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Chapter 564 Let you be ruined!

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    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 square tripod. 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? How can a young boy like us be compared to us? As the saying goes, words can't work, and this little guy comes out of his mother's womb.  Even if we don¡¯t study, we still won¡¯t have the achievements we have. It¡¯s already a big 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 it's because you think this kid looks like a person who is interested 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 dull, and then his face quickly turned green.  "Xue Yang, you are such an old man, you even question my words? When has my old Wang ever walked through the back door, or taken a penny and a half of other people's money? This is really unreasonable." "Don't say I don't respect you, maybe you, Old Wang, do the same  I was deceived by this kid. Is this knowledge about Taotie patterns something that ordinary people can understand? " "That is, juniors should be humble. You can tell by the way you praise him that he is not a knowledgeable person.  This is what the so-called half bucket of water means. " "Grandpa, since they don't believe you, let Zhang Wufeng give a speech and tell these people what it means to be short-sighted." Wang Jinxiu didn't say anything, but when her grandfather looked over.  , indicating with his eyes. This strong look made Mr. Wang startled slightly, and then he suddenly realized and sneered: "Okay, okay, since you think I have taken advantage of others, okay, I will let Zhang Wufeng come up and give a speech.  In order to prevent you from saying that this is ready, you can ask any questions you want. If you can't answer anything, I, Lao Wang, will give up my seat in the association." Lao Wang was immediately extremely annoyed.  ¡°In the past, he would not test the good talents 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 did not say why he would recommend Zhang Wufeng. These people were so fierce, which is really infuriating. "Brother Zhang Wufeng, you have seen it. I hope you can give them a good education."  A lesson, let them know that 'one who has ambition is not in his age', and let them know that 'the master is the teacher' "Haha, Mr. Wang, I agree to this matter" Zhang Wufeng said proudly, "Humph, who knows if you are colluding.  Yes, memorize a paragraph to cope with it?  Okay, if you don¡¯t talk about anything else, tell us about the evolution of animal mask patterns." 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 fool around with a few words, but  Generally speaking, it is difficult to grasp. People who do not study in depth cannot answer it at all.  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 such patterns began to be called the Taotie pattern.  Its meanings include ¡®connecting heaven and earth¡¯, ¡®connecting life and death¡¯, ¡®expelling ghosts and avoiding evil¡¯, ¡®powerful, 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 Taotie, but they found its proper characteristics in various animals in real life (especially large beasts), so when shaping the image of the Taotie, they integrated sheep (ox) horns  (representing nobility), bull ears (good at discrimination), snake body (mysterious), eagle claws (brave), bird feathers (good at flying), etc. Mysterious monsters have the organs of familiar animals, which allows people to quickly experience  What kind of emotions do you have towards Taotie tattoos?  The mythical origin and exaggerated appearance make the Taotie pattern terrifying, mysterious and majestic, making it daunting.  The most important feature of the Taotie pattern should be its eyes.  No matter how it changes, the Taotie pattern will always be indispensable for its pair of bright, energetic, calm and majestic giant eyes.  It stares at the outside world, shocking people's hearts, but at the same time it also strongly attracts people's attention.  The Taotie pattern mostly appears on the belly of the bronze as a theme pattern, and a small amount of it appears on the feet.  The wide space gives it enough room for display, and the eye-catching position gives it moreA sense of dominance and majesty.  In the history of ancient Chinese culture, the gluttonous culture occupies an important position. Its ferocious, rough, uninhibited and uninhibited power, as well as its shocking power, symbolize an important sign of China's history of breaking away from barbarism and entering an ancient civilized country.  Any ritual vessel with the image of Taotie shows dignity, authority and strength, and is a symbol of power and status.  " Zhang Wufeng paused for a moment. Most of the old men and middle-aged scholars who were noisy with contemptuous eyes had now begun to discuss quietly. Some nodded secretly, some frowned with dissatisfaction, and some were thoughtful.  , and some looked at Zhang Wufeng with curious eyes from time to time. ¡°The Taotie beast 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, most of which are in the shape of ribbons, and few are entirely covered with flowers.  The Taotie pattern of this period is also relatively simple, with multiple long strips and linked bead patterns sandwiched above and below.  It is generally a single layer with no underlying ground pattern, and 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 a symbol, the other stripes are not  It does not express the various parts of the object in detail.  All animal face patterns do not have thunder patterns as their ground.  The wall surface of the bronze vessel is relatively plain, with few and simple decorative patterns; and the picture structure is relatively simple, with each pattern clearly distinguishable, and 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 vessel, developing towards the whole body being filled with flowers, and developing into three-dimensional multi-layered decoration.  Most of them are decorated with ground patterns, that is, uniform and slender cloud and thunder patterns are engraved on the bottom blank of the main Taotie pattern as a foil.  Delicate and dense abstract animal face patterns are intertwined with exquisitely carved fine thunder patterns and neatly arranged and densely arranged feather patterns, forming a rich and mysterious triple pattern.  Not only are the combinations of patterns complicated, but the characteristics of the animals in the animal patterns (such as the horns of the animal mask, the feathers of the bird pattern) are also highlighted and exaggerated, and are ever-changing.  At this time, composite patterns such as birds and beasts and Kui and beasts also appeared.  It is also worth noting that a large number of complete and concrete gluttonous lines appear on the face during this stage.  For example, the Taotie beast face pattern in Sanxingdui.  The bronze animal-faced statues unearthed from Sanxingdui can be divided into three types according to their shapes, with three pieces of each type, making a total of nine pieces.  They are all in the shape of thin sheets and cast in low relief.  Most of their faces have long eyebrows and straight noses, large eyes with bulging eyes, and two rows of square teeth exposed in their wide and long mouths. These all show exaggerated human facial features.  There are a pair of wide and long curved horns on both sides of their heads, a wider fork-shaped sword blade on the forehead and a pair of small curled horns on both sides, and some are cast with two long pointed ones with the upper ends pointing downward.  The hooked ears show a magical animal shape.  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.  Looking at these animal-like statues that look like beasts but not beasts, and look like humans but not humans, their ferocious and mighty shapes, grinning expressions, strange decorations and exaggerated shapes all give people a sense of surprise.  It has both rough style and detailed depiction.  Amid its ferocious severity, it also reveals a bit of simplicity and kindness.  These highly imaginative masks that combine human and animal features embody a rich original mystery.  In the early Western Zhou Dynasty, bronze wares were basically the same as those in 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.  For example, the Fu 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 and a Kui shape.  The rest are all plain-faced cauldrons.  The style of bronzes in the middle of the Western Zhou Dynasty turned to "prime as precious".  The Taotie pattern of the complicated and ferocious calendar, which originally valued literature, gradually lost its former glory.  The Taotie Beast's facial patterns and the Taotie Beast's body deformation patterns have undergone drastic changes.  The Taotie animal facial pattern gradually faded.  The distinctive rolling body Kui pattern appeared.  Correspondingly, subsequent bronzes also gradually moved towards life-oriented decorative patterns in the process of decentralization of royal power and the collapse of rituals and music.  The ferociousness of the bronze vessels is weakened and the liveliness is strengthened.  The decoration first became magnificent, complicated and circuitous, and then became sparse, open, concise and pleasant.  On bronze wares, the number of monster patterns decreased, sculptures praising life increased, and the gluttonous pattern was replaced by feasting, attacking and war pictures centered on human life.  As a result, the Taotie pattern has become an image memory of the past, gradually losing its original connotation in the course of historical changes.  Ren¨¦ Grusset pointed out in the book "Chinese Civilization" 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, and are full of barbaric andThe deterrent force of violence exudes primitive, innocent and 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 and mysterious monster.  Common patterns on bronzes.  It is a patterned animal face, so it is also called animal face pattern.  This monster has no body, only a big head and a big mouth. It is very greedy and eats whatever it sees. It eats too much and eventually dies of starvation.  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 the Liangzhu Culture jades in the lower reaches of the Yangtze River 5,000 years ago.  "Lu's Spring and Autumn Annals. Xian Ji" chapter says: "Zhou Ding made gluttonous food, which had a head but no body. He ate people without swallowing them, causing harm to their bodies."  ¡¯ The Taotie pattern has been found on bronzes in the Erlitou and Xia cultures.  Taking the bridge of the nose as the midline, the two sides are symmetrically arranged, usually the lower lip.  Taotie patterns appear on bronze vessels, especially tripods.  There were many types of Taotie patterns in the Shang and Zhou dynasties, some were like dragons, tigers, cows, sheep, and deer; others were like birds, phoenixes, and people.  The name Taotie pattern did not exist in ancient times, but was named by the Song Dynasty people when epigraphy was rising. The most perfect Taotie pattern mask is 2 centimeters high and is now in the Seattle Library in the United States.  During the Western Zhou Dynasty, its mystery gradually faded.  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's Spring and Autumn Annals. Xian Ji" says: "Zhou Ding's gluttonous food has a head but no body. It eats people without swallowing them, causing harm to their bodies, so they should repay them with words."  ¡¯ "Zuo Zhuan. The Eighteenth Year of Wen Gong": "The Jinyun family had some untalented men who were greedy for food and drink, took risks in buying and selling goods and bribes, invaded and admired luxury, could not get tired of it, accumulated real wealth, and did not know how to discipline."  No distinction is made between orphans and widows, and no sympathy for poverty.  The people of the world compare themselves to the three evils and call them gluttons.  ¡¯ Du Yu¡¯s note: ¡®Greeting for money is gluttony, gluttony is gluttony.  ¡¯ In the Shang and Zhou dynasties, when bronzes were prevalent, bronze wine vessels were often cast.  This bronze statue with Taotie (yintaotie) pattern from the Shang Dynasty was unearthed in Qianshan County, Anhui Province in 1972. It was buried underground for more than 3 years. When it was unearthed, it was not only intact, but also shining with green light and exquisite decoration. It is a national first-class cultural relic and is now  Hidden in Anhui Provincial Museum.  This statue is 21.5 centimeters high, 19.4 centimeters in diameter, and weighs 2 kilograms. 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.  Taotie pattern, a common decoration on bronze vessels, is also called animal face pattern.  The pattern symbolizes the face shape of the 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 varied.  The Lord has an animal face with eyes wide open and protruding, majestic and mysterious.  There is a phoenix bird on each side of the animal face, with a long crown and huge claws, soaring upward.  The ground is decorated with cloud and thunder patterns, the raised Taotie pattern is engraved with negative lines, and the neck and feet are each decorated with two convex string patterns. The decorations are diverse and the body of the vessel is powerful.  "Zun" is a vessel for holding wine, also used as a vessel for pouring wine. "Shuowen": "Zun" is a thing specially used to hold wine during sacrifices or entertaining guests.  There is a poem in Lu You's "Miscellaneous Feelings": "It is easy to get wine from a statue, but it is rare to see a stork and magpie tower thousands of miles away".  The status of Zun among bronze ritual vessels is second only to the tripod.  In addition to round bronze statues, there are also square ones, and those that imitate the shapes of birds and animals, collectively called "bird and beast statues".  Bronze statues were rare in the Spring and Autumn Period and the Warring States Period.  This 3-year-old animal-faced statue has important historical value; from an artistic point of view, it is also a very valuable arts and crafts, because it is surrounded by many patterns and shallow carvings.  Relief, intaglio, and the combination of flat images and reliefs, and the combination of utensils and animal images, the structure of the entire bronze statue is indeed exquisite.  All of these are expressed through the casting process, thus achieving satisfactory results.  