Qin and Han Wadang appreciation

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Chinese calligraphy is advancing with the continuous development of Chinese history, Chinese characters are the world's longest use of the text without a fault, has a history of 6,000 years, calligraphy, is a unique artistic expression of Chinese characters, the history of mainland calligraphy began from the oracle bone inscription. The evolution of calligraphy generally refers to the evolution of calligraphy fonts, and there are five main types of calligraphy in Chinese calligraphy: seal, li, grass, line, and kai. The history of Chinese calligraphy is also divided into different periods according to the development of calligraphy.

Wadang is the top drooping part of the tubular tile used on the top of the building, which is a building component that plays a protective role, and is usually used in the palace, temple, and the mansions of dignitaries.

The tiles of the Qin and Han dynasties were fired from clay, glazed tiles began to appear in the Northern and Southern Dynasties, and the firing technology gradually matured in the Sui and Tang dynasties, and the glazed tiles began to be used on a large scale in the palace buildings in the Yuan Dynasty and continued until the Ming and Qing dynasties.

Wadang is in the most conspicuous place of ancient architecture, in addition to playing the role of decoration and beautification and sheltering the eaves of the building, there are usually decorative patterns and words, showing its design concept and the identity of the owner, including the idea of etiquette and folk connotation, but also reflects the political, economic, cultural, religious beliefs and other contents of the society at that time.

The tile pattern has a unique artistic aesthetic characteristics, and the seal carving art has the same point of fit, which can be described as "between square inches, the weather is thousands". The Qin and Han dynasties are the key stage of the gradual completion of the feudal system, and it is also an extremely important historical period for the evolution of Chinese characters and the development of calligraphy and seal carving art.

1. Animal patterns The common animal patterns in Qin tile are deer patterns, leopard patterns, turtle patterns, fish and insect patterns, phoenix bird patterns, etc. These patterns had a profound impact on the development of the two Han Xiao shapes.

2. Plant patterns The common patterns in Qin's plant tiles are decorated with sunflower patterns, leaf patterns and lotus patterns, and the lotus patterns are mostly single-petaled, with calyxes between the petals, and the center highlights the stamens.

3. Moire pattern in the Qin and Han dynasties moire in the tile used a lot, moire absorbs the natural clouds, sheep's horns, mushrooms, sunflowers and other materials, and gradually evolves into sheep's horn-shaped moire, mushroom-shaped moire, sunflower pattern, etc., and finally develops into an abstract moire, gorgeous and beautiful, exquisite composition, extremely varied, towering into the clouds of the extraordinary momentum reflects the ruling class at that time to pursue the "immortal ascending to heaven", "pray for blessings and health" of the strong desire, the sun pattern tile shining with the power of the Great Qin Empire.

Some characters have the phenomenon of reducing the pen, such as the lower part of the word "year" in "Yuyang Chitose", which is more reduced, with the purpose of harmonizing with the text with fewer strokes, deleting the complex and simplifying, deforming according to the situation, grasping the reasonable part of the text structure, conforming to the law of the development of the seal Li characters, and having a certain impact on the parallel writing in the literati seal carving.

Wadang script is mainly sealed, and involves subordination, the more common "long live the thousand autumns" tile "thousand" character and "Changle Weiyang" in the "long" character have dozens of ways to write.

In the circular space, the text can be in its own place, or comfortable, or tight, each with its own potential, trimming the degree of fit, and the glyph outline is mostly used in almost geometric figures, repeated use, orderly, giving people a clear and distinct feeling. Some Wadang characters use the technique of "gradual change", or from large to small, or from strong to weak, gradually changing, the interspersed echo of the text, the use of points also shows ingenuity, plays the role of the eye, looking forward to the affection. The font is rich and beautiful, bent with the trend, exquisite in chapters, natural, casual, unrestrained, and full of rhythm and rhythm in the complete unity of contrast and change.

Wadang of the Han Dynasty,

has reached its peak in craftsmanship,

The four gods were in full swing.

△ Four gods

It symbolizes the four directions of east, west, north and south

The "Four Gods of the Green Dragon", the White Tiger, the Vermilion Bird, and the Xuanwu

Maybe you haven't seen them in real life,

But be sure to be familiar with their rubbing images.

△ Qinglong

△ White Tiger

△Suzaku

△ Xuanwu

At the time,

The word tile also flourished,

The words are big and beautiful,

harmonious symmetry,

The layout is exquisite.

It shows the simple and vigorous artistic style of the Han Dynasty.

　△ Western Han Dynasty royal building with longevity tile

Fei Shengqian in "Appreciation of Ancient Tablets".

It was described as follows:

"Wadang text, more as a seal book, knot word due to the potential variant, with the pen to suppress the frustration, bend rich change, with rough and indulgent fun, so for the calligrapher cherished, seal carvers also often simulate the style of tile into the print. ”

△ 汉・成山瓦当

△ Han Jue to Chehou Waddang

△ Han Liquan Liuting Wadang

△ Han Lu's light tile

△ Han Shevadan

△ Han Heaven Drop Order in Wadang

△ Han Tian's wealth and wealth

By the time of the Wei, Jin, Southern and Northern Dynasties,

The tile face began to get smaller,

The ornamentation is dominated by cloud patterns,

The text tile is sharply reduced.

△ Northern Wei Dynasty beast face pattern tile

And in the Tang Dynasty,

Lotus pattern tile is the most common,

Writing tile is almost extinct.

△ Sui and Tang Lotus ornamented tiles

The Yuan Dynasty was all the same in the tile

It adopts the tile pattern based on the animal face.

In the Ming and Qing dynasties, glazed tiles were used as royal tiles.

The pattern is dominated by cloud dragon patterns,

During this period,

Due to the development of brick carving in ordinary houses,

diluted the main position of the tile as a decoration,

Wadang gradually faded out of the stage of history.

△ The dragon pattern tile of the Forbidden City

△ dragon pattern glazed tile

Each dynasty's waddang has its own historical characteristics.

But even in different dynasties,

Pictures and texts on the tile,

It also embodies the security of the country and the people,

Good wishes for the wind and rain.

I've seen so many unique tiles,

Come and admire the Wadang print

The ancestral tomb mound house is made of Wadang/Western Han Dynasty

Han and the world/Western Han Dynasty

Hooray/Han

Changle Weiyang/Han

With Hua Wuji/Han

Immortal Wuji/Han

Hayo Chiaki / Han

This should be stubborn / Han

Tens of millions of years old rich and noble children and grandchildren / Han

Human face pattern Wadang / Three Kingdoms Wu

Collection of Nanjing Museum

Chinese traditional tile pattern rubbing appreciation:

Western Han Dynasty "Han and the world" Wadang (rubbing)

Han and the world

Western Han Dynasty "Liquan Liuting" tile (rubbing)

Han Liquan Liuting Wadang

Western Han Dynasty "Xuanling" moire tile (rