Dongzhou art

The geographical differences between the Eastern Zhou Dynasty and the Shang Dynasty are reflected in artistic expression, especially in the late Eastern Zhou Dynasty, which showed diverse styles and high-level technology. Perhaps influenced by Confucius' opposition to human sacrifice, the number of low-temperature fired funerary wares (also known as "funerary wares" and "joint wares") has increased. During the Eastern Zhou Dynasty, there were also low-temperature blue-lead glazes, loose-polished black glazes and high-temperature glazes. Some pottery imitates the latest popular lacquerware with bright colors, while others imitate bronzes. There are also molded and decorated pottery tiles and bricks. Rare jade carvings in the Western Zhou Dynasty once again became important funerary objects and personal ornaments. The application of bronze is not limited to religious etiquette, but has become more secular, and it is often used as home decoration for wedding gifts. Bronze bells and mirrors are becoming more and more popular, and animal and monster totems are replaced by colorful and stylized decorative patterns. The earliest silk paintings were unearthed from tombs in the Eastern Zhou Dynasty. In addition, the predecessors who buried pottery in Han Dynasty and Tang Dynasty were also found. During the Eastern Zhou Dynasty, the extensive use of wooden tools such as iron knives, chisels, hammers and axes made the production of lacquerware mainly made of wooden tires, which not only increased the output, but also improved the quality. Especially in the Warring States period, the ritual system of showing the ruler's position by the weight of bronzes has declined, and funerary objects and lacquerware in tombs have gradually increased. Lacquerware in the Warring States period was far ahead of the previous generation in terms of output, variety and production technology, which was closely related to the social background and economic conditions at that time. Most lacquerware in the Warring States period came from Chu tombs. Chu is the largest country in the Warring States period, and the most tombs of the Warring States period have been unearthed. Lacquerware occupies a very important position in Chu culture. In addition, the method of sealing the tomb with white paste mud is very beneficial to the preservation of lacquerware, which is also an important reason why we can see a large number of lacquerware from Chu tombs. The lacquerware buried in large and medium-sized Chu tombs ranges from dozens to hundreds.

Small lacquerware buried with Chu tombs is also common. It shows that the use of lacquerware has penetrated into the grassroots of society. There are many kinds of lacquerware in Chu State, including coffins, boxes, boxes, tables and beds for daily use, cups, plates, beans and cans for food, harps, sheng and drums for musical instruments, bows, shields and armour for weapons. The traditional development and rotational moulding technology were extended to the production of wooden tires of Chu lacquerware, and the new technology of wood rolling was adopted. Lacquer with tyre is made by repeatedly applying paint ash to the carcass formed by hemp fabric, then polishing the surface and painting it.

Lacquer with tire clamping is thin, light, beautiful and practical. Its molding technology is an outstanding creation of the manufacturing technology of lacquerware matrix in Chu State, which has the advantage of not being easy to deform and crack, and opens up a new way for lacquerware matrix materials. The lacquerware painting technology of Chu State has been further improved, and the painting technology is more mature. The most commonly used colors in painting are black and red, mainly black and red. In addition, there are many colors such as gold, silver, yellow, green, blue, ochre and gray, which form the colorful style of Chu lacquerware. Gold tracing is an important painting technique, which is often used in the production of lacquerware in Chu State. The content of Chu lacquer painting is very rich, not only with various complicated geometric patterns, but also with realistic patterns showing figures, hunting, feasting, singing and dancing, and animals, which are vivid and full of life breath. The variety and quantity of lacquerware unearthed from the tomb of Zeng Houyi attracted worldwide attention. At the beginning of the Warring States period, the State of Zeng belonged to the State of Chu, and the lacquerware production technology of the tomb of Zeng Houyi was basically the same as that of the State of Chu, which should belong to the category of lacquerware in the State of Chu. In addition, under the influence of Chu lacquerware, the technical level of Bashu lacquerware unearthed in Sichuan has also improved, and gradually formed certain regional characteristics. During the Eastern Zhou Dynasty, the architectural technology of lacquerware in the Eastern Zhou Dynasty had reached a high level. The famous Luban, that is, Lu Guoren, is an outstanding representative of folk craftsmen, and later generations are honored as the founder. Most of the architectural relics of the Eastern Zhou Dynasty found in archaeological excavations are palace ruins, and the most common architectural components unearthed are tile-slabs, bronze bucket arches, bronze ornaments, bronze house models and so on. From this, we can imagine the grandeur of palace architecture in the Eastern Zhou Dynasty.

Tiles are immediately blocked by tiles, which is the shielding of the front end of eaves tiles in ancient buildings in China. The tiles in the Eastern Zhou Dynasty are generally mud, with high firing temperature, hard texture and bluish gray, and there are two kinds: semi-circular (referred to as "half tile") and round. Banwadang is the earliest relic of the Western Zhou Dynasty, and Yuan Wadang was developed from Banwadang. Round tiles were first discovered in the ruins of the early Warring States period.

