The Chinese have a special liking for jade since ancient times, and they have been deeply impressed for thousands of years. This extreme love jade complex is not found in other countries in the world, but also a unique cultural phenomenon of the Chinese nation.
In the process of studying Chinese ancient jade, what impressed me the most was the jade articles of the Warring States and the Han Dynasty. If the prehistoric jade is still rough in the jade craft, the pattern is more abstract and mysterious; the Shang and Zhou jade are more small and stylized, and there are not many large-sized instruments, then the warring jade replaces the bronze cookware with the iron cookware. The jade tools gradually improved, the jade production began to change, and the styling and ornamentation became rich and lively. Until the Han Dynasty can be said to have developed into a peak of ancient Chinese jade art.
The artistic style of the two Han jade articles is multifaceted. The most important feature of its style and decorative style is its majestic and agile flying. There have been many larger models that have been rare in the past, and are widely used in furnishings, daily life, decoration, and even funeral jade. For example, the four spirits of the Mausoleum excavated in Maoling, Xianyang, Shaanxi, have a length of 34.2 cm, a width of 35.6 cm, a thickness of 14.7 cm, and a weight of 10.6 kg, which is more atmospheric and magnificent than the pre-Qin jade.
Many jade compositions in the Han Dynasty broke the traditional symmetrical balance. For example, the embossed jade plaque unearthed from the tomb of Muwang Liu Chang in Dingzhou, Hebei Province, looks roughly symmetrical, and the dragon and èž dragon patterns are not In the same way, each has its own degree and is distorted. Not only does it give the jade a strong sense of agility, but there is no imbalance.
The classics unearthed from the tomb of the Nanyue King - é•‚ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™ é¾™It can be said that many works in Hanyu are extremely powerful and dynamic, especially the carvings of various dragons, winds and crepe lines. The muscles of the tension are solid and the shape of the "s" is beautiful. The artistry is enough to make future generations stunned. .
It is worth mentioning that this "S" shape curve, although originated from the pre-Qin, but in the two Chinese jade models and patterns appear in a large number, not only the dragon, crepe, phoenix pattern, in the many accessories of the utensils There are many manifestations. This large number of S-shaped patterns may have an impact on the appearance of yin and yang fish lines in the later easy-to-learn taiji diagram.
In the era when the Taiji figure appeared, there were many views in the academic world. Basically, it was the product of Taoism, which may appear in Song. However, the existence of the Taiji S movement structure should be earlier than the existence of the Taiji diagram. "Zhou Yi·Following on the Book": "Easy to have Taiji, is to live two instruments, two instruments and four images, four elephants and gossip." (Li Daoping: " Zhou Yiji Jie Shu Shu, "Thirteen Jingqing people note, volume eight, the Department of the eighth, 199 pages, Shanghai Ancient Books Publishing House, June 1994 first edition) Taiji has yin and yang, heaven and earth, men and women, rigid and soft, etc. There are many meanings, and the changes in the world can be explained by Taiji. The S-shaped movement may not only have a certain relationship with the two instruments described in Zhouyi, but may be a direct result of the yin and yang thoughts that appeared earlier in the Book of Changes. During my investigation of jade articles, I found that a large number of s-shaped dragons and phoenixes appeared in the Warring States Period and the Western Han Dynasty, and often they were dragons and phoenix tails. The combination of dragon and phoenix is ​​distorted into an s shape, more like the representation of a yin and a yang, the phoenix is ​​yin and the dragon is yang. The concept of yin and yang has become the main concept of later Yi-Xue. Therefore, the "S"-shaped dragon phoenix in the jade model may have a certain influence on the emergence of later generations of Taiji diagram.
Another main feature of the Han Dynasty furnishings and decorative jade is that most of the jade is excellent. The jade evil spirits unearthed from the ruins of the Longevity Palace in Xianyang Fuling are also made from Hetian Baiyu seeds, and the jade is warm and delicate. At this time, Hetian jade became the protagonist of jade processing materials, and became the main material for the production of jade in the next two thousand years.
The colorful and colorful jadeware of the Han Dynasty, the majestic shape of the sculpt, the spiritual movement of the ornamentation, first benefited from the further improvement of the jade tool. On the basis of the warfare technology of the Warring States, the use of iron tools is more mature and handy. The craftsmen skillfully use various techniques such as high relief, bas-relief, multiple carvings, round carvings, line carvings, cymbals, rings, inlays, etc. It can be said that the carvings are extremely capable, creating a large number of exquisite jade articles, showing luxury. The Suzaku Tiger, the unearthed from the Western Han Tomb of Beishantou, Chaohu, Anhui Province, is the most representative. In the cylinder, the deep abdomen, the high relief, the eagle-carving, the Suzaku stepping on the tiger, the Zhuque head sticking out along the mouth. The mouth is skeined with a live ring, and the two wings are swept back and the claws are stepping on a tiger. The tiger's posture is strong, the mouth is roaring, and the twisted wire tail is rolled up. On the other side of the ring, there is a bear with a chest. Highly embossed and deformed feathers on both sides. It is covered with a tangle of grain and a stretch of moire. The overall design is ingenious and novel, and the decoration is luxuriant. It combines various techniques such as enamel, live ring, relief, round carving, enamel carving and inscription, which reflects the most important level of the jade carving in the Han Dynasty.