Bronze ware, also usually referred to as copper ware, in Chinese archeology, mainly refers to utensils made of copper-tin alloy during the Pre-Qin period, including cooking utensils, food utensils, wine utensils, musical instruments, weapons, etc.  The bronzes we see now are the creations of the working people of ancient my country.  However, in slave society, bronze utensils were mainly owned and enjoyed by the slave-owning class.  However, with the development of history to this day, it would be unappetizing to use it as a hip flask again, because judging from the overall shape of this statue, it looks very much like a modern spittoon.  " Zhang Wufeng quoted from many sources, demonstrated and described in detail the evolution of the Taotie beast's facial pattern and the related introduction of some corresponding cultural relics. The entire narrative lasted for more than thirty minutes, and its classic narration and detailed explanation  , making the entire hall fall silent. At this moment, Mr. Wang was still standing next to Zhang Wufeng, and Zhang Wufeng was still standing in the lecture position. For a long time, thunderous applause broke out uncontrollably, and many old people present spontaneously.  He stood up to show respect for Zhang Wufeng. "Mr. Zhang, have you ever seen the Sanxingdui bronze animal mask?"  "Mr. Zhang, Sanxingdui Bronze Beast Face Statue, youDo you have a collection? Can you let me take a look?  " "Mr. Zhang, I am extremely ashamed to have questioned your lack of knowledge before" "Mr. Zhang, do you have anything else to add?  According to the evolution of animal mask patterns, what are the characteristics of the slave society in the Shang Dynasty?  "Among the many people, the middle-aged man wearing glasses had a slightly gloomy face, and then asked proudly. "Haha, I actually mentioned this just now. I thought you understood it. If you don't understand, okay, it's yours.  I really need to be more detailed in order to understand.  " "You-" "Well, the typical characteristics of the slave society in the Shang Dynasty are actually fully reflected in the arts and crafts works, which are the products of the ruling class of the slave society strengthening their own rule.  The strong atmosphere of mystery, weirdness, and terror on the bronze ritual vessels is a reflection of the characteristics of its era.  Represented by bronze ware patterns, the Taotie pattern has a certain representative meaning and has high aesthetic value and social significance.  The solemn, solemn and mysterious artistic characteristics of the Taotie pattern not only meet the political needs of the ruling class of slave society, but also express the most basic design ideas of ancient Chinese bronze decorative patterns. It can be changed according to the need to attract people's attention.  The shape and decoration of the vessel are designed to meet the owner's requirements for rank and affiliation.  Taotie lines generally appear in the face of animals, with the characteristics of insects, fish, birds, beasts and other animals, and are composed of eye lines, nose lines, eyebrow lines, ear lines, mouth lines, and horn lines.  The facial structure is relatively distinct, and it is precisely these features that lead people to a mysterious art world. The Taotie pattern of the Shang Dynasty is particularly effective in attracting people's attention.  The Taotie pattern is fierce and solemn, with rigorous structure, exquisite production and mysterious realm. It is one of the best works of bronze decorative patterns and represents the highest level of bronze decorative patterns. In the late Spring and Autumn Period, slavery began to disintegrate, and the characteristics of social unrest and active thinking were also reflected.  In arts and crafts.  It also reflects that during the Spring and Autumn Period and the Warring States Period, compared with the brutal slave society of the Shang Dynasty, the degree of rule of the people was relatively weakened, which allowed arts and crafts to bloom, showing fresh, lively, smart and changeable styles, changing the dignified, majestic, and formal appearance of bronze ritual vessels.  Big bulky features.  The theme of the work changes from mysterious and grotesque idol patterns to wars, historical stories and other themes with educational significance in real life.  Such as the lotus and crane square pot, it has a beautiful shape and clever conception. It mainly has the pattern of pan chi and the pattern of pan Qiu, which gives people a fresh, lively, natural and relaxed feeling.  Among all visual images, the most basic one is decoration.  Decoration is the basic unit of decorative surface and the starting point for other image formations.  Chinese traditional culture has recognized and emphasized the role of decoration from the beginning.  