Dragon jade
As early as in ancient times, the dragon appeared in the East in a highly deified image. According to archaeologists, the dragon was a totem of ancient China and later became a symbol of the Chinese nation. The dragon pattern depicting the image of the dragon is one of the most vital patterns in Chinese traditional art. For thousands of years, regardless of the Central Plains or the northern border, many ethnic groups like dragons, and regard the dragon as a symbol of wealth and auspiciousness.
Preserved in the museum, the earliest known era is the jade culture engraved in the Shang and Zhou dynasties from the 16th century BC to the 3rd century BC, pushing the history of dragon art a thousand or two years ago.
The dragon-shaped jade was unearthed in the Chifeng area of ​​Inner Mongolia and the Hongshan cultural site in the mountainous area along the western part of Liaoning Province. Hongshan culture is a primitive culture of the Neolithic Age in northern China. One of Hongshan's cultural sites, the Zangta Village of Wengniute Banner, was first discovered in the spring of 1971. It is a "C" shape with vivid shape and high level of craftsmanship. This is a masterpiece dating back five or six thousand years ago. It is the earliest dragon-shaped jade in the Chinese era. In the past ten years, dragon-shaped and pig-shaped jade carvings have been discovered in the Bahrain Right Banner, the Aohan Banner and the mountainous areas along the western part of Liaoning Province.
Northeast archaeologists Sun Shoudao and Guo Dashun believe that: Samsung Heila Biyulong and other Hongshan culture jade articles, once again proved with a solid archaeological material: the dragon originated from the primitive society; one of the original sources of the dragon head image, related to the pig head; The origin and birth of the dragon are closely related to the primitive agriculture; the emergence of dragons and related jade articles symbolizes the existence of certain levels and power concepts of the society at that time, and has the prototype of "ritual"; the birth and emergence of dragons means ancient China. The dawn of civilization has arrived. Lu Sixian, deputy director of the Inner Mongolia Cultural Relics and Archaeology Institute, systematically researched the Hongshan culture jade, and put forward some new insights. He pointed out that in the late Neolithic period in China, the primitive ancestors of the northwest and northern regions mainly used aquatic animals as totems. They used the "dragon" after the deification of various poultry or birds as the tribal emblem. The coexistence of dragon-shaped and bird-shaped decorations in the jade of Hongshan culture shows that the primitive peoples of ancient China have already had cultural exchanges, and that the emergence of the Chinese nation has already taken shape.
The origin of dragon-shaped jade
The world-famous Silk Road, formerly known as the "Jade Road" that transports Hetian jade from Xinjiang to the East and West. Archaeological findings show that as early as the Shang and Zhou Dynasties, that is, the Silk Road was opened more than 1,000 years ago, Xinjiang Hetian jade was sent to the Central Plains through the Jade Road, becoming a treasure of the royal family. From the Western Zhou Dynasty, the royal family, the nobles worship, the pilgrimage and the living have to use jade, and there are stipulations, and jade becomes an important symbol of the ritual system. The dragon-shaped jade, unearthed from the Xuzhou Museum, is the treasure of the cultural relics.
The jade dragon is 17.5 cm long, 10.2 cm wide and 0.6 cm thick. It is slightly larger than a slap. It is made of Hetian white jade. The jade is warm and has a glassy luster. Because it has been buried in the mausoleum for more than 2,000 years, the dragon body has some flaws. spot. The shape of the jade dragon is fierce and strong, the body curls into an S-shape, the torso is toothy, the eyes are round and round, the mane curls to both sides, the forelimbs are tortuous, the claws are sharp, the dragon tail is rolled up and flattened, and the body is decorated with a sinuous vortex. The jade craftsmanship uses the techniques of Yinxian, embossing and partial openwork to express the meaning of the dragon's abyss and stagnation. There is a hole under the eyes of Yulong for wearing the silk thread when wearing, indicating that this is a decorative piece.
In the history of Chinese jade, the Warring States to the Western Han Dynasty is a technological peak. The cultural prosperity of the contending schools and the use of ironware and smashing machines have brought about the revolution of the jade jade craftsmanship, which has changed the quaintness of jade articles for thousands of years, and has become meticulously crafted. ": Lee, the edge is cut straight, the sharpness can cut the hand; the bright, polished jade is bright and bright; the fierce, the animal image is fierce; the fine, the pattern is twisted and twisted, and the hair is finer than the hair, which is called "hairspring" Empty, a lot of use of openwork hollow, more agile. The S-shaped jade dragon appeared in the Warring States period, but it is basically a horizontal S shape. The vertical S shape is only seen in the tomb of Wang Hou in the early Western Han Dynasty. This vertical S-shaped jade dragon in Xuzhou Lion Mountain is so beautiful and so huge. Second to none. During the Warring States period, the heroes and heroes created a strong, martial, and enterprising social atmosphere, which directly affected the aesthetic orientation of the jade. This jade dragon unearthed from the tomb of the Chu king in the early Han Dynasty had an obvious legacy of the Warring States. In the middle of the Han Dynasty, the imperial power was strengthened. The sea is flat and the jade style has become gentle and soft. It can be said that this jade dragon is the swan song of the mighty era in the history of Chinese jade.
