Traditional Culture Encyclopedia - Traditional stories - What dominated pottery during the Spring and Autumn period? What are the new developments in lacquerware in the Eastern Zhou?
What dominated pottery during the Spring and Autumn period? What are the new developments in lacquerware in the Eastern Zhou?
1, the Spring and Autumn Period pottery to what?
Spring and Autumn Period pottery is mainly clay pottery, sand sand gray pottery, followed by a small amount of sand red pottery and sand brown pottery. The common shapes of this period were mainly li, kettle, and cauldron for cooking vessels, beans, pellets, and plates for eating vessels, and urns, basins, and jars for serving vessels. In addition, about from the late Shang Dynasty began to appear dedicated to the burial of pottery Ming ware, Spring and Autumn period has a greater development, there are imitation of bronze ceremonial tripod, plate, but also imitation of daily-use ware of the li, pots, bean pots, and so on.
Spring and Autumn period, the shape of the pottery to flat-bottomed ware and three-footed ware, with a small number of rimmed ware. Spring and Autumn period pottery decoration is more simple, mainly coarse rope pattern, tile spinning pattern. It can be seen that the pottery in the Spring and Autumn Period not only reduced varieties, but also monotonous decoration. This is because the main force of the pottery industry at that time, for the production and development of more advanced primitive porcelain up. Warring States period pottery can be divided into two categories of daily-use pottery and Ming ware. Early daily pottery and the late Spring and Autumn period pottery form is very close to the form, just to the middle of the Warring States period, the pottery form has obvious changes, the pottery is still sandy gray pottery and clay gray pottery most, and a small amount of sandy red pottery and brown pottery. Among them, the most changed is the cookware.
2, what are the new developments in the Eastern Zhou lacquer ware?
Most of the Eastern Zhou lacquer wares were brightly painted, with the following patterns: various geometric patterns and geometric hooks: patterns simulating bronze wares; cloud patterns and deformed cloud patterns; animal and plant patterns; life paintings and storytelling paintings about dances, music, hunting, shooting, etc.: astronomical images.
The technique of painting is single line outlining and flat painting. Painting tools are mainly brushes. There are more than ten kinds of lacquer colors such as red, black, white, blue, brown, yellow, green, gold and silver. When painting, dark colors are painted with lacquer, which is called "lacquer painting", and light colors are painted with oil, which is called "oil painting". The composition of oil is tung oil. Lacquer inlay technology in the Eastern Zhou also made great progress. Inlaid materials in addition to the traditional clams, most of the use of copper, gold and silver inlays. For example, a lacquer spoon inlaid with gold shell and embossed gold foil was unearthed in a spring and autumn tomb in Yishui, Shandong Province.
Warring States lacquer ware on the gold foil repeatedly found, the gold foil was cut into a variety of patterns, some with a needle to prick out the pattern. Another important development of lacquer inlay technology, is in the thin plate rolled wooden tires and other objects with silver or copper hoops. This lacquer was first seen in the late Warring States period, some copper hoops on the gold and silver wrong pattern. The role of the metal hoop in addition to reinforcing the lacquer ware, but also to decorate the lacquer ware rich and beautiful. This represents the high achievement of lacquer inlay and gold and silver inlay work in the Warring States period.
In addition, after the Spring and Autumn Period, metal attachments such as copper pave head, hinge and cover button were added to the lacquerware, which played the role of reinforcement and decoration. At that time, the government lacquer workshop in the Warring States lacquer production accounted for a large proportion of roughly two types: one is by the government of the vassal states directly managed and controlled by the workshop: the other is the local government-managed lacquer crafts, such as Chengdu, Xianyang and other places under the jurisdiction of the government workshop.
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