Compared with the sacredness of real utensils, most of them are daily necessities, so they are kind and lovely, which are closely related to people's lives, such as clean bottles for holding water, scissors for daily use, incense burners and so on. However, because these instruments are offerings made by believers in temples and in front of gods in order to express their devotion to Buddha, they are usually considered as generalized instruments.
Among the daily utensils, the most interesting one is the twelve belts unearthed from Famen Temple. The twelve belts are surrounded by copper chains, including tweezers, ear spoons, toothpicks, reed racks, spoons, scissors, banners, fish, engravings, mussels, water tanks, etc. It should be twelve, but one is missing. Twelve-piece pliers are 10.6cm long, ear spoons are 10.4cm long, toothpicks are 5.2cm long, Lugang frame has an inner diameter of 5.2cm, spoon surplus length is1.4cm, cutting length is 10cm, paddles are 8cm long and fish is long. The Twelve Objects Belt was originally worn by a wandering monk around his waist, and some of the objects overlap with the eighteen objects mentioned in Buddhist classics. In fact, a monk is a monk. According to the Sanskrit, the eighteen things of Mahayana monks are daily necessities that monks carry with them. It can be seen that the twelve events of religious life in Famen Temple truly reproduce part of the contents of the eighteen events of monks. Considering the specifications of the twelve devices, we can know that these small objects are of practical value and are most convenient to use if you go out for a trip. The function of the twelve belts is very similar to that of the Swiss army knife popular today. Although it is not as small as the Swiss army knife, when monks travel around the world, they put it on their waists, and suddenly they have the artistic conception of "bamboo shoes are lighter than horses, and a misty rain lasts for life".
In addition to scissors unearthed from Qingshan Temple in Lintong and ordinary copper locks unearthed from Famen Temple, another kind of daily necessities is utensils with water storage function. The bronze beam-lifting pot unearthed in Qingshan Temple is only 4.5 cm high and has no pattern. Pots or cans with girder structures are a tradition in China. Since the Shang Dynasty, there have been girder lifting pots, which are not only used as storage vessels, but also engraved with various decorations, which are very artistic. The parrot-patterned silver pot unearthed in Yujiacun in Tang Dynasty is a model of full combination of function and aesthetics. The hanging beam jar of Qingshan Temple is limited to specifications, which has neither aesthetic value nor practical value. I think it was specially made by ordinary people and sacrificed in Buddhist temples. Although both of them are artifacts of the Tang Dynasty, they are different in shape, structure and manufacture.
Another kind of reservoir is a distinctive clean bottle with a small mouth, a thin neck, a round belly and a small flat bottom. Very rare in China traditional utensils. Pure bottle is an exotic artifact, which originated in ancient India. Its Sanskrit name is JUNSHOU, which means water bottle in Chinese. It is one of the eighteen objects of a monk. The clean bottle is buddhist supplies, which monks carry with them when they travel, and it is used to store water for drinking and washing. The word "holding the army" first appeared in Fa Xian Zhuan in Jin Dynasty, and was interpreted as "Sanskrit holding the army, and the cloud soldiers are dying" in Shu Shu Common Things with Different Names. This cloud bottle is also. " The Book of Changes, a monk in the Tang Dynasty, described in detail the classification, shape and usage rules of military commanders in the biography of the South China Sea. In Indian Buddhism, military commanders are divided into two kinds of materials, porcelain is a clean bottle and copper and iron is a touch bottle. However, with the introduction of military leaders into China, the classification and use of clean bottles and touch bottles gradually blurred.
The South China Sea Repatriation Law describes the clean bottle style in India: long neck, small mouth at the top, and a re-opening mouth between shoulder and abdomen. The mouth has a lid, but no handle. The mouth around the neck is as thin as chopsticks, and the mouth between the shoulders and abdomen is as thick as copper coins. Whether in the Jin Dynasty, when the net bottle first appeared, or in the later Tang and Song Dynasties, although the lines of the net bottle became thinner and more slender, the basic style was not much different from the shape of its printing mother [1]. After the Yuan Dynasty, the shape of the bottle washer had various changes. Cleaning bottles can be divided into single-mouth cleaning bottles and double-mouth cleaning bottles according to whether there is an opening between the shoulder and the abdomen. The silver bottle unearthed from Qingshan Temple in Lintong has no shoulders and no abdomen, and it is a single-mouth clean bottle. The silver vase has a flaring mouth, a flaring foot and a narrow neck, with a height of 18.5 cm, a diameter of 3 cm and a bottom diameter of 5 cm. The lid is like a mushroom, with an elastic tip inside. The bottle body is simple and unpretentious, and there are traces of straps on the abdomen of the bottle body, which shows that it is often used at ordinary times. The copper clean bottle unearthed in Xi 'an is a clean bottle with two mouths, with a height of 23.5 cm, a diameter of 5 cm, an abdominal diameter of 12.5 cm and a weight of 0.95 kg. Its mouth is trumpet-shaped, its neck is slender, its shoulders are round, its abdomen is slightly open, it is dark round, its shoulders are drooping, its abdomen is round and its mouth is cup-shaped.
