The long river of time flows slowly
Many things have gradually faded from people's sight to complete their mission
But there are some more
Original old objects of ancestors
We are right about them
Often turn a blind eye
But they are always together
They have been baptized over thousands of years
It's still timeless
It is as if time and wisdom have condensed
Cultural amber
Author: Party / Broadcaster: Cai Yunyong
Valley rain has the meaning of rain and hundreds of grains, at this time spring will pass away, the field seedlings are newly planted, and the rain is most likely to be moistened. The valley rain and rain are just in time, and they have always been auspicious and auspicious.
Ruyi, that is, "in line with the heart", is the desire of the Chinese nation.
Regarding the origin of Ruyi, there are three theories in the academic circles: one is the Indian imported product theory; the second is the ancient Chinese theory of grasping battles; and the third is the Buddhist article theory. Among them, the "ancient Chinese theory of grasping battles" is recognized by most scholars. According to historical records and excavated archaeological relics, in the Eastern Zhou Dynasty, there was already a grab battle similar to the shape of Ruyi - "The ancient claw staff is also used to scratch, as the meaning of the person, so it is a finger claw, and the handle length can be three feet." Or there is an itch on the back of the back, and the hand cannot reach it, so it is used to scratch like a person. It can be seen that "Ruyi" was first used by the ancients to tickle the tool.
In recent years, in qufu, Shandong, the ancient city of Luguo, two fragments of ivory carvings identified as the Eastern Zhou Dynasty have been excavated, which are shaped like a cylindrical long handle, the first end is connected to the realistic palm shape, and the fingertips are bent into claws. Experts deduce that this should be the earliest physical remains of the same kind on the mainland.
During the Wei and Jin dynasties, the Qing tanners were good at keeping their wishes, which was probably related to their love of serving the five stones. After taking this powder, there will be symptoms of itching all over the body, so a stalk is often not left from the hand. Over time, Ruyi gradually became a plaything in people's hands. Emperor Jianwen of the Southern Dynasty once had a poem: "The wrist moves the peony jade, and the shirt follows the ruyi wind", which can be seen that during this period, the literati, emperors and princes and generals all had the hobby of wearing ruyi. In the Tang Dynasty, ruyi shape tended to be more flat, and the head was bent and folded, in the shape of a three-petal cirrus cloud. As a result, the practicality of Ruyi is slowly weakened, and the beautiful shape and exquisite production are not suitable for helping people eliminate the itch on their backs.
During the Ming and Qing dynasties, Ruyi's development reached its peak. Because of its exquisite shape and beautiful meaning, it is deeply loved by the emperor and general. Whenever the emperor of the dynasty had the throne and birthday, the princes and ministers would offer their wishes to win the emperor's favor. Ruyi was also the emperor's choice of concubines, the empress's vouchers and relics, as well as the rewards for meritorious service. To this day, the Confucius Temple in Qufu, Shandong Province, still preserves the precious ruyi given to Confucius by the Emperor of the Qing Dynasty.
Ruyi is more and more exquisite in the shape and selection of materials, craftsmen use agate, jade, jade, gold and silver and other precious materials, in the production process, but also the use of flat carving, relief and hollowing and other carving techniques, inlay process is more complex and diverse, in the pattern pattern usually choose song crane, evergreen and bergamot and other auspicious patterns, further reflect the "like the meaning of the person" beautiful cultural connotation.
Ruyi is a magnificent treasure of Chinese national culture, and the beauty of the intention it brings to people is the embodiment of traditional Chinese aesthetic thought. Ruyi is also the representative of the traditional Chinese Xiangrui culture, which is a wise and implicit Chinese the vision and expectation of a better life.
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An all-media platform focused on visual communication
In 2015, Gu Yu ventured into the field of traditional handicrafts, creating a traditional handicraft transformation platform integrating communication, design transformation and sales, linking social forces such as design, brand, sales channels, media platforms, and colleges, empowering traditional handicrafts, building an ecosystem for the activation of traditional handicrafts, focusing on the regeneration of traditional handicrafts, and returning them to current life. It lasted 5 years, traveled 120,000 kilometers, traveled to 17 provinces across the country, and photographed more than 500 traditional craftsmen free of charge.
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Creative Participation:
CDS China Designer Salon, China Female Designer Salon WDS, Zhengzhou Graphic Art Design Association, Xi'an Graphic Design Association, Nanjing Graphic Designers Alliance, Wuhan Jiuyi Creation Association, Visual Alliance, Dalian Graphic Designers Association, Heilongjiang Guanwai Design Alliance, Jilin Provincial Graphic Design Association, Shanxi Designers Club outside the city, Hangzhou Designer Salon, Chenzhou Designer Salon, Sino-Korean Designers Association, Taiwan Poster Design Association, Emblem Graphic Designers Alliance, Absolute Guizhou Creative Design Alliance, Inner Mongolia Designer Salon, Zhejiang Sea Graphic Designers Alliance, Parallel Ji Hebei Graphic Design Alliance, Shanghai Designers Club, Suzhou Graphic Designers Association, Fujian Graphic Design Association FGDA-Fuzhou, Fujian Graphic Design Association, Foshan Designers Club, Shanxi Graphic Design Society, Shenyang Creative Design Center, Asia-China-Korea Design Association, Guangzhou Graphic Designers Alliance, Shantou Graphic Design Club, Founder Font Library, Hanyi Font Library, 869 Design School, Dalian Graphic Design Alliance, Fengtian Designer Salon HGDA Hunan Graphic Designers Alliance
Participating Institutions:
Shandong Academy of Arts and Crafts, Lingnan Normal University School of Fine Arts and Design, Shijiazhuang University School of Fine Arts Visual Communication Design, Zhengzhou Institute of Light Industry Easton College of Fine Arts, Inner Mongolia Normal University International Design Art College, South China University of Technology School of Architecture, Xi'an University of Posts and Telecommunications Digital Art College, Jilin Art College, Dalian Polytechnic University School of Art and Design, Northeast Normal University School of Humanities, Shanxi Media College, 869 Dalian Design School, Whale Art Design College, Jiangxi Yichun College, Langfang Normal University, Changzhou Textile and Garment Vocational and Technical College Creative College, School of Architecture, Beijing Jianzhu University
Academic Collaboration:
Peking University School of Archaeology and Archaeology "Source Flow Movement" platform
Supporting Organizations:
School of Visual Communication Design, Shandong Academy of Arts and Crafts, Character Magic Camp, COLORPLAN + Zhengdu Paper, MOOYEE, Mengku Tea, International College of Design and Art of Inner Mongolia Normal University, Corner Tower Library, Modern Paper-cutting Art Research Institute, China Cultural Tourism Product Innovation Industry Alliance, Chenzhou Cultural Tourism Product Innovation R&D Center, HGDA Hunan Graphic Designers Alliance
Support media:
No. 9 Gutian Road, Design Search, Brand Design Research Center, Blank Set, International Art Space, International Packaging Design, Anecdote, Extraordinary Designer Network, Jianhe, Hi Design, Sauce Explosion, Gu Yu, Design Empire, Yixin Yiyi, Design Perspective, Chief Visual Officer, Logo Design Bureau, D9 Design, Pure Design, Brand Design Perspective, Cultural Tourism Product Innovation Center, Design Competition, Design Chen
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