The patterns of ceramic tiles in the Eastern Zhou Dynasty include animal and plant patterns, moire patterns and animal and plant deformation patterns. The animal face pattern unearthed in Yanxiadu, Yixian County, Hebei Province is half tile, with two animals facing each other, opening their mouths and sticking out their tongues, and the head and tail are curled, which is a variant animal pattern. The copperplate Map of the North unearthed in Shan Zhi, Pingshan, Hebei Province, shows the layout of the cemetery, with text descriptions and the names and lengths of each part, which is a precious material for studying the architectural history of the Eastern Zhou Dynasty. The Lou Que-shaped ornaments unearthed in Dongguan City, the capital of Xia Yan in Yixian County, Hebei Province, not only enable us to intuitively understand the Lou Que structure in the Eastern Zhou Dynasty, but also further understand the actual life scenes of dignitaries at that time. The process of gold and silver wares in the Eastern Zhou Dynasty is very high. The unearthed areas of gold and silver vessels are also very vast, not only in the Central Plains, but also in Jiangnan and Saibei. Most of the gold and silver wares in the Central Plains are utensils and hooks, which are generally made by Zhu Fan method. The Xiongnu gold and silver wares unearthed in Inner Mongolia, Shaanxi and other places are mainly jewelry and accessories on harness. Among Attila's relics unearthed in Aruchaideng, Hanggin Banner, Inner Mongolia, there are more than 200 pieces of gold and a small amount of silver. Among them, eagle-shaped gold crown ornaments, tiger ox ornaments, tiger deer buckles and so on. They are all made by methods such as fan casting, hammering, carving, wire drawing and inlaying. And almost all kinds of technologies in the process of refined gold mining are enough to represent the highest level of refined gold technology of the Xiongnu royal family at the end of the Warring States period.

Deer-shaped golden monsters, gold and silver tigers and silver deer unearthed from Xiongnu tombs in the late Warring States period in Nalin, Shenmu, Shaanxi, carved or embossed various animal images with vivid expressions and vivid images, achieving a high degree of unity of realism and decorative interest. Jinding and auricle unearthed from the tomb of Zeng Houyi in Leigudun, Suixian County, Hubei Province, are made of earrings, buckles, covers, bodies, etc., and then combined with casting or welding. The process is more complicated, similar to the casting method of bronze ware. During the Eastern Zhou Dynasty, the vassal states encouraged the development of sericulture and silk production. In addition, the popularization and use of ironware has promoted the continuous innovation of handicraft machines and tools, the rapid improvement of silk weaving technology and the more diverse varieties of silk, which has become an important development period in China's silk history. In ancient times, silk was called silk or silk. The Eastern Zhou silk discovered by archaeological excavations generally includes silk, yarn, silk, crepe, silk, silk, silk, silk, silk, silk, silk, silk, silk, silk, silk, silk, silk, silk, and most of the silk fabrics discovered by archaeological excavations belong to the Warring States Period. Silk fabrics are mainly unearthed in Chu tombs, because the geographical conditions and climate in the south are conducive to the preservation of silk fabrics. In fact, according to the literature, the silk industry in the middle and lower reaches of the Yellow River was also very developed in the Eastern Zhou Dynasty. There are not many archaeological discoveries of silk in the Spring and Autumn Period reported so far.

During the Warring States period, there were abundant archaeological materials of silk, and the reported unearthed sites were mainly in Hunan and Hubei. 1982 The Chu TombNo. Mashan 1 in Jiangling, Hubei Province, unearthed a large number of complete silk fabrics, which were various and colorful, including almost all the varieties of silk fabrics in the Eastern Zhou Dynasty. It is the most concentrated and important discovery of silk fabrics in the Eastern Zhou Dynasty. Coffin clothes 19 pieces, in addition to towels, mirror clothes, bags, pillowcases, coffin covers, dresses worn by wooden figurines, etc.

The types of silk fabrics are silk, silk, yarn, silk, silk, silk, silk, silk, silk, silk, embroidery and so on. The level of silk weaving technology is amazing. Silk was the most used silk in the Warring States period, and its weaving technology was also improving. The silk of Mashan 1 Tomb has the highest warp and weft density, which is per square centimeter 158×70, which is finer than that in the Spring and Autumn Period. The varieties of dyed silk have also increased than before.

Mashan 1 tomb silk has up to six colors. Brocade is the most distinctive of Chu silks. There are many kinds of tapestries in Mashan 1 tomb, including six kinds of two-color tapestries such as tower tapestries, and three kinds of three-color tapestries such as dancers, animals and tapestries. The patterns of dancers, animals and tapestries traverse the whole width, and the weaving adopts 143 jacquard heald, which fully reflects that there were quite advanced jacquard looms and skilled weaving techniques at that time. Silk yarn, silk yarn, silk yarn and silk yarn are new silk varieties in the Warring States period. Weft jacquard and knitting jacquard are important innovations in silk weaving technology during the Warring States period. A large number of tapestries were unearthed in Mashan 1 Tomb. The structure of brocade is very complicated. In addition to horizontal connection, jacquard technology was adopted, and the knitting method was ingenious, which advanced the history of the origin of knitting technology in China to about the third century BC.

Chu xiu is colorful, representing the highest level of Chu silk. Embroidery is mainly silk, but it is rare for people who take Luo as their land. Mashan 1 Tomb Embroidery 2 1 Piece, with different patterns. Although the needling method is relatively simple, the lock is very uniform, neat and smooth. More methods are to express the details of various animals by changing the direction, arrangement and density of lines, which breaks through the monotonous tradition and gives people a vivid and changeable feeling. The composition of embroidery patterns pays attention to symmetry and balance, dynamic and static combination, and proper color matching. The content of the pattern is full of myth, which clearly embodies the romantic characteristics of Chu culture and has a far-reaching impact on the development of embroidery in later generations.