The world-famous painted pottery culture of the prehistoric era; the bronze decorations of the Yin and Shang Dynasties were created under the consciousness of "casting tripods like objects, and preparing them with hundreds of things, so that the people would know the traitors of gods" (from "Zuo Zhuan. Xuan Three Years")  The products include the ever-changing Buddhist patterns of the Tang Dynasty, such as the "curly grass pattern".  A large country with a long history has nurtured a rich traditional culture. Many cultural relics from ancient times to the present show the active understanding and mastery of decorative patterns in traditional Chinese culture.  " "Okay, then what are the styles and characteristics of traditional Chinese patterns in the past dynasties?  "The middle-aged man wearing glasses asked without giving up. "There are many kinds of traditional patterns in my country and they are rich in content. They not only represent the long history of the Chinese nation, the development and progress of society, but also are a huge wealth in the treasure house of world civilization and art.  From those ever-changing, simple and rich traditional patterns, we can see the level of craftsmanship in various eras and the cultural traditions of the Chinese nation. Many traditional patterns have endured for a long time and are still in use today, maintaining strong vitality.  The patterns of various historical periods in China are rich, diverse and distinctive.  The solemn, elegant, natural and harmonious patterns of the Neolithic period, the powerful and mysterious patterns of bronzes of the Shang and Zhou dynasties, the lively, diverse, clever and changeable patterns of the Spring and Autumn Period and the Warring States period, as well as the combination of Buddhism and traditional Chinese patterns after it was introduced to China, etc.  It shows that the design of traditional patterns has gone through a process from simple to complex, single to diverse, both in terms of shape and decoration.  At the same time, in different regions and eras, the characteristics of decorative patterns are also different, and they have different characteristics in topic selection, expression techniques and artistic styles.  ¡­ ¡­ Analyze the reasons for the formation of the pattern based on its own characteristics. The first point is the accidental occurrence of the pattern.  Engels pointed out in "The Origin of the Family, Private Property and the State" that "it can be shown that in many places, perhaps everywhere, the manufacture of pottery is due to the coating of clay on the woven or wooden surface to make it resistant to fire.  And produced.  In doing so, it was soon discovered that the shaped clay could be used for this purpose without an inner container.  ¡¯ Even after people stop using these woven fabrics, they still retain the traces of these woven fabrics left on the surface of the container.  The production of pottery is accidental. It is caused by the specific life background of primitive society-the primitive people who are evolving into human society change themselves through labor.The life and experiments in labor made the production of pottery possible.  The decorative patterns on the surface of pottery were also produced under similar circumstances, and further beautified human life in the subsequent social development.  Represented by primitive culture, basket patterns and rope patterns are generally formed by rolling or tapping the surface of pottery with a pottery or wooden bat with grooves carved on it. The rope pattern and basket pattern are because the patterns are the same as those of ropes or baskets.  It is named after the similar texture.  In addition, the fingerprints and associations of fingerprints imprinted on the pottery when smoothing or tapping the pottery with hands are also likely to be the source of concentric circles, fringes, swirls and other patterns.  From the picture, we can see that patterns such as concentric circles, fringes, and swirls are very similar to human fingerprints.  The second point is that traditional patterns are affected by social background.  In terms of political factors, for ritual vessels in class society, the most important purpose of decoration seems to be to make the appearance of a ritual vessel eye-catching.  Secondly, decoration can subdivide the types of artifacts.  It prompts people to pay attention to the type of utensil, that is, the type of ritual utensil. In addition, in a specific type of utensil, the decoration also indicates the grade, and in the grade, it also indicates the ownership relationship of the utensil.  The typical characteristics of the slave society of the Shang Dynasty are fully reflected in the arts and crafts works, which are the products of the ruling class of the slave society strengthening their own rule.  