Qin and Han Art Design Characteristics, German Industrial Union, Painted Stones of the Two Han Dynasties

1 During the Qin and Han Dynasties in China, the most drastic changes in Chinese characters took place, with the creation of the Small Seal Script (小篆) after the Big Seal Script (大篆), the development of the Official Script (隶书), the development of the Cursive Script (草书) into the Zhangcao (章草), and the budding of the Running Script (行书) and Regular Script (楷书), which led to the emergence of a great many calligraphers. The changes in writing and the achievements of calligraphy had a profound influence on the later calligraphy.

The calligraphies of the Qin and Han dynasties have been preserved in the form of silk scrolls, simple scrolls, and inscriptions on wall paintings and ceramic bottles; and other physical materials such as metal inscriptions, stone carvings, bricks and tiles, and lacquer ware, all of which are important for the study of Qin and Han calligraphies.

The small seal script was the official script of the Qin Dynasty. After the unification of the six kingdoms, Qin stipulated that the characters should be written in the same script. The shape of the small seal script is long and square, with rounded strokes, well-proportioned structure, lean and handsome strokes, and elegant and relaxed style, which was mainly used for official documents, stone carvings and charms. The small seal scripts of the Qin dynasty that have been handed down to the present day include the Taishan Carved Stone, the Luangwutai Carved Stone, the Yishan Carved Stone, and the Huiji Carved Stone, all of which are said to have been written by the prime minister Li Si. One side of the Luangwutai Carved Stone remains in the Museum of Chinese History, and 10 characters of the Taishan Carved Stone, now in Tai'an, Shandong Province, are typical of the small seal script of the Qin Dynasty. The other stones were copied by later generations and have lost their original appearance. There is a tiger symbol from Yangling, which has the same rounded and thick style as the stone. The Qin power, quantity, and imperial edict plates were engraved with the imperial edicts of the first and second emperors, and the characters are also in small seal script, but due to the influence of knife carving and the folk style of calligraphy of the time, the style is more rustic, the strokes are mostly square and folded, the lines are thin and hard, and the edges are sharp and beautiful. The Qin ceramics were printed on the potteries with the engraved small seal stamps, and the strokes are rounded and thick, comparable to those of stone carvings.

The Edict Version of the Text (Qin)

The calligraphic ink inscriptions of the Qin Dynasty are in Palm and Simplified Script. Most of the Qin simplified scripts unearthed in Yumeng Sleeping Tiger Land in Hubei Province belong to the official script. However, some characters still retain the structure of the seal script, which is the ancient scribe of the seal script. The shape of the characters varies from rectangular to square to flat, with thick and simple strokes, and the structure is complementary to the square and the round, so the calligraphy is neat and elegant. Some of the palindromes excavated from the Mawangdui Han Tomb in Changsha, Hunan Province, are in seal script, and some date from the Qin Dynasty. Most of these handwritings are relatively neat and can be used to study the structure of early clerical script and the characteristics of the brush.

According to the records, there were many calligraphers in the Qin Dynasty, including Li Si, Zhao Gao, Hu Bujing, Cheng Cheng Taipei and so on. Li Si wrote the Cangjie Pieces, and he took the seal script from the pre-Qin Dynasty and created the Small Seal Script, which had a great influence on the seal scripts of the future generations. His calligraphy is rich in bones and flavor, with wonderful squareness and roundness. It is rumored that Li Si wrote all the inscribed stones of the Qin Shi Huang's travels. It is rumored that Zhao Gao wrote the Book of Records and Hu Bujing wrote the Book of Knowledge, both of which contributed to the creation of the Small Seal Script. Cheng Miao worked on the standardization of the official script.

Calligraphy of the Han Dynasty

There were about three kinds of fonts in use during the Han Dynasty: (1) Seal Script, which was used for engraving stones and talismans, as well as high-level official documents and important ceremonial scripts, such as the orders of the emperor to the vassals, bier inscriptions, inscriptions on official bronze vessels, inscriptions on stele, and texts on the bricks and tiles of the palaces; (2) Script of the Clerical Script, used for intermediate-level official documents and scriptural writings, such as the Imperial edicts of the Emperor, and the scriptural texts and tablets of the general scriptures and inscriptions, etc; and (3) Cursive Script, used for the lower-level official documents and scriptural texts, such as the imperial edicts of the Emperor, and the scriptural texts and tablets. Cursive script, used in low-level official documents and general draft documents, such as "Yongyuan artifacts book", Wuwei's medicine Jane, taboo, miscellaneous occupation of the Jane. Some other characters such as "ancient text" and other applications are narrower.

