Add Bookmark | Recommend this book | Back to the book page | My bookshelf | Mobile Reading

Free Web Novel,Novel online - All in oicq.net -> Fantasy -> Super optimized

Chapter 563 Taotie Mark¡¾2¡¿

Previous page        Return to Catalog        Next page

    Chapter 563 Taotie Mark [2] Thank you book friend '¤¢sensual thinking' for your support with reward coins, thank you very much~~ Taotie Mark "Haha, that's okay." Zhang Wufeng said with a smile. The other party did not have any thoughts, but under normal circumstances  Next, being careful about strangers is what normal people should do, but Zhang Wufeng still wants to continue Taobao, so he doesn't really want to run away with the Xinjiang people.  As the two of them talked, they had already returned to the stall, and Zhang Wufeng was temporarily holding the tripod in his hand to play with. The young man from Xinjiang who was looking at the stall had already ran back to get something.  Although things are said to be valuable, 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 only 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.  I don't agree, but since she is a sister, it is right for her to stand up if her sister is bullied.  But now that I saw Zhang Wufeng and understood that he had real talent and learning, his attitude became gentler.  As for cute temperament, 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 grandpa." Zhang Wufeng said with a smile.  "Yes, hey, what are you holding in your hand?" "That's a Taotie pattern bronze." 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 paid attention to 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.  Her goose-yellow velvet dress 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  And in school, although Zhou Minghui is better in appearance, this girl has 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, I definitely know." The old man said with a smile.  Zhang Wufeng smiled when he heard 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, and he immediately said: ¡°The tripod is an important tool for the founding of the Chinese nation in the Bronze Age.  In the Zhou Dynasty, the "ding" of "Yiyan Jiuding" was a sacred and ritual vessel symbolizing the supreme royal power. It was also a sacrificial vessel for worshiping heaven and ancestors. The tripod held the status of a national "totem pole" in the minds of the Chinese ancestors. Therefore,  Only national totems are qualified to ascend to such a lofty status and be engraved and cast on precious tripods. This phenomenon reflects two problems: First, by the Shang and Zhou Dynasties, the Chinese nation had dragon totems.  The totem worship legacy of the ancestors of the Yan Emperor and the Yellow Emperor may still exist because the Zhou Dynasty originated from Xirong, and most of the Xirong people were nomadic people who worshiped the wolf totem; secondly, the "dragon" at that time may not have been generally accepted and had not yet truly become a Chinese.  The national totem of the nation. Otherwise, the tripod symbolizing royal power would definitely have the dragon as its main decoration. Moreover, at that time, the emperor of Zhou had not yet sat on the dragon throne. At that time, the nomadic custom of the Yan and Huang Dynasties continued: the main decoration on the tripod was sitting on the ground.  It is composed of Taotie patterns and cloud patterns, with Taotie as the center and cloud patterns surrounding it. Obviously, the Taotie divine beast is in the sky, looking down from the clouds, and its body is hidden in the clouds.  Snake body or dragon body, butIf a dragon's body were added behind Taotie's head, it would not be far different from the later standard dragon.  Therefore, I think there may be a transitional stage between the wolf totem and the dragon totem, the gluttonous totem.  Taotie has both the character of a wolf and the ferocious appearance of a dragon later on.  ¡­ The true name and prototype of the mythical beast referred to by the animal facial 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, and some of them had human heads in their mouths.  Taotie was originally used in "Zuo Zhuan" to describe those who were greedy for money and gluttony. Modern scholars have pointed out that naming the animal mask pattern as a man-eating Taotie 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 patterns that had been popular for hundreds of years suddenly withdrew from the field of bronze decoration as the main pattern.  However, several animal patterns that appeared on bronzes at the same time as the Taotie pattern, such as dragons, tigers, phoenixes, turtles, etc., appeared in large numbers in both official and private circles in the subsequent cultural evolution, becoming the most famous auspicious symbols in Chinese culture.  There is an endless stream of themes in objects and art expressions.  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, dragons were far inferior to gluttons in the Bronze Age.  However, the dragon later ascended to the highest throne of Chinese cultural and political symbols, but "Taotie", the supreme figure of the Bronze Age, has been hard to find.  " Zhang Wufeng quoted from many sources and had his own opinions. His words made everyone's eyes light up and they felt convinced at the same time. Especially Zhang Wufeng's easy-to-pick words and his confident and calm attitude made Wang Jinxiu even more excited.  