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wholesale jewelry making The aesthetic significance of ancient Chinese jade
1, the class system represented by the jade
This in "Book of Rites · Rites Shu" has a detailed record: Only the emperor can get it alone. Although others can also get it, they must obey the emperor.
So here can see how Ruiyu shows a person's identity and status, and how important the meaning of Ruiyu is, not only in the form of jade, but also cares about him. way.
2, the beautiful meaning represented by jade
In ancient times, jade articles not only represent Rui Qi, it is said that he also has a psychic function. Confucianism is mainly based on reality, so I do not believe in the theory of ghosts and gods, but although the author in the Book of Rites is a cautious attitude towards the theory of ghosts and gods, it does not rule out that the jade has a psychic psychic in the remarks. Effect.
So the artifact to sacrifice the gods is because the jade that the jade can express to the gods, which also represents the infinite respect for the gods.
Extension information:
The cultural connotation of ancient jade articles in China not only includes design art, craftsmanship, text records, but also the rich value and etiquette function of ancient jade. Religious functions, economic value and decorative functions.
The political value of ancient jade articles is that ancient jade is the materialization of ancient jade and the carrier of ancient people's morality and cultural concepts.
Reference information Source:
Baidu Encyclopedia-Jade
Baidu Encyclopedia-Ancient Jade Ware
sterling silver jewelry findings wholesale In the long years of its development, the Chinese nation has created a unique, elegant, and charming eternal craftsmanship style for human craftsmanship and culture history with hard work and wisdom. Chinese arts and crafts are immersed in the cultural spirit and aesthetic consciousness of the Chinese nation, and have a distinctive aesthetic personality, which mainly reflects:
1, harmonious. Chinese traditional artistic thought attaches great importance to the relationship between people and things, use and beauty, literature and quality, shape and god, heart and hand, materials and art, and claims "harmony" and "should". The pursuit of the ideal state of "He" and "Yi" makes Chinese arts and crafts highly harmonious; the spiritual meaning of the material form and connotation of the appearance is harmonious and unified The harmonious unity of rational norms, the harmonious unity of material work and the concentration of the Italian craftsmanship.
2, symbolic. Chinese craftsmanship has always attached importance to the influence of culprits in ethics. It emphasizes the connection between the sensory pleasure and the aesthetic satisfaction of property, and at the same time requires this connection to comply with ethical norms. With a strong sense of ethics, Chinese traditional craftsmanship usually contains specific morals. It often uses symbolic metaphorical ethical and moral concepts with the help of styling, volume, scale, color, or decoration symbolic. This symbolic pursuit often reduces court or literati arts and crafts into a display of pure ethical and moral concepts, causing damage to the stance of decoration or material effects. In contrast, more folk arts and crafts with the utilitarian willingness of the producers themselves are simple and vibrant.
3, agility. Chinese craftsmanship advocates the unity of the mind and mind, and requires "handy", "quality is the person, and the text is yin and yang." Chinese traditional craftsmanship has always maintained the structure of S -shaped shapes and decoration. This structural paradigm is full of rhythm and cyclical sense of movement, which makes Chinese craftsmanship make the craftsmanship, which is active and sparse and empty.
4, Tianqu. Chinese craftsmanship attaches great importance to the natural quality of craft materials, advocates "scientific materials" and "applied arts according to their aptitude", and requires "phase objects to form shapes, applied models". Chinese traditional arts and crafts always respect the prescribed materials in shape or decoration, and make full use of or reveal the natural beauty of materials. This excellent craftsman makes Chinese craftsmanship natural and innocent, quiet and elegant.
5, ingenuity. The emphasis on process processing technology is the consistent tradition of Chinese arts and crafts. The rich creature practice makes the craftsman notice the aesthetic effect produced by the cleverness, and consciously pursues the ideal realm of the ingenuity in the two different interesting points: to go to the natural skill of deliberately carving The ingenuity of the sculpture is ingenious.
. The artistic achievements of the bronze in the summer, Shang, Zhou, Spring and Autumn Warring States Periods?
Is Xia, Shangzhou known as the "Bronze Age"
Fragmentation
The business is the prosperous era of bronze wares, and bronze wares are more common in ritual or weapons. The biggest is the mother -in -law Wu Ding (so far), the most exquisite four sheep Fangzun (at the time). At the same time, the Samsung Ding Bronze Ware in Sichuan
The bronze wares civilianization and daily use n during the spring and autumn, bronze wares have gold and silver error technology and carving and casting technology. A pair, one to the country, an existing Henan Museum, is the treasure of the town hall), represents the highest level of craftsmanship of Chinese bronze wares, and the Zeng Houyi bronze chime bell unearthed in Hubei is the perfect combination of bronze craftsmanship and music technology After thousands of years, I can still perform
The ironware in the spring and autumn, began to replace bronze, and gradually withdrew from the historical stage
. The aesthetic significance and cultural connotation of jade articles in ancient Chinese culture in Chinese culture Essence
It jade has a very important position in traditional Chinese culture. Han Yu is known for its cleverness and exquisiteness, and is applied to etiquette, sacrifice, funeral, decoration and daily necessities. The shape and decoration of the jade in the Han Dynasty are vivid, strange, and beautiful, forming unique artistic characteristics.
