Feather traditional watch case

Bronze feather man in western Han dynasty

During the Western Han Dynasty in China, due to the progress of iron smelting technology, iron was widely used, and copper smelting and its manufacturing industry fell to a secondary position. Therefore, the bronzes in the Han Dynasty were much inferior to those in Shang and Zhou Dynasties. However, bronzes are still widely used in folk daily utensils, luxury goods and decorations used by the royal family and aristocratic courts, and especially because of the development of commodity economy, a large number of copper coins need to be cast, so bronze ware manufacturing still has a fairly high level.

During 1966, a cellar of the Western Han Dynasty was discovered in Guannan Hutong, Xi 'an, Shaanxi Province, and a number of bronzes used by the nobles of the Western Han Dynasty were unearthed, including bronze incense burners, lamps and pots. Their manufacturing technology is very sophisticated. One of the bronze figures is kneeling, with a height of 15.3 cm and a weight of 1.3 kg. He has a long face, two big ears standing above his head, a tapered bun combed behind his head, a pointed nose, a wide mouth, and high eyebrows and cheekbones. Wearing a collarless, tight-sleeved, right-handed robe, wearing a belt and barefoot. There are wings on the back and scaly feathers below the knee. There is a semicircular groove between the knees and a socket for fixing objects at the bottom. The bronze man holds it in both hands, but he doesn't know what it is. According to experts' research, this is the image of feather man in ancient Chinese myths and legends.

In ancient China, the concept of immortals originated very early. There is a legend that the narrator grows wings after practicing immortality and flies to the sky to become an immortal. This winged fairy is a feathered man.

There are records of this in ancient literature, such as Songs of the South: "I am still a feather man of Danqiu, and I will stay in my immortal hometown." Wang Yi's Note: "People are born with hairiness." Hong Xingzu added, "Feather man, flying fairy." "Taiping Yulan" volume 662 quoted "Fairy Products" saying: "Flying in the clouds, lightly deifying, thinking that immortals also fly in the clouds."

Feather figures are very common in Han Dynasty stone reliefs.

For example, in 1954, the relief stone unearthed from Jiunvdun Han Tomb in Suining County, Jiangsu Province was excavated by Nanjing Museum, and a stone carving represented a feathered man. In the picture, a feather picking fairy fruit wears a crown and a jacket, with long hair fluttering behind his head, wings on his back and feathers on his legs. Decorative patterns on bronze mirrors in Han Dynasty are rich in connotation. From the end of the Western Han Dynasty to the middle of the Eastern Han Dynasty, a well-made positive mirror was popular. The inner area of the pattern is generally a circle of twelve inscriptions (Zi, Ugly, Yin, Mao, Chen, Si, Wu, Wei, Shen, You, Xu and Hai), and the outer area is interspersed with four gods (Qinglong and White Tiger) among the regular patterns representing the sky.

Coincidentally, in 1987, a gold-plated feathered man was unearthed in the eastern suburb of Luoyang, Henan. This person is very similar to the Feather Man unearthed in Guannan Alley, Xi 'an, except that he holds a hollow cuboid and cylindrical conjoined chajia, indicating that the Feather Man in Xi 'an may have a similar chajia in his hand.

The painted red-bottomed coffin unearthed from Mawangdui 1 Han Tomb is rich in content and superb in painting skills, which is a rare treasure in the history of lacquer painting in China. However, since the advent of 1972, few people have made specific and in-depth research on it. This paper attempts to make a preliminary study on its painting structure, pattern design, color matching and related factors.

Funeral supplies are an important part of lacquer industry in Han Dynasty. "Princess Bingji, noble coffin, Kong Zhu, gas painting. Gong, specially painted the coffin with black paint. 2000 stone below to see the back painting "(1). The coffins here are painted, which are divided into three grades according to different grades, namely cave painting, black paint and post-ridge painting. The painted coffin (figure 1) of the Han Tomb No.1 in Mawangdui, Changsha is a portrait of Qi in the cave. The coffin is 2.3 meters long, 92 centimeters wide and 89 centimeters high. Its painting content is very rich and its painting skills are superb, which is a rare artistic treasure in the history of lacquer technology in China. However, since 1972 was unearthed, no one has made a special and in-depth study on it. This paper attempts to make a preliminary analysis and research on the painting structure, decoration, color setting and line drawing of this coffin from the perspective of painting art, so as to facilitate the alignment.

Firstly, it analyzes the painting structure (layout) of Judy's painted coffins.

The picture of Judy Painting Coffins is based on the principle of symmetry and balance, with neat layout, symmetrical arrangement and exquisite and changeable patterns. Specifically from the following parts:

1, cover plate (Figure 2), with frame and thunder pattern. The theme is auspicious two dragons and two tigers, and the open space is covered with moire patterns, which makes the overall pattern form a canopy shape. In the picture, the prime ministers of the two dragons face the middle and upper parts of the picture, wearing scales and bending and stretching to both sides; These two tigers are opposite to each other, with vivid images. They are located under the dragon's head and actually live in the center of Quan Huafu. The picture is centered on two tigers, and the pattern structure forms a symmetrical pattern and is evenly distributed.

2. The head block and the foot block (Figures 3 and 4) are painted with a rhombic moire frame. The theme of the head block is a mountain peak in the middle, and there is a deer prancing on both sides. The foot block is painted with a double dragon walking through the wall, and a huge wall with a grain pattern is hung in the center of the painting. The ribbon hangs down and the dragon body stretches out of the wall. Keep a symmetrical layout on the screen.

3. The left side wall (Figure 5) is framed by moire, with a mountain peak in the middle, symmetrical composition on both sides, a dragon pattern on each side, and a tiger near the dragon head on the left side, looking back at the foot of the mountain; There is a deer near its tail, with its head to the left, thick horns, four feet up and jumping back. Draw a suzaku on the right, spread your wings and jump, corresponding to the tiger on the left; Before the dragon's tail, there was a fairy clinging to the dragon's body, corresponding to the deer on the left; Moire is properly decorated in the gap to keep the picture uniform.

4. There is also a moire frame on the right wall (Figure 6). The picture is a complex moire, which symbolizes the shape of the dragon's head and claws, and it is very varied and interspersed.

Second, Judy painted coffin decorative pattern analysis

Judy's coffin is painted with six dragons, three tigers, Sanlu, a phoenix, a fairy and a fairy mountain, as well as a hanging jade. These moire patterns and animal patterns are one of the main decorative patterns of lacquerware in Han dynasty, which reflect the concept of immortal promotion of Han people from different aspects.

1, cloud mode. There are many records about moire in the book, such as: "Cloud painting is just a dress". Therefore, Yun Qi painting is the overwhelming decoration content of lacquerware in Han Dynasty: either theme decoration or non-theme decoration, and few lacquerware without such decoration at all. The reason why moire was so popular in the Han Dynasty is that Han people believe that people have souls, and they can not only become immortals after death, but even become immortals before death and live forever. Historical Records of the First Emperor Qin Shihuang quoted Mao Ying, a real person in Taiyuan: "In September of the thirty-first year of the first emperor, Gengzi was born in Huashan, riding a dragon in the clouds and ascending to heaven by day." This belief that people can live forever reached its peak in the period of Emperor Wu of the Han Dynasty. Every part of Judy's painted coffin was decorated with moire and moire frames, and the patterns were connected with the moire patterns of countless mattresses, which was the popular pattern of aristocratic painted coffins at that time.

2. Animal patterns. The animal patterns on lacquerware depict various birds, animals and insects. Some of them come from real life, some are imaginary animals and birds, and some appear as mascots. The dragon, deer, tiger and suzaku painted on Judy's coffin are all ancient Swiss beasts, the so-called "four spirits". The Book of Rites and the record that "Lin, phoenix, turtle and dragon are the four spirits".