Seal Script

Western Han Dynasty inscriptions in seal script are relatively few, because the monuments and stone tablets have not yet emerged in the Western Han Dynasty, and those that remain today are mostly inscriptions, such as "Rubei Aishi Inscription", "Zhuqiqing Grave Altar", "Shanggufu Grave Altar", and "Yuping Taiyin Feng Junru Tomb Painting and Inscription", etc. The seal script was changed from the Qin Dynasty's "Yongyuan Artifacts Book" to "Wuwei Medicine Jane", "Sun Ji", and "Miscellaneous Occupation Jane", and so on. The seal script of the Qin Dynasty is gradually becoming more and more square. In the Eastern Han Dynasty, there was a trend of erecting monuments, and some famous seal script monuments include Kai Mu Shi Que Inscription, Shaolu Shi Que Inscription, Yuan An Monument, Yuan Hui Monument, and Sacrifice to the Three Dukes of the Mountain Monument, and so on. The seal script of the Eastern Han Dynasty is different from that of the Qin Dynasty in that the calligraphy is dense, square and round, and the strokes are vigorous. The Yuan An Stele and Yuan Chuan Stele, which were unearthed later, have intact strokes, broad and spacious calligraphies, and beautiful scripts. The Sacrifice to the Three Dukes of the Mountain Stele has a slightly clerical style and a square form, contrary to the rounded and proportional character of the small seal script. The most colorful seal script of the Han dynasty is that of the tablet inscriptions, some of which are square, some of which are graceful, and some of which are not only in a variety of styles, but also in the use of a wide range of brushstrokes, either rounded or rounded, square or square, dense or sparse. Such as the famous "Jingjun stele", "Han Renming", "KongZhu stele", "KongBiao stele", "Huashan stele", "ZhangQian stele", "XianYuJuan stele", "YinZhu stele", "YuanBo stele", "wangsheren stele" and so on the stele, each with its own style, there is no one class the same.

Yuan An Stele (Eastern Han Dynasty)

Another rich treasure trove of seal script of the Han Dynasty is the inscriptions on bronze vessels. Most of the inscriptions were written first and then chiseled by the craftsmen, so the strokes are mostly square and broken at the transitions, giving the seal script a different style. However, the form and strokes of the seal script still show a variety of faces. For example, the inscriptions cast by the Zhongshan government on the tomb of King Jing of Zhongshan are bold and majestic, the inscriptions on the rows of stirrups in the Chiyang Palace are elegant and graceful, the inscriptions on the rows of stirrups in the Qucheng family are more straightforward and slender, and the inscriptions on the Changyang tripod and the Huangshan tripod are more dignified. Most of the inscriptions on the bronze vessels cast in the Xinmang period are in square small seal script with a neatly draped foot, with an elegant and playful style, and the "Xinmang Copper Measurement Inscription" and the "Xinmang Copper Jia Measurement Inscription" are the most typical works.

New Reckless Copper Jialiang Inscription (Western Han Dynasty)

The characters on the tiles of the Han Dynasty are mostly in seal script, which is long and decorative, such as the Changle Weiyang Square Brick and the Shan Yu Heping Square Brick. The writing of the characters on the tiles follows the shape of the tiles, which is unique and gives a strong decorative flavor to the seal script.

There are not many seal scripts unearthed in the Han Dynasty, but the Ganzhijian unearthed in Dunhuang, Gansu, the flags and banners in the Han tomb of Muzhuizi, Wuwei, and the letter to the captain of Zhangye unearthed in Juyen are all square seal scripts, with thin, square and hard brush strokes. Some of the palindromes from the Mawangdui Han Tomb in Changsha, Hunan Province, are early Han seal script, which can be regarded as seal script with the meaning of official script.

