Today's calligraphy in Qin and Han dynasties includes silk books, bamboo slips, murals and inscriptions on pottery bottles; Other physical materials include inscriptions, stone carvings, bricks, lacquerware and other relics on metal objects, which are important materials for studying calligraphy in Qin and Han Dynasties.
Qin calligraphy seal script is the official script of Qin. After the Qin Dynasty unified the six countries, it was stipulated that "books should be written in the same language". Small seal script is rectangular in shape, round with a pen, symmetrical in structure, slim in shape, vigorous and elegant, and is mainly used for official documents, stone carvings, seal cutting and so on. The Qin Dynasty seal script works that have been handed down to this day include Taishan Stone Carving, Langyatai Stone Carving, Yishan Stone Carving and Huiji Stone Carving, all of which were handed down by Prime Minister Li Si. The remaining part of "Langya Terrace Engraving Stone" is in the Chinese History Museum; "Taishan Stone Carving" has 10, which is a typical calligraphy of Qin seal script in Taian, Shandong Province. Other stone carvings are carved for future generations and have lost their original appearance. Carved with "Yangling Tiger Symbol", the figure is the same as the stone carving, round and vigorous. The imperial edicts of the first emperor and the second emperor were engraved in the Quan, Liang and Zhao editions of the Qin Dynasty, and the characters were also Xiao Zhuan. However, due to the influence of knife carving and folk calligraphy style at that time, the style is relatively simple, mostly square strokes, thin lines and sharp edges and corners. Qin Taowen is printed on the ceramic blank with the engraved seal of Xiao Zhuan, and the strokes are round and thick, which can be comparable to stone carving.
Wen (Qin)
Calligraphy ink in Qin dynasty includes silk books and simplified books. Most of the Qin bamboo slips unearthed in Yunmeng Sleeping Tiger Land in Hubei belong to official script. However, some characters still retain the structure of seal script, which is an ancient official in the gradual change of seal script. The font is rectangular, square and flat, the strokes are vigorous and concise, the Fiona Fang structure brings out the best in each other, and the calligraphy is neat and beautiful. Silk scripts unearthed from Mawangdui Han Tomb in Changsha, Hunan Province, some characters belong to seal script, and some books were written in Qin Dynasty. Most of these ink marks are neat and can be used to study the structure and pen characteristics of early official scripts.
According to records, the calligraphers of the Qin Dynasty included Li Si, Zhao Gao, Hu Wujing and Cheng Miao. Li Si wrote Cang Xie, took the Biography of Teacher, and created Biography, which had a great influence on later generations. His calligraphy is full of backbone and charm, and Fiona Fang is great. It is said that the stone carvings of Qin Shihuang touring the whole country were written by Li Si. According to legend, Zhao Gao once wrote Li Pian and Hu Wujing once wrote Bo Xue Pian, all of which contributed to the emergence of Biography. Cheng Miao once worked in the standardization of official script.
Calligraphy in Han dynasty
There are about three kinds of fonts in Han dynasty: ① seal script, which is used to carve stones and symbols, and to write high-level official documents and important ceremonies, such as imperial edicts, inscriptions, inscriptions on official bronzes, palace tiles and so on. (2) Official script is mostly used for intermediate official documents and scriptures, such as imperial edicts, general scriptures and inscriptions; (3) Cursive script is used for low-level official documents and manuscripts, such as Yongyuan Artifact Book, Wuwei Medical Bamboo Slips, Japanese Taboo, Miscellaneous Bamboo Slips, etc. Other words, such as "ancient Chinese", have a narrow scope of application.
Seal character
There are few inscriptions and seal scripts in the Western Han Dynasty. Because the steles in the Western Han Dynasty have not yet been erected, most of the inscriptions have survived to this day, such as Lubei stele, Zhu Qiqing's grave altar, Shanggufu's grave altar, and Yuping Taiyin Feng Junru's tomb portrait. Its seal script gradually changed from the round seal at the turn of the Qin Dynasty to the square seal. During the Eastern Han Dynasty, the wind of setting up monuments rose, and the famous seal script inscriptions included the inscription of Mukai Stone Que, the inscription of Shao Shi Stone Que, the Yuan 'an Monument, the Changyuan Monument, and the memorial to Sangong Mountain. The seal cutting in the Eastern Han Dynasty was characterized by intensive calligraphy, Fiona Fang posture and vigorous brushwork, which was different from the stone carving style in the Qin Dynasty. Yuan 'an Monument and Changyuan Monument were unearthed late, with complete strokes, broad calligraphy and beautiful fonts. The style of Sangong Mountain Monument is slightly in line with the official intention, and its structure is square, which is contrary to the circular symmetry of Xiao Zhuan. The most colorful inscriptions and seal scripts in the Han Dynasty are inscriptions. Some of them are square, strange in structure, and some are elegant. They not only have diverse styles, but also use endless pens, which are round and beautiful, straight and square, or dense and sparse. Such as stele, Han stele, Kongzhou stele, Kongbiao stele, Huashan stele, stele, Xianyuhuang stele, Yinzhou stele, stele and Wangsheren stele. , all have their own styles and characteristics.