(1) dragon pattern. Dragon pattern is one of the most important decorative patterns of lacquerware in Han Dynasty. There are no dragons in real life. It is a spiritual culture created by our ancestors in human history, which is also a mythical animal in ancient China. It has a very long history, which appeared as early as the Neolithic Age five or six thousand years ago. In the Han dynasty, people paid special attention to the worship of dragons. Han people think that dragons are mascots, which can ward off evil spirits and bring peace and happiness to people. Bronze mirrors in the Han Dynasty often have "left dragons and right tigers are ominous" (3). "There is a dragon on the left, don't blame it. Long live the century. (4) "Secondly, the saying that Lapras ascended to heaven and became immortal was widely circulated in the Han Dynasty. People are eager to live forever, so they have a particularly deep feeling for dragons. The dragon's position in the Han Dynasty has been greatly improved compared with that in the early period, which is related to the myth that Liu Bang improved his life experience in order to claim the throne in the Han Dynasty: "My mother tasted the evil of osawa, dreamed of meeting God, and was struck by lightning. My father looked at it as a dragon, but she was pregnant, so she gave birth to Gaozu. The emperor is a man, and the dragon looks good (5). "Since then, the son of heaven is a dragon, and the son of heaven is related to the dragon, so Long Bian has become even more noble. Moreover, after the emperor's vigorous propaganda and admiration, the dragon occupied an important position beyond everything in society. For the above reasons, the dragon pattern on lacquerware always occupies the center of the picture and always appears as the main decorative pattern, and all other decorative patterns must obey it and belong to it. The six dragons painted on Judy's coffin are enough to illustrate this problem. These dragons have Tiger Claw's snake tail, which is the main shape of dragon pattern on lacquerware in Han Dynasty-snake shape. They are as slender as snakes, and their tongues are as slender as snake letters (Figure 7). This dragon pattern is basically the inheritance and development of the dragon pattern in the pre-Qin period. And they are all pterosaurs, also called flying dragons. Very dynamic, brave and heroic, with the momentum of crossing mountains and seas and roaming the clouds in space.

(2) Tiger stripes. Tiger patterns on lacquered coffins in the Han Dynasty were often used as auspicious patterns. On the bronze mirror of the Han Dynasty, it is often said that "riding a dragon, riding a floating cloud, painting a white tiger to heaven." Inscription. Tiger is one of the "four spirits", "five spirits" or "four gods" in Han Dynasty. "Huainanzi Astronomical Training" said: "In the West, Jin is also ... its beast white tiger". It shows that the white tiger is the god of the four spirits in the west. It has the power to ward off evil spirits. "Liu Jing is good, and the white tiger does not know to ward off evil spirits. (6) "White tigers are also regarded as auspicious animals. According to the records of the Eastern Han Dynasty, in the third year of Emperor Yan Guang of Han 'an (A.D. 124), the local officials in Yingchuan reported to the emperor that there were two white tigers in Yangzhai. There are three spotted tigers in Judy's coffin painting, which are magnificent and lifelike.

There is no evidence that Judy painted Long Hudou on the coffin (Figure 2). However, Mr. Li Zhengguang expressed his views on this. He thinks: "In the pre-Qin period, there were images of fighting between phoenix and dragon, and fighting between phoenix and tiger, but Long Hudou's patterns were not seen. As we know, in the clan society, every clan without exception determines an animal, plant or natural phenomenon as the symbol of its clan, which is called totem. In ancient times, China also had totem worship. The predecessors said that Wu people and Yue people take dragons as totems, while Ba people take tigers as totems. The image of the phoenix fighting the dragon and the phoenix fighting the tiger is a symbol of the Chu people's war with wuyue and Pakistan. This image appeared as a monument to the victory of Chu people over Bayue people. With the unification of Qin, countries gradually divided and merged, and turned enemies into friends. In the Han Dynasty, the dragon, tiger and phoenix unified the Central Plains. Therefore, the battle between two dragons and two tigers on the coffin cover should not be a war between different countries. During the Qin and Han Dynasties, people believed that people's souls could go to heaven after death, and heaven could only be obtained by Lapras or "Rui beast". So it should be used to protect and guide the dead soul to heaven (7). 1995, a bronze comb handle with dragon, phoenix and tiger pattern was unearthed at M2 68, Yao Ziling, Yongzhou City, with a height of 8.6 cm and a comb mouth width of 5.8 cm, on which there was a pattern of two dragons and two tigers fighting each other.

