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Taotie Mark
"Haha, that's okay." Zhang Wufeng said with a smile. The other party did not have any thoughts, but under normal circumstances, it is what normal people should be careful about strangers, but Zhang Wufeng still wants to continue Taobao, so it is not too much.
I want to run away with the people from Xinjiang.
As they talked, the two of them had returned to the stall, and Zhang Wufeng had temporarily held the tripod in his hand to play with. The young man from Xinjiang who was looking at the stall had already run back to get something.
Although the thing is said to be expensive, not many people understand the value of this thing. Moreover, this thing is not a big thing, it is just a miniature version, and it is very convenient to carry.
"Grandpa, do you think that 'ding' is a real symbol of status? Then why are emperors represented by 'dragon'?" A familiar voice came, making Zhang Wufeng look over.
Among the crowd not far ahead, a girl in yellow and an old man were talking and laughing, walking towards them.
"Hey, Zhang Wufeng, is it you? Are you setting up a stall here?" When the girl saw Zhang Wufeng, she couldn't help being slightly startled, and then asked with a bit of surprise.
Although she had cursed in the hotel a few days ago regardless of her status, it was just because Chen Xingbin's words were too irritating, and Ye Qi, a girl, has always been her sister, although Wang Jinxiu was also very angry about Ye Qi's behavior.
She didn't agree, but since she was a sister, it was right for her to stand up when a sister was being bullied. But now that she saw Zhang Wufeng and understood that he was truly talented and learned, her attitude became gentler.
As for cuteness, after all, people are human beings, and they all have emotions and desires. Cuteness cannot always be cute from beginning to end. Cute people can also be angry, sad, lost, and hesitant.
"Well, Wang Jinxiu, you are here too. This is your grandfather, right?" Zhang Wufeng said with a smile.
"Yeah, hey, what are you holding in your hand?"
"That's a Taotie pattern bronze vessel." The old man replied with a smile.
"Well, this is the Taotie pattern square tripod." Zhang Wufeng said with a smile.
"Young man, did you buy it? You have good taste." The old man was very energetic, and there was appreciation in his eyes.
"Grandpa, this is the Zhang Wufeng I told you about. He transferred to our department before. Well, he is very knowledgeable." Wang Jinxiu said cutely.
Zhang Wufeng had noticed this girl when she was in school, because she looked very ancient. How should I put it, just like Xiao Guoxiang? She was indescribably pure and cute, but she was also different from Xia Xiaoyan.
There are some differences.
She is dressed in a goose-yellow velvet that has a different kind of charm. She has a kind of morbid weakness and a silent and gentle temperament. Coupled with a pair of big and smart eyes, she gives people a very special feeling.
OK.
In school, although Zhou Minghui was better in appearance, this girl had more suitors.
"Haha, it turns out to be Zhang Wufeng, whom I have admired for a long time. There is no doubt about the strength of little brother Zhang. Xiuxiu, aren't you asking why the Taotie pattern is a symbol of status, but why is the symbol of the emperor's status a dragon? Haha, Xiao Zhang
Brother, you definitely know."
The old man said with a smile.
Zhang Wufeng smiled after hearing this. At this moment, he saw many people gathered around him. Some were probably attracted by Wang Jinxiu's beauty, and some were attracted purely because of the topic. He immediately said: "Baoding is the Chinese bronze bronze ding."
The most important weapon of the era.
In the Zhou Dynasty, the "ding" of "Yiyan Jiuding" was a sacred and ritual vessel that symbolized the supreme royal power, and was also a sacrificial vessel for offering sacrifices to heaven and ancestors. The tripod held the status of a national "totem pole" in the minds of the Chinese ancestors. Therefore,
Only totems belonging to the nation are qualified to ascend to such a lofty status and be engraved and cast on the tripod.
This phenomenon reflects two problems: First, by the Shang and Zhou Dynasties, the Chinese nation had a dragon totem, and the totem worship legacy of the ancestors of the Yan Emperor and the Yellow Emperor may still exist. This is because the Zhou Dynasty originated from Xirong, and most of Xirong worshiped wolves.
The totem of the nomadic people; secondly, the 'dragon' at that time may not have been generally accepted and has not truly become the national totem of the Chinese nation. Otherwise, the tripod symbolizing royal power would definitely have the dragon as the main decoration. And at that time, Emperor Zhou
There was no dragon throne yet, and at that time the nomadic tradition of the Yan and Huang Dynasties was still continued: sitting on the ground.