Li Shu (隶书) The origin of Li Shu is very early, dating back to the Warring States Period (战国時代), when a wooden document from the Warring States Period (战国期) was unearthed at Haojiaping in Qingchuan (青川), Sichuan Province, in 1980, and many of the characters and drawings in it were written in the Li Shu style and style. In the Qin Dynasty, the official script was generally popular among the people, and it was constantly corrected and perfected in the folklore, and developed to the highest stage in the Han Dynasty, becoming the main script of the Han Dynasty. From the Qin Dynasty to the beginning of the Western Han Dynasty, it was the period of the ancient official script, except for some of the Western Han stone carvings which were in seal script, the rest of them were the ancient official script in the process of the seal and official script change, such as the Record of the Sale of the Mountain Land in Yangxu, and the Carving of the Stone in the Second Year of the Wufeng Dynasty, whose structures were already in the form of the official script, but whose brush strokes had not yet seen the typical wave-falls of the limbs.

Li Shu developed to a mature stage at the end of the Western Han Dynasty and the Eastern Han Dynasty, at which time the shape of Li Shu tended to be broad and flat from rectangular, and shifted from vertical to horizontal, and the strokes had become more neat, and the waves and picks were more perfect, and the dots and drawings echoed each other so that the artistry of Li Shu reached the realm of harmony and perfection. For example, the simplified script of Emperor Xuan of the Western Han Dynasty (73-79 BC) in Tomb No. 40 in Dingzhou, Hebei, the simplified script of Emperor Xuan in Tomb No. 115 in Datong County, Qinghai, and the wooden documents unearthed in Dunhuang in the first year of Tianfeng of the Western Han Dynasty (14 BC) are all matured scribal scripts. The East Han Clerical Script is richer in brushwork skills, fully utilizing the changes of the brush in the wave picking, the lifting and pressing, the starting and stopping of the brush, showing the characteristics of the silkworm head, swallow tail and wave potential. In the structure of the sparse and dense changes, the echo of the dots and drawings, more complexity and variability of the Li Shu posture, but also more diverse styles.

The Han Dynasty simple documents and silk for the main ink of the official script. From the found Han Jane, the neat and strict official script is mostly found in the pre-Qin canon and official edicts. Such as Yuyan unearthed Yao Dian remnants of simplicity, Lop Nur unearthed the Analects of Confucius remnants of simplicity, Wuwei unearthed the ritual of simplicity, Hebei Dingzhou unearthed the Analects of Confucius simplicity, Wuwei unearthed the King's staff edicts of simplicity, Gangu unearthed the Huan Di Yan Jia first year (158) of the Imperial Edicts of the Laws and so on, are all neat and tidy LiShu. Juyen unearthed Han Jian, mostly for the construction of border fortresses, cantonment, set up pavilion flint left by the garrison paperwork, the writing is more sloppy, seems to be more careless, and writing appearance is also different.

Juyan Jane

The most representative of the achievements of the Clerical Script is the Eastern Han Dynasty inscriptions. In the Eastern Han Dynasty, there was a prevailing trend of erecting monuments and carving stones, and the monument itself was a piece of stone artwork. The important part of the monument, the inscription, had to form a perfect art form with the monument, and therefore special attention was paid to the calligraphy. Eastern Han Dynasty inscriptions in clerical script, can be divided into two main types: the shape of the word is more square, but the law is strict, and the limbs are clear; writing is more casual and natural, the law is not very strict, and there is the fun of indulgence.

The former can be divided into two styles:

1) the tendency to dignified and beautiful style, carving is more delicate, the effect of the brush is more obvious, the strokes of the limbs are clear. The form is square, and the strokes are staccato. For example, the Shi Chen Stele is neatly carved in a thick and elegant style. The Zhang Jing Stele is written in a broad, flat, elegant style. The Huashan Stele, with its elegant and graceful style (see the colorful Huashan Stele (Part of the Eastern Han Dynasty)). In the Kongzhou Stele, the left-right layout and the rounded strokes of the brush are characterized by a seal script brushwork. In the Yinzhou Stele, the strokes are rounded and robust, with a sense of the Regular Script. The Remnants of Hou Xiaozi's Stele, with a strong and elegant style. The Zheng Gu Stele, with an inwardly converging form and open horizontal strokes on the left and right. The Xiping Shijing, with its square posture, thick strokes, and dignified style, is another example of this style. Belonging to this style are also Han Renming, Li Mengchu Stele, Yangjia Remnants of the Stele and so on. In this category, there is also a more beautiful style, such as the Cao Quan Stele, Kong Biao Stele and so on.