Yuan Abe (Eastern Han Dynasty)
Another rich treasure house of seal script in Han Dynasty is bronze inscriptions. Most of the inscriptions on Han wares are written first and then carved by craftsmen, so the strokes are mostly square-folded, and the turning point is broken but not connected, which makes the seal script present another style. But its structure and strokes still show a variety of faces. For example, the inscriptions cast in Wang Jing's tomb in Zhongshan, Rushan County are vigorous and vigorous, the stirrups in Chiyang Palace are elegant and beautiful, the stirrups in Qujiang are rugged and slender, and the inscriptions in Changyang Ding and Huangshan Ding are more dignified. The bronze inscriptions cast in Xin Mang period are mostly neat and upright square seals with upright structure and elegant style. Xin Mang Copper Measuring Ming and Xin Mang Copper Measuring Ming are the most typical works.
Xin Mang Tong Jia Liang Ming (Western Han Dynasty)
Brick and tile characters in Han Dynasty are mostly seal script, with slender shape and strong decoration, such as "Weiyang, Changle Square Brick", "Chanyu, Qin Fang Brick" and so on. Tile-shaped characters are written with the shape, which has a unique style and gives seal script a strong decorative interest.
There are not many seal scripts unearthed in Han Dynasty. The bamboo slips unearthed in Dunhuang, Gansu, the banners unearthed in the Han Tomb of Mozuizi, Wuwei, and the seven letters of Zhang Wei unearthed in Juyan are all square seal scripts with thin and hard pens. Some of the silk scripts in Mawangdui Han Tomb in Changsha, Hunan Province are seal scripts in the early Han Dynasty, which can be said to have the meaning of official script.
Lishu Lishu originated very early and can be traced back to the Warring States Period. 1980 Many wooden slips of the Warring States period unearthed in Haojiaping, Qingchuan, Sichuan were written in official script. During the Qin Dynasty, official script was very popular among the people. After constant revision and improvement, it developed to the highest stage of the Han Dynasty and became the main font of the Han Dynasty. From the Qin Dynasty to the early years of the Western Han Dynasty, it was the ancient period of official script. Except for some official scripts, most of the stone carvings in the Western Han Dynasty are official scripts, such as "Yang □ Maishan Ji" and "Engraving Stone in the Second Year of Wufeng". Their structure is official script style, but their strokes are not typical.
Lishu developed to a mature stage in the late Western Han Dynasty and the Eastern Han Dynasty. At this time, the shape of official script changed from rectangle to wide and flat, from vertical to horizontal, the strokes became neat and the waves became more perfect. The pitch echo of stippling makes the artistry of official script reach a harmonious and perfect state. For example, the bamboo slips of No.40 Han Tomb in Dingzhou, Hebei Province during the reign of Emperor Xuandi in the Western Han Dynasty (73-79 BC), the bamboo slips of Tomb No.015 in Datong County, Qinghai Province during the Xuan Di period, and the wooden slips unearthed in Dunhuang in the first year of Tianfeng in the Western Han Dynasty (73-79 BC) are all mature official scripts. In the Eastern Han Dynasty, Li Shu's brushwork was more abundant, and he gave full play to the changes of brushwork in picking waves, and stopped with a pen, showing the characteristics of the swallowtail wave of silkworm head. The change of structure density and the echo of stippling are more complicated and changeable, and the style of official script is more diverse.
