Formation and development of decorative patterns of Kangba Tibetan knives and white jade Tibetan knives

The formation and development of decorative patterns of white jade Tibetan knives are closely related to their environment and the psychology, culture and thoughts of the people who created them. White County is a transliteration of Tibetan, which means "a place of good luck and virtue". The county is located in the west of Ganzi Tibetan Autonomous Prefecture in Sichuan, in the northern section of Hengduan Mountains, in the upper reaches of Jinsha River, in the east with Xinlong County, in the north with Ganzi and dege county, in the south with Batang and Litang County, and across the river from Tibet in the west. According to Records of the Qing Dynasty, this place is "Shannan Dam is Tongzang Avenue" [1] (p.856), which is an important passage from Kangqu to Tibet and has a strategic position. "Biography of Sui Shu Attached to the Country" said: "The king and the toast are handsome, gold is jewelry, and a golden flower hangs on his chest" [2] (page 858). This shows that the metal technology of the country to which White belongs was quite developed at that time, and it had the foundation of traditional metal handicraft industry. In the 7th century, in order to strengthen military strength, the King of Tibet stationed troops here and introduced Tibetan knife technology. Princess Wencheng passed through today's White area when she entered Tibet, accompanied by smelters and swordsmen who entered Tibet, bringing the decorative style of China's golden jade ornaments. Among them, the grass scroll pattern and caviar pattern have a great influence on the decoration of Baiyu Tibetan Dao, which has been used ever since. During the Northern Song Dynasty, King Gelsall defeated King Hall Bai Zhang in Huo Ling War, and a large number of artists of Hall tribe fled to Baiyuhepo Township to live. In order to meet the needs of the war, King Gelsall "forced the famous iron work songs of Hall tribe to be taught by disciples" [3] (P. 153), made weapons for Ling State and built the "Gesar Arsenal". "Hall tribe from the 7th century to the Song Dynasty. Tibetans call Uighur' hor'. [4] (P.49) "Uygur metal crafts have a significant impact on grassland art, animal style or Skatey art style". [5] (P.3 1) Therefore, the Hall tribe's "famous wrought iron songs are all taught by performers" so that the Hall tribe's metal handicraft technology and decorative art style can be passed down.

White jade Tibetan Dao pays attention to the decoration of the first animal pattern on the handle and the decoration of the eagle, wolf, deer and other animal patterns on the scabbard, which embodies this feature. In addition, the totem groups such as Peng, Dragon, Lion, Tiger, Elephant, Kite, Eagle and Wolf in Gesar period also left a deep mark on Baiyu Tibetan Dao. With the calm of the war and the widespread spread of Tibetan Buddhism in Tibetan areas of White, the center of local people's life has shifted from war to Buddhism, and the function of Tibetan Dao in White has also changed. The white jade Tibetan Dao, once a weapon, has become a Buddhist offering, a Tibetan living appliance and an ornament. Decorative themes include auspicious eight treasures, seven treasures and other Tibetan Buddhist patterns. From the 29th year of Shaoxing in the Southern Song Dynasty (1 159) to the Ming Dynasty, Gatuo Temple invited a large number of craftsmen from the Central Plains, and sent a large number of Tibetan craftsmen from Hepo Township to the mainland to study metal crafts. Tibetan and Han craftsmen build temples and treasure houses together. As an offering of Tibetan Buddhism, the white jade Tibetan Dao is constantly influenced by the decorative patterns, decorative techniques and styles of metal crafts in the Southern Song Dynasty, Yuan Dynasty and Ming Dynasty. Dragon patterns and Ruyiyun are widely used, and their structures tend to be dense, with fine lines, embossed flowers and inlaid jewelry. By the Qing Dynasty, White Tibetan Dao was famous in Yang Kang and even the whole Tibetan area.

From the Tang and Song Dynasties to the Qing Dynasty, White maintained political, economic and cultural ties with the Central Plains. This connection directly affects the development of decorative patterns of white jade Tibetan knives. It can be said that the formation and development of decorative patterns of white jade Tibetan knives are closely related to the social, political, economic and religious development of white jade Tibetan, which bears the rich culture and history of white jade Tibetan.