2 tend to be simple and strong style, the effect of knife carving is more obvious, the strokes appear square, the twists and turns of the neat, square. The more representative inscriptions are "Xian Yu Juan Stele", the pen square fold, strong, rigorous and with natural gestures; "Zhang Qian Stele", the body of the square, there is a proud and unbeatable temperament; "Youzhou Shu Zuo Qin Jun Shiquel", square fold strong, very strong; "Jing Jun Stele", the strokes are straight and square hard, straight down like a hanging needle, in the Han Dynasty Clerical Script is very distinctive; "Zhang Shou Stele", the font is strong and square; "Heng Fang Stele", the knotting of the "Heng Fang Stele", the strokes are straight and square hard, the straight down like a hanging pin, in the Han Dynasty Clerical Script is very characteristic;

② tend to be simple and strong style, the effect of knife carving is more obvious, the strokes are square, the twist and turn of the neat, square body. Hengfang Stele", with a broad style and fat, ancient strokes; "Ode to the West Narrows", with a square and neat style and thick, staccato strokes (see the colorful "Ode to the West Narrows" (part of the Eastern Han Dynasty)); "□ Pavilion Ode", with square and neat calligraphy and a majestic and vigorous style; and the "School Officials' Stele", with a deep, strong and thick brush and an ancient, thick, and dense style. The latter can also be divided into two styles: (1) sloppy and casual writing, with different sizes and shapes of characters.

(3) Since it is written on the cliff wall, it is limited by the uneven surface of the stone, so it is written with the stone, and it has the effect of being natural and unconstrained. Its representative inscriptions are "three old jubilee monument", "Ma Jiang tombstone", "Xiangtajun ancestral hall carved stone", "Fengjun Que", as well as all over the unearthed yellow intestines stone. Cliff carvings, which are carved entirely on the rock wall, have unexpected effects, such as the "□君opening of the Berkshire Road Carvings", "Ode to Shimen", and "Yanghuai Tablet Chronicle", all belong to this category. The Ritual Vessel Stele is a combination of the two styles of Han clerical script, and the entire stele is fine, strong, and robust, with a slight touch of elegance in its dignity (see the color illustration of the Ritual Vessel Stele (part of East Han Dynasty)).

There is a type of tomb brick that was used to record the burial inscriptions of prisoners who died after serving hard labor, and the text was carved with a knife at random, unlike the brick inscriptions that were stamped on the bricks.

The imprinted text is more square and simple, while the criminal's tomb brick text is more sketchy and random, writing and engraving without line grid, strokes arbitrary horizontal and vertical staggered, there is a kind of unrestrained fun, may be folk calligraphers or craftsmen by the book engraved.

Li Shu to the end of the Eastern Han Dynasty, due to the excessive pursuit of form and decorative, wave picking artifice, and the structure of the stagnant, lack of interest, and began to go downhill. This trend to the Wei and Jin Dynasties even more so, so the decline of the official script has become an inevitable trend.

Cursive Script

The cursive script of the Qin and Han dynasties was the period of the development of Chinese cursive script. The early cursive script of the Han Dynasty was a simple, rapid writing of the official script (Gu Li). This kind of cursive writing can be seen from the "Shenjue four years of Jane", this period of cursive writing is the stage of the grass-clerical or official cursive.

Cursive writing gradually appeared in the East Han Dynasty, and the general idea of cursive writing can be seen in the medical documents unearthed in Wuwei and the Jane of "Wiping out the rebellious countries" and the Jane of "Hou Chang Gao Yi in the north" unearthed in Dunhuang. To the Cao Wei, Western Jin Dynasty, cursive after the continuous processing of calligraphers, the formation of a certain pattern of cursive, later generations called this type of cursive for Zhang Cao, in order to distinguish between the Eastern Jin Dynasty prevalent in the present cursive.

Chapters of grass in the Eastern Han Dynasty has been generally popular, in addition to the excavation of a large number of cursive documents, such as the "urgent chapter brick", "Gongyang Chuan brick", "Ma Junxing brick", as well as Anhui Bozhou unearthed Cao's tomb bricks, are engraved in chapters of cursive script, it can be seen that the Eastern Han Dynasty chapters of grass in the private sector is quite popular.