He couldn't help but feel admiration in his heart. Wang Jinxiu was also shocked by his grandfather's attitude towards Zhang Wufeng. Wang Jinxiu's grandfather was a Ph.D-level figure in culture and history at Peking University, and he also held multiple titles such as professor.  He is very famous in the country. Take today as an example. He will give a thesis lecture on bronze animal mask patterns later in the evening. But such a person actually respects Zhang Wufeng so much? Wang Jinxiu couldn't help but feel a little uneasy and excited.  , a pair of big eyes suddenly fell on Zhang Wufeng. ¡°Brother Zhang, your understanding of this aspect really makes me, a research expert, ashamed. The culture of the Shang and Zhou dynasties was actually very profound.  Most people who study this area do not have such in-depth knowledge. Although the accumulation and understanding of countless materials will certainly broaden their knowledge, it is one thing to understand it, but it is another thing to pick it up casually.  .  "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 have read it.  Everything will be remembered firmly, so picking it up casually is probably not a problem, but it has little to do with erudition.  "Zhang Wufeng was a little humble. "Do you remember everything you have seen?  "The expression on Wang Jinxiu's face couldn't help but be a little weird. At Peking University, it is well known that her memory is not the best, but it can be regarded as one of the best. However, with her level, she has studied hard with her grandfather for more than ten years, but for Shang and Zhou Dynasties, etc.  Although he is proficient in culture, he is not able to quote from other sources. But what did Zhang Wufeng say before? "It is recorded in "Ci Hai" that Taotie is a legendary gluttonous beast.  Ancient bells, tripods, and Yi vessels were often engraved with the shape of their heads as decoration.  "Cihai" said when explaining the word "Tao": Tao means "greed". "Hanshu. Rites and Music": "Greeting is dangerous" Yan Shigu notes: "Greed is called Tao." Specifically refers to gluttony. "Shen Yi Jing"  "Southwest Huang Jing": "There is a man in the southwest who has a hairy body and wears a pig on his head. He is as greedy as a ruthless man. He accumulates wealth without using it. He is good at taking people's grains. He is afraid of the strong and attacks others. He is called a glutton."  "Spring and Autumn" says that the gluttonous people are the untalented people of the Jinyun family. "Zuo Zhuan. Wen Gong's 18th Year" says: "The Jinyun family has untalented people who are greedy for food, take bribes, invade and indulge in extravagance, and cannot be tired of profit."  "To accumulate wealth and not know how to discipline it; to make no distinction between orphans and widows, and not to care about poverty and poverty. The people of the world compare themselves to the three evils, which is called gluttony." This is what the "Spring and Autumn Annals" said in "Shen Yi Jing".  "Xian Shi Lan": "Zhou Ding's gluttonous food has a head but no body. It eats people without harming its body, so it can be repaid with words." Song Luo Mi's "Lu Shi. Biography of Chi You" notes: "Chi You is the god of heavenly talismans."  The shape is unusual. Most of the Yi vessels of the three generations are like Chiyou, which is a warning for those who are greedy. The shape of the statue is animal shape, and Fu Qi said it is probably Taotie. "Zuo Zhuan" refers to Taotie.  He is "Jinyun's untalented son", and "Historical Records. The Chronicles of the Five Emperors" quotes Jia "?? said: ¡®The Jinyun family, whose surname is Jiang, is a descendant of Emperor Yan, and was an official in Jinyun during the reign of Emperor Huang.  ¡¯ 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 decapitated head of Chi You after he was defeated by Emperors Yan and Huang, and was transformed into a body filled with resentment. 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 adopted by the Lion Clan.  Guarding for generations (gatekeeper stone lion).  In addition, "Roe deer?" is recorded in "The Classic of Mountains and Seas. The Second Classic of Bei Ci". Guo Pu annotated that it is Taotie in "Zuo Zhuan".  "Strange Stories of Gods and Demons. Strange Beasts": There is an evil beast in the extreme south of China, with four eyes and black skin, a long neck and four legs, a ferocious nature and extremely greedy.  Traveling as fast as the wind is a disaster.  It is a kind of dragon water beast. It has a pair of horns on its head and is surrounded by cold air. Most of them are blue-white and are dozens of feet long. They are sometimes gentle and sometimes violent. They rise into the air and stir up waves of several feet, which is extremely powerful.  "The Classic of Mountains and Seas. Beishan Classic" says: "There is a lot of jade on the mountain of Gouwu, and a lot of copper on the bottom."  There is a beast, its shape is like a sheep's body and a human face, its eyes are under the armpits, it has tiger teeth and human claws, and its voice is like that of a baby. It is called a roe deer? It is a cannibal.  ¡¯ It is said in the "Shenyi Jing. Xihuang Jing": "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, picked up casually, really make 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 the slightest bit exaggerated.  