The strong atmosphere of mystery, weirdness, and terror on the bronze ritual vessels is a reflection of the characteristics of its era.  Represented by bronze ware patterns, the Taotie pattern has a certain representative significance and has high aesthetic value and social significance.  The solemn, solemn and mysterious artistic characteristics of the Taotie pattern not only meet the political needs of the ruling class of slave society, but also express the most basic design ideas of ancient Chinese bronze decorative patterns. It can be changed according to the need to attract people's attention.  The shape and decoration of the vessel are designed to meet the owner's requirements for rank and affiliation.  Taotie lines generally appear in the face of animals, with the characteristics of insects, fish, birds, beasts and other animals, and are composed of eye lines, nose lines, eyebrow lines, ear lines, mouth lines, and horn lines.  The facial structure is relatively distinct, and it is precisely these features that lead people to a mysterious art world. The Taotie pattern of the Shang Dynasty is particularly effective in attracting people's attention.  The Taotie pattern is fierce and solemn, with rigorous structure, exquisite production and mysterious realm. It is one of the best works of bronze decorative patterns and represents the highest level of bronze decorative patterns [4].  In the late Spring and Autumn Period, slavery began to disintegrate, and the characteristics of social unrest and active thinking were also reflected in arts and crafts.  It also reflects that during the Spring and Autumn Period and the Warring States Period, compared with the brutal slave society of the Shang Dynasty, the degree of rule of the people was relatively weakened, which allowed arts and crafts to bloom, showing fresh, lively, smart and changeable styles, changing the dignified, majestic, and formal appearance of bronze ritual vessels.  Big bulky features.  The theme of the work changes from mysterious and grotesque idol patterns to wars, historical stories and other themes with educational significance in real life.  Such as the lotus and crane square pot, it has a beautiful shape and clever conception. It mainly has the pattern of pan chi and the pattern of pan Qiu, which gives people a fresh, lively, natural and relaxed feeling.  In terms of economic factors, the economic base determines the superstructure. With the development of productivity, culture will inevitably receive new development and strengthening.  Only when people's food and clothing problems are solved and living standards are improved accordingly can the overall level of people's cultural literacy reach a new level.  In this way, it will also play a positive role in promoting the development of culture.  The Tang Dynasty was a prosperous period for my country's feudal society, with extremely active culture and Buddhist culture also developed further.  In the decorative art, it is characterized by perfect shape, full image, soft and graceful lines, focusing on realism and spiritual engraving, and absorbing simple decorative style, with rich and vigorous colors, gorgeous and elegant.  The decorative patterns are rich and full, gorgeous and luxurious, and plants are often used as the preferred theme. Commonly used patterns include curly grass pattern, precious flower, sea pomegranate, flower and bird pattern, canopy pattern, linked bead pattern, slow band pattern, figure pattern, etc.  The caisson pattern was at its peak in the Tang Dynasty.  The caisson patterns in the early Tang Dynasty have clear patterns, translucent and beautiful colors, and the colors are bright but not bright. They emphasize the integration of overlapping halo rendering and line drawing, and have the beauty of craftsmanship.  The center of the well is mostly square, with a combination of large lotus, large group of flowers and entangled branches as the main pattern.  In the prosperous Tang Dynasty, the center of the well shrank, the layers of edging increased, round flowers and twining lace became popular, curly grass patterns, geometric patterns, and beads patterns were interspersed in an orderly manner. The pattern composition obviously tended to be rhythmic, even and smooth, with full flower shapes and smooth lines.  It formed a generation style from the prosperous Tang Dynasty to the late Tang Dynasty.  Religion is a cultural phenomenon that has a comprehensive and powerful impact on politics, economy, science, culture and other aspects. Therefore, its impact on cultural psychology is widespread and profound.  Buddhist art themes were originally a product of Indian culture. After being introduced to China, various religious images, pictures and patterns need to be shaped, engraved or painted on religious environments and utensils, and through artistic processing, they can be combined with the characteristics of traditional Chinese culture.  