Famous calligraphers of the Han Dynasty include Shi You, Cao Xi, Du Cao, Wang Jizhong, Cui Won, Cui Zhi, Zhang Zhi, Cai Yong, Shi Yiguan, Liu Dezhu, and Liang Guan. Shi You once wrote "The Rapid Achievement Chapter" in clerical cursive script. Cao Xi, a native of Zhangdi in the Eastern Han Dynasty, is recorded as a seal calligrapher who created the Hanging Needle and Dropping Dew method. Du Cao was famous for his good calligraphy, and Cui Won and Cui Yu studied his cursive script, which was later called Cui Du. Cui Won was good at cursive script, and wrote "Cursive Script Potential". Zhang Zhi was good at Zhang Cursive Script. According to the Tang Dynasty's Zhang Huaibu's "Book Breaks", he created the modern cursive script and called him the "Sage of Cursive Script". Wang Jizhong was good at Clerical Script, and his "Book Break" said that he used Clerical Script as Regular Script. Cai Yong (蔡邕) was good at seal script and created the Fei Bai (飞白) script, and was involved in writing the Shijing (石经). Shi Yiguan was good at clerical script. Liu Dexu, the record says he created the running script, although it is a cursive creation, rich and magnificent, elegant style, unique at that time. Liang Guan good official script, calligraphy for Cao Cao appreciated.

Some calligraphers in the Han Dynasty, the name is not significant, but in the inscription, such as Guo Xiangcha book "Huashan Stele", Qiu Jing book "Ode to the West Narrows", Qiu Fu book "□ Pavilion Ode", Jiboyun book "Wuban Stele".

2 Deutscher Werkbund

The Deutscher Werkbund was an organization of associations of German architects, designers, and industrialists active between 1907 and 1934, and after 1950. It grew out of the heated debate about the purpose of applied art in Germany in the early 20th century, and was founded by Hermann Muthesius, Peter Behrens, Heinrich Tessenow, Fritz Schumacher, and Theodor Fischer.

In its founding statutes it states that the role of the Federation of German Industries is 'the ennobling of commerce through the collaboration of art, industry and craftsmanship, through education, propaganda, and a united position'. propaganda, and a united position on relevant questions'. The ntaionalistic basis of the organization was also clear from the outset, that only by uniting the best artists and business people could the development of German culture be assured.

While architects had an important influence on the early goals of the Industrial Union when it was founded, architectural design and town planning played a much smaller role in the Union before 1914 than they did afterward. There was no unified style or design philosophy. At the 1914 Cologne Conference of the Industrial Union, Muthesius proposed that standardized design for industrial production should be promoted. Although the widely adopted archetype had been developed over a long period of time in traditional design, he believed that in the industrial age it should be developed more rapidly through a more conscious design process - the Typisierung (standardization). -and developed even faster. Other members, including Henry Van de Velde, August Endell, Hermann Obrist, Gropius and Bruno Taut, were skeptical, however, arguing that Muthesius's proposal would affect the creative freedom of artists. This tension, which existed between artists, influenced by Nietzschean elitism, who considered themselves advocates of beauty, and industrialists and exporters, who sought more tangible benefits, was halted by the outbreak of WWI.

At a postwar conference in Stuttgart in 1919, the architect Hans Poelzig was elected the new president of the Industrial Union. At the conference he proposed, in keeping with the anti-industrial (anti-industrialist) and anti-capitalist sentiments of the post-war period, to support hand-craftsmanship over industrial fabrication. He was supported by the radical Expressionists - Gropius, César Klein, Karl Ernst Osthaus, Bernhard Pankok and Bruno Taut.

The worsening inflation of the period 1920-1923 made any action impossible. In 1921 Poelzig gave way to the more conservative Richard Riemerschmid, and the Expressionists' hopes for reconstruction through the Arts and Crafts movement were dashed.

