The Historical Evolution of the Phoenix

Academics tend to deny that there was ever a phoenix in history, but the oracle bone inscriptions and gold inscriptions show that until the Shang and Zhou dynasties, the phoenix was a rare but not non-existent bird.

In the oracle bone inscriptions, "wind" means "phoenix".

An oracle bone was unearthed in Yinxu, which reads, "In the first year of divination, I called out to the net, and I was rewarded with a wind.

In the third quarter, the five were awarded.

"The meaning of this oracle bone is: the King of Shang instructed Chen Ming to catch birds with a net, and he caught five phoenixes on the day of the cingchen.

"Since the net was used to catch the birds, the catch was a raw phoenix.

"Early Jinwen "Zhong Ding" inscription has: "...... returned to the birth of the wind in the king.

"The word "raw wind" mentioned in the text, Guo Moruo has concluded that refers to the live phoenix.

The earliest canonical record of the phoenix is "Shangshu - Yu Shu - Yiji fifth".

The book describes the celebration of Yu's victory over the Yangtze River.

The Kui Long presided over the music, and the birds and animals sang and danced during the ceremony.

Finally, the phoenix comes - "Xiao Shao Jiucheng, the Phoenix Emperor comes to the ceremony".

During the Shang and Zhou Dynasties, the phoenix was seen as a divine bird.

Therefore, the engraving of the phoenix on jade and bronzes highlights the ruler's concept of "heavenly destiny".

At this time, almost all of the phoenix pattern for the corolla-shaped, full wings and long tail feathers, wide and powerful claws, showing a faction of the brave and robust posture.

Phoenix characters in the Oracle and Jinwen also completely show such a characteristic, and the phoenix pattern at this time is completely the mystification of birds and artistic exaggeration.

The main formal characteristics of the phoenix motifs on Shang and Zhou bronzes, the specific view of the archaeological community is that these phoenix motifs are the side image of the bird, which is often arranged symmetrically on the bronzes.

The phoenix crown, there are three kinds of multi-toothed crown, long crown and corolla, any bird body with a hooked beak can be called a phoenix, and the vast majority of the beak is closed in the shape of a curved hook.

The eyes on the head are mostly square or oval, and the phoenix body is bird or chicken-shaped.

The proportions of length and length often vary depending on the part of the body being decorated.

Crown phoenixes are all scrolling, with the head and tail of the phoenixes connected, mainly on pots and gui objects.

The most varied phoenix pattern is the tail feathers, there are long tail, hanging tail, split tail and symmetrical tail and other forms.

The long-tailed phoenixes have the longest tails up to three-quarters of the bird's body, and the exaggeration is marvelous.

The long-tailed or phoenix-bird motifs are further distinguished by upward and downward curling of the tail end, and they were mainly popular from the mid-Yin Hui to the mid-Western Zhou.

The phoenix motif, with its wider, drooping tail feathers, was popular in the middle of the Western Zhou Dynasty.

The later phoenix and bird motifs were composed in such a way as to separate the tail feathers from the phoenix body, i.e. the split-tail style.

Split tails are also different from upward and downward scrolls, and were mostly prevalent in the middle of the Western Zhou Dynasty.

The phoenix motifs of the Shang and Zhou Dynasties were mostly majestic, solemn and robust, showing the hierarchical and conservative atmosphere of the slave society and the aesthetic taste of the time.

Not only as a practical totem mark, but also gradually promoted as a beautiful artistic image.

After the Warring States, Qin and Han Dynasties, the phoenix was completely deified as a kind of spiritual bird, but records of the phoenix still appear from time to time.

For example, Zuo Zhuan Zhaogong (first year ~ thirty-two years): "I Shangzu less Wu Zhi of the establishment of the ground, the phoenix bird is appropriate, so the record in the bird division and the name of the bird.

"

The Warring States period is a hundred schools of thought, the new economic boom period, the phoenix pattern shows a new style.

The phoenix pattern began to become graceful, charming and soft.

Collected in the Jingzhou City Museum in Hubei Province, the tiger seat bird frame drum, two heads and tails, limbs flexed, back to the perched crouching tiger for the base, the tiger on the back of a long legged, head high singing phoenix, back to the phoenix in the middle of the song, a drum with a red rope belt hanging in the phoenix crown above.

The whole body is painted in black lacquer, with red, yellow, gold, blue and other colors painted tiger spots and phoenix feathers.

The whole vessel is realistic, colorful and brilliant, both drums and music, but also a masterpiece of art.