Bamboo slips and silks in Han dynasty are the main ink of official script. Judging from the discovered Han bamboo slips, neat official scripts are mostly found in pre-Qin classics and official imperial edicts. Such as bamboo slips of Yaodian unearthed in Juyan, The Analects of Confucius unearthed in Lop Nur, The Book of Rites unearthed in Wuwei, The Analects of Confucius unearthed in Dingzhou, Hebei, The Imperial edict of Zhang Wang, The Imperial edict of Yan Jia, The First Year of Emperor Huan in Gangu (158), etc. , are strict and meticulous. Most of the Han bamboo slips unearthed in Juyan are garrison documents left by frontier fortress construction, wasteland reclamation and pavilion construction, which are scrawled and seemingly sloppy, and their writing faces are also different.
Juyan bamboo slips
The most representative achievement of Lishu is the inscription in the Eastern Han Dynasty. During the Eastern Han Dynasty, the custom of setting up steles and carving stones prevailed. The stele itself is a kind of stone carving art. As an important part of the stele, the inscription should form a perfect art form with the stele, so it pays special attention to calligraphy. Inscriptions in the official script of the Eastern Han Dynasty can be roughly divided into two types: the glyph is relatively square, the statutes are rigorous, and the waves are distinct; The style of writing is more casual and natural, the statutes are not very strict, and there is an unrestrained interest.
The former can be divided into two styles:
(1) tends to be dignified and beautiful, with more delicate carving, more obvious brush strokes and distinct brush strokes. Knot, strokes frustrated. For example, Shi Chenbei has a neat structure and elegant style. Zhang Jingbei's style is broad and flat, beautiful and elegant. "Huashan Monument", with a touch of color and pitch, is elegant and gorgeous (see the color map "Huashan Monument" (part of the Eastern Han Dynasty)). "Confucius Monument" pays attention to the left and right layout, rotates with a pen, and has the meaning of seal script. Yin, with round strokes and regular script. The remains of the son of Chao Hou have a beautiful style. "Zhengjia Cup" is introverted and horizontal. Xi Jing is square, rich in brushwork and dignified in style. Also belonging to this style are Han Renming, Li Mengchu Monument and Yang Family Monument. There are also beautiful styles in this category, such as Cao Quan stele and Kong Biao stele.
(2) tend to be simple and strong style, the knife carving effect is obvious, the strokes are square, the turns are neat and the structure is square. The more representative inscriptions are "Huangbeixian", which is bold, rigorous and natural; "Zhang Qianbei" is square and arrogant; "You Zuo Shi Que" has a strong side, and its momentum is very strong; "Jing Jun tablet" is characterized by its straight brushwork and straight pen like a hanging needle. "Zhang Shou Monument" has a vigorous and square font; "Fang Heng Monument", with wide structure and heavy brushwork, Gu Zhuo; "West Narrow Fu" is square in style and profound in brushwork (see color map "West Narrow Fu (Eastern Han part)"); Ode to the Pavilion, with neat, vigorous and verve calligraphy; "Monument to the School Official", with a heavy pen, is simple and heavy in style. The latter can also be divided into two styles: ① scribbled writing and different font sizes.
(3) Because writing on a cliff is limited by the uneven stone surface, writing with stone has a natural and informal effect. Its representative inscriptions include Sanlao Ji Sun Monument, Ma Jiang Epitaph, Mitajun Ancestral Hall Stone Carving, Feng Junque and Huang Changshi unearthed in various places. Cliff stone carvings are completely based on the rock potential of the rock wall, so they have unexpected effects, such as □ Jun Kaizan ramp stone carvings, "ode to Shimen" and "Yang Huai Biao Ji" all belong to this category. Li Bei is a China official script with the above two styles. The whole monument is fine and vigorous, modest and slightly beautiful (see the color map ceremony monument (Eastern Han part)).
Han brick official script, there is a kind of prisoner's tomb brick, which is an inscription that records the burial of prisoners who serve hard labor after death. The words are carved casually with a knife, which is different from the brick text printed by the company.
The printed words are relatively simple and primitive, while the brick words in the criminal tomb are scribbled casually, the writing is wireless, and the strokes are scattered at will, which has a bold and unrestrained interest and may be carved by folk calligraphers or craftsmen.
From Lishu to the end of the Eastern Han Dynasty, due to the excessive pursuit of form and decoration, the structure was sluggish and lacked interest, and it began to decline. This trend was even worse in Wei and Jin Dynasties, so the decline of official script became an inevitable trend.
cursive script
The Qin and Han Dynasties cursive script is a chapter cursive script period in the history of China cursive script development. The cursive script in the early Han Dynasty is a kind of official script (ancient book) written simply and quickly. This cursive script can be seen from the four-year bamboo slips of Shenjue. At this point, the cursive script is in the stage of Cao Li or Cao Li.