(3) Deer vein. This is also one of the decorative patterns of lacquerware in Han Dynasty. From the pre-Qin dynasty to the Han dynasty, the white deer was regarded as a god beast. There is a record of "floating in the fog, riding on the white deer plain and accommodating" in "Songs of the South of China". "Long Songs of Han Yuefu" said that Bailuyuan was a mount of immortals: "Why do immortals have short hair and long ears when riding Bailuyuan?" "Ruiying Map" says: "The deer in heaven is a virtuous beast. If you prepare it, you will see it, and Wang Ming will benefit from it." Judy drew three deer on the head and the left side wall of the coffin, and two of them pranced with their heads held high.

(4) Feng Huangwen. This is also one of the most important themes of lacquer decoration in Han Dynasty. Phoenix, like dragons, is an animal that does not exist in real life, a spiritual culture created by our ancestors in distant ancient times, and a mythical bird (8). It can bring light and good luck to mankind. The appearance of Phoenix indicates world peace and people can live a happier life. At the same time, the Han people also regard the phoenix bird as the angel of the gods and the emperor of heaven, such as "Phoenix bird meets the man of God" (9). According to the Han Dynasty literature, there are nearly 20 species of phoenix birds, and Suzaku is one of them. Suzaku, Suzaku and Phoenix are all gods of the South, representing the South. On the left wall of Judy's painted coffin, there is a suzaku, which is alone among the dragons on the right, spreading its wings and flying.

3. Geometric patterns. As one of the main decorative patterns of lacquerware in Han Dynasty, there are many geometric patterns, including 10, and the diamond pattern is one of them. These decorative patterns are often used as two-way continuous patterns or four-way continuous patterns to decorate the mouth edge, circle foot or periphery of lacquerware, or as decorative strips arranged in the picture. Except for the cover plate, the other four sides of Judy's painted coffin are decorated with diamond-shaped geometric patterns as borders.

4. Pattern. Bi is an important ritual vessel in Han dynasty, which is widely used, mainly for sacrifice, wedding and bride price. Therefore, there are often decorative patterns on lacquerware, especially on lacquered funerary objects. Judy painted the wall pattern of Shuanglong passing through the coffin, and the hanging wall was valley pattern. What is a jade? In Li Zhouguan's Pure Canon Rui, there is a saying that "the child holds the jade grain", and Zheng Zhu also explained: "The grain is good, and its decoration is like millet grain." The so-called "decorated with small grains of rice" means that there are many small square breasts with neat rows of protrusions on the wall, which look like small grains of rice, so it is called a grain wall.

The wall on the lacquer ware symbolizes the sky, which directly reflects people's world view that "the sky is round and the earth is round". "Li Zhou Guan Chun Da Bo" said: "Jade is a six-vessel, a gift of heaven and earth; Li Tian and Cang Bi, Li Jue and Huang Yi. " Original note: "The wall looks like the sky" and "the ground looks like it in all directions". The jade jade hanging on the painted coffin (Figure 3) looks like the sky. Apart from the intuitive metaphor and symbolic significance, its gorgeous flashing luster, flowing patterns and greasy texture may make the ancients associate it with the colorful sky. On the balance of heaven: "The Confucian book says: * * workers and Zhuan Xu fight for the invincible power of heaven. In a rage, they don't think about mountains, which makes Tianzhu break and the earth lose its dimension." Nu Wa sells and refines five colors to make up the sky, and breaking the shackles is enough to establish four poles. "In lacquer painting, except for a few hanging paintings, jade articles are mostly combined with paintings related to Four Spirits (or Five Spirits), Big Nuo and Ascending Immortals. Therefore, Judy drew a double dragon on the coffin, which means that the owner of the grave, Lapras, has ascended to heaven. The double cranes in Shazitang Han Tomb in Changsha pass through the wall, which means that the soul of the tomb owner ascended to heaven by crane. There is an auspicious cloud arch on the spiritual bed of Cao Nvxun's tomb in Changsha, because in Ran Ran, the dead can ascend to heaven by lying on this bed. In addition, a pair of back-to-back dragons are often carved on the lintel of stone tombs in the Han Dynasty. Among them, two dragons wear one, three, five, seven, or even as many as nine, and most of them are odd. There is a dragon pattern carved on the lintel of the tomb door, which means guarding the door to ward off evil spirits. Two dragons walking through the wall is the homonym of "avoidance" So as to protect the owner of the tomb from infringement.