It is worth pointing out that, in this combination of phoenix and tiger image, the phoenix is tall and lofty, proudly looking at the sky, the tiger is short and cowering on the ground, reflecting the chu people chong ming phoenix, yearning for tranquility consciousness and conquest of beasts, defying the spirit of ***.

During the Qin Dynasty, the phoenix pattern temperament is robust, with a strong flavor of life, its image or proudly stride, or lofty, or chest spread wings, showing a flow, robust, vibrant vitality.

From the past to the abstract line gradually developed into the image of the specific portrayal, so increasingly tend to be realistic; from the past the mysterious color of the form of a strong, add a lot of interest and decorative life.

Therefore, in terms of artistic value, it has reached a new peak.

In 1975, Yunmeng Sleeping Tiger Tomb No. 11 unearthed the Qin Dynasty painted phoenix and fish lacquer pellet, the bottom of the two swimming freely painted fish and a single-legged standing phoenix bird, the pattern turned unrestrained, dynamic, the picture uses the three-legged tripod composition method, through the different animal patterns of the "management position", so that the picture force field to achieve balance in the viewer's psyche. Through the "management position" of different animal prints, the force field of the picture is balanced in the viewer's psychology.

Compared to the Tiger Bird Drum of the Warring States period, the phoenix pattern of the painted phoenix-fish lacquer pellet is more decorative, and the phoenix bird is no longer as overwhelming as the phoenix-tiger contrast of the Warring States period, and its size is similar to that of the two swimming fishes, but the phoenix bird's head is located in the center of the lacquer pellet, and the exaggerated crown of the head crosses the inner bottom, showing that it is in the center of gravity in the middle of the action.

The Book of Han records that when Emperor Xuandi of the Han Dynasty, "the phoenix emperor had a number of divine titles", and the bird's body was "five or six feet high".

The Book of the Later Han Dynasty - Volume 1 - Emperor Guangwu, the first "contained": "Jianwu seventeen years, there are five phoenix Huang see in Yingchuan, Shaanxi County".

Note cited "Dongguan Hanji" said: "Phoenix eight feet high".

And according to the "Jing Fang Yi Chuan": "Feng Huang high zhang two.

"The Han dynasty people depicted the physical characteristics of the phoenix, there is a **** the same place, which is the phoenix body size of the strange big - by the height of five, six feet until more than a zhang.

The Han Dynasty for the "four spirits", there are two sayings: one is the Lin, phoenix, tortoise, dragon; the other for the four spirits of the sky: the blue dragon, white tiger, Zhuquan, Xuanwu.

Another "Gleanings" records: "Yao reigned seventy years ...... have Gion branch of the country, the dedication of heavy bright bird, ...... shape like a chicken, sound like a phoenix, can be tuan by beasts, tigers and wolves, so that the demonic disaster group of evil can not harm! ...... When it did not arrive, the country or carved wood, or cast gold, the shape of this bird, placed between the portals, then the demons and uglies naturally retreat.

"Accordingly, archaeologists believe that the Han portrait stone tomb, the tomb door above the head of the symmetrical birds and beasts engraved, the bird with a crown spread wings, such as the phoenix, that is, the intention of the heavy bright bird, that she can repel the ghosts and demons, so it is used to decorate the door of the tomb and dragons as well.

The Han Dynasty was an important period in the formation of traditional Chinese culture, phoenix culture in this period of greater development.

In the Han Dynasty, a variety of artifacts and architectural decoration, the natural world of birds, almost all used as motifs.

Such as geese, swallows, eagles, teals, cranes, parrots, peacocks, pheasants, magpies, crows, sparrows, herons, storks, mandarin ducks, owls and so on.

However, the most distinctive and rich in the characteristics of the era is the phoenix a class of deified bird patterns.

These birds can bring people auspicious and signs of celebration, in the decorations occupy an extremely important position.

These phoenixes are generous in form, with their chests and wings outstretched, and with a high view of the world.

The phoenix and bird motifs of the Han Dynasty fully reveal the dynamics and momentum of the image, showing the overall sense of capacity, linear speed, and the power of change.

Probably due to the high degree of idealization of the "big bird of five colors", the phoenix and bird pattern of the Han Dynasty is majestic but not strong.

Another distinctive feature of the phoenix motifs of the Han Dynasty is the use of suitable shapes according to the application of different decorations, such as the phoenix pattern on the Han Dynasty lacquerware, the phoenix pattern on the Han Dynasty wadang, the phoenix pattern on the portrait stone, and the phoenix pattern on the Han Dynasty bronzes all have different individual characteristics.

Even a small side of the "Shaw-shaped seal" phoenix pattern is also unique, its simple, simple, thick form of beauty is still appreciated and happy.

