Since yin shang, the culture of Youma has undergone generations of changes, interpreting the smoke years of historical rise and fall. After the unification of the Qin Dynasty, after reading the three generations of ceremonies, on the basis of the pre-Qin car system, he creatively established the halogen book system of emperor Luan driving and riding public opinion. Along with the excavation of two painted bronze carriages (Standing Carriage and Anche) excavated from the Mausoleum of the First Emperor of Qin, it once again shows the transformation from practical carriages to Ming instrumental models since the Yin Zhou Dynasty in empirical form. The complex structure of the Qinling copper carriage is not only reflected in the visual form and structural expression method, but also in the aesthetic pursuit of the cultural connotation of the car system and the decorative technique.
Through the research and analysis of the decorative art of the Qinling copper carriage, that is, the discussion of the unity of ceremonial use, structural modeling, decorative materials, and aesthetic expression, thus forming a strong regional characteristics and cultural aesthetics, which is the Qin people's understanding of the "beauty" of the carriage. For example, the connection between the copper carriage structure and the bottom of the car is avoided by the longitudinal bundle and avoids the bottom of the car, which is an adaptive improvement made by the craftsman in the structural design combined with the exquisite shielding decoration on all four sides of the carriage box.
The bronze carriage is decorated with painted paintings throughout, and the colors and patterns are appropriately painted with the shape and material of the practical horse. In this case, the Qin Dynasty craftsmen's imitation of copper carriages can be roughly divided into the following categories: one is more than the original color, or the material structure of the utensils is copied in pure color; the second is more than the texture and weaving pattern of the surface of hemp fabric and silk brocade; the third is to simulate the color drawing of the surface of the wood paint; and the fourth is to display the decorative patterns on the leather belt and leather strip. At this point, the commonly used colors of copper carriages are vermilion, pink, green, pink green, dark blue, sky blue, earth yellow, white, black, ochre, etc., of which blue, green and white are used more. The main structure of the car is based on white, compared with the No. 2 anche body color, the white characteristics of the No. 1 vertical car are not very obvious, but the white tone can still be seen from the decorative patterns in the shiap and the undershipped mask, the inside of the left and right railings and the umbrella cover.
Speaking of No. 2 Anche, its painted decorative art follows the aesthetic expression principle of painting after the fact, painting a variety of colors on a white substrate. Citing relevant literature, originating from the qin shi huang unified the six kingdoms, reading three generations of gifts, the oriental countries of the car public opinion system integration and integration to form the Qin system, in the car travel sequence, there are "five colors of an car, five colors of vertical car one", a total of ten times. In the literature, most of the "five colors" are related to scholars in accordance with the theory of the five elements of yin and yang, and give different spatial regions with five colors, that is, the north is black, the south is red, the middle is yellow, the west is white, and the east is green. The five elements and five colors compete with each other, and the cycle continues endlessly. For a long time, this concept has given the car public opinion system, which has opened up the judgment of the attributes of the car public opinion based on different color decorations. Because the two carriages of the Qin Tomb are white tones, they represent the western orientation, secretly conform to the land of the Qin people, and follow the symbolic meaning of the Qin people's concept, and the painted decoration of the Qin Tomb copper carriage thus expands the Qin people's understanding of "beauty".
In other words, in the choice of many decorative patterns such as two-ride copper carriage casting, or painting, the decorative theme of "geometric pattern" is reproduced, that is, the diamond shape and checkered pattern are the decorative matrix to form a diversified two-square continuous, or four-square continuous pattern. By analogy, in the history of the development of the art of creation in the Qin Dynasty, decorations involving geometric patterns are not uncommon. For example, the surface decoration of the bronze building components of the Qin Palace in the Spring and Autumn Period, the pattern of cultural relics excavated from the site of Qin Xianyang Palace, and the various pattern square bricks excavated from the mausoleum of the First Emperor of Qin. It is undeniable that the above diverse Remnants of Qin Culture are decorated with geometric patterns as the decorative motif, and most of them are filled with wheel patterns, jade bi patterns, rice character patterns, etc. Similarly, a large number of geometric patterns can also be seen in the patent leather painting of wooden chariots excavated from the No. 1 pit of the Qin Figurines, and the fringing of the military officials' costumes.
In other words, from the perspective of cultural integration, the aesthetic expression of the decorative art of the copper carriage is observed, and the geometric pattern as one of the decorative motifs of Qin culture does not exist in isolation. For example, in the Spring and Autumn Period and the Warring States, the economic and cultural exchanges between the various countries became more and more intense, and they were dependent on each other. Qin and Chu sometimes intermarried and sometimes attacked. Whether it is war or peace, the mutual exchanges and cultural exchanges between Qin and Chu have shown a diversified and integrated trend. Similarly, the traces of geometric patterns also exist in the decorative arts of Chu culture, especially the development of diamond patterns in Chu culture from beginning to end, such as the two composite diamond patterns in the Tomb of Guanchu in Changtai Guanchu in Xinyang, Henan Province, and the "C" shape in the large geometric pattern brocade in the Mashan Chu Tomb. By analogy, the geometric decorative pattern on the copper carriage is symmetrical and balanced in composition, and the main body pattern is often set with various suitable patterns. The two sets of patterns are filled with appropriate patterns, and these compositional rules are aesthetic expressions in the decorative arts of Chu culture. These decorative patterns are also similar to those on the "D" type large diamond-shaped brocade in the Mashan No. 1 Chu Tomb in Jiangling, and the brocade excavated in the Mawangdui No. 1 Han Tomb in Changsha. That is to say, the geometric ornamentation of copper carriages is also common in the former Chu region. They reveal the exchange and integration of Qin and Chu cultures, which means the aesthetic expression of the creation art of the Qin Dynasty and the genre origin of the creation craftsman, as well as the diversified integration of the economy and culture of the unified centralized state.
In addition, on top of the above-mentioned geometric pattern of decorative motifs, the copper carriage also highlights a disguised pattern evolved from the dragon and the phoenix. Inside and outside the owner of the No. 2 car, as well as on the roof, there are large blue, green, and yellow cloud-like decorative patterns. Set against a white tone, it churns up and down like a stream of clouds. Inside the outer outline of the black line, the scales of white, black, zhu and other colors are filled in, and the color contrast is coordinated, which is very three-dimensional. The public opinion taker is immersed in the intricate decorative arts, such as the entry of the clouds, and the meaning of happiness and freedom.
(This paper is a phased result of the project "Compilation and Design Interpretation of Bronze Carriage Images of the Mausoleum of the First Emperor of Qin" (20FYSB045) funded by the National Social Science Foundation of China)
(Author Affilications:School of Fine Arts and Art Design, Luoyang Normal University)
Source: China Social Science Network - China Social Science Daily Author: Zong Chunli