Combined to impress and inspire people.  As a result, pictures of Buddha Jataka have filled the walls of caves in various places, developing and enriching traditional Chinese mural art and pattern art.  The lotus pattern among plant patterns is a more representative traditional decoration withStrong national artistic characteristics.  The appreciation of lotus in ancient my country first originated from the Chu State. "Gathering hibiscus to make clothes" and "becoming a matchmaker because of hibiscus" ("Chu Ci") refer to lotus.  The lotus pattern was first found on artifacts from the Spring and Autumn Period and the Warring States Period.  The lotus-crane square pot unearthed in Xinzheng, Henan has a lotus-shaped lid.  After Buddhism was introduced to China, the Buddhist rosettes from the Royal Lotus of India were transformed into Chinese styles according to traditional Chinese images and aesthetics, and the artistic style began to change. In the early stage of porcelain, the lotus pattern had slender petals with pointed ends, and in the later stage, the petals were plump.  The tip is tilted up, giving it a more fixed form.  This is also an example of our country¡¯s traditional patterns being influenced by and combined with foreign cultures.  The ever-changing "curly grass pattern" that has been used since the Tang Dynasty is a representative pattern in the transformation of Buddhist patterns.  Buddhist plant patterns and ornaments, such as lotus, honeysuckle, bodhi, canopy, flower, necklace, etc., are not suitable for traditional Chinese modeling habits and aesthetic requirements. It is in this situation that the 'curly grass pattern'  The new pattern is hard to say which object it is based on.  The curly grass pattern is neither a previous Chinese modeling theme nor a specific object of Indian Buddhism.  But its twisted and specious flowers, leaves and branches have the aura of auspicious clouds and the mood of Buddha. It has the etherealness of the curves and the rhythm of the flow, and maintains the gentle and gentle tranquility.  It is a simple and distinctive Buddhist decorative pattern transformed by the Chinese nation by absorbing foreign religions.  Using flowing turning curves as the basic composition of the pattern, foreign themes were integrated into traditional Chinese aesthetic concepts, and Buddhist decorative patterns were transformed.  The appearance of the curly grass pattern is not accidental. It marks the arrival of Buddhism's fusion with Chinese culture and its development to its peak.  Chinese traditional decorative patterns are rich in connotation and cultural heritage. Modern decorative pattern design is developed from traditional patterns, but it is not a simple copy and repetition of traditional patterns. Through discussion and research on China's different development stages, we can further understand  Compositional characteristics of traditional patterns.  Mr. Lei Guiyuan, the pioneer of Chinese pattern art, pointed out that "Nature is the source, and ancient patterns are flows. Source and flow are the two wings of a pattern artist. One cannot fly high without one."  'Traditional patterns, as a product of the handicraft era, were extracted from nature and life by art creators of all ages. Their shapes and colors are the essence that have been passed down for thousands of years. Traditional folk art has tenacious vitality, expressiveness and great potential.  High artistic value.  We should fully study the style and characteristics of traditional patterns and apply them to contemporary arts and crafts design. We should both inherit and abandon traditional patterns, and modernize them to give them new design concepts, functions and forms.  Make it a modern decorative pattern that adapts to and meets the aesthetic and practical requirements of modern society, so that our country's design can maintain its own style and characteristics while being in line with the modern international society.  " Zhang Wufeng stopped when he said this. In fact, if he continues to talk, he will only speak more broadly. Moreover, for these scholars, Zhang Wufeng does not want to undermine their confidence because of his own strength. "You  , why didn¡¯t you say anything?  Have you finished expressing yourself in preparation?  "The man wearing glasses was still attacking Zhang Wufeng stubbornly. Zhang Wufeng glanced at the man and had murderous intent in his heart. But with just a perception, he already knew that this man was actually thinking about Wang Jinxiu.  Then he targeted him like this. Sensing this, a somewhat evil smile flashed across his lips. When the middle-aged man with glasses saw this smile, he couldn't help but feel a little scared. "Xue De, don't be so shameless.  