Most of the phoenix pattern of the Han Dynasty according to the application of different decorations and the use of appropriate modeling, from the stylistic characteristics, the Han Dynasty jade phoenix pattern not only stabilized the typical characteristics of the Warring States period jade phoenix pattern, but also in the modeling, ornamentation to break the stereotypes, ingenious Han Dynasty art style penetration of which.

The figurative phoenix pattern is stable with changes, multiple coexistence; abstract phoenix pattern bold innovation, more realistic.

Between the two virtual and real corresponding, complementary.

The three phases of the development of the Han dynasty jade phoenix pattern, reflecting the typical Han style of jade phoenix pattern is formed in the mid to late Western Han Dynasty.

Culturally, Dictatorship of Confucianism, Han following the Chu Xiu and the pervasiveness of Taoist ideology, so that the spiritual culture of the Han Dynasty with precious jade, Chongfeng cultural genes, which became the impetus for the popularity of jade phoenix pattern in the Han Dynasty.

"The messenger who leads the soul to ascend to heaven", "the representative of the virtuous gentleman", "the spirit of the spirit to ward off evil spirits and suppress victory", "the symbol of power and authority ", "the embodiment of spirit and beauty," these five cultural connotations reflect the use of jade phoenix pattern function, social significance and aesthetic interest, reflecting the realism and religious fit.

The Phoenix culture in the Tang Dynasty was very developed, as a national symbol of the Tang Dynasty Palace is more so, Daming Palace, the main south door that is named: Danfengmen.

The "phoenix fever" of the Tang Dynasty was mainly manifested in the use of the phoenix as a metaphor for human beings, the phoenix as a decoration, the phoenix as a beautiful thing, the phoenix as a metaphor for marriage and love.

On the "phoenix fever" in the Tang Dynasty, the "All-Tang Dynasty Poems" is a very good evidence.

In All Tang Poetry, the word "phoenix" appears 2978 times, the word "phoenix" 282 times, and the word "luan" 1080 times, and the total number of appearances of these three most representative epithets of the phoenix accounts for one-tenth of the total number of entries in All Tang Poetry. The word "phoenix" or "luan" is found in about every ten poems of the Tang Dynasty on average.

Before the Tang Dynasty, people did not easily use the phoenix as a metaphor for people, and the only people who could occasionally be beautifully compared to the phoenix were kings, sages, or people who were superior to the common people, and the women who were compared to the phoenix were even fewer.

However, in the Tang Dynasty, the phoenix was used freely.

During the Tang Dynasty, the phoenix pattern was beautiful and full-bodied, with a vivid flavor and a variety of postures, and it flourished for a while in feudal China, with a stronger sense of formality in the decorative arts.

The relationship between people and society has become a common theme of practical art, in the content of more rich in the interest of life.

Since the Qin and Han dynasties, the concept of the phoenix as a symbol of auspiciousness has been slightly diluted, and new forms have naturally come to the fore, either robust, magnificent, elegant or ornate.

The various forms of phoenix pattern expression, the generation of new phoenix of decorative arts developed in the Tang Dynasty, played a role in promoting.

The modeling of the Tang dynasty phoenix pattern more "bird body", many bronze mirrors on the phoenix pattern are singing and dancing, business, full of joy and fun.

Pairs with native fairy "luanfeng", mouth with a "concentric knot" of the belt or grass, and chirping toast, symbolizing happiness, which is naturally associated with the brilliant Tang material and cultural life, reflecting The weather of the song and dance.

In addition, from the Tang Dynasty headdresses and Dunhuang Buddhist caves in the phoenix bird pattern can be seen on the Tang Dynasty phoenix pattern to further harmonize with people's interests in life.

Such as women's heads decorated with gold hairpin flower crowns, phoenix pattern with the characteristic richness of the appearance, reflecting the taste of the times.

Song Dynasty decorative arts in the conceptualization of the form of favoring allegorical, phoenix pattern will also be more auspicious as the folk ideological aspirations and breath, such as the political and the years of the "phoenix play peony", "a hundred years of good and", "happy together" pattern has gradually become the most popular. "The pattern has gradually become a programmed way of expression, the connotation of the phoenix as a symbol of goodwill was given full play in this period.

The Song dynasty phoenix pattern is more clean, more realistic and delicate, like to use soft lines, showing a happy mood.

Specifically manifested in the phoenix head of the crown is Ruyi shaped, short thick mouth, long thin eyes, long legs, scattered long tail, each scale and feather are carefully depicted.

The development of porcelain craft in the Song Dynasty made the phoenix pattern gain a broader development world.