The jade carving art is a dazzling treasure in Chinese traditional historical and culture. It is also unique in the world's art of hundreds of flowers and has distinctive national characteristics. The Han Dynasty was a glorious period for the development of jade articles in China. Han Yu was known for its cleverness and exquisiteness, and was applied to etiquette, sacrifice, funeral, decoration and daily necessities.
In the minds of ancient people, the aura of Yu Rongtian and the essence of the sun and the moon has the beautiful and natural attributes of warm, clean, clear, refined inner light, and unparalleled. In the long process of human life practice, jade blended with "human nature", becoming the object of the gentleman "Bid to jade", and became a symbol of power, status, and wealth.
This is the earliest and most experienced country in the world. From the perspective of archeological results so far, it has a history of about 10,000 years. From a aesthetic perspective, a large number of scholars believe that the development of ancient Chinese jade can be roughly divided into three historical stages.
It from the middle and late period of the old stone to the late Shang Dynasty to the first stage. Affected by the cognitive world method during this period, jade articles condensed the cultural factors such as natural worship, totem worship, ancestors worship, and ghost worship. And the concept of jade presents mysterious and simple aesthetic features.
is the second stage of the development of ancient Chinese jade. This period is the formation and development period of Chinese feudal society. Confucianism occupies a dominant position among hundreds of disputes. The gentleman "Bid to jade", in addition to continuing to carry the function of sacrificing the heavens and the earth and worshiping the gods, it also contains rich Confucian cultural ideological content. And to distinguish the important material carrier of humanity specifications. At the same time, the understanding of the world has gradually matured and systematically mature and systematic. The production of jade in this period is becoming more and more rational and standardized. Due to the deep and heavy rational content, jade articles reflect the sacred and neat aesthetic characteristics in aesthetic tendency.
In Wei and Jin dynasties to the end of the Qing Dynasty is the third period of the development of ancient Chinese jade. During the Wei and Jin dynasties, the jade industry entered a trough, but it still had its significance. During the Wei and Jin dynasties, it was a period of great transformation in the history of Chinese cultural thought. It broke the long history of etiquette and jade traditions in conceptual and practice. direction. With the continuous improvement of productivity, the commodity economy and urban economy of the Song, Yuan, Ming and Qing dynasties continued to develop, and the citizen class continued to expand. Its aesthetic interest became the mainstream. In this period, the jade articles of this period showed a popular and secular aesthetic tendency. The characteristics of secular and natural aesthetics.
The beauty of jade is "gorgeous to the bland beauty". After artificially created by natural Meiyu, it is even more icing on the cake. The ancient people not only showed superb skills when creating jade articles, but also showed exquisite artistic ideas and ideals. The jade wares of each era show a specific aesthetic style, which is the crystallization of a specific aesthetic consciousness.
This in the history of the feudal social development of the Han Dynasty is an era of strong national situation. Judging from the jade artificially unearthed in the Han tomb, the early Western Han Dynasty, many in the middle, good quality, and high artistic value. In the late Western Han Dynasty to the late Eastern Han Dynasty, there were fewer and poor quality. The salutes of the Han Dynasty were mainly 琮 and 玉. These etiquettes used the characteristics of the jade part of the Qin Dynasty and the pre -Qin Dynasty to simplify the instrumental category. The Ji Hu was more decorative, and it was almost disappeared. In the Han Dynasty, the Jade and Jade of the Han Dynasty developed, and represented the highest achievements of ancient Chinese jade in ancient Chinese jade with its regular forms, fine workmanship, and exquisite decoration. On both sides of Jade, there are dense puff patterns and valley patterns on both sides, with mesh pattern, cloud patterns, etc.; Some animals such as the outer edge plus a weekly carving, balanced and symmetrical dragon, phoenix, tiger tiger and other animals Tattoos. From the perspective of styling decoration, from the Spring and Autumn Period and the Warring States Period, the production characteristics of jade and jade have changed significantly. In the Shang and Zhou dynasties, the thickness of the Zhou Dynasty was uneven, and the shape was irregular, and most of them were not round in inside and outside. Since the Spring and Autumn Period and the Warring States Period, the 战 has been quite regular, and there are silkworm patterns, valley patterns, pneuma patterns, and animal patterns.