5. Feather tattoo. The so-called feathered man is a man with feathers. Or people get the Tao and become "immortal." According to historical records: "People are still feathered in Danqiu, leaving their immortal hometown. (10) Notes on Wang Yi in the Eastern Han Dynasty: The Classic of Mountains and Seas contains the feathers of a country and the immortals of a nation. Or people are enlightened and hairy. " Han people also believe that if a mortal wants to become immortal, he must go through the eclosion stage and learn from Xiu De first, so that he can "grow hairy and eventually soar". In addition to this spiritual practice, you need to have a set of physical abilities to become immortal, to be guided by thinking, to take Dan medicine and to practice sexual skills in order to become immortal. Legend has it that Liu An, the king of Huainan in the Western Han Dynasty, "attracted thousands of alchemists to write a book on the secret pillow of Hongbaoyuan, casting it as yellow and white, and soaring in the daytime". Among them, the book "The Secret Pillow of Hongbaoyuan" is actually a book that guides and guards the Tao to become immortal, and Huang Bai was the saying at that time. Liu Xiang's Biography of Immortals recorded a man named Wo Quan. After learning Tao, you are born with feathers and soar to immortality.

In the decorative patterns of lacquer coffins in Han Dynasty, many people with feathers were seen. On the left wall of the painted coffin, there is a man with white beard and feathers, naked and climbing dragons with both hands. That is a fairy (figure 1 1), Yun? There are many people with feathers in tattoos, such as painted coffins in the black land of Mawangdui No.1 tomb. Feather figures are painted coffins of No.1 Han Tomb in Shazitang, Changsha, Hunan (1 1), painted caskets of No.1 Han Tomb in Yaozhuang, Hanjiang, Jiangsu (1/2), and painted cases of Xin Mang Tomb in Yangshou Township, Hanjiang County, Jiangsu (. They are walking in space. In addition, as the main body of feathering culture, they often appear in the stone relief images in the tombs of the Han Dynasty, or accompanied by the Queen Mother of the West and Dong, or ascended to heaven with the help of immortals, birds and animals. In addition, feathers also appeared in the palaces of emperors, nobles and bureaucrats. It can be seen that the worship of feathering heaven has reached a kind of religious fanaticism, which can be said to be a kind of religious preaching, making the concept of feathering everywhere in life. The image of feather people declined in Wei, Jin, Southern and Northern Dynasties and gradually disappeared.

6. fairy mountain. In mythology, tall trees and steep mountains have the function of reaching the sky, and people can use them to ascend to heaven, which has been passed down in fairy tales. Judy drew a coffin, with mountains in the middle and left walls and clouds around. It should be fairy mountain. Although Penglai Mountain in the East China Sea is also a so-called fairy mountain, during the Warring States period, there was a move to seek immortality medicine every time. The mountain on the map has no sea, so it may be a symbol of Kunlun Mountain where the Hundred Gods are located. All of the above represent the celestial world. Myth is the source of fairy tales. Shan Hai Jing said: "Kunlun Mountain is the capital of the emperor", "Kunlun in the sea is in the northwest, and the emperor is the capital". Because Kunlun is the place closest to heaven in mythology, it goes without saying that it has the function of reaching the sky. At the same time, it is also the capital of Tiandi, and the owner of Kunlun is the daughter of Tiandi. It is very convenient to travel between heaven and earth from Kunlun Mountain. Journey of God, Crossing Tianmen, Riding a Thousand Cars, Hiding in Kunlun (16). The gods in the sky are crossing Tianmen, and the first stop to step out of heaven is Kunlun Mountain. The immortality of myth makes Kunlun Mountain a famous fairy mountain, inhabited by fairy groups headed by the Queen Mother of the West, where there are Sanqingwu, Feather Man, Nine-tailed Fox, Jade Rabbit and immortal medicine that can make people live forever, becoming the most important fairy system. The function of heaven in Kunlun Mountain is more prominent in people's consciousness. "The hill of Kunlun Mountain, or its era, is called Liangshan Mountain, which climbs without dying; Or twice as much, it's called fooling around, it's spirit, it can make wind and rain; Or twice as much as it is, it is a place where Taidi lives "(17); "The third pass of Kunlun Mountain is called Fan Tong, a copper coin; Second, Xuanpu; In one word; Uptown Shang Yue, a paradise, is the residence of Taidi "(18). The formation and development of Kunlun myth system is the result of myth, and there is an inseparable relationship between heaven and Kunlun. It can be seen that the photos of the Queen Mother of the West and Dong welcoming the tomb owner at Wushi Temple in Jiaxiang were also placed at the top of the ancestral hall.