Frivolous, then why does it show anything? A person's temperament, etc., are very obvious. What to express, what purpose, words and deeds will always have some flaws or flaws, and Wang Jinxiu is extremely smart.  , naturally has a strong ability to recognize people. Although she also understands the matter of Ye Qi, her impression of men is not good, so she did not help her before. But now she faced Zhang Wufeng's profound knowledge.  I feel ashamed. This is a gap in knowledge that makes people unable to resist and break away. It is obvious that Zhang Wufeng is definitely not only good at this industry, because it is obvious that he only came here through Taobao.  , and what kind of amazing level 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 praise, but felt that such a review was still good.  Not tall enough ¡°Xiuxiu, what¡¯s wrong, are you shocked?  "The old man joked with a smile. Wang Jinxiu came back to his 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, drinking. Grandpa likes wine the most.  " The poor old man was actually threatened and immediately gave up the rare opportunity to tease his granddaughter. Zhang Wufeng smiled and looked at this scene, and suddenly felt that the scene was very warm. Soon, the things were delivered, and the young man took the things  When he handed it to Zhang Wufeng, the old man was also watching. "Okay, 10 million, um, is it a transfer or a check?"  "Zhang Wufeng smiled. "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 what descendants of the Shang and Zhou dynasties are, antiques and family inheritance.  "The Xinjiang person 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 taking out a check, filling it out, and handing it over directly. "Ah - God, God -" The eyes of the Xinjiang people suddenly widened when they saw that this was a check from Tianfeng Group.  After that, he no longer had any worries. "Little brother, your vision is good, good." The old man looked at the miniature Dafang Ding with emotion in his heart. "Professor Wang, if you like it now, tonight.  I will send you to do some research. Anyway, from our status, money is a trivial matter.  "Zhang Wufeng smiled. "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 it is not as good as yours, little brother Zhang.  I am proficient in it, but I can still learn some aspects.  "Professor Wang said gratefully. "Well, okay, I will definitely go when the time comes.  " "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 was very excited.Tao.  In fact, he could not determine the authenticity of the bronze, 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 Fang Ding is real, then it is really not a matter of tens of millions. It has subverted something special.  After Zhang Wufeng and Professor Wang separated, 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 it together and asked seven or eight people to follow 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 technique to start absorbing it.  This process is not difficult.  ¡°But the benefits this process brought to Zhang Wufeng were huge.  The Taotie Mark was the representative 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 vein. But there is one thing that others would never think of, and that is the Shang and Zhou Dynasty.  cultural system of the period.  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¡ª" "Chichi¡ª" Two Taotie marks immediately penetrated into Zhang Wufeng's body. He originally had the power of five dragon veins, but when his son Zhang Reincarnation was born, the power of the dragon vein had been completely consumed, but at this moment  , the two Taotie Marks actually directly restored the exhausted dragon vein power, and even went a step further. At this moment, Zhang Wufeng used the energy of the Taotie Marks to remove the outer layer of the other small square tripod.  The coating is removed, revealing the real goodness underneath.  However, the Taotie mark has disappeared. For Zhang Wufeng, this thing is no longer of much use, but for ordinary people, without the spiritual pressure of the Taotie mark, this thing is more dazzling and attractive.  This may be the difference in realm.  Zhang Wufeng was filled with emotion about this, 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  It was just a test of Professor Wang's ability, but after knowing his knowledge, the other party still asked 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 then. Don't refuse, although I, Old Wang,  I love these things, but these are your personal belongings. Once they are handed over to the state, the state will naturally not let you suffer.¡±¡­ After talking to Zhang Wufeng for a while, many old men looked at the small square tripod carefully.  Then, Mr. Wang stepped onto 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 decorations on Shang and Zhou bronzes. The animal mask patterns on early Western Zhou bronzes should be the Zhou people's adaptation of the merchant style.  Imitation and inheritance, animal mask patterns mainly reflect the thoughts and ideas of merchants, and the patterns will become the material carrier of ideas, because animal mask patterns have a significant role in exploring the social culture and ideas of the Shang and Zhou dynasties.  It has a status that cannot be ignored, so it has constantly caused scholars to discuss its meaning. Based on previous research, we believe that the animal mask pattern on Shang and Zhou bronzes represents the supreme god in the minds of merchants. The animal mask pattern in the Shang Dynasty.  