Beginning in 1923, the Industrial Union rediscovered a positive new direction. Three important factors came into play: the choice of Weimar as the venue for the annual conference and the first major exhibition at the Bauhaus; Gropius' speech at the conference calling for a new union of art and technology; and the formal disassociation of the League from the Craftsmen. 1924-1929 was the heyday of the League. The years 1924-1929 were the heyday of the Industrial Union. For the first time in its history it was strongly associated with a certain style - Functionalism and Neue Sachlichkeit - and began to focus on architectural design and urban planning. 1924 architects Ludwig Mies van der Rohe and Hans Scharoun both became members of its committee. In 1924 the architects Ludwig Mies van der Rohe and Hans Scharoun became members of their committees, with Mies becoming vice-president in 1926. Mies was succeeded by a succession of reformist architects: Hugo H?ring and Adolf Rading joined in 1926, Ludwig Hilberseimer in 1927. These adherents of Modernism were recognized through the periodicals of the League of Industry, Die Form (which was important in the 1925-1930 period), and the Museum of Architecture. These adherents of Modernism spread their ideas through the journal of the Industrial Union, Die Form, which was very influential in the years 1925-1930. Another major propaganda medium was the construction of the Weissenhofsiedlung White Yard housing estate in Stuttgart in 1927, an example of the functionalist housing of the future. The master plan was designed by Mies and consisted of 60 residential units in 21 buildings by 16 architects: Mies van der Rohe, Gropius, Scharoun, Richard D?cker, Behrens, Poelzig, Hilberseimer, Adolf Schneck (b 1883), Adolf Rading, Bruno Taut and Max Taut from Germany; J. J. P. Oud and Mart Stam from the Netherlands; Josef Frank from Austria; Le Corbusier from France; and Victor Bourgeois from France. France; and Victor Bourgeois from Belgium.

The League of Industry became the most influential organization of the new architectural movement Neues Bauen, enjoying a high status not only in Germany but throughout Europe. However, its main achievements in architectural and industrial design were still limited to the service of the elite, and its influence on the practice of large-scale housing and large-scale industrial production was still minimal, and the League of Industry was unable to resolve the contradiction between its rational and artistic goals and the needs of popular culture. By the end of 1932, the German Industrial Union was essentially close to death.

In 1947, some of the original members of the Union signed a manifesto calling for the reconstruction of war-damaged cities and towns through simple modern design rather than historical authenticity, and in 1950 a national Union of Industry was reorganized. In 1950, a national industrial union was reorganized, and its goals went beyond the promotion of good industrial design to a more direct political stance, focusing on the future form of cities and nations. The 1957 Interbau exhibition in Berlin was an opportunity for many of the Union's architects to build modern large-scale housing.

3 In the Shandong Provincial Museum, in the "Art of Stone Carving" exhibition hall, a number of precious artifacts unique to the Han Dynasty in China are on display all year round - portrait stones, which are the product of the Han Dynasty's grave culture of serving the dead as if they were alive, but also exquisite stone carvings of both painting and carving, in the form of art, figurative and figurative works. With artistic form, visualization of the content, showing the social life and ideology at that time, and become an important physical data to understand and study the political, economic, ideological, cultural and artistic aspects of the Han Dynasty. The social and cultural information they carry constantly activates the minds of future generations, opens people's thoughts, and gives them artistic enlightenment.

Showing the Han Dynasty

The style of burial

The custom of using portrait stones as decorations in tombs lasted for nearly three hundred years from the middle of the Western Han Dynasty to the end of the Eastern Han Dynasty. Why did the portrait stone appear in the Han Dynasty, unique to the Han Dynasty? Experts, the Han Dynasty is an important dynasty in Chinese history, a vast territory, the country strong, national unity and long-term peaceful environment for the development of art in the Han Dynasty created excellent conditions. Han Dynasty rulers respected Confucianism, filial piety first, but also believe in immortality, immortalized the saying that death is as good as life. At the same time, the development of the economy, resulting in the intensification of the polarization of the rich and poor, the ruling class was extravagant and corrupt, but also dreamed of death can continue to enjoy the glory and wealth, it is in this case, the trend of generous burials grows, durable masonry tombs gradually instead of wooden coffin tombs, and the scale is getting bigger and bigger. People fantasize that in the solid chamber, there are portraits of gods and goddesses, and can make the body does not rot jade shelter, can still live a life like a god. In this way, the art of portrait stone has been improved and perfected with the development of portrait stone tombs.

Shandong portrait stone

Top

From the national point of view, Shandong, Sichuan, Henan, Shaanxi and many other places are more Han portrait stone discovery place. Shandong, in particular, whether it is the number of graves, the distribution range, or the number of portrait stones unearthed and exquisite degree, are second to none in the country. This is due to the ancient "Qilu" state rich in fishing and salt, silk weaving, iron smelting industry is also very developed, the development of the economy to make life more affluent, the prevalence of the style of burial, the portrait of the tomb with the popularity of burial, and the development of the fast.