During the Eastern Han Dynasty, cursive script gradually appeared. At this time, cursive scripts can be found in medical bamboo slips unearthed in Wuwei, bamboo slips unearthed in Dunhuang and bamboo slips unearthed in Beihou. In Cao Wei and the Western Jin Dynasty, cursive script was continuously processed by calligraphers, forming a formal cursive script. Later generations called this cursive script Cao Zhang to distinguish it from the cursive script popular in the Eastern Jin Dynasty.
Cao Zhang became popular in the Eastern Han Dynasty. In addition to a large number of cursive scripts unearthed, such as Zhuan Xu bricks, Ram Zhuan Xu bricks, Horse bricks and Cao Shi tomb bricks unearthed in Bozhou, Anhui Province, Cao Zhang in the Eastern Han Dynasty was quite popular among the people.
The famous calligraphers in the Han Dynasty are Cao, Du Cao, Wang Cizhong, Cui Yuan, Cui□, Zhang Zhi, Cai Yong, Shi, □ and Liang Huan. You Shi once wrote "urgent chapter" in official script. Cao was a native of the Eastern Han Dynasty. According to records, he worked in seal script and created the method of hanging needles and dew. Du Cao is famous for his good calligraphy. Cui Yuan and Cui□ once studied his cursive script, and later called it Cui Du. Cui Yuan is good at cursive script and is the author of cursive script. Zhang Zhi is good at cursive script, and Tang's book "Broken" says that he created this kind of grass and called him "the sage of grass". Wang Cizhong is good at official script, and the end of the book says that it is based on official script. Cai Yong is good at seal script, creating flying white book, and once participated in writing stone classics. Shihao official script. Liu De □, according to records, he created calligraphy. Although he was a pioneer, he was rich and graceful and unique at that time. Liang Hu is good at official script, and calligraphy is appreciated by Cao Cao.
The names of some calligraphers in the Han Dynasty are vague, but they can be found in inscriptions, such as the Huashan tablet of Guo Xiangcha, the West Chamber of Qiu, the pavilion ode and the tablet of Ji Boyun.
2 German Federation of Industries
The Confederation of German Industry is an active association of German architects, designers and industrialists from 1907 to 1934 and later 1950. Its rise stems from the fierce debate about the purpose of applied art in Germany at the beginning of the 20th century. Its founders include Herman Muthesius, Peter Behrens, Heinrich Tesser, Fritz Schumacher and Theodore Fisher.
In its articles of association, the role of the German Federation of Industries is to "enhance the commercial status through cooperation in art, industry and handicrafts, and through education, publicity and unified stance on related issues. The nationalist foundation of this organization was very clear from the beginning. Only by uniting the best artists and business people can we ensure the development of German culture.
Although architects had a great influence on the early goal setting at the beginning of the establishment of industrial alliance, the role of architectural design and urban planning in industrial alliance was much smaller before 19 14 than after. At that time, the industrial alliance did not have a unified style and design concept. At the Cologne meeting of industrial alliance in 19 14, Muthesius proposed that standardized design for industrial production should be advocated. Although this widely used prototype has been developed for a long time in traditional design, he believes that this design should develop faster through a more conscious design process-standardization. However, other members, including Henry van de Velde, August endel, Herman O 'Briest, Gropius and Bruno Todd, expressed doubts that Muthesius's proposal would affect artists' creative freedom. This contradiction between artists who think they are spokesmen of beauty and industrialists and exporters who pursue more practical interests was stopped by the outbreak of World War I. ..
19 19 At the postwar conference in Stuttgart, the architect Hans Polziger was elected as the new chairman of the industrial alliance. At the meeting, he proposed that, in line with the post-war anti-industrialism and anti-capitalism sentiment, he supported handicraft skills and opposed industrial manufacturing. He was supported by radical expressionism-Gropius, Cé sar Klein, Karl Ernst Osterhaus, bernhard Pankoke and Bruno Todd.
The worsening inflation between 1920- 1923 makes it impossible to implement any action. 192 1 year Poelzig gave way to the more conservative Richard Riemerschmid. Expressionism hoped to achieve the goal of reconstruction through handicraft movement, but it also failed.