Thirdly, analyze the color of Judy's coffin painting.

Lacquerware in Han Dynasty was loved by people for its colorful and magnificent colors. Therefore, the coloring of lacquerware is an important aspect of lacquerware decoration. Black and red are the traditions of ancient lacquerware in China. As early as the primitive society, there was a saying that "painting lacquerware, dyeing black outside, painting Zhu inside" (19). In the Han Dynasty, black and red were still the basic colors of lacquerware. Red is made of lacquer oil mixed with cinnabar. "Biography of Historical Records and Huo Zhi" records: "The widow of Pakistan is clean, and she gets the Dan point first, and she has been good for generations, and her family has no care." "Qing dynasty, a widow in a poor village, is famous for her politeness and resistance." The story of Bashu widow's wealth in Qing dynasty shows that lacquerware needs a lot of red sand. However, although black and red are still the background colors of lacquerware in the Han Dynasty, colored patterns are drawn on the background of black and red.

The Han Dynasty had a profound understanding and research on color. At that time, people thought that colors could be divided into positive colors and intermediate colors. The five colors of cyan, magenta, yellow, white and black are positive colors. They are ever-changing and can bring out many intermediate colors. For example, Xu Shen's books "Nine Essays on the History of the Western Han Dynasty" and "Shuowen" in the Eastern Han Dynasty recorded that textiles in the Han Dynasty could be dyed in more than 20 different colors, and the colors of lacquer paintings in the Han Dynasty were much richer than those of silk. The colors of Han Dynasty lacquerware discovered by archaeology are black, red, gold, silver, vermilion, black, red, purple, gray, yellow, ochre, blue, white, cyan, green, grass green, gray green, brown, orange yellow, brown yellow, pink green, iron color, chestnut, pink brown and lotus brown. These color pigments are mainly composed of mineral pigments such as cinnabar, stone yellow, realgar, laterite, clay and lead powder, and plant pigments such as indigo, which are mixed with pigments and oils.

As an extremely successful lacquer painting work in the Han Dynasty, Judy painted coffins with bright red paint from the inside out and ground patterns on the outside, and painted bright colors such as turquoise, pink brown, lotus brown, red brown, white and yellow brown, and drew various auspicious patterns: the two dragons on the cover were pink brown, and the edges were ochre with scales. These two tigers are red and brown. Pink and brown clouds are dotted between dragons and tigers. The four edges of the cover plate are decorated with ochre yellow hook-shaped thunder patterns. The mountain on the left wall of the coffin is red, the dragon is pink-brown, the tiger is brown, and it is striped with black sauce. Deer are lotus root brown, immortals are pink brown, hairs are white, and clouds are lotus root white. The left side, the head block and the foot block are also painted with various color patterns. Except for a small number of color confusion caused by shedding and oxidation, most color paintings are well preserved, because there are prominent lines between colors, thus alleviating the contradictions and conflicts of color contrast. Judy's painted coffin is painted with smooth lines and various animal decorations, which are not only bright in color and strong in contrast, but also give people a clear and harmonious feeling, making the whole instrument look magnificent.

Fourth, analyze Judy's coffin painted lines.

Line is the most basic form of China traditional painting. In primitive society, colored paintings were decorated with lines and dots, and lacquerware and silk paintings unearthed from Chu tombs have reached a high level. Painting on lacquerware in Han Dynasty, whether lacquer painting or oil painting, was done with a brush. Its main painting methods are line drawing, flat drawing and rendering, among which line drawing is the main method. The lines of lacquer painting in Han Dynasty are thin, straight, soft and elastic.