At present, Shandong unearthed Han portrait stone to the south of Jining, Linyi two cities are most concentrated, Ruzhong and Jiaodong Peninsula has a small number of discoveries, the south-west and north of Ru less. From the unearthed Han portrait stone, the art of portrait stone has undergone considerable development, first, the carving techniques continue to progress, from the simple use of line carving to the combination of relief and line carving, including the use of high-relief carving, translucent carving; second, the portrait subject matter is gradually enriched. From a single dragon, phoenix, figure portraits to complex subjects reflecting people's thoughts of immortality myths and legends; reflecting the ruler's corrupt life of feasts, music and dance, kitchen, car and horse travel and other scenes, as well as reflecting the feudal concept of loyalty and filial piety of the historical story and so on. Generally speaking, Shandong Han portrait stone from the late Western Han Dynasty to the late Eastern Han Dynasty experienced from the goblet to the prosperity of the stage. Characterized by: wide distribution, the number of; rich content, all-inclusive; complex composition, the scene is grand; carving techniques are varied, the style is detailed and elaborate.

Romantic and ethereal

Spiritual world

Picture stone is set in the tomb as a burial object, it is the epitome of the tomb owner's official residence residence during his lifetime, but also the concentration of the Han Dynasty people's thoughts, which can be known from the content of the Han portrait stone.

Imaginative myths and auspicious subjects in the portrait stone is very common, and in the Shandon Han portrait stone in the performance of the ever-changing, magical, such as the blessing of the earth, guide the people to the immortal Queen Mother of the West and the East Wanggong, the heavenly birth of auspicious birds and beasts, the stars and heavenly phenomena, and so on. People in Han Dynasty believed that there existed another fairy world outside the real world, and hoped that they could be blessed by the gods after death. Shandong Provincial Museum has a large number of myths and legends in the collection of the theme of the portrait stone. For example, the portrait stone of the Queen Mother of the West, the person sitting in the center is the Queen Mother of the West. She is the main fairy in the Han Dynasty legend, and the Duke of Dongwang relative, with a few seated around some of the immortals and for them to drive the nine-tailed fox, jade rabbit, three-legged birds, dragons, birds, and other exotic animals, surrounded by smoke, an ethereal world of the gods and goddesses. Legend has it that the Queen Mother of the West has a divine medicine for immortality, and was regarded as the highest deity by the Han Dynasty. Shandong Han portrait stone art is also full of romanticism, those who ride the cloud car driving a flying dragon fairy, anthropomorphism of natural celestial phenomena, the performance of human and animal free to spell out a variety of supernatural gods and monsters, reflecting the craftsmen's artistic imagination of the sea and the sky, but also reflects the Han Dynasty people's romantic spiritual world.

Historical stories

Show the concept of loyalty and filial piety

Historical characters story theme is a characteristic part of the Han statues, mostly the performance of the power of the emperor, the dominant vassals, the generals and prime ministers to support the king, Confucianism and Taoism, respect for the father and mother of the filial son, not letting the martyrs of the woman, the assassin of the death of the family. These historical stories are more of the same, some of the portraits on the stone and text description, mostly a few words for the concise, so that the story can be determined by Confucius to see Laozi, two peaches to kill three soldiers, Jing Ke assassination of the Qin King, Dayu water, Min Ziqian lost Chui and so on. Among them, the portrait stone of Confucius meeting Laozi has been found in Jiaxiang, Jining and Changqing Xiaotang Mountain in Shandong Province. The portrait stone reflects the story of Confucius asking for the courtesy of Laozi when he traveled around the world, reflecting Confucius' good learning and modest attitude. On the picture, Confucius and Laozi stand facing each other, and Confucius is often followed by many disciples. Some are labeled as Yan Hui, Zi Lu, and so on. Between Laozi and Confucius there is often a child, who is the prodigy Xiangtuo. Legend has it that Confucius was so overwhelmed by Xiangtuo's questions that he interrupted his eastward journey and returned home to study intensively. Confucius held in his hand an extra staff of turtledoves, a token of respect for the elderly branded by the feudal ruling class of the Han Dynasty and issued by the court. Legend has it that the turtledove bird at the upper end is a non-choking bird, wishing the elderly good health.

Leisure and Dance Hundred Plays

Lifelike

China's acrobatic arts in the Han Dynasty collectively known as the "Hundred Plays", acrobatic performances due to the song and dance with the accompaniment of musical instruments, also known as the "Leisure and Dance Hundred Plays". Blowjob playing the qin, banging bells and chimes, long-sleeved dance, flying swords jumping pills, warriors fighting beasts ...... These scenes are not only in the ancient literature has a detailed record of the portrait stone is also repeatedly visible, through those vivid images, we can still appreciate the millennium ago those lively scenes.