Starting from 1923, the industrial alliance has found a positive new direction. During this period, three important factors played a role: the annual meeting was held in Weimar, and the first important exhibition was held in Bauhaus; Gropius delivered a speech at this meeting, calling for the combination of new art and technology; The industrial alliance officially left the handicraft school. 1924- 1929 is the heyday of industrial alliance. For the first time in history, it had a strong connection with a certain style-functionalism and Neue Sach Lichkeit, and began to pay attention to architectural design and urban planning. Architects Ludwig Mies van der Rohe and hans scharoun became members of its committee on 1924, and Miss became vice-chairman on 1926. Smith's successor is also a series of architects who advocate reform: Hugo H. Lin and Adolf Reading joined 1926, and Ludwig Hillbo Sem joined 1927. These followers of modernism spread their ideas through Die Form (which had a very important influence during the period of 1925- 1930). Another major publicity media is 1927 Weissenhofsiedlung White Courtyard Residential Area in Stuttgart, which is a model of functional housing in the future. The general plan was designed by Miss, including 2 1 building and 60 residential units, and designed by 16 architects: Miss Van Derro, Gropius, Sharon and Richard D? German Kerr, Boelens, Polziger, Hillbo Sem, Adolf Schneck (b 1883), Adolf Latin, Bruno Taut and Max Toto; J. J. P. Oud and Mart Stam of the Netherlands are from Joseph Frank of Austria; Le corbusier from France; Victor Bourgeois of Belgium.
The industrial alliance has become the most influential organization of Neues Bauen, a new architectural movement, enjoying a high status not only in Germany, but even in Europe as a whole. However, its main achievements in architecture and industrial design are still limited to serving the elite, and it has little impact on the practice of large-scale housing and large-scale industrial production. Industrial alliance can not solve the contradiction between its rational and artistic goals and the needs of popular culture. By the end of 1932, the German industrial alliance had almost died.
1947, some members of the former industrial alliance signed a declaration, calling for the reconstruction of towns destroyed by war through simple and modern design rather than according to the original history. 1950, reorganized a national industrial alliance. The goal of the new industrial alliance has gone beyond the original promotion of excellent industrial design, adopted a more direct political stance, and began to pay attention to the future form of cities and countries. 1957 The Interbau exhibition held in Berlin gave many architects of the Union the opportunity to build modern large-scale houses.
In the "Stone Carving Art" exhibition hall of Shandong Provincial Museum, a number of precious cultural relics unique to the Han Dynasty in China are displayed all the year round. They are the products of the tomb culture in the Han Dynasty, and they are also exquisite stone carvings with both painting and carving. They showed the social life and ideology at that time in artistic form and visual content, and became important physical materials for understanding and studying the politics, economy, thought, culture and art of the Han Dynasty. The social and cultural information they carry constantly activates the thoughts of future generations, opens people's minds and gives people artistic enlightenment.
Show the Han dynasty
The wind of reburial
From the mid-Western Han Dynasty to the late Eastern Han Dynasty, the custom of using stone carvings as decoration in tombs lasted for nearly 300 years. Why did the stone reliefs appear in the Han Dynasty and are unique to the Han Dynasty? According to experts, the Han Dynasty is an important dynasty in the history of China, with a vast territory and strong national strength. The unity of the country and the long-term peaceful environment created excellent conditions for the artistic development of the Han Dynasty. The rulers of the Han Dynasty respected Confucianism, put filial piety first, believed in the theory of immortality and immortality, and lived by death. At the same time, with the development of economy, the polarization between the rich and the poor has intensified, and the ruling class was extravagant and corrupt before its death, but it still dreams of continuing to enjoy prosperity after its death. It is in this case that the atmosphere of thick burial is becoming more and more prosperous, and the sturdy and durable masonry tombs gradually replace the wooden tombs, and the scale is getting bigger and bigger. People imagine that in a solid tomb, there are immortals in portraits and jewels to protect the body from decay, and they can live a fairy-like life. In this way, the stone relief art has been constantly improved and perfected with the development of stone relief tombs.
Shandong stone relief
Rank first on the list
From a national perspective, Shandong, Sichuan, Henan, Shaanxi and many other places are places where many Han stone reliefs have been found. Shandong, in particular, is second to none in terms of the number and distribution of stone relief tombs and the number and exquisite degree of unearthed stone relief. This is because the ancient "Qilu" country is rich in fishing salt, silk weaving and iron smelting industries are also developed, economic development makes life richer, and the wind of heavy burial prevails. Stone tombs have emerged and developed rapidly with the popularity of heavy burial.