Judy's line drawing of the coffin is even more admirable. Not only are there many techniques of line drawing, but they are also proficient. For example, the flowing lines around moire combine rigidity and softness, with different lengths, arbitrary thickness, rigidity and strength, softness and roundness, smooth pen strokes and no sense of stagnation. It's true that the lines follow cloud flying, and the whole picture is magnificent, showing a strong sense of sea of clouds movement. Each line is rhythmically decorated with horizontal dots. The drawn lines, from coarse to fine in color, form a sense of bas-relief, which is in harmony with the protruding moire outline. According to the method of using pen, there are center, winger, pen-turning and pen-throwing. Pen should not only use finger force, wrist force and elbow force, but also use arm force in more places. Because the coffin is big, it is impossible to describe the long line that bends freely without arm strength. Some lines can be seen from the brush strokes that they are not drawn, but written. Different lines and strokes are used to express the turning point, frustration and rhythm of the pen, which fully creates, uses and exerts the expressive force and aesthetic feeling of lines. The line drawing of painted coffins fully embodies the extraordinary skills of these unknown painters in the early Han Dynasty. In the past, when people talked about line drawing, they always used Gu Kaizhi's "Wandering in the Ancient Times", Kai Liang's "Broken Reed Map", as well as famous works such as "A Grass Out of Water" and "Taking the Belt as the Wind" to illustrate their techniques and achievements. However, as early as the end of the Warring States and the beginning of the Han Dynasty, lacquer painting had laid a solid foundation for the basic skills of line drawing in Chinese painting.

Analysis of verb (abbreviation of verb) paint stacking technology

"Overlapping lacquer" is a new creation of lacquer decoration in the Western Han Dynasty. The so-called "paint piling" is to make the image higher than the picture by using the viscosity and difficult spreading characteristics of paint, and sometimes it is deliberately piled up with paint ash or putty to make the image have a three-dimensional effect, just like the dripping powder of murals later. Judy draws coffins in this way. Among the techniques, the description of monsters is the most worthy of study. The combination of line and surface is used to choose the shape, and the thickness of color and pen marks are used to deal with the outline and shape structure, the context and the perspective of the object. Each form is like a bas-relief. For example, the cheekbones, forehead, nose and eyes of a feathered person's head are well-defined and the structure is clear (Figure 1 1). When describing limbs, we pay attention to the performance of tibial muscle and brachial muscle, and use the method of color superposition to make them protrude. After the basic form is completed, draw lines in appropriate places to explain the ins and outs of the body structure clearly. According to the dynamic trend, the hair of head, knee, elbow and arm is described with lines as thin as hair, which increases the strangeness and sense of movement of feather people. It is really "flying a few feet, the roots are all out, and the heart is willing but unable." For the description of animal claws and teeth, the pen tip is full of color and sharp, thus enhancing the fierceness of the image and the sharp sense of teeth and claws. In terms of brushwork, scraping and pushing are also used to describe beasts. With a pen, you should not only use the tip of the pen, but also use the belly and root of the pen to draw muscles. When the pen is full of color, the abdomen deflects with the structure to make the color squeeze out to one side, resulting in uneven bas-relief feeling. The formation of this technique may be due to the specific conditions of lacquer craft itself; Because the surface of lacquerware is smooth, only by adjusting the mineral color with pigment and oil can there be firm adhesion. Because it is mineral paint and oil, the color is relatively thick, it is not easy to spread, and it is easy to form a pile of paintings without infiltration. For example, the texture of the wall with the head block is obviously raised, which increases the realism of the wall. In the long-term practice, ancient painters gradually mastered the characteristics of mineral paint mixing and oil painting with strong colors. From painting to calligraphy, from line drawing to plane painting, they used various tools and techniques to create images with strong colors, thus achieving such high-quality artistic achievements as Judy's coffin painting. This method existed in the late Warring States period. The painted hunting lacquer casket unearthed from the Chu tomb in Changsha was also drawn by a similar technique, but the technique did not reach the height of the painted coffin. It was called "oil painting" in the Han Dynasty, and "Yu Fu in the History of the Later Han Dynasty" recorded: "Oil paintings of great nobles, nobles, princesses, princesses and princesses." The "oil painting car" here refers to a car with a pattern painted with paint. Because the materials used are tonal paint and oil, and modelling technique is a combination of surface and line, Judy's lacquer painting that reflects the physical structure of objects with color blocks should also be called oil painting. In the past, many people thought that oil painting was imported, and the theory that oil painting was imported was debatable. Mr. Fu Juyou pointed out in the article "The Peak Age of Lacquerware in China": "The' oil painting' on lacquerware in the Han Dynasty has many similarities with the western painting that started in ancient Greece and was introduced to China in the17th century. For example, they are all painted with mixed oil pigments, which have strong color hiding power. So some people say that China oil painting is not a foreign variety, but there are differences between China oil painting and western oil painting. For example, the oil used in western oil painting is linseed oil, walnut oil, poppy oil and other quick-drying oils; The oil paintings in Han Dynasty mainly used tung oil, a special dry vegetable oil in China. Judy's coffin painting is a powerful material evidence, but after the Western Han Dynasty, lacquer painting was replaced by new techniques such as needle engraving and inlay, and the rise of single-line flat murals, silk paintings and paper paintings gradually lost this technique.