The jade pendant in the Han Dynasty -the jade dancers, the shape is realistic and very dynamic. The jade articles in the Han Dynasty showed high artistic achievements. The carving of small decorations was good at grasping the typical characteristics of animals and the expression in a specific situation. A few knives were interesting. Jade wares are mostly carved with knives, commonly known as "Han Bao".
I influenced by Huang Lao's learning, the Han people, especially the ruling class, showed the pursuit of the long -lived world, so the funeral jade in the Han Dynasty had developed a lot. From the perspective of archeological materials, the cumbersome production of jade clothes in the Han Dynasty has almost reached the point where there is no longer. There are more than twenty sets of jade clothing currently excavated. Judging from the results of excavation, the use of jade clothes has a strict hierarchical system.
The Han Dynasty jade was a strange work produced by the integration of Central Plains culture and Chu culture. The Chu State is a fierce country. They come from the primitive society. There are few rational immersion, and more of them have preserved the heritage of clan society. They imagine rich, strange, weird, self -contained regional culture, and have a fresh and refined, free and romantic style. Most of the rulers of the Han Dynasty were Chu people. On the one hand, they inherited the Central Plains culture with respect, and inevitably caused the characteristics of Chu culture in the Central Plains culture and merged the Central Plains culture and Chu culture. The jade of the Han Dynasty fully reflects this. The jadeite with a regular jade jade engraved with pu patterns and valley patterns is carved with beautiful flying dragon and phoenix images. In the Han Dynasty, the spiritual spirit of deep rationality and bold romantic imagination was combined. The carving and penetration technology of the jade in the Han Dynasty are more decorative, showing the romantic style of Chu culture, and have a unique beauty. The most prominent jade works of Chu culture are the number of jade fairy in the Han Dynasty. The image of the Pegasus step on Baiyun reflects the desire of the Han people who are deeply influenced by Huang Lao's thoughts. With a simple, exaggerated, and neat style, the artistic style of the art of the Han Dynasty and the flowing artistic style. In addition, the weird jade and evil spirits and the jade town beasts also reflect the rich imagination and romantic feelings of the Chu people. It can be seen that on the one hand, the Han Dynasty jade articles inherited the tradition of previous jade articles, and on the other hand, under the influence of the imaginative Chu culture, its shapes and decorations were more vivid, strange, and beautiful, forming a majestic and magnificent artistic characteristics.
The spirit of jade condensed is the precious wealth of traditional thoughts. For thousands of years, the subtle immersion and influence of people's ideological consciousness and behavior, the formation and stability of the traditional outstanding national psychology and national character have injected positive vitality into the noble sentiment of Yanhuang descendants. The elegant, implicit, mild, and courteous image quality of Orientals is the reproduction of jade material virtues to a certain extent and has a unique charm.
In short, the long history, profound connotation, and the impact on all aspects of society have finally established the lofty status of jade in the minds of the Chinese nation, winning the cherishment and love of generations, and becoming an important symbol of ancient Chinese culture in ancient Chinese culture One is the eternal brilliant light.
. The perfect combination of the furniture shape, decoration of furniture shape, decoration and practical functions.
The understanding and mastering of the style characteristics of furniture in the Ming Dynasty is the condition that we must have when we appreciate furniture and identify furniture. The style characteristics of the furniture of the Ming Dynasty, the following four points:
1. The shape of the shape is concise and the line -based n strict proportion relationship is the basis of the furniture shape. We see that the local and local proportions of the Ming Dynasty furniture in the above figure, the proportions of the decoration, and the overall form of the figure are extremely well -proportioned and coordinated. Such as chairs, tables and other furniture, the upper and lower parts of the legs, their legs, tweezers, backs, and brains, their height, length, thickness, width, and narrowness are all impeccable and well -coordinated. And it is extremely consistent with the functional requirements. There is no extra burden. The overall feeling is the combination of the line. The lines of each component are upright and beautiful. The rigidity and softness, the lines are quite stiff, soft but not weak, showing concise, simple, elegant, and generous beauty.
2. Strict structure and fine work
The tenon structure of the furniture of the Ming Dynasty, which is very scientific. Without nails with less glue, it is not affected by the humidity or dryness of natural conditions. Between large spans, tooth plates, dental bars, ring mouths, vouchers, dwarfs, overlords, Luo Guo, Kazi flower, etc., which are both beautiful and strengthening firmness. The structural design of the furniture of the Ming Dynasty is an excellent combination of science and art. To this day, after hundreds of years of changes, the furniture is still firm as early as the beginning. It can be seen that the tenon structure of the furniture of the Ming Dynasty has a high scientificity.