At present, most of the Han Dynasty stone reliefs unearthed in Shandong are concentrated in Jining and Linyi in southern Shandong, with a small number found in central Shandong and Jiaodong Peninsula, and less in southwestern Shandong and northern Shandong. From the unearthed stone reliefs of Han Dynasty, the stone reliefs art has experienced great development. First, the carving techniques have been continuously improved, from simple line description to the combination of relief and line carving, including the use of high relief and through carving; Second, the content of portrait theme is gradually enriched. From a single portrait of dragons and phoenixes to myths and legends with complex themes that reflect people's thoughts of ascending to heaven and becoming immortals; Scenes such as feasting, dancing, cooking, traveling by car and horse, etc., reflect the historical story of feudal loyalty and filial piety, and reflect the corrupt life of rulers. Generally speaking, the stone reliefs of the Han Dynasty in Shandong experienced the stages of origin and prosperity from the middle and late Western Han Dynasty to the late Eastern Han Dynasty. Its characteristics are: wide distribution and large quantity; Rich in content and all-encompassing; The composition is complex and the scene is grand; The carving techniques are diverse and the styles are meticulous and complicated.
Romantic and ethereal
spiritual world
As a funerary object, the stone reliefs are embedded in the tomb, which is the epitome of the owner's official residence before his death and the concentrated expression of the people's thoughts in the Han Dynasty. We can know from the contents of the stone reliefs in the Han Dynasty.
Imaginative mythological auspicious themes are very common in stone reliefs, especially in the Han Dynasty stone reliefs in Shandong, such as the Queen Mother of the West and Dong, auspicious birds and beasts born in the sky, stars and celestial phenomena, etc. People in the Han Dynasty believed that there was another fairy world besides the real world, hoping to be blessed by the gods after death. Shandong Provincial Museum has a large collection of stone reliefs of myths and legends. Like a stone statue of the Queen Mother of the West, the Queen Mother of the West sits in the middle. She is the main fairy in the legend of Han Dynasty, opposite to Dong, sitting beside her, surrounded by some gods and exotic animals, such as nine-tailed fox, jade rabbit, three-legged bird, dragon and suzaku. Driven by them, there was smoke all around, and an illusory fairy world appeared. According to legend, the Queen Mother of the West has an immortal elixir, which is regarded as the highest god by the Han people. Shandong Han Dynasty stone relief art is also full of romanticism. Those immortals who ride the clouds and fly dragons personify natural phenomena and freely combine people and animals, which embodies the artistic imagination of craftsmen and the romantic spiritual world of Han people.
Historical story
Show the concept of loyalty and filial piety
The story theme of historical figures is a characteristic part of stone reliefs in the Han Dynasty, which mostly shows emperors who monopolize power, governors who monopolize one side, generals who assist kings, dutiful sons who respect their fathers and mothers, martyrs who refuse to let their subordinates die, assassins who have no way out, and so on. There are many similarities between these historical stories. Some stone reliefs have written descriptions, mostly simple words. The story that can be broken from this is that Confucius met Laozi, two peaches killed three scholars, Jing Ke stabbed the king of Qin, Dayu controlled the water, and Min Ziqian fell. Among them, Confucius saw that the stone relief of Laozi was found in Jiaxiang, Jining and Xiaotangshan in Changqing, Shandong Province. The stone relief reflects the story of Confucius' courtesy to Laozi when he traveled around the world, and embodies Confucius' studious and modest attitude. In the picture, Confucius and Laozi are standing face to face, and Confucius is often followed by many disciples. Some are labeled as Yan Hui and Luz. There is often a child between Laozi and Confucius, and he is a prodigy Xiang Tuo. Legend has it that Confucius was stumped by Xiang Tuo's question, interrupted his eastward tour and went home to concentrate on his studies. Confucius took an extra dove stick in his hand, which was advertised by the feudal ruling class in the Han Dynasty and presented by the court as a token of respect for the elderly. According to legend, the pigeon bird at the top is a bird that won't choke to death. I wish the elderly good health.