The decorations on the Zhou tripod are mainly composed of Taotie patterns and cloud patterns, with Taotie as the center and cloud patterns surrounding it. Obviously, the Taotie mythical beast is in the sky, sticking its head out of the clouds and looking down at the world. Its body is hidden in the
Yunli. I don’t know if it has a snake body or a dragon body, but if a dragon body is added behind the Taotie head, it will not be far different from the later standard dragon. So, I think there may be something between the wolf totem and the dragon totem.
There is a transitional stage of the Taotie totem. The Taotie has both the character of a wolf and later the ferocious appearance of a dragon.
…
The true name and prototype of the mythical beast referred to by the animal mask pattern has long been buried in the ages that cannot be reproduced. Later generations gave it the name Taotie because of its ferocious, mysterious, and terrifying appearance. Some of them had human heads in their mouths, so they named it Taotie. Taotie Original
It is used in "Zuo Zhuan" to describe those who are greedy for money and gluttony. Modern scholars have pointed out that naming the animal mask pattern as gluttonous eating is simply far-fetched and goes against the social and cultural conditions of the Shang and Zhou dynasties.
Because of its ferocious and terrifying appearance and its reputation as a glutton, it is almost impossible to find traces of this beast in the evolution of Chinese culture and art. In the middle of the Western Zhou Dynasty, animal decorations that had been popular for hundreds of years suddenly withdrew from the field of bronze decoration as the main pattern. However, with the gluttony
Several animal patterns appeared on bronzes at the same time, such as dragons, tigers, phoenixes, turtles, etc. In the subsequent cultural evolution, they appeared in large numbers in both official and private circles, becoming the most famous mascots and artistic expressions in Chinese culture.
There is an endless supply of themes. Especially dragons. In the Bronze Age, most of them had the same ferocious faces as the Taotie pattern. In terms of mystery, power and status, the dragon was far inferior to the Taotie in the Bronze Age. However, the dragon later appeared on the
Although it has occupied the highest throne of Chinese cultural and political symbols, "Taotie", the supreme figure of the Bronze Age, has been hard to find.
…”
Zhang Wufeng quoted from many sources and also had his own opinions. His explanations made everyone's eyes light up and they felt convinced at the same time.
In particular, Zhang Wufeng's easy-to-pick words and confident and steady attitude made Wang Jinxiu admire him in his heart.
Wang Jinxiu was also shocked by his grandfather's attitude towards Zhang Wufeng.
Wang Jinxiu's grandfather is a Ph.D.-level figure in Peking University's culture and history. He also holds many titles such as professor. It can be said that he is very famous in China.
Take today as an example. I will give a thesis lecture on bronze animal mask patterns later in the evening.
But even such a person actually respected Zhang Wufeng extremely? Wang Jinxiu couldn't help but feel a little uneasy and excited, and a pair of big eyes suddenly fell on Zhang Wufeng.
"Brother Zhang, your understanding of this aspect really makes me, a research expert, ashamed and ashamed. The culture of the Shang and Zhou dynasties was actually very broad and profound. Most of the people who study this area today are not so profound.
, although the accumulation and understanding of countless information will certainly broaden the scope of knowledge, but understanding it is one thing, and picking it up at will is another thing."
The old man said with emotion.
"Professor Wang, in fact, when it comes to this aspect, it is just a hobby. I am more yearning for the culture of the Shang and Zhou dynasties, so I know more about it. In addition, my memory is very good, so I will remember everything I read.
Remember, picking it up casually is probably not a problem, but it has little to do with erudition." Zhang Wufeng was a little modest.
"Do you remember everything you have seen?" The expression on Wang Jinxiu's face couldn't help but be a little strange. It is well known in Peking University that her memory is not the best, but it is one of the best. But with her level, following her grandfather
I have studied hard for more than ten years, but although I am proficient in the culture of Shang and Zhou dynasties, I am not able to draw extensive references.
But what about Zhang Wufeng?
What did you say before?
"Cihai" records: Taotie is a legendary gluttonous evil beast. Ancient bells, tripods and Yi vessels are often engraved with the shape of their heads as decorations. "Cihai" explains the word "Taotie" when it says: "Taotie" means "greedy", "Han"
"Book of Rites and Music": "Greed and gluttony are dangerous." An ancient note by Yan Shi: "Greedy is called gluttony." It refers specifically to gluttony.