3. Moderate decoration, suitable for simple phase
The decorative techniques of furniture in the Ming Dynasty can be said to be a variety of, carved, carved, embedded, and described. Decorative materials are also wide, enamel, snailou, bamboo, teeth, jade, stone, etc., are not refused. However, it will never be greedy for piles, nor does it be carved, but according to the overall requirements, it is made of appropriate local decoration. For example, on the back of the chair, a small area of transparent carving or inlaid, the part of the table case, is dwarf or card flower. Although it has been decorated, the overall perspective is still unrelated and beautiful;
. The wood is hard and beautiful
From the above pictures, it can be clearly seen that the wood texture of the furniture of the Ming Dynasty is naturally beautiful. Too reverie. Make full use of the texture advantages of wood to give play to the natural beauty of hard wood materials itself. This is another prominent feature of hardwood furniture in the Ming Dynasty. Most of the Ming Dynasty hardwood furniture materials are Huanghuali, rosewood, beylum and so on. These advanced hardwood have the natural beauty of color and texture. When the craftsmen are produced, in addition to the fine work, they do not add paint, do not make large -scale decoration, and make full use of the color of the wood and texture of the wood itself to form their own unique aesthetic taste, form as their own unique uniqueness style. This is another feature of the Ming Dynasty furniture.
The style characteristics of furniture in the Ming Dynasty, summarized, can be summarized with simple shape, rigorous structure, moderate decoration, and beautiful texture. The above four sentences can also be said that the four characteristics are not isolated, but to connect with each other and together constitute the style characteristics of the furniture of the Ming Dynasty. When we look at a piece of furniture and judge whether it is a furniture in the Ming Dynasty, we must first grasp its overall feeling and then analyze item by item. It is not enough to see only one point, and it is inaccurate to have only one characteristic. These four characteristics are linked to each other, and each other is indispensable. If a piece of furniture has the first three characteristics, and does not have the fourth point, it is certain that he is not a furniture in the Ming Dynasty. Later generations imitated the furniture of the above four characteristics, which are called Ming -style furniture.
kings wholesale jewelry In China, jade articles have aesthetic category from the beginning. As early as the Redshan culture and Liangzhu culture in the Neolithic era, jade wares were considered to communicate the world, gods, and ancestors. People used the most devout mentality and primitive tools. It takes a lot of time to make jade. In Xia, Shang and Zhou, the original tribal leader became the king of the country. The social system and personal life were included in a rigorous and standardized etiquette system. There are "six instruments" when sacrifice.
The social fashion at that time was "gentleman for no reason, jade would not leave." The jade articles should be worn in a group. When walking, the rhythm is dingling, and the steaming and speed should be harmonious with Pei Jade to express the gentleman's manners, temperament and demeanor. Because the Lion Mountain Chu King's Mausoleum has been disturbed by the thieves, this S -shaped jade dragon and which jade is matched with a group of eternal mystery. However, it is not easy to wear such a huge and heavy group of jade. King Chu only used Yulong only when he attended a very important ceremony. During the Warring States Period, the jade articles of Chu State were alone in the world. Many jade wares were difficult to imitate even in modern times. In the early years of the Western Han Dynasty, Chu State in the region was a considerable part of the Chu people in the Warring States Period. Almost every seat of the Han tomb has jade. There are all kinds of Han jade varieties. It is difficult to compare it in other places. A group of jade materials, corners and broken jade are found in Xuzhou Baiyun Shanxi Han Tomb. Processing workshop.
The world -renowned Silk Road is a "jade road" that transports Hetian jade from East and West to Eastern from Xinjiang to East and West. Archaeological discovery shows that as early as the Shang and Zhou dynasties, more than 1,000 years before the Silk Road opened, Xinjiang Hetian Yu sent to the Central Plains through the Jade Road, becoming a treasure of the princes and nobles. From the Western Zhou Dynasty, the royal family, noble sacrifice, dynasty, and living have to use jade, and there are regulations on complexity, and jade has become an important symbol of the ritual system. The label of the Xuzhou Museum -the dragon -shaped jade pendant unearthed from the King of Chu of the Lion Mountain is such a treasure of cultural relics. In the history of Chinese jade, the Warring States Period to the Western Han Dynasty was a peak of craftsmanship. The cultural prosperity of the hundreds of competence, as well as the use of iron wares and machinery machines, brought the jade craftsmanship revolution, which made the jade articles change the simplicity of thousands of years, and became delicate.
empty, a large amount of penetrating carved hollow, which is more agile. The S -shaped jade dragon appeared during the Warring States Period, but it was basically horizontal S -shaped. The vertical S -shaped was only seen in the tomb of the Early Western Han Dynasty. Bright and fingertips. During the Warring States Period, the hegemonic hegemony created a strong, Shangwu, and aggressive social atmosphere, which directly affected the aesthetic orientation of the jade articles. The four seas are rising, and the jade style has become docile and soft. It can be said that this jade dragon is a singing in the history of Chinese jade.
14kt wholesale jewelry Used to sacrifice ancestors and evil spirits.
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