In addition, the social politics of the two Han dynasties is relatively stable and the ideological environment is relaxed. Huang Laowuwei, Confucianism, Jade, Taoist immortality, the evil spirits, and the thoughts of the Eastern Han Dynasty, the yin and yang, and the five elements of the yin and yang, all have influence on the creation of jade art, but it is rare that the innovation of jade is not limited. Craftsmen are less constrained by form and ornamentation, and fully exert their imagination and creativity. Therefore, a large number of classic works appeared in the Han Dynasty, reaching an unprecedented peak in the decorative and plastic arts.
After the Confucian Yudeguan to the Emperor Wu of the Han Dynasty, he officially established a dominant position, "the gentleman is better than the jade", "the gentleman has no reason to leave the jade", and Xu Shen is jealous of "benevolence, righteousness, wisdom, courage," The final refinement of Jie's five virtues has made the functions of the two Han jade more and more. Aiyu and Peiyu have become the fashion of the social aristocracy. From rituals to accessories, daily necessities, funeral jade, and even gifts to each other are jade articles. However, the use of jade was limited to the royal family of the Houhou, and the value was very high. Therefore, it is said that the "Heshi", which can be exchanged for fifteen cities in the Warring States Period, was changed to the national ancestor by Emperor Qin Shihuang, and it was still the state power in the late Han and Wei Dynasties. The sign of becoming a thing that all the princes want to compete for. This kind of strong hierarchy makes it impossible for ordinary people to use jade. Although the jade wares gradually became secularized after the Song and Yuan Dynasties, from the ancient times to the present, the situation of jade belonging to the spring and white snow has not changed.
The beauty of Han Yu makes the future generations highly respected. In the Song Dynasty, there was a copy of the imitation of Chinese jade. In the Yuan Dynasty, Zhu Derun’s "The Ancient Jade Picture" also recognized that some jade articles were jade articles of the Han Dynasty (Zhu Derun: "Yi Zhengtang's heavy archaeological jade map", Sang Xingzhi et al. Say Jade, Shanghai Science and Technology Education Press, 1st edition, May 1993, p. 601). During the Ming and Qing Dynasties, there were many works of imitation of Chinese jade, such as the Ming Dynasty, the white jade, the earrings, the phoenixes, the cover of the jade, the Hetian Baiyu chicken in the Kangxi period (Su Tianyi: "The Xi'an Xijiao Xiaoxi Tianqing Tombs Excavation Briefing ""Relics", 1963, 1st, p. 5058), its shape, ornamentation is obviously imitation of the Han Dynasty jade and jade.
Emperor Qianlong may be the earliest emperor to pay attention to the study of ancient jade. There are more than 800 poems about jade articles, and many poems for ancient jade. He was also the first emperor to know the jade articles of the Han Dynasty. The Qing Dynasty court imitation of Han Yu's works abounds, such as a grainy jade carving in the palace, which is called "Chang Le", and it is called "Han Yu Chang Le Pei" ( Lu Zhaoyin, Editor-in-Chief: Complete Works of Chinese Jade, 4·Qin Han Southern and Northern Dynasties, Hebei Fine Arts Publishing House, 1st edition, May 1993, Figure 266). An evil spirit that was once designated as Wei Jin's works, Gan Long believes that it is a jade in the Han Dynasty. These understandings are correct according to the current archaeological materials. However, due to the limitations of history, Qianlong even said that the pre-Qin jade articles must be called Hanyu, which influenced many later collectors and connoisseurs.
After the 1950s, with the increasing number of tombs in the Han Dynasty discovered by archaeology, people have a real understanding of the two Han jade. At present, there are more than 30,000 tombs of Han Dynasty in the archaeological discovery, but there are less than 1,000 tombs of jade unearthed, and most of them are concentrated in the more than 100 princes and Leh-class tombs that have been discovered. Although the tombs of the emperors of the Han Dynasty have not been officially excavated, the emperor's use of jade faces is still not clear, but the jade artifacts unearthed from more than 100 princely tombs basically reflect the general situation of the jade articles of the Han Dynasty.
A certain culture is a reflection of certain social politics and economy. The objective existence of society must be reflected in the funeral customs of ideology. Therefore, the tomb is a microcosm of ancient social politics and economy. It reflects the rise and fall of the political situation and economic system at that time. The cultural relics left over from the occurrence and development of culture and art are also physical evidences at a certain stage of social development. When we study the jade articles of the Han Dynasty, we should restore the Han Dynasty jade as much as possible to the background of the times. We use the customs, rituals and traditions of the Han Dynasty to explain their jade ideas and explain the meaning of the jade ornaments in the Han Dynasty. Appreciation and understanding of the Han Dynasty jade. Understanding the jade articles of the Han Dynasty, I also understood the essence of ancient Chinese jade.
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