"Shenyi Jing. Southwest Wilderness Jing": "There is a man in the southwest who has a hairy body and wears a boar on his head. He is as greedy as ruthless, he accumulates wealth without using it, and he is good at robbing people of grain. The strong ones seize the old and the weak, and they attack singles out of fear of being strong.
The name is Taotie. In "Spring and Autumn", a gluttonous person is an untalented person of the Jinyun family.'
"Zuo Zhuan. The Eighteenth Year of Wen Gong" says: "The Jinyun family has untalented people who are greedy for food and drink, risking bribes, invading and exalting luxury, and cannot be tired of profit; they accumulate wealth and do not know how to discipline; they do not distinguish between orphans and widows, and do not care about the poor.
Gui. The people of the world compare themselves to the three evils, and call them gluttonous.'
This is the so-called "Spring and Autumn Annals" in the Shenyi Jing.
"Lu's Spring and Autumn Annals. Xian Shi Lan": "Zhou Ding wrote gluttonous food, which has a head but no body. It eats people without swallowing them and harms its body, so it is better to repay them with words."
Luo Mi of the Song Dynasty's "History of Lu. Biography of Chi You" notes: "Chi You, the god of heavenly talismans, has an unusual shape. Among the Yi utensils of the three generations, there are many images of Chi You, which is a warning to those who are greedy. The image is in the shape of an animal, and is painted with flesh."
Wings.' According to what he said, it is almost gluttonous.
"Zuo Zhuan" states that Taotie is an "untalented man of the Jinyun family", while "Historical Records. The Chronicles of the Five Emperors" excerpts quote Jia Xuan as saying: "The Jinyun family, with the surname Jiang, are descendants of Emperor Yan, and were officials in Jinyun during the time of the Yellow Emperor."
Chi You's surname was Jiang, and he was also a descendant of Emperor Yan ("History of the Road. Biography of Chi You"), so Chi You was probably the "untalented" Taotie of the Jinyun family. According to legend, Taotie was the head of Chi You who was beheaded after he was defeated by the Yan and Huang emperors.
The resentment gathered in different parts of the body and head was transformed, and it had the ability to devour all things. It was sealed by the Yellow Emperor with the Xuanyuan Sword (a metaphor for the dragon pattern on the sword), and was guarded by the lion tribe for generations (gatekeeper stone lions). Also in "The Classic of Mountains and Seas. The Second Classic of the North"
"Roe deer?" Guo Pu annotated that it was Taotie in "Zuo Zhuan".
"Strange Stories of Gods and Demons. Strange Beasts": There is an evil beast in the extreme south of China. It has four eyes, black skin, a long neck and four legs. It is ferocious in nature and extremely greedy. It moves as fast as the wind and is a source of disaster. It is a kind of dragon water beast.
, has a pair of horns on its head, surrounded by cold air, most of them are blue-white, dozens of feet long, sometimes gentle and sometimes violent, it rises into the air and stirs up water waves of several feet, which is extremely powerful.
"The Book of Mountains and Seas. Beishan Jing" says: "On Gouwu Mountain there are many jade, and there is much copper below. There is a beast, its shape is like a sheep's body and a human face, its eyes are under the armpits, tiger's teeth and human claws, its sound
For example, a baby named Roe Deer is a cannibal.'
"Shenyi Jing. Xihuang Jing" says: 'Taotie, the name of the beast, has a body like an ox, a human face, eyes under the armpits, and cannibalism.'
…”
There are many more among them, but these, taken casually, really made Wang Jinxiu feel overwhelmed.
Of course she knew that this was not Zhang Wufeng showing off, because with a maid like Sun Shanshan, Zhang Wufeng's attitude was not even remotely exaggerated or frivolous, so why would he show off?
A person's temperament, etc., are all very obvious. What he wants to express, what purpose he has, and there will always be some flaws or flaws in his words and deeds. Wang Jinxiu is extremely smart and naturally has a strong ability to recognize people.
, although she knew about Ye Qi in her heart, but she had a bad impression of men, so she didn't help her before.
But at this moment, facing Zhang Wufeng's profound knowledge, she felt ashamed.
This is a gap in knowledge that makes people irresistible and irresistible.
And it is obvious that Zhang Wufeng is definitely not only good at this industry, because it is obvious that he just came here through Taobao.
What astonishing level of knowledge in other aspects will it reach?
Wang Jinxiu suddenly felt like a deer, and her pretty face was slightly flushed. She was not shocked at all by her grandfather's high evaluation, but felt that such evaluation was not high enough.
