1. Dragon: As we all know, dragon plays an extremely important role in China culture, and China people are the descendants of dragon. (For the cultural significance of the dragon, please refer to Luo Erhu's Dragon and China Culture, Sanhuan Press, 1989. ) The image of the dragon appears widely in jade, stone, bronze, painting, wood carving and lacquer in China ... Almost all works of art, and the image of the dragon exists in all aspects of China people's life. The same is true of the images of dragons on ceramics, which appear many and early and never stop. Because of the reasons we discussed earlier, the dragons of each era have their own characteristics. When we know these features, we can use them to help us identify the age of artifacts. It is precisely because the image of dragons on ceramics is very common that mastering these characteristics is particularly useful for identifying ceramics. There are many people who have always studied dragons, and there are also many who specialize in the image of dragons on ceramics. This book first briefly introduces the decorative images of dragons in various periods on ceramics as a summary, and then attaches a more detailed research article and decorative map for identification reference. Six Dynasties: The dragon was shaped like a crocodile, with a fierce look. Tang: The image of the dragon is full of vitality, like an ordinary animal, and has no sacred or majestic meaning. Song Dynasty: According to many scholars' research, the dragon in China was only related to the authority of the feudal emperor at this time, and became a symbol of the emperor, dedicated to the emperor, who claimed to be the "real dragon son of heaven". Because in the Song Dynasty, dragon patterns appeared on kiln products such as Cizhou Kiln, Ding Kiln and Jizhou Kiln. The image of the dragon pattern in the Song Dynasty is mighty and colorful, symbolizing the authority and supremacy of the emperor. Dragon patterns are common on all kinds of ceramics in the Yuan Dynasty, especially on blue and white porcelain, which is the most typical and vivid and has the strongest characteristics of the times. The dragon pattern in Yuan Dynasty is characterized by small dragon head, slender body, dorsal fin (ridge), three claws, four claws and five claws, antlers, square scales and dragon body with flexible keys and full of vitality. The forms are Yunlong, Zhulong and Longfeng. Engraved, printed and painted. Ming Dynasty: Dragon pattern is the most common decorative pattern on official kiln porcelain. Dragons on Ming dynasty ceramics have a thick body, a pig's mouth (the lower jaw is longer than the upper jaw), a curly beard, scales and more than five claws. This is the general feature, and there are some differences in different periods: Hongwu and Yongle: generally inheriting the style of Yuan Dynasty. Xuande: The dragon body began to get thicker. At this time, there was another flying pterosaur, this form of dragon, and there were still Kang and Yong in the Qing Dynasty in the Ming Dynasty. There is also the so-called vanilla dragon-the dragon tail is in the shape of a multi-branch curly grass, which is unique around this time. Hongzhi: the dragon's eyes are straight up. Most of them have five claws. Jiajing: Dragons have various shapes. First, the common dragon, through the clouds and fog. Second, there is a frontal dragon: the dragon body does not make a transverse trilogy, but makes an upright shape: the dragon head is on the top, the tail is on the bottom, and the four legs are left and right, and the head is facing the viewer, hence the name. The third is the tiger dragon, which is extremely simple and sloppy, and looks like a gecko, with a walking shape and a group shape. Frontal dragons and tiger dragons are unprecedented. Late Ming Dynasty: Dragons were painted more hastily, with messy lines, light colors and rough filling. The dragon on the front of Chongzhen is like an old man, lifeless and dignified, reflecting that the rule of the Ming Dynasty is dying and its breath is slightly disabled. Qing Dynasty: The dragon in Qing Dynasty has a thicker body, a shorter jaw and a kinder image. The characteristics of each dynasty are: Shunzhi and Kangxi: the shape and image of the dragon have the style of the middle Ming Dynasty, which is more majestic. There is a wall-crossing dragon-the shape extends from the inside of bowls and plates to the outside wall, which is the first time to see it. Qianlong: the dragon's demeanor changed from majesty to kindness, and it no longer has the sacred and inviolable supreme appearance. It is common to see dragons and phoenixes painting together, which means that dragons and phoenixes are auspicious and symbolize the love between men and women. Two more dragons playing with pearls. All this shows that the dragon's decorative implication has been greatly secularized. After Jiaqing, dragon patterns appeared on ceramics in more quantities, which became more secular. The forms were dragon boat rowing, baby playing and dragon dancing, dragon wearing flowers, etc., and they became playthings. The dragon has greatly lost its authoritative image of sacredness and supremacy.
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3. The earliest die-printed handicraft in China, dragon pattern white pottery plate
4. On the eve of its 5th anniversary, the United Nations got a precious birthday gift-a giant bronze ware presented by the people of China.
Century Baoding is placed on the green lawn of the North Garden of the United Nations Building. The tripod is .5 meters high, symbolizing the 5th anniversary of the founding of the United Nations. The tripod is 2.1 meters tall, symbolizing the coming 21st century. The tripod weighs 1.5 tons, with three legs and ears, a slightly bulging belly and a round bottom, surrounded by Shang and Zhou decorative patterns, embossed animal faces and moire filling the bottom. The base is decorated with 56 dragons, symbolizing that all 56 ethnic groups in China are descendants of dragons. There is an inscription (míng) in ZH Nei Zhu (Ding Nei Zhu), "Cast a Century Baoding to celebrate the 5th birthday of the United Nations". In front of the tripod, there are four golden characters of "Century Baoding". On the back of the tripod was written "October 1995 from the Chinese people * * * and the State". Zhàn whole Baoding is of primitive simplicity and exquisite craftsmanship, which is a magnificent masterpiece.
In ancient times, Ding was a kind of cooker used by China ancestors, and later it developed into a ritual vessel. There are two sayings in China's idioms: "Zhong Ming Ding Shi" and "One word keeps its promise", which reflect the unique position of Ding in China's ancient social life. As an important ritual vessel, chāng symbolizes unity, unity and authority, and is a mascot representing peace, development and prosperity. This century treasure tripod is a masterpiece of ancient Chinese bronze art, fusing ancient skills and modern technology in one furnace. Its overall structure (Gê u), artistic modeling and ornamentation show the long history and splendid culture of the Chinese nation.
The United Nations treasures gifts from all countries in the world, each with its own significance. China's Bao Ding Yu has a deeper meaning. Ding Zhi is prosperous, and Long Zhao is auspicious. It expresses the good wishes of the people of China to the United Nations and hopes for a better new century. This is also the common aspiration of the peace-loving people in the world.