The music and dance in the portrait stones from the end of the Eastern Han Dynasty in Yinan, Shandong Province, reflects the pomp and circumstance of a hundred plays accompanied by a huge orchestra. There are three groups of bands accompanying different acrobatic programs. The first group for the seven disk dance, looking for the building, jumping pills flying swords and other performances accompanied by the band. The second group is the theater car band, **** seven people. The car has a built drum with a small drum under it, which is played by two people. There is also one person playing the reed pipe and one person blowing the pipe. At the back of the car, there are three people holding long clubs to play the snare drum. The third group is the band that accompanies the rope skills. Rope skill, also known as the performance of the rope. There are three people on the rope performance, rope under the standing inserted sword, very thrilling. Above the right side of the accompaniment band, a blowjob, a high-five singing, a sleeve hand sitting, but also for the acolytes (singers). In addition, in the fish and dragon Man Yan and other plays there are five people each holding a drum, in the fish, between the dragon play. In Tengzhou Longyang store unearthed in the Eastern Han dynasty portrait stone, is shown flying sword, jumping pill acrobatic skills, performers are throwing with both hands to catch a varying number of knives, balls, which is one of the most important items in ancient acrobatic performances. In addition, "swallowing knives and spitting fire", "water people get snake", three tigers driving, tiger-faced people beating drums, immortals riding unicorns, mermaids performances and other programs in the portrait of the stone also often appear.

Society of the Han Dynasty

Image scroll

In the Han Dynasty portrait stone, there are many performance of social life in the Han Dynasty picture, such as the vast array of cars and horses traveling, gatherings to pay homage to the rituals of condolence figure, but also "hoeing the sun when the afternoon, sweat drops under the soil," farming scenes, iron smelting scene of the hammer clanging.

These are the most important of all.

This kind of content mainly shows the social status of the deceased, life experience, enjoyment of life and wealth, but also reflects the production and living conditions of the working people in the Han Dynasty.

The Shandong Provincial Museum has a textile portrait stone in its collection, the picture is divided into four layers, the first and second layers are engraved with water pavilions built on the pavilions, and the right part of the second layer is engraved with numerous weapons hanging on the racks, which symbolizes an arsenal of weapons; the left side of the image is engraved with a crowd of textile patterns. China is the world's earlier invention of planting mulberry, sericulture, reeling, silk weaving countries, the Western Han Dynasty, China's textile technology level is very high, with advanced weaving tools. It may be that the more complicated tools are difficult to show on the stone, so we see the weaving machine in the portrait stone are more simple and primitive, but through the crowd weaving scene, you can still feel that the textile industry at that time has been more developed.

The memorable

Carving art

The existence of the portrait stone, for us to study the political, economic, military, ideological and cultural aspects of the Han Dynasty provides a valuable physical image of the historical material, the exquisite carving skills, but also the artists of later generations marveled. In terms of plastic arts, the portrait of the conception of the stone composition, brushwork, knife skills, such as carving and so on have demonstrated the attainments of the ancient artists, the image itself and is the endless search for the artwork.

Portrait stone is a collection of painting and sculpture in one of the art forms, the main techniques are shaded line carving, concave line carving, shallow relief, high relief, translucent carving and so on. The first three is mainly with a knife instead of a pen with a line carving object, belongs to the "proposed painting"; the latter three present floating three-dimensional modeling, while the object is still fine with line carving, belongs to the "proposed relief". These carving techniques appear early and late, but in Shandong Han portrait stone boom period at the same time popular. Its mature representative works such as: yinan, zhucheng line carving portraits of delicate, concave line carving of xiaotang mountain strong and simple, wu's ancestral temple to reduce the convex line carving of the heavy eye-catching, jining two cities of shallow relief carving of the work of the gorgeous and beautiful.

Shandong Han portrait stone existence is relatively short, but it has the historical and artistic value, established its position in the history of China's artistic development, the sculpture and painting after the Han Dynasty has had a far-reaching impact. Its content includes myths and legends, rules and regulations, customs and people, and other aspects. In the form of art, it bears the ancient and simple wind of the Warring States painting, and opens the precedent of the art of Wei and Jin styles, laying down the basic regulations and norms of Chinese painting, and becoming an outstanding representative of China's culture and art and cultural and artistic treasures.