or baskets.
It is named after the similar textures. In addition, the fingerprints and the association of fingerprints imprinted on the pottery when smoothing or tapping the pottery with hands are also likely to be the source of concentric circles, fringes, swirls and other patterns. From the picture, we
You can see that patterns such as concentric circles, meandering patterns, and swirling patterns are very similar to human fingerprints.
The second point is that traditional patterns are affected by social background.
In terms of political factors, for ritual vessels in class society, the most important purpose of decoration seems to be to make the appearance of a ritual vessel eye-catching. Secondly, decoration can subdivide the types of vessels. It prompts people to pay attention to the shape of the vessel, that is, the ritual vessel.
Pay attention to the type. In addition, in a specific type of artifact, the decoration also indicates the grade, and in the grade, it also indicates the ownership relationship of the artifact.
The typical characteristics of the slave society of the Shang Dynasty are fully reflected in the works of arts and crafts, which are the products of the slave society's ruling class strengthening its own rule. The mysterious, grotesque, and terrifying atmosphere on the bronze ritual vessels is a reflection of the characteristics of its era. The patterns of the bronze vessels are used as examples.
Representative, the Taotie pattern has a certain representative meaning and has high aesthetic value and social significance. The solemn, solemn and mysterious artistic characteristics of the Taotie pattern not only meet the political needs of the ruling class of slave society, but also express the decoration of ancient Chinese bronzes.
The most basic design idea of the pattern, it can be changed according to the need to attract people's attention, and the shape and decoration of the vessel can be used to meet the owner's requirements for rank and affiliation. The Taotie pattern generally appears in the face of an animal, with the characteristics of insects,
The characteristics of fish, birds, beasts and other animals are composed of eye lines, nose lines, eyebrow lines, ear lines, mouth lines, and horn lines. The facial structure is relatively distinct, and it is precisely these characteristics that lead people to a
In the mysterious art world, the Taotie pattern of the Shang Dynasty is particularly effective in attracting people's attention. The Taotie pattern is fierce and solemn, rigorous in structure, exquisite in production, and mysterious in realm. It is one of the best works among bronze decorative patterns and represents the symbol of bronze.
The highest level of decorative patterns[4].
In the late Spring and Autumn Period, slavery began to disintegrate, social unrest, and active thinking were also reflected in arts and crafts. It also reflected that during the Spring and Autumn Period and the Warring States Period, compared with the brutal slave society of the Shang Dynasty, the degree of people's dominance was relatively weakened, which allowed arts and crafts to flourish.
, showing fresh, lively, smart and changeable styles, changing the dignified, majestic, bulky and bulky characteristics of bronze ritual vessels. The theme of the work has changed from mysterious and grotesque idol patterns to educational wars, historical stories and other themes in real life.
Transformation. For example, the square pot with lotus and crane has beautiful shape and clever conception. It mainly has the pattern of beige and beetle, which gives people a fresh, lively, natural and relaxed feeling.
In terms of economic factors, the economic base determines the superstructure. With the development of productivity, culture will inevitably receive new development and strengthening. Only when people's food and clothing problems are solved and living standards are improved accordingly, people's overall cultural literacy
Only when the level of education can reach a new level. In this way, it will also play a positive role in promoting the development of culture.
The Tang Dynasty was a prosperous period for my country's feudal society. The culture was extremely active, and Buddhist culture also developed further. In the decorative art, it was characterized by perfect shapes, full images, soft and graceful lines, focusing on realism and spiritual engraving, and Absorbing the simple decorative style, the colors are rich and vigorous, gorgeous and elegant. The decorative patterns are rich and full, rich and luxurious, and plants are often used as the preferred theme. Commonly used patterns include curly grass pattern, precious flower, sea pomegranate, flower and bird pattern, canopy pattern, Lianzhu pattern, slow band pattern, figure pattern, etc. The caisson pattern was at its peak in the Tang Dynasty. The pattern of the caisson in the early Tang Dynasty was clear, translucent and beautiful, with bright but not bright colors, emphasizing the integration of halo rendering and line drawing, with craftsmanship The beauty of the well. The center of the well is multi-square, with a combination of large lotus, large group flowers, and entwined branches as the main pattern. In the High Tang Dynasty, the center of the well shrank, the layers of edges increased, group flowers and entangled lace were prevalent, curly grass patterns, geometric patterns, and linked bead patterns Interspersed in an orderly manner, the pattern composition obviously tends to be rhythmic, uniform and stable, with full flower shapes and smooth lines, forming a generation style from the prosperous Tang Dynasty to the late Tang Dynasty.
