In the vast history of China, Liangzhu is a sacred place that empirically proves the history of 5,000 years of Chinese civilization and an important cultural heritage of mankind. The artifacts unearthed in the ruins of Liangzhu Ancient City are not only treasures of Chinese culture, but also powerful material evidence for the exploration and inheritance of Chinese civilization. They represent the wind objects of the Liangzhu period and are closely related to today's life.
The wind of Liangzhu is warm and gorgeous, silently passing through the gaps of time to smudge the colors of 5,000 years of civilization. The Liangzhu customs immersed in time have been passed down with the changes of the seasons to this day, and have become the medium for us to understand the Liangzhu civilization.
During the Liangzhu period 5,000 years ago, the ancestors of Liangzhu had mastered the production and use of jade, pottery and stone tools.
The promotional video of "Liangzhu Wind Things" is based on the new media publicity of "Liangzhu Ancient City, Four Times Wind Things", selects ten kinds of artifacts in Liangzhu civilization, and integrates with the scene of Liangzhu Ancient City Ruins Park today, so as to make traditional culture "live" in the way of character series and achieve the purpose of spreading Liangzhu culture.
Let's start a journey to roam the ancient and modern Liangzhu, explore the tide life of the ancestors of Liangzhu, unlock the Liangzhu scene along the way, find Liangzhu customs, and feel the beauty of Liangzhu culture.
Liangzhu Wind Thing
The promotional video of "Liangzhu Wind Things" selects ten kinds of artifacts from the Liangzhu period, which are integrated with the current lifestyle to create a "tide" life that has been passed down to the present.
High knots, jade birds, stone plows, jade fish, pottery roofs
Tao Kuan handle cup, jade cicada, stone sickle, jade bracelet, jade bi
Jade is the most important and representative jade of the Liangzhu culture, they have different shapes, some are cylindrical and some are square cylinders. Some are very high, and we call them high knots. Gaojie is a type of jade that appeared in the late Liangzhu period. Gaojie is generally decorated with simplified divine and human patterns, and the Liangzhu Gaojie Gong collected by the National Museum on display in the Zhejiang Museum, which is 49.7 cm high, is the largest collection of domestic museums.
The round carved jade birds of the Liangzhu culture and the artistic bird patterns or bird talismans on the jade can undoubtedly be regarded as evidence of the belief in bird spirits at that time. However, there are also conceptual or creative trade-offs between bird images of different shapes, different forms, and different expressions.
Although the image of divine animals in Liangzhu culture with jade as the carrier is not limited to birds, no other animal can be given such a diverse image as birds and appear on so many types of instruments.
The stone plow is "not good-looking" and is not as delicate and gorgeous as jade, but it is one of the "heroes" of the Liangzhu rice civilization that cannot be ignored. Because of the stone plow, intermittent small-touch tillage evolved into continuous large-touch tillage, which greatly improved production efficiency.
The jade fish is yellow-brown, long strips, oval in cross-section, the head is cut and slightly protruding, the eyes are depicted, the back is arched, the lines are smooth, the tail of the fish is forked, the upper part is engraved with fine oblique lines, and two small holes are drilled in the abdomen.
The number of round carved jade objects with animal themes in Liangzhu culture is not much, mainly birds, turtles, cicadas and other shapes, and jade fish are only seen in excavations so far.
The terracotta roof, unearthed in 2001 from the site of Bian Jiashan in the Liangzhu culture, is 5.3 cm high, 6.7 cm long and 5.8 cm wide, with broken protrusions on the ridge, which should be the same structure as the vertical line on the ridge in the pattern; several oblique lines are carved on the surface of the roof, indicating that the roof is laid by some kind of slender plant stems and leaves; in addition, an air window is opened on each of the four slopes of the ceramic roof for ventilation.
Tao Kuan handle cup is a utensil of the late Liangzhu culture, unearthed in the ruins of grape in Yuhang Bottle Kiln Town. It is 20 cm tall and about 15 cm in diameter at the bottom, with a short, straight tube shape with a flat, slightly upturned spout, and a semi-annular wide handle that looks like a cute penguin. This utensil has a bit like a teapot today, and it is suitable for drinking.
The jade cicada of Liangzhu culture was found by archaeologists in tomb 106 of the North Village site of Yuhang Bottle Kiln, and the owner of the tomb was a woman, and the jade cicada was on the chest of the tomb owner at that time. This jade cicada is not only the first adult jade sculpture of the cicada found at the Liangzhu site, but also the earliest adult form jade cicada, which can be called "China's first cicada". On the reverse side of the cicada, a pair of tunnels are dug, which have a decorative effect if it is paired with clothes. The jade cicada also contains the belief of the ancestors of Liangzhu, in their opinion, the cicada can be feathered and "resurrected", which is a spiritual fetish.
The stone sickle, flat on one side and oblique on the other, is basically the same shape as the modern sickle. When using the stone sickle, you can cut the rice stalk and the ear by grasping the rice stalk with one hand and holding the stone sickle from the root of the rice with the other hand. This method can not only take back the grain at one time, but also cut the straw neatly and evenly, which can be used to weave, lay and process it into thatched houses.
The jade bracelet is wide and thick, the inner wall is smooth, and on the four convex surfaces of the outer wall, four symmetrical, equidistant and co-directional dragon head patterns are carved by relief and line carving techniques. Its outer wall is equidistant carved with four bas-relief animal heads, each with a pair of round eyes, a pair of short horns engraved above the round eyes, two ears on both sides of the short horns, a large and exaggerated diamond-shaped nose in the middle of the face, a flat mouth under the nose, and a wide and flat upper lip half-concealed by a row of flat incisors.
In the Liangzhu period, jade bracelets were worn in many ways, both arms (wrists) could be worn at the same time, and multiple bracelets could be worn on one arm (wrist), and both men and women could wear them. When the Liangzhu aristocracy walked in full costume, the pleasant sound of Huanpei came from time to time, which was a wonderful enjoyment.
Jade, with a perforation in the center, is another important jade artifact in the Liangzhu period, because it is round like the sky, so it was designated as a ritual vessel for worshiping the heavens by the later "Rite of Zhou".
The jade bi of the Liangzhu period was mainly plain face, and only a very few engravings appeared. The common theme of these engravings is "Tori Standing High Platform". Some experts believe that this is the real scene of the sacrifice in the Liangzhu Kingdom, and in the eyes of the ancestors of Liangzhu, the bird is not only a kind of bird, but also a messenger that communicates between man and God, man and the sun and moon, and man and all things.
Let's find the scenery of Liangzhu together, feel the beauty of culture, know where it comes from, and know where to go!