Song dynasty phoenix bird decorative pattern, can be found on the porcelain many excellent examples.

Yaozhou porcelain is a representative of the northern celadon of the Song Dynasty, the famous green glaze beam inverted injection porcelain pot beam a prone, round eyes and short mouth of the phoenix, it is the Song Dynasty phoenix pattern is more realistic and delicate response.

The mouth of the pot is a lioness lying on her side, and the body of the pot is decorated with a convex carving of entwined peonies, because the phoenix, the lion and peonies are the king of birds, the king of beasts, and the king of flowers, and this pot is also known as the "Three Kings Pot".

Yuan dynasty porcelain decoration is mature, all kinds of manifestations of the phoenix pattern are rich in artistry, some of the image of hand-drawn, appropriate thickness, bright and smooth.

By the Ming and Qing dynasties, phoenix decoration has become a specific shape, whether in the round, square or a variety of decorative form, pattern composition has its own internal form, and phoenix pattern **** sexual form, but also further standardization.

Among them, such as the Ming and Qing dynasties "group phoenix" pattern, the most unique mode of decoration, it is with the fabric on the "group of flowers".

The "open circle" on the ware to match, showing a unique decorative style.

When Nanjing weaving brocade old artists, in the long-term practice of design, summed up a set of painting phoenix mnemonic: "phoenix has three long, eye-length, leg-length, tail-length," and to "the first such as brocade chickens, head such as rattan clouds, wings such as cranes.

This represents the mature decorative features of the phoenix and bird patterns on the arts and crafts of the Ming and Qing dynasties.

The most vibrant works of decorative arts of the Ming and Qing dynasties, is a large number of folk crafts.

Folk blue prints, embroidery, pick flowers; folk wood carvings, stone carvings, brick carvings and folk paper cuttings and other works, the sense of form is more intense, and the approach is more rich and diverse.

The phoenix bird in the Ming and Qing dynasties, is based on the vermilion bird, kites phoenix to the original shape of the bird to be mutated.

Long feet, snake neck, beak is obviously hawkish, sharp eyes, meaty rooster crown, peacock-like three-plume giant tail.

Later, after the development of changes, and the male mandarin duck wing shrugged feathers attached to the same part of the phoenix, etc., to become today's image of the phoenix.

In the silk decorative themes are cloud phoenix, group phoenix, wearing flowers phoenix, and he them with auspicious symbolism linked together to send good wishes.

The phoenix crown is the crown of the ancient emperor's consort, which is decorated with phoenix-like jewelry.

The Ming Dynasty Phoenix Crown is the Empress was registered, visit the temple, the court will be worn with a ceremonial crown, the shape of the system and to develop and improve the system of Song, because of the more elegant and luxurious beauty.

Ming and Qing Dynasty general women decorated with colorful crowns also called phoenix crowns, mostly used in weddings.

According to archaeology, the phoenix crown has appeared as early as the Han Dynasty, but the modern can see the complete physical, mostly belonging to the Ming Dynasty.

The Ming Dynasty customization: in the event of a major ceremony, the Queen's crown with nine dragons and four phoenixes three Bo sideburns (left and right *** six fans), the Crown Princess with nine cui four phoenixes double Bo sideburns (left and right *** four fans), walking hat on both sides of the hat fan will be unfolded.

Ming Xiaojing Empress Dowager three dragons and two phoenix crown, the internal lacquer bamboo wire made into a round frame, the edge of the gold inlaid on the mouth of the circle week.

Crown decorated with three gold dragons, Cui Feng two.

In the center of a dragon and two phoenixes are mouth jewels knot, each knot tie three pearls, rubies, sapphires, a piece of the back of the phoenix is decorated with pearls.

crown *** embedded red and sapphire 95, 3426 pearls, total weight 2165 grams.

Decorated with six golden dragons and three emerald phoenixes.

On the front of the top of the center of a dragon, mouth jewels drop, on both sides in the Ruyi shaped cloud head each decorated with a flying dragon, mouth jewels strings of ornaments; three phoenixes in the middle of the mouth jewels drop, for the wings of the flight, the lower layer of the large pearl flowers three trees.

The inlaid gems **** 128 pieces (of which 71 rubies, sapphires 57 pieces), 5449 pearls.

The total weight of the crown is 2905 grams.

Modern Phoenix culture is mainly embodied in a large number of folk crafts, such as blue printed cloth, embroidery, pick flowers, folk wood carving, stone carving, brick carving and folk paper cutting.

These phoenix bird motifs are not only rich in distinctive contemporary flavor, but also firmly maintain the traditional aesthetic taste of the Chinese nation.