Music, dance and drama
lively
China's acrobatic art was collectively called "Hundred Dramas" in the Han Dynasty, because acrobatic performances were accompanied by songs and dances and musical instruments, which was also called "Hundred Dramas of Music and Dance". Playing the flute and playing the piano, ringing the bell and hitting the chin, dancing with long sleeves, flying swords and jumping pills, and warriors fighting animals ... These scenes are not only recorded in ancient literature in detail, but also often seen in stone reliefs. Through those vivid images, we can still enjoy those vivid scenes thousands of years ago.
The pictures of music and dance in the stone reliefs in the last years of the Eastern Han Dynasty in Yinan, Shandong Province, reflect the grand occasion of juggling performance accompanied by a huge band. There are three groups of bands on the screen to accompany different acrobatic programs. The first group is a band with seven-disc dance, floor search, pill jumping and sword flying. The second group is a car band, 7 people. There is a drum in the car, and there is a small drum below. Two people knock. Another person plays the flute, and another person plays the flute. There are three people behind the theater car, holding long drums. The third group is a band with rope skills. Rope skill, also known as shoe rope. There are three people performing on the rope, and there are swords under the rope, which is very thrilling. There is an accompaniment band on the upper right. One plays the flute, one sings with high-five, and the other sits with his hand. He is also a singer. There are also five people playing among ichthyosaurs, each holding a drum. Eastern Han Dynasty stone reliefs unearthed in Longyangdian, Tengzhou show acrobatic skills such as flying swords and jumping pills. Performers throw many knives and balls with their hands, which is one of the most important items in ancient acrobatic performances. In addition, there are often programs such as "swallowing a knife and spitting fire", "Water Man Beating a Snake", "Three Tigers Driving", "Tiger Man Drumming", "Fairy Riding a Kirin" and "Mermaid Show" on the stone reliefs.
Han dynasty society
Image scrolling
Among the stone reliefs of the Han Dynasty, there are many pictures showing the social life of the Han Dynasty, such as the majestic pictures of riding by car, paying homage, offering sacrifices and mourning, as well as the farming scene of "weeding at noon and sweating" and the scene of iron smelting with a sonorous hammer.
This kind of content mainly shows the social status, life experience, happy life and wealth of the deceased, and also reflects the production and living conditions of the working people in Han Dynasty.
There is a textile relief stone in the Shandong Provincial Museum. The picture is divided into four layers. The first and second floors are engraved with waterside pavilions built on pavilions, and the right side of the second floor is engraved with many weapons hanging on shelves, symbolizing the arsenal where weapons are placed. The left side is vividly engraved with everyone's textile patterns. China is the first country in the world to invent mulberry planting, sericulture, silk reeling and silk weaving. During the Western Han Dynasty, China's textile technology was very high, with advanced knitting tools. It may be that complex tools are difficult to show on stones, so the looms in the stone relief we see are relatively simple and primitive, but through the scenes of people spinning, we can still feel that the textile industry was relatively developed at that time.
the aftertaste lingers on
Sculpture/sculpture art
The existence of stone reliefs provides us with precious historical materials of physical images for studying the politics, economy, military affairs, ideology and culture of the Han Dynasty, and its exquisite carving skills also amaze later artists. As far as plastic arts are concerned, the conception, composition, brushwork and expression of stone carving all show the achievements of ancient artists, and the image itself is an intriguing work of art.
Stone carving is an art form that integrates painting and sculpture. The main techniques are negative line carving, concave line carving, shallow relief, high relief and through carving. The first three kinds mainly use lines instead of knives to describe objects, which belong to "quasi-painting"; The latter three kinds present a floating three-dimensional shape, while the details of the object are still carved with lines, which belongs to "quasi-relief". Although these carving techniques appeared sooner or later, they were popular at the same time during the prosperity of Han Dynasty stone reliefs in Shandong. Its mature representative works, such as: portraits with delicate and vivid lines in Yinan and Zhucheng, rigid and simple lines carved on the concave surface of Xiaotangshan, dignified and striking lines carved on the convex surface of Wushi Temple, and gorgeous and beautiful bas-relief works in Jining.
The stone reliefs of Shandong Han Dynasty existed for a short time, but their historical data and artistic value established their position in the history of China's art development, and had a far-reaching impact on sculptures and paintings after the Han Dynasty. The content includes myths and legends, laws and regulations, customs and other aspects. In terms of artistic form, it inherited the original painting style in the Warring States period, created the precedent of Wei and Jin dynasties, laid the basic laws and regulations of Chinese painting, and became an outstanding representative and cultural and artistic treasure in China.