Religion is a cultural phenomenon that has a comprehensive and powerful impact on politics, economy, science, culture, etc. Therefore, its influence on cultural psychology is widespread and profound. Buddhist art themes were originally products of Indian culture and were introduced to
The Chinese need to shape, engrave or paint various religious images, pictures and patterns on religious environments and utensils, and combine them with traditional Chinese cultural characteristics through artistic processing to impress and inspire people.
Pictures of Buddha Jataka fill the walls of caves in various places, developing and enriching traditional Chinese mural art and pattern art.
The lotus pattern among plant patterns is a more representative traditional pattern, with strong national artistic characteristics. The appreciation of lotus in ancient my country first originated from the Chu State, 'gathering hibiscus to make clothes', 'making hibiscus a matchmaker' ( "Songs of Chu"), refers to the lotus. The lotus pattern was first found on the utensils of the Spring and Autumn Period and the Warring States Period. The lotus-crane square pot unearthed in Xinzheng, Henan has a lotus-shaped lid. After Buddhism was introduced to China, it came from the Indian royal lotus The Buddhist rosette was modified in a Chinese way according to traditional Chinese images and aesthetics, and the artistic style began to change. In the early stage of porcelain, the lotus pattern had long and thin petals with pointed tips. In the later period, the petals were plump and the tips were tilted up, with a more fixed shape. Form expression. This is also an example of our country’s traditional patterns being influenced by and combined with foreign cultures.
The ever-changing "curly grass pattern" that has been used since the Tang Dynasty is a representative pattern in the transformation of Buddhist patterns. Buddhist plant patterns and ornaments, such as lotus, honeysuckle, bodhi, canopy, **, Yingluo, etc., among others
The object image is not suitable for the traditional Chinese modeling habits and aesthetic requirements. The 'curly grass pattern' is a new pattern under this situation. It is difficult to say which object image it is based on. The curly grass pattern is not a previous Chinese modeling theme.
, is not a specific object of Indian Buddhism. However, its twisted and specious flowers, leaves and branches have the air of auspicious clouds and the mood of Buddhist objects. It has both the etherealness of the curves and the flowing rhythm, while maintaining elegance.
Soft, honest and tranquil. It is a simple and distinctive Buddhist decorative pattern transformed by the Chinese nation by absorbing foreign religions. It uses flowing turning curves as the basic composition of the pattern, and integrates foreign themes into traditional Chinese aesthetic concepts.
The transformation of Buddhist decorative patterns. The emergence of the curly grass pattern is not accidental. It marks the arrival of the peak period of Buddhism's integration with Chinese culture.
Chinese traditional decorative patterns are rich in connotation and cultural heritage. Modern decorative pattern design is developed from traditional patterns, but it is not a simple copy and repetition of traditional patterns. Through discussion and research on China's different development stages, we can further understand
The compositional characteristics of traditional patterns. Mr. Lei Guiyuan, the pioneer of Chinese pattern art, pointed out that "Nature is the source, and ancient patterns are flows. Source and flow are the two wings of a pattern maker. One cannot fly high without one." Traditional patterns are as a handicraft industry in the era.
The products of traditional folk art are extracted from nature and life by art creators of all ages. Their shapes and colors are the essence that have been passed down for thousands of years. Traditional folk art has strong vitality, expressiveness and high artistic value. We
The style and characteristics of traditional patterns should be fully studied and applied to contemporary arts and crafts design. Traditional patterns should be inherited and discarded, and modernized to give them new design concepts, functions and forms, so that
It has become a modern decorative pattern that adapts to and meets the aesthetic and practical requirements of modern society, allowing our country's design to maintain its own style and characteristics while also integrating with the modern international society.
…”
When Zhang Wufeng said this, he stopped. In fact, if he continued to talk, he would only speak more broadly. Moreover, for these scholars, Zhang Wufeng did not want to undermine their confidence too much because of his own strength.
"You, why didn't you say anything? Have you finished showing off what you were planning to do?" The man wearing glasses still stubbornly attacked Zhang Wufeng.
Zhang Wufeng glanced at the man and had murderous intent in his heart.
But with just a perception, he already knew that this person was actually interested in Wang Jinxiu, and that's why he targeted him like this.
Sensing this, a somewhat evil smile flashed across his lips.