The large number of uses reflects that the Shang Dynasty was a society filled with divinity.nbsp;Bronze ware is an important symbol of social civilization in 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 study of bronze ware, the ideas contained in the ornamentation and the changes in ideas reflected in the changes in the ornamentation are relatively backward compared to the research on other aspects of bronze ware.  Moreover, decorations are mostly used as the basis for dating bronzes, while the ideas contained in them are ignored.  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 research status of bronze ware is in line with the internal logic of academic development.  Without the study of the artifacts themselves, it is impossible to gain an in-depth understanding of the ideas contained in the artifacts; without the precise dating of the bronze artifacts, it is impossible to understand the ideas of that era through the patterns.  It is precisely on the basis of the continuous research of predecessors that we can now discuss the ideas contained in the bronze decoration of Shang and Zhou Dynasties from a higher starting point.  Among the bronze decorations of the Shang and Zhou dynasties, the one with the most widespread controversy, the greatest charm, and the deepest influence is the animal mask pattern.  Animal face patterns, formerly known as Taotie patterns, were first seen in "Lu's Spring and Autumn Annals".  "Lu's Spring and Autumn Annals. Xian Shi Lan No. 4": "Zhou Ding made gluttonous food, which has a head but no body. It eats people without swallowing them, causing harm to their bodies. It is also unwholesome to repay them with words."  ¡¯ Later generations continued to use it. For example, Lu Dalin of the Song Dynasty said in the "Archaeological Map": "The Guiding is also written as a dragon and a tiger, with an animal face in the middle and a gluttonous image on the cover."  Until now, some people believe 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, and they still insist on using the term Taotie pattern.  However, the Taotie pattern was not named by the merchants themselves. Through in-depth research on this pattern, modern scholars mostly deny the scientific nature of the naming of the "Taotie pattern". In particular, Mr. Ma Chengyuan resolutely abandoned it in his article "A Review of Shang and Zhou Bronze Decoration".  Taotie pattern' was replaced by 'animal mask pattern'.  When Mr. Ma Chengyuan presided over the work of the Shanghai Museum, all the bronzes in the Shanghai Museum used animal mask patterns, which played a great role in publicity and promotion of "animal mask patterns".  Nowadays, scholars prefer to use the term "animal pattern".  In my speech this time, I also used ¡®animal mask pattern¡¯ instead of ¡®taotie pattern¡¯.  This time, thanks to my friend Zhang Wufeng Animal mask patterns reached their peak from the late Shang Dynasty to the early Western Zhou Dynasty.  The animal mask patterns on bronzes in the early Western Zhou Dynasty should be the imitation and inheritance of the merchants' style by the Zhou people. The animal mask patterns mainly reflect the thoughts and ideas of the merchants.  King Wu defeated the merchants because the "small state of Zhou" defeated the "big city merchants".  The Zhou people were obviously unprepared for the sudden victory. "Shang Shu Da Gao" described the Zhou people like this: "If a young man wades into the deep water, Yu Wei goes to seek my help." What he shows is a  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 that tribes with lower culture conquered tribes with higher culture. This resulted in the phenomenon of lower culture being assimilated by higher culture.  Marx once said: 'The barbaric conquerors, according to an eternal historical law, are themselves conquered by the higher civilization of the subjects they conquer.  ¡¯ This rule 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 would undoubtedly learn advanced culture from the Yin people.  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 and inherited the style of merchants on early bronzes.  It was not until the middle of the Western Zhou Dynasty that the style of the Zhou people was truly reflected in bronzes due to political stability and cultural maturity.  Although the patterns on bronzes in the late Shang Dynasty and the early Western Zhou Dynasty are almost the same, it cannot be assumed that the Zhou people and merchants had the same ideas at this time.  Because there is a certain process from the formation of ideas to the formation of utensils that reflect ideas, coupled with the change of dynasties and the special social background, the bronze decorations in the middle of the Western Zhou Dynasty truly reflect the ideas of the Zhou people.  The main pattern of bronzes in the Shang Dynasty is the animal face pattern.  Animal-face patterns were widely used on merchants¡¯ sacrificial vessels, which undoubtedly reflected the merchants¡¯ ideas.  Although "Lu Shi Chun Qiu" was the first to clearly record animal mask patterns, its interpretation of the meaning of animal mask patterns seems questionable.  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, and the book was 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 can also prove that in the era in which the editors of "Lu's Spring and Autumn Annals" lived, there were not many important sacrificial vessels of the Shang Dynasty that they had seen, and animal mask patterns had withdrawn from the dominant position in bronze decoration.  