What are the shapes of jade used by the royal family in Han Dynasty?

Jade in the Han dynasty is the era of Wang Yu in the history of jade culture in China, which is exclusively used by the royal family. The mainstream group enjoying and dressing is the upper ruling class. First of all, it embodies the charm of the king, and the spirit of the king is majestic and domineering. Lapras, the Royal Phoenix, has an extraordinary ability to travel in the sky.

It is the most common dragon and phoenix works in Han jade that truly established the status of Han jade in the history of jade development in China. In the jade works in the early Han Dynasty, the dragon and phoenix shapes have reached a vivid state.

On the other hand, the overall conception of dragon and phoenix modeling breaks the original rigid and stylized structural model, and seeks more vivid and changeable composition design, not sticking to the symmetrical balance on the surface, but pursuing an internal echo.

In the modeling of dragon and phoenix jade articles in Han Dynasty, it is often seen that Yi Long is in the sky and a phoenix belongs to the prime minister. Or a big dragon comes out of the cloud, and a little dragon stares around. This structure is different from the static symmetry in which the left and right sides are almost mirror images in the original traditional modeling. That is, the artistic conception of "the image outside the image" as the ancients in China said, so as to achieve a higher level of balance.

At the same time, the body shape of Longfeng is mostly "S" type. The shape of "S" is of great aesthetic significance, with different body thicknesses, vivid and orderly, smooth turning without any sense of obstruction, square, full of tension and elasticity. Compared with the previous ancient jade articles, the jade articles in the Han Dynasty have much fewer decorative patterns, which are more concise and washable, and abandoned the decorative patterns of the dragon body in the Warring States jade articles, which are mainly lying silkworm patterns and net patterns.

The edge of the dragon's body is curved, which highlights the three-dimensional sense and muscle sense of the body. The hairspring carving line is used to decorate the body, emphasizing the strength and movement of joint rotation. The local embellishment of moire or cirrus moire not only avoids the lack of blank space, but also sets off the theme of dragons soaring in the clouds. In the aspect of dragon's limbs, the jade works in Han Dynasty were carefully designed and scrutinized. Whether jumping or striding forward, the coordination of limbs is very clever. One limb always starts to exert strength, and the other limb starts to accumulate strength. There is always a feeling that the front force is not exhausted and the back force is ready to move.

At the same time, we can also observe that the limbs either stretch forward and relax, or tighten, tighten and relax left and right.

The combination of body alternation and sensitive trunk is a widely used form of expression in excellent works of Chinese and foreign art history, which is called "double inversion" Its effect gives people a vivid and powerful feeling and shows infinite potential.

In the detailed description of Long Fengyu, the eyeball bulge is obvious and exaggerated. The upper eyelid bulges and gently transitions upwards, and the edge of the joint between the eyelid and the eye stands steeply, adding a sense of majesty; The lower eyelid is short, surrounding the lower half of the eyeball, and also convex, with a smooth downward transition.

This carving technique makes the height difference of eyes obvious, the contour line obvious, and enhances the three-dimensional sense. It seems natural to have a keen eye and a feeling of not being angry and arrogant. Through the shaping of appearance, it contains a sense of dignity that cannot be underestimated.

Moreover, dragon and phoenix jade articles are all wide-mouthed, and the joint between dragon teeth and mouth is outlined by arc, and the tip of teeth is sharp and curved. This carving technique is also used on the fingers and claws of dragons and phoenixes. Refers to telomere particles full and full of strength, and the fingertips are bent inward and sharp as hooks.

The same is true of the carving at the joint turning point, which strengthens the three-dimensional sense of linear expression. At the same time, the line itself is round and square, and it is more tough to connect it with straight heavy lines bit by bit. Although there is a rough feeling of connecting the weight line, it better highlights the output.

For example, there was a Yuhuan in the Han Dynasty, which was divided into an inner ring and an outer ring. A Youlong in the middle of the inner ring takes off in an "S" shape. The joint of the forelimb rotates, and the joint between the hind limb and the trunk is compact, as if accumulating infinite strength to prepare for the next prance.

The forelimbs, hind limbs and claws are very open, and the limbs almost reach the "I" shape and break through the inner ring. The dragon's paw is firmly attached to the inner wall of the outer ring, giving people a strong sense of movement, which seems to be insufficient to describe it by striding forward. The contraction of the dragon head and the publicity of the trunk and tail are skillfully combined.

On the other hand, the outer ring is engraved with five groups of slub patterns, and the outer ring is divided into five parts, and the five slub patterns are connected together, which is exactly a Pentagon that conforms to the golden section law. The two connected points are exactly the golden line of this Yuhuan, and the eye of the dragon and phoenix is just on this line.