"Xiuxiu, what's wrong, are you shocked?" the old man joked with a smile.
Wang Jinxiu came to her senses immediately, blushed immediately, and then said coquettishly: "Grandpa, you bullied Xiuxiu again, it's really annoying."
"Hahaha, it's rare for you to be embarrassed. Haha, your little ancestor also knows-"
"Grandpa, do you still want to drink?"
"Uh, yes, yes, drink. Grandpa likes wine the most."
The poor old man was threatened and immediately gave up the rare opportunity to make fun of his granddaughter.
Zhang Wufeng looked at this scene with a smile, and immediately felt that this scene was very warm.
Soon, the things were delivered. When the young man took the things and handed them to Zhang Wufeng, the old man was also watching.
"Okay, ten million, um, should I transfer it or check it?" Zhang Wufeng said with a smile.
"Just a check. Mr. Zhang, you are a learned man and a master. If you still can't believe it, then let's talk about being a descendant of the Shang and Zhou dynasties, antiques and family inheritance." The Xinjiang man said seriously.
"Well, this is 10 million. This thing of yours is very good. I am very satisfied and like it very much." Zhang Wufeng said, casually took out a check, filled it out, and handed it over directly.
"Ah - God, God -"
The Xinjiang man's eyes suddenly widened. After seeing that this was a check from Tianfeng Group, he no longer had any worries.
"Little brother, your vision is good, good." The old man looked at the scaled-down version of the large square tripod, and his heart was filled with emotion.
"Professor Wang, if you like it now, I will send you to study it tonight. Anyway, for our status, money is a trivial matter." Zhang Wufeng said with a smile.
"Well, thank you very much, little brother. At six o'clock in the evening, we have a thesis speech on bronzes. Do you want to listen to it? This speech was given by me. Although I am not as proficient as you, little brother Zhang, but
There are still some aspects that can be learned.”
Professor Wang said gratefully.
"Well, okay, I will definitely go then."
"Well, here are the business cards and invitation cards. The address is on the invitation card. Of course, the address is in the academic lecture hall not far from here..."
Professor Wang said very excitedly.
In fact, he couldn't tell whether the bronze was genuine or fake, because if it was fake, it would be difficult to tell without instruments.
But with Zhang Wufeng's identity and his determination, he had no doubts.
If this small square tripod is real, it really doesn't cost tens of millions, and it subverts something special.
After Zhang Wufeng and Professor Wang parted ways, they went to Taobao to buy some jadeite wool and some special things containing spiritual imprints. Considering the trouble of transferring money in batches, Zhang Wufeng simply bought them together and asked seven or eight people to follow them and transfer the money at the same time.
In this way, Zhang Wufeng and his party bought more than ten things.
But among these things, only the square tripod is the most precious.
After leaving Panjiayuan and coming to the academic lecture hall, I just said my name. Suddenly, no one checked Zhang Wufeng's invitation card, and they took Zhang Wufeng directly to a huge conference room like a lecture theater.
Here, there are many old people sitting together and discussing some issues carefully.
Zhang Wufeng, on the other hand, played with the Fang Ding in his hand, then placed the Fang Ding inside the conference table when no one was paying attention, and then used his inner energy and the Sky City Kung Fu to start absorbing it.
The process is not difficult.
But the benefits this process brought to Zhang Wufeng were huge.
The Taotie mark was a symbol of the emperor during the Shang and Zhou dynasties, and these things, obviously, were worn and owned by the emperor, which were equivalent to the power of the dragon veins.
But there is one thing that others will never think of, and that is the cultural system of the Shang and Zhou dynasties.
At that time, there were allusions such as King Wu's defeat of Zhou, and even mythological stories such as the List of Gods. At that time, the Nine-Five Supreme Being was truly born in response to the destiny of heaven. The potential of the symbol of the emperor at that time was so huge.
"Chichi—"
"Chichi—"
The two Taotie marks immediately penetrated into Zhang Wufeng's body. He originally had the power of five dragon veins, but for the birth of his son Zhang Huan Samsara, the power of the dragon veins had been completely consumed. But at this moment, the two Taotie marks had directly consumed them all.
The power of the dragon vein was completely restored, and even went one step further
At this moment, Zhang Wufeng used the energy of the Taotie Mark to remove the outer coating of the other small square tripod, and then revealed the real benefits inside.
However, the Taotie Mark disappeared. For Zhang Wufeng, this thing was no longer of much use, but for ordinary people, without the spiritual pressure of the Taotie Mark, this thing became more dazzling and attractive.