They no longer understand the specific meaning of this pattern.  So they came up with the idea of ??animal masksThe transformation function cannot correctly reveal the ideological connotation represented by this pattern.  But what exactly does the animal mask represent the thoughts of the businessman?  When Japanese scholar Hayashi Naifu studied the animal mask patterns on China's Shang and Zhou bronzes, he believed that the animal mask patterns were the sun gods of the Hemudu culture.  The image of this sun god is "a pair of back-to-back birds with a radiant circle behind it, and a three-pointed shape extending from the circle, and there are also vertical thin lines" and "a pair of birds crossing their necks with their heads upward."  , there is a circle with concentric circles at the intersection of the neck, and a flame-like thing protrudes from the upper half of the circle.  The round shape with radiating linear flames is undoubtedly a celestial body, and the tricuspid shape or something converging in one direction is the light seen during a solar eclipse.' Therefore, as a whole, it can be seen as being supported by a pair of birds.  Image of the sun god.  Lin's comparative study of animal mask patterns in the Shang and Zhou dynasties with patterns in prehistoric society should be said to be methodologically advisable. However, he believes that animal mask patterns are the sun god of the Hemudu culture and are found in both archaeological excavations and ancient documents.  No solid evidence can be found.  We should also look for answers from early literature records. "Zuo Zhuan. The third year of Xuan Gong" records a passage from Wang Sunman: "In the past, there was virtue in the Xia Dynasty. Pictures of things from far away, tribute to nine animals, and casting of tripods and elephants.  Everything is prepared to make the people aware of the evil deeds.  Therefore, when the people go into the mountains and forests of Sichuan, they will never encounter anything like them; they will never encounter any monsters or monsters.  Use energy to coordinate up and down, and rest all day long.  ¡¯ This is an earlier record in the literature about the meaning of bronze decoration.  Almost all scholars who study bronze decoration have quoted it, but their understanding is not the same, or even quite different.  The reason lies in the different understanding of cultural background.  Zhang Guangzhi said in his "The Evolution of the Relationship between Humans and Animals in Mythology and Art of the Shang and Zhou Dynasties": "In the early days of the Shang and Zhou dynasties, the function of animals in mythology was to communicate between the human world and the world of ancestors and gods.  In ancient China, divination as a way of communicating with dead ancestors was performed with the help of animal bones.  Ritual and music bronze vessels were apparently used in ancestor worship rituals at the time and were buried with people who went to join their ancestors after death.  Therefore, these bronze vessels are engraved with mythological animal patterns that serve as a medium for communication between the human world and the world of ancestors and gods. It is rather a phenomenon that is not difficult to understand. Later, Zhang also associated it with modern shamanism.  Combined, we get the 'shamanic channeling theory'.  The scope of influence of this theory involves archaeology, history, art and other fields, and there are many people who agree with it.  However, its conclusion is still unsatisfactory, and some scholars have discussed it.  Mr. Yu Weichao believes that if you enshrine "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 "evils and monsters". The images of deified animals visible on the bronze vessels of the third generation are of course symbols of the gods.  In the above comments, we basically agree with Mr. Yu¡¯s views.  How should we understand Wang Sunman¡¯s words?  How can the things cast on the tripod make the people know that the gods are traitors?  How to make the people enter the mountains and forests of Sichuan without encountering any evil spirits or monsters?  How can we cooperate with the superiors and subordinates so that we can rest all day long?  If we examine it according to the way of primitive thinking, 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 reason why the objects cast on the tripod can play such numerous and huge functions is that they "interpenetrate" with the people.  The things made and the people "interpenetrate", that is, the gods and the people "interpenetrate". Due to God's omnipotence, the things made can know the gods' evil and distinguish good from evil, so that the people can enter the mountains and forests of Sichuan.  You will encounter demons and monsters, and you will be harmonious above and below, so you will be blessed by heaven.  After analyzing Wang Sunman¡¯s words from the perspective of original thinking, we believe that the animal mask represents the ¡®god¡¯ in the mind of the businessman.  Among the many animal mask patterns, we can see that many so-called animal mask patterns are different.  Such as changes in ears, presence or absence of teeth, etc.  However, the rough overall structures are very similar, so they are collectively called animal patterns.  