Although it was stolen in ancient times, more than 2,000 pieces of various cultural relics were unearthed from the Tomb of the Lion King of Chu. Among them, jade is the biggest highlight. There are Jinyu jade clothes, jade wood lacquer, jade, jade, jade, jade. More than 200 pieces (groups), such as jade and jade pillows, the variety of varieties, the quality of jade and the exquisite craftsmanship are unmatched in the national archaeological discoveries.
With so many beautiful jade articles, why did the tomb thieves give up? It turns out that in the Han Dynasty, Li Yu is a symbol of status and status. The average person can't wear it. The tomb thief can not sell it without jade, and it is easy to expose his crimes. Therefore, only the gold and silver can be cast.
In China, jade has transcended the aesthetic category from the beginning. As early as in the Neolithic Red Mountain culture and Liangzhu culture, jade articles were considered to be able to communicate with the heavens and the earth, gods and ancestors. People used the most pious mindset and original tools to spend a lot of time making jade articles. In Xia Shang Zhou, the original tribal leader became the king of the ruling country. The social system and personal life were incorporated into the strict and ceremonial system. The jade was also changed from the god jade to the ritual jade, which penetrated into every corner of social life. There are only "six instruments" when there are sacrifices: to the heavens, to the celestial rites, to the ancestral rites, to the east of the Qing dynasty, to the south of the ancestral rites, to the west of the sacred sects, to the north of the sacred rites. This has its own background. When the kingdom aggregates more and more ethnic groups and even the original enemies, how to ensure the identity of culture and the dignity of the royal power has become the primary problem. The jade that is believed to absorb the aura of heaven and earth has become the carrier of the ritual system. During the Spring and Autumn Period, the Confucian Confucianism gave the virtue of the jade gentleman: the jade is warm and exudes luster, which is its virtue; the clear and fine texture, this is its wisdom; it is hard and not shrinking, this is its morality; It does not hurt people, this is its character; its color is bright and there is no stain, it is its purity; it is its bravery because it is harmed and not bent... The gentleman is better than the jade and becomes the core of the later jade culture.
At that time, the social trend was that "the gentleman has no reason, and the jade does not leave." Jade articles should be worn in groups, rhythmically creaking when walking, and the stride and speed should be in harmony with Pei Yu to express the gentleman's manner, temperament and grace. Since the Tomb of the Lion King Chu was once disturbed by thieves, this S-shaped jade dragon and which jade are paired together become a mystery of the ages. However, wearing such a large and heavy jade is not an easy task, so experts speculate that King Chu will only use Yulong when attending very important ceremonies.
So, where does Yulong come from? Is it a court reward or a local production in Chu? Experts prefer the latter. In the Warring States Period, the Chu State Jade Articles were the only ones in the world. Many jade articles were difficult to imitate even in modern times. In the early years of the Western Han Dynasty, the Chu State was quite coincident with the Chu State in the Warring States Period. The jade tradition was still there; There are jade in almost every seat of Xuzhou Han Tomb. There are all kinds of Chinese and Jade varieties. It is difficult to compare with other places. In the West Han Tomb of Baiyun Mountain in Xuzhou, a batch of jade materials, trims and broken jade pieces were also found. There are jade and workshops. In the Tomb of the Lion Mountain, a number of tools were found in the tomb. Some of the pointed parts of the tool are fried steel products. This is the earliest fried steel in China. It is more than 1800 years earlier than Europe. Such tools will undoubtedly improve the processing of jade. s level.
Regarding the master of the Tomb of the King of Chu, there are two views of the second generation of Chu Wang Liu Yuke and the third generation of Chu Wang Liu and Wu. The latter is the king of Chu who initiated the chaos of Wu Chu and the seven kingdoms with Wu Wang Liu Wei. Just like countless times in history, the Chu State, once rich and powerful, and the heroic king of the king, and the princes of the king, the majesty of the king, and the ambition of the king, have long disappeared from the wheel of time, leaving only the essence of Yulong. Cultural relics, turning the vicissitudes of more than 2,000 years into eternity, as an image of history for people to think and remember.
The dragon is a symbol of supreme rights and status in ancient Chinese history and is still a symbol of honor and rights.
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