Conclusion of intransitive verbs

Through the above analysis, we believe that the main artistic styles of Judy's painted coffin unearthed from Mawangdui No.1 Han Tomb are:

First, the composition pays attention to symmetry and balance, and the theme is not divorced from the immortal thought of Han Dynasty. Dragon, tiger, deer, rosefinch, immortal and other auspicious images show that the deceased climbed the fairy mountain with him and sought a fairy paradise of "becoming a god".

Second, the color design is not only dazzling, but also closely related to the religious concept at that time. This method of dealing with color has always been loved by our people because of its strong and bright characteristics. Until today, our folk crafts, New Year pictures and architectural decoration still retain this style.

Three, skilled painting skills, mainly line drawing, with plane painting rendering, decorative patterns using overlapping paint relief. Generally, the paintings on lacquerware are not big. On the limited plane, we don't go into details, but grasp the essential characteristics of things with simple lines, make a high degree of generalization and exaggeration, and pay attention to the expression.

To sum up, Judy's painting skills of painting coffins have reached a high level in composition, decoration, color setting and line techniques, and the application of new technologies. He not only vividly reflected the painting style at that time, but also provided valuable information for us to study the painting art in the early Western Han Dynasty.

Injection and release

(1) the etiquette of were.

(2) The History of the Later Han Dynasty Yu Fuzhi

③ On Wang Tou: Selected Records of Mirror Inscriptions of Past Dynasties, a bronze mirror unearthed in Zhejiang, published by Cultural Relics Publishing House 1987.

④ ditto

(5) "Hanshu" Volume 1 "Imperial Capital"

⑥ Bronze Mirror Inscription in Han Dynasty

⑦ Li Zhengguang: Long Hudou-Judy painted coffins, the home of emperors, Phase II 1989.438+02.

⑧ Fu Juyou: The Peak Age of Lacquerware in China —— A Comprehensive Review of Lacquerware Craft in Han Dynasty, China Historical and Cultural Relics Archaeological Research, published by Yuelu Bookstore, 1999.

Pet-name ruby "Han dynasty bronze mirror inscription"

Attending "Song of the South, Travel Far"

⑾ Hunan Provincial Museum: Brief Report on Excavation of Western Han Tombs in Shazitang, Changsha, Cultural Relics No.2, 1963.

⑿ Yangzhou Museum: Western Han TombNo. Yao Zhuang 10 1 in Hanjiang, Jiangsu Province, No.2 cultural relic, 1988.

[13] Yangzhou Museum and Hanjiang County Library: Xin Mang's Tomb of Baonv Dun, Yangshou Township, Hanjiang County, Jiangsu Province, cultural relic,No. 199 10.

[14] Nanjing Museum: Han Guo Mu Tomb, No.2 Archaeology, Wang Tong Village, Lianyungang City, Jiangsu Province, 1963.

⒂ Institute of Archaeology, China Institute of Archaeology: Changsha Excavation Report, page121-123. License plates 84 and 83.

[14] History of Rites and Music in Han Dynasty

⒄ Huainanzi Wrestling Practice

⒅ The Notes on Water Classics quoted Kunlun ancient books.

The trick "Everything is wrong, ten chapters"