The entire animal mask pattern cannot be found in nature, but the various parts are indeed parts of various animals in nature, although some are exaggerated.  If these different parts are imaginatively constructed, is it still an animal?  We believe that the combined figures are no longer animals, and certainly not humans, but the 'gods' in the minds of businessmen. "Book of Rites. Biaoji" specifically comments: "The people of Yin respected the gods, led the people to serve the gods, and ghosts came first.  Ritual means punishment first and reward later, respect but not intimacy.  The people's state of mind is chaotic but not peaceful, and they are victorious but shameless.  ¡¯ Respecting gods, leading the people and serving 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: It can be seen from the above oracles that in the Shang Dynasty, divination was almost required for every detail.  From conquests and sacrifices to travel, praying for rain, illness, and many other things in life, one must ask God for his will.  In the Shang Dynasty, there was also a weekly sacrifice system with frequent sacrifices.  As a major national event, the sacrifice was very important and sacred at that time.  As sacrificial vessels, ritual vessels should have rich ideological connotations. Casting patterns on such important vessels is??This decoration must have occupied a prominent position in the minds of merchants.  "Yin people respect gods." The position of the Supreme God in the hearts of Yin people is undoubtedly the most important.  How to understand the supreme god of businessmen?  Mr. Wang Hui said: 'The God of the Yin people is the supreme god of the Yin people. He is the main god of the Yin people who combines ancestor gods and natural gods.  As an ancestor god, the God of the Yin people is Emperor Ku, 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 over wind, rain, clouds, thunder and other gods.  The combination of ancestral gods and natural gods was a characteristic of the Yin Dynasty imperial power.  'The combination of ancestor gods and natural gods brings great ambiguity, mystery and uncertainty to the image of the Supreme God, which also provides great freedom for the casting of his materialized image.  As for the animal mask pattern, it shows an overall similarity in casting, but its local depiction is varied.  As for the detailed changes in the animal mask patterns, such as the changes in the ears, they 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.  Combining the religious beliefs of businessmen, it is not an exaggeration to understand the animal mask pattern as the supreme god in the minds of businessmen.  The animal mask patterns in the early Western Zhou Dynasty were the imitation and inheritance of merchants by the Zhou people, and were not of great significance in the history of thought. Only the patterns in the middle Western Zhou Dynasty reflected the Zhou people's ideas.  In the middle of the Western Zhou Dynasty, the decorative patterns on bronzes were mainly abstract patterns such as curved patterns and ring patterns, as well as realistic patterns.  Compared with animal face patterns, realistic patterns are no longer so mysterious and inaccessible to people, but have more of a breath of life, giving people a fresh feeling.  The biggest difference between realistic patterns and animal masks is that they are realistic, exaggerated or abstract of a specific animal that exists in nature, rather than a fantasy combination of multiple animals. This is a key change.  The fantasy combination of multiple animals highlights not reality but fantasy; while 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 were further materialized in artifacts.  During the Spring and Autumn Period and the Warring States Period, bronze wares experienced inherent alienation in terms of shape, decorative meaning, and decorative content.  Bronze ceremonial musical instruments gradually transformed from artifacts for worshiping gods and ancestors into luxury goods used by wealthy nobles in ceremonial occasions and family banquets. Their humanization and daily life became their new characteristics, and a large number of human figures 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 where divinity was permeated to an era where human nature is manifested.  From the respect for gods and ghosts expressed in the initial animal mask patterns, a society filled with divinity has moved towards paying attention to reality and emphasizing reality, and then developed to highlighting human nature, completing the return from divinity to humanity.  This final return from divinity to humanity 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 have discussed the meaning of animal mask patterns in Shang and Zhou dynasties from the perspective of thinking, religious beliefs, etc., and believe that the animal mask patterns on Shang and Zhou bronzes represent the supreme god in the minds of merchants.  A comparison of the bronze decorations of the Shang and Zhou dynasties shows that, compared with 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 bronzes.  The modern era is a society filled with divinity.  ¡­¡± bk
Didn't finish reading? Add this book to your favoritesI'm a member and bookmarked this chapterCopy the address of this book and recommend it to your friends for pointsChapter error? Click here to report