When the middle-aged man wearing glasses saw this smile, he couldn't help but feel a little afraid.
"Xue De, don't be ashamed of your talk. Zhang Wufeng's knowledge has already put us professors to shame. If this is still a deliberate performance, then what kind of professors are we? You are more like a beast. Although you have published many academic papers, but in expressing
On the other hand, you still fall far short of Zhang Wufeng.”
At the beginning, the old man named Xue Yang couldn't help but said in a deep voice.
"Xue De, don't think that just because you have some ability, you can do whatever you want. If you are really confident, you can compete with Zhang Wufeng on the spot."
"Don't get excited, everyone. In addition to being good at history, culture, archeology and antiques, I also have certain attainments in medical skills. Now, I will use a hypnotic method to let everyone listen to Xue De's thoughts.
, but if he is really interested in learning, no matter what I said today is good or not, I will admit defeat."
Zhang Wufeng said clearly.
"Hmph, what do you want to do? Hypnotize me? And then deliberately make me say something I don't mean?" Xue De said with a sneer.
"Everyone, as professors, you must know about hypnosis. As long as I don't speak and let him learn to speak, he will not learn to speak. And you know that hypnosis only makes people relax so that they can tell the truth, not
It allows people to speak against their will. This is known to all. Xue De, if you don’t dare, there is something wrong in your heart.”
Zhang Wufeng said disdainfully.
"I have a ghost in my heart. If I fart, I am a dignified university professor. How can I be afraid of your little hypnosis? Come on."
"Okay, everyone, just be witnesses, be quiet now," Zhang Wufeng said, then looked at Xue De, and a special spiritual power penetrated out.
"Xue De, look at me, be quiet, relax, remember to answer my questions truthfully, and truly let go of the constraints in your heart..."
Zhang Wufeng said softly, and then Xue De's angry eyes softened. Then, his expression calmed down, and the arrogance and madness in his whole person also became calm.
"Xue De, why are you targeting Zhang Wufeng?"
"Why target Zhang Wufeng? Because I want to get Wang Jinxiu. Such a cute girl is still a virgin. I must have a good time. She is my ninety-third target. After I finish her, I will get six more
With one virgin, I can reach a hundred. At that time, I can prolong my life and cleanse my bones and marrow."
"Shut up, Zhang Wufeng, you are framing me."
"What, actually, actually do something that is worse than a beast?"
"Xue Yang, don't get excited."
Zhang Wufeng glanced coldly, and then looked at Xue De again.
"Dad, what I told is the truth. It's really painful to hold something in my heart. I also imprisoned Zhang Simiao. All my academic papers were written by him. He was imprisoned by me in the dungeon, and his granddaughter was also imprisoned by me.
It was forced, but it was a pity that the woman couldn't think of it and jumped off the building to commit suicide.
Also, several of my students who were able to go to graduate school have been with me, and some have been matched with me several times. If they want to study in my graduate school, if they don’t go to bed with me, they won’t be able to get high marks no matter how high they are.
And it was because there was a little girl from the countryside, yes, Ye Qi, who gave up on herself after being fucked by my strong woman. Because of this, a man who pursued her found out and asked someone to kill me. As a result, I was stabbed.
A knife hit his ribs.
At that time, the principal found out about this and expelled me, but I made a statement online saying that I had been teaching for more than 30 years and that the school was not responsible after the incident and expelled me. Then I threatened Ye Qi's family, so she
Don't dare to testify.
Under the pressure of public opinion, the school had no choice but to let me re-employ, and even paid for my medical expenses of 7 million.
In fact, I only injured a few ribs, and the treatment didn't even cost 300,000 yuan.
This time I targeted Zhang Wufeng. I just saw Wang Jinxiu looking at him from time to time, and his eyes were full of admiration. Naturally, I felt unhappy. The woman I fell in love with could still run away, even if it was Lin Qing from the Lin family, or Lin Qing from the Sun family.
I will think of ways to get Sun Yunyun and Sun Shanshan. I have already made some plans for aphrodisiacs, and by then the fierce women will become sluts..."
The whole place was silent because these words were so shocking.
In addition to countless inside stories, there are also many gray things such as murder cases.
After Zhang Wufeng recorded everything, he just sneered, turned around and left.
Mr. Wang was trembling with anger. As for Xue Yang, his face turned blue and he almost fainted.
"Want to step on me? I will ruin your reputation and never get over it," Zhang Wufeng sneered in his heart.