Maybe this is the difference in realm.
Regarding this point, Zhang Wufeng was filled with emotion, and in this way, he conveniently gave these two things to Mr. Wang.
Professor Wang Laowang is also a real scholar. Otherwise, Zhang Wufeng would not have given it to him. In fact, when Zhang Wufeng mentioned the allusions before, he also intentionally said more. Of course, this is not a performance, but
The school only tested Professor Wang's ability, but after knowing his knowledge, the other party still allowed him to participate in academic lectures. From this point of view, Professor Wang must be a real cultural person.
For such people, Zhang Wufeng only has respect in his heart.
"Brother Zhang, you're here. It's good that you're here. I was afraid you wouldn't come."
Professor Wang said enthusiastically, and at this time, the other old men who were discussing also looked at Zhang Wufeng.
"Mr. Wang, take these two pieces."
"Haha, okay, okay, after I report it to the country and check the value, I will definitely compensate you. Don't refuse. Although I, Lao Wang, love these things, they are your personal belongings. Once they are uploaded,
Leave it to the country, and the country will naturally not let you suffer."
…
After talking to Zhang Wufeng for a while, many old men looked at the small square tripod carefully, and then Mr. Wang walked up to the podium.
"...
Animal mask patterns were widely used on heavy sacrificial vessels in the Shang Dynasty and the early Western Zhou Dynasty. They were the most common and one of the most important patterns on Shang and Zhou bronzes. The animal mask patterns on early Western Zhou bronzes should be the imitation and inheritance of the merchant style by the Zhou people.
, animal mask patterns mainly reflect the ideas of merchants. The ideas will be integrated into the production of patterns, and the patterns will become the material carrier of ideas. Because animal mask patterns play an important role in the discussion of Shang and Zhou social culture, ideas and concepts that cannot be ignored
status, so it has constantly caused scholars to discuss its meaning. Based on previous research, we believe that the animal mask patterns on Shang and Zhou bronzes represent the supreme god in the minds of merchants - God. Animal mask patterns were widely used in the Shang Dynasty.
, which reflects that the Shang Dynasty was a society filled with divinity.
Bronze ware is an important symbol of the social civilization of the Shang and Zhou dynasties. Almost every bronze ware embodies the talent and creativity of the people at that time. It has not only become an outstanding work of art, but also a valuable material that cannot be ignored in the study of the history of the Shang and Zhou dynasties. In the history of bronze ware,
In research, the ideas contained in the ornamentation, and the changes in ideas reflected by the changes in the ornamentation, are relatively backward compared to the research on other aspects of bronze ware. Moreover, the ornamentation is mostly used as the basis for dating the bronze ware, while ignoring the meaning contained in it itself.
Thoughts. We believe that the study of ornamentation should not be ignored, because the ideas at that time will be integrated into the production of ornamentation, and the ornamentation will become the material carrier of ideas.
Of course, the current status of bronze ware research is in line with the internal logic of academic development. Without the study of the artifacts themselves, it is impossible to deeply understand the ideas contained in the artifacts; without the accurate dating of bronze ware, it is impossible to understand the culture of that era through the decoration.
Ideology. It is precisely on the basis of the continuous research of predecessors that we can now discuss the ideas contained in the Shang and Zhou bronze decorations from a higher starting point.
Among the bronze decorations of the Shang and Zhou dynasties, the one with the most widespread debate, the greatest charm, and the deepest influence is the animal-face pattern. The animal-face pattern, formerly known as the Taotie pattern, was first seen in "Lu's Spring and Autumn Annals". "Lu's Spring and Autumn Annals. Xianshikan Fourth"
:'Zhou Ding casts gluttonous food, which has a head but no body. If it eats people without swallowing them, it will harm their bodies. It is also bad to repay them with words.' Later generations continued to use it. For example, Lu Dalin in the Song Dynasty said in "Archaeological Map":'
The Guiding is also written as a dragon and tiger, with an animal face in the middle and a gluttonous image on the cover. Until now, some people think that when the functional meaning of the decoration is not clear and clear, it is not advisable to replace the original name with another inferential name.
Still insist on using the term Taotie pattern. However, Taotie pattern is not the self-named name of merchants. Through in-depth research on this pattern, modern scholars mostly deny the scientific nature of the naming of "Taotie pattern", especially Mr. Ma Chengyuan's "A Review of Shang and Zhou Bronze Decoration"
In one article, the "taotie pattern" was resolutely abandoned and replaced by "animal mask pattern". And when Mr. Ma Chengyuan was in charge of the Shanghai Museum, all the bronzes in the Shanghai Museum used animal mask patterns, which played a role in the "animal mask pattern".
