Chapter 564 will ruin your reputation!

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.

…”
To be continued...