Zhang Wufeng's knowledge has already put us professors to shame. If this is still a deliberate performance, then what kind of professors are we?  You are almost the same as "Call the Beast". Although you have published many academic papers, in terms of expression, you are still far behind Zhang Wufeng." At the beginning, the old man named Xue Yang couldn't help but said in a deep voice. "Xue De, don't think you have any ability.  You can do whatever you want. If you are really confident, you can compete with Zhang Wufeng on the spot." "Don't get excited. In addition to being good at history, culture, archeology, antiques, etc., I also have certain attainments in medical skills. Now, I will use  A method of hypnosis can allow everyone to listen to Xue De's inner voice. However, if he really wants to learn, no matter what I said today is good or not, I will admit defeat." Zhang Wufeng said in a clear voice. "Humph, you  What do you want to do?  Hypnosis?  And then you deliberately made me say something I didn't mean?  "Xue De said with a sneer. "Everyone, as professors, you must know about hypnosis. As long as I don't speak and let him learn to speak, he will not learn to speak from me.  And you know that hypnosis only allows people to relax so that they can tell the truth, but it does not allow people to speak against their will.  This is well known.  Xue De, if you don¡¯t dare, there is something wrong in your heart¡±  Zhang Wufeng said disdainfully.  "I have a ghost in my heart. I'm a dignified university professor. How can I be afraid of your little hypnosis? Come on."  A special spiritual power seeped out.  "Xue De, look at me, be quiet, relax, remember to answer my questions truthfully, and truly let go of the constraints in your heart" Zhang Wufeng said softly, and then Xue De's angry eyes softened, and then his expression  After calming down, the arrogance and madness in the whole person also became calm.  "Xue De, why are you targeting Zhang Wufeng?" "Why are you targeting Zhang Wufeng? Because I want to get Wang Jinxiu. Such a cute girl is still a virgin. I must have a good time. She is my ninety-third target.  After finishing her, I will get six more virgins to reach a hundred. By then, I can prolong my life and cleanse my bones." "Shut up, Zhang Wufeng, you are setting me up." "What, actually.  , to do such a thing that is worse than a beast." "Xue Yang, don't get excited." Zhang Wufeng glanced coldly, and then looked at Xue De again.  "Dad, what I told is the truth. It's really painful to hold something in my heart. I also imprisoned Zhang Simiao. All my academic papers were written by him. He was imprisoned by me in the dungeon, and his granddaughter was also imprisoned by me.  It's forced, but it's a pity that the woman couldn't think of it and committed suicide by jumping off the building. Also, several of my students have been with me when they were able to go to graduate school. Some of them were paired with me several times. They wanted to go to my graduate school, but they didn't go to bed with me.  , no matter how high the score is, I can¡¯t give it to her. It¡¯s just because there is a little girl from the countryside, yes, Ye Qi, who gave up on herself after being fucked by my strong woman. Because of this, a man who pursued her found out and found her.  Someone came to kill me, but I was stabbed and my ribs were injured. When the principal found out about it, I was expelled. However, I said online that I had been teaching for more than 30 years and that the school was not responsible after the incident and expelled me.  Then she threatened Ye Qi's family, so she didn't dare to testify. Under the pressure of public opinion, the school had to let me go back to work, and even paid for my medical expenses of 7 million. In fact, I was only injured a little.  The ribs and treatment didn't cost more than 300,000 yuan. This time I targeted Zhang Wufeng. I just saw Wang Jinxiu looking at him from time to time with admiration in his eyes. Naturally, I felt unhappy. The woman I was attracted to could still run away.  , even if it is Lin Qing of the Lin family, Sun Yunyun and Sun Shanshan of the Sun family, I will find a way to get it. I have made some plans to use aphrodisiacs, and by then the fierce women will become sluts  ¡± The whole place was quiet, because these words were really shocking.  In addition to countless inside stories, there are also many gray things such as murder cases.  After Zhang Wufeng recorded everything, he just sneered, turned around and left.  Mr. Wang, on the other hand, was shaking with anger. As for Xue Yang, his face turned blue and he almost fainted.  "You want to step on me? I will ruin your reputation and never get over it," Zhang Wufeng sneered in his heart.  bk
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