It has a great publicity and promotion effect. Nowadays, scholars are more inclined to use the term "animal mask pattern". In my speech this time, I also used "animal mask pattern" instead of "taotie pattern".
This time, thanks to my friend Zhang Wufeng, I sent...
The animal mask pattern reached its peak from the late Shang Dynasty to the early Western Zhou Dynasty. The animal mask pattern on bronzes in the early Western Zhou Dynasty should be the imitation and inheritance of the merchant style by the Zhou people. The animal mask pattern mainly reflects the thoughts of the merchants. King Wu defeated the Shang Dynasty.
The "small state of Zhou" defeated the "big city of merchants". The Zhou people were obviously not prepared for the sudden victory. "Shang Shu. Da Gao" describes the appearance of the Zhou people in this way: "Yu Wei, a boy is like wading into deep water, Yu Wei goes
"Ask me for help" showed a look of sincerity and fear. The Yin survivors did not accept the rule of the Zhou people wholeheartedly. They were always waiting for the opportunity of rebellion and restoration. The victory of the Western Zhou Dynasty was attributed to the tribes with lower culture.
After conquering the tribes with higher culture, the phenomenon of lower culture being assimilated by higher culture appeared. Marx once said: "The barbaric conquerors, according to an eternal historical law, themselves were transformed by the higher education of the subjects they conquered."
Conquered by higher civilizations.' This law is specifically reflected in the relationship between Shang and Zhou: Politically, the Zhou people conquered the Yin people; culturally, the Yin people assimilated the Zhou people. In this way, the Zhou people will undoubtedly learn advanced skills from the Yin people
Culture. In the early Western Zhou Dynasty, the large number of Yin survivors must have a sentiment of attachment to the original culture. This is reflected in the bronzes of the early Western Zhou Dynasty and even the middle Western Zhou Dynasty. At this time, many craftsmen of the Zhou royal family were Yin survivors, so
The Zhou people completely imitated the early bronzes and inherited the style of the merchants. It was not until the middle of the Western Zhou Dynasty, due to political stability and cultural maturity, that the Zhou people's style was truly reflected in the bronzes. Although the bronzes of the late Shang Dynasty and the early Western Zhou Dynasty
The decorations are almost the same, but it cannot be concluded based on this that the Zhou people and merchants had the same ideas at this time. This is because there is a certain process from the formation of ideas to the formation of utensils that reflect the ideas. In addition, there were changes in dynasties and special social conditions.
Background, so the bronze decorations in the middle Western Zhou Dynasty truly reflect the ideas of the Zhou people.
The main decoration of bronzes in the Shang Dynasty is the animal mask pattern. Animal mask patterns were widely used on merchants' sacrificial vessels, which undoubtedly reflects the thoughts of merchants. Although "Lu Shi Chun Qiu" was the first to clearly record animal mask patterns, its
The interpretation of the meaning of animal mask patterns seems debatable. As we all know, the book "Lu Shi Chun Qiu" was compiled by Lu Buwei and his disciples. The purpose of compilation was to serve the Qin Dynasty, which was about to unify the world. It can be regarded as a book to guide political operations.
The book is still compiled after Lu Buwei's death, so the historical authenticity of the book is secondary to its political nature. Among the animal mask patterns we have seen in a large number of archaeological discoveries, only a few have heads and no bodies. This is
It can also be proved that in the era in which the editors of "Lu Shi Chun Qiu" lived, they had seen few important sacrificial vessels of the Shang Dynasty, and animal mask patterns had withdrawn from the dominant position in bronze decoration. What did they mean by this kind of decoration specifically?
The meaning is no longer clear. Therefore, they proposed the educational function of the animal mask pattern, but could not correctly reveal the ideological connotation represented by this pattern.
But what exactly does the animal mask pattern represent the thoughts of the merchants? When Japanese scholar Hayashi Naifu studied the animal mask pattern on Chinese Shang and Zhou bronzes, he believed that the animal mask pattern was the sun god of the Hemudu culture. The image of this sun god is a pair of
There is a radiant circle behind the back-to-back birds, and a three-pointed shape protrudes from the circle. There are also vertical thin lines and a pair of birds with crossed necks looking up. At the intersection of the necks there are inlays.
A concentric circle with a flame-like object protruding from the upper half of the circle. A circle with radiating linear flames is undoubtedly a celestial body, and a tricuspid shape or something converging in one direction is the light seen during a solar eclipse.
''Therefore, it can be seen as an image of the sun god supported by a pair of birds as a whole.'' Lin compared and studied the animal mask patterns of the Shang and Zhou dynasties with the patterns of prehistoric society. It should be said that it is advisable in terms of method.
However, he believes that the animal mask decoration is the sun god of the Hemudu culture. No solid evidence can be found in archaeological excavations and ancient documents. We should also look for answers from early literary records, "Zuo Zhuan. Xuan Gong Three Years"
It recorded a passage by Wang Sunman: "The people of the past Xia were virtuous. They drew pictures from far away, paid tribute to nine animals, cast cauldrons and elephants, and prepared hundreds of things to make the people aware of the evil gods. Therefore, when the people entered the mountains and forests of Sichuan, they would not
It is impossible to encounter evil spirits and monsters. Use energy to harmonize the upper and lower parts, so as to rest all day long. This is an earlier record in the literature about the meaning of bronze ware decoration. Almost all scholars who study bronze ware decoration have quoted it, but their understanding is still unclear.
They are not the same, or even very different. The reason lies in the different understanding of the cultural background. Zhang Guangzhi said in his "The Evolution of the Relationship between Humans and Animals Seen in Shang and Zhou Mythology and Art": "In the early days of the Shang and Zhou dynasties, myths
The function of animals plays a role in communicating between the human world and the world of ancestors and gods. In ancient China, divination, as a way to communicate with dead ancestors, was performed with the help of animal bones. Ritual and musical bronzes
It was obviously used in ancestor worship rituals at that time, and was buried with people who went to join the procession of their ancestors after death. Therefore, these bronze vessels were engraved with myths that served as a medium for communication between the human world and the world of ancestors and gods.
The sexual animal patterns are not difficult to understand. Later, Zhang combined it with modern shamanism and came up with the "shamanic channeling theory". The scope of this theory involves archaeology, history, art and other fields.
, there are many people who agree with it. However, its conclusion is still not satisfactory, and some scholars have discussed it. Mr. Yu Weichao believes that if you worship "hundred things", you can resist the intrusion of ghosts and monsters, so that "no monsters or monsters can be encountered"
.Then the images on the Xia Ding should be the gods who drove away the "demon monsters". The deified animal images visible on the bronze vessels of the third generation are of course symbols of the gods. Among the above opinions, we basically agree with Mr. Yu. Regarding Wang Sunman's words
How should we understand? How can the things cast on the tripod make the people know that gods are traitors? How can the people go into the mountains and forests of Sichuan and encounter no evil, and no monsters can be encountered? How can we cooperate with the upper and lower to rest all day long? What if?
If we examine it according to the original thinking method, Wang Sunman's words will be easily explained.
Levi Breuer believed that primitive thinking is fundamentally different from modern thinking. It is a mysterious, original logical thinking based on collective representation and governed by the law of interpenetration. According to the principle of "interpenetration law", the objects cast on the tripod
The reason why it can play so many and huge roles is that it "interpenetrates" with the people. The things it casts "interpenetrate" with the people, that is, the gods and the people "interpenetrate". Due to the omnipotence of God,
No, the result is that the things made can know the evil spirits and distinguish good from evil, so that when people enter the mountains and forests of Sichuan, they will not encounter monsters and ghosts, the upper and lower parts will be harmonious, and thus receive the blessing of heaven.
After analyzing Wang Sunman's words from the perspective of original thinking, we believe that animal mask patterns represent the 'god' in the minds of businessmen. Among the many animal mask patterns, we can see that many so-called animal mask patterns are different.
Such as the changes in the ears, the presence or absence of teeth, etc. However, the rough overall structures are very similar, so they are collectively called animal facial patterns. The entire animal facial pattern cannot be found in nature, but the decomposed
The various parts are indeed part of various animals in nature, although some are exaggerated. If these different parts are constructed in a fantasy way, are they still animals? We think that the combined graphics are no longer animals.
Of course, it's not a human being, but a 'god' in the eyes of businessmen.
"Book of Rites. Biaoji" specifically comments: "The people of Yin respected the gods and led the people to serve the gods. They first worshiped the gods and then rewarded them, punished them first and then rewarded them. They were respectful but not close. Their people were arrogant, wandering but not calm, and victorious but shameless."
'Respecting the gods, leading the people and serving the gods is an important feature of the Shang Dynasty society. This is also reflected in the oracle bone inscriptions of the Shang Dynasty. For example: From the above inscriptions, it can be seen that in the Shang Dynasty, divination was almost required for every detail.
For everything from conquests, sacrifices, travel, praying for rain, illness, and many things in life, God's will should be asked. The Shang Dynasty also had a weekly sacrifice system with frequent sacrifices. As a major national event, sacrifices were very important at that time.
It is also very sacred. As a sacrificial vessel, ritual vessels should have rich ideological connotations. If patterns are cast on such important vessels, the patterns will surely occupy a prominent position in the minds of merchants.
'Yin people respect gods'. The position of the supreme god in the hearts of the Yin people is undoubtedly the most important. How to understand the supreme god of merchants? Mr. Wang Hui said: 'The God of the Yin people is the supreme god of the Yin people. It is the Yin people who regard the gods of their ancestors as
The main god who is combined with the god of nature. As an ancestor god, the God of the Yin people is Emperor Ku, who is also the ancestor of the Yin people; as a natural god, imperial power is combined with the worship of the sun and moon gods, and God rules the wind, rain, and clouds
Thunder and other gods. The combination of ancestor gods and natural gods is a characteristic of the imperial power of the Yin Dynasty. The combination of ancestor gods and natural gods brings great ambiguity, mystery and uncertainty to the image of the supreme god.
, which also provides a great free space for the casting of its materialized image, so that the animal mask pattern shows an overall similarity in casting, but its local depiction is varied. As for the detailed changes in the animal mask pattern,
For example, changes in the ears may be related to the totem worship of various tribes. Therefore, we believe that the animal mask patterns on Zhou bronzes represent the supreme god of the Yin people, God.
Combined with the religious beliefs of merchants, it is not an exaggeration to understand the animal mask pattern as the supreme god in the minds of the merchants. However, the animal mask pattern in the early Western Zhou Dynasty was the imitation and inheritance of the merchants by the Zhou people, and it is not of great significance in the history of thought.
In the middle of the Western Zhou Dynasty, the decorations of the Zhou people reflected the ideological concepts of the Zhou people. In the middle of the Western Zhou Dynasty, the decorations of bronzes were mainly abstract decorations such as curved patterns and band patterns, as well as realistic decorations. Realistic decorations were compared with animal mask patterns.
It is no longer so mysterious and not allowed to be walked in, but has more of a breath of life, giving people a fresh feeling. The biggest difference between realistic patterns and animal masks is that
, it is a realistic, exaggerated or abstract representation of a specific animal that exists in nature, rather than a fantasy combination of multiple animals. This is a key change. What the fantasy combination of multiple animals highlights is not reality, but
Fantasy; and the realism or abstraction of a specific animal highlights reality, not fantasy. Of course, this huge change did not come out of nowhere. It was a change in the real social conditions at that time, which led to a change in ideas and concepts, which was further materialized in
on the utensils.
During the Spring and Autumn Period and the Warring States Period, bronze ware experienced inherent alienation in terms of shape, decorative design, and decorative content. Bronze ceremonial musical instruments gradually transformed from artifacts for worshiping gods and ancestors into luxury items used by wealthy nobles in ceremonial occasions and family banquets.
Character, humanization, and life became its new characteristics, and a large number of character statues also emerged at this time. These phenomena strongly indicate that human nature is recovering in this era, and society has also shifted from an era of divinity to an era of manifesting human nature.
.From the initial animal-mask pattern that showed respect for gods and ghosts, a society filled with divinity has moved towards paying attention to reality and focusing on reality, and then developed to highlighting human nature, completing the return from divinity to human nature. This kind of transformation from divinity to human nature finally
The return established the future development model of Chinese culture and led China to embark on a development path completely different from that of the West, that is, focusing on the world on this side and paying less attention to the world on the other side.
Combining previous research results, we discussed the meaning of animal mask patterns on Shang and Zhou dynasties from the perspective of thinking, religious beliefs, etc., and concluded that the animal mask patterns on Shang and Zhou bronze ware represent the supreme god in the minds of merchants. Through
A comparison of the bronze decorations of the Shang and Zhou dynasties shows that compared to the bronze decorations from the mid-Western Zhou Dynasty to the Warring States Period, which express human nature, animal mask patterns mainly express divinity. Its extensive use on bronzes of the Shang Dynasty reflects the Shang Dynasty.