In the Tang Dynasty, cultural and economic exchanges between China and foreign countries were frequent, and exotic gold and silver wares were common. Although there are few bronzes, there are still enough surprises. The crown pot unearthed from Qingshan Temple in Lintong is 29.5 cm high. A slender neck with a convex hoop in the middle and a trumpet-shaped mouth, one side of the mouth flows and the other side is connected with a crested scorpion. The circle foot is also trumpet-shaped, and six high relief heads are made on the abdomen. As a decorative face, the facial features are different from those of China people. The facial muscles are plump, the eyebrows are big, the mouth is small, and the straight nose is slender and slightly higher, close to the mouth. The hair is divided into three strands from the forehead to the temple in front of the ear, forming three strands of braids, each for two people. Through the investigation of the characters, we can see that these faces have obvious facial characteristics of Tianzhu people. The shape and decorative features of the crown pot are enough to prove that the pot comes from Tianzhu. In addition, there are many repair marks on the bottom of the pot, which shows that the owner of the pot often uses it, and it also shows that the owner loves it very much and cherishes it very much. Among the many artifacts unearthed in Qingshan Temple, only the Phoenix-headed face pot still has a trace of life, which can be regarded as circumstantial evidence of its extraordinary origin.
The most common daily necessities in feeder are incense burners. "Great Wisdom" points out that incense, as a tool of Buddhism, is because "the country of Tianzhu is hot and smells evil, so incense is used to cultivate Buddhism and cultivate monasteries", indicating that incense was born with Buddhism from the beginning of its use in India. In China, the existence and use time of incense is longer than the spreading history of Buddhism in China.
"Qin and Yan, Fang Huan and. Female scholar, Fang Lan Bing. " As early as the era described in the Book of Songs, both men and women had the habit of wearing vanilla. Not only is it common to wear incense, but it is also quite elegant to give each other herbs to express their feelings at that time. "Wife and woman, benefiting qi will be funny, give a spoonful of medicine." If vanilla is still in a materialized state in The Book of Songs, then Qu Yuan's Li Sao is in jeopardy. "Fragrant and colorful, only showing its essence, it is still indispensable", which links vanilla with people's noble and upright sentiments and conduct, and shapes the enduring artistic image of "vanilla beauty" in the history of China literature. Confucius once lamented that "Lan is the king of incense", so later Han Yu's You Cao Lan did not write the word "Kong", but replaced it with "Lan" and added several crosses, which fully expressed his respect and love for Confucius. In the classical image of China, vanilla beauty always refers to an ideal state system and a wise monarch. However, the ideal country is also true and false, and it seems that it will never arrive. Only when people light herbs to dispel the filth and evil spirits in this world and pray for the gods of heaven and earth, in the rising ethereal and strange atmosphere, the distance between dreamland and reality will be narrowed, and the ideal peach blossom garden will be within reach.
With the popularity of resin perfume, the shape of shallow-bottomed douban fumigator adapted to maoxiang has also changed. The spherical incense burner in Qin dynasty provided the foundation for the design and evolution of incense burner later. Mature incense burners appeared in the Western Han Dynasty, and the Cuoyin Boshan incense burner unearthed in Maoling was the best incense burner in the Han Dynasty. Boshan furnace is ingeniously designed, fully considering the conditions required for the combustion and volatilization of resin spices. Deep in the belly of the furnace, the charcoal fire is smoldering, which helps the spices to volatilize. The mountain shape carved on the top of the furnace hides the smoke hole [2], which can make the smoke slow [3] and the smell graceful. As the saying goes, "the smoke will not be released at the end, and the smoke will not be released at the end."
Li: Research on Military Support, Shandong University, 20 13.
[2] Ji Sun: "Illustration of Material and Cultural Materials of Han Dynasty", Shanghai Ancient Books Publishing House, 20 1 1 year.
[3] Yang Zhishui: Xiang Zhi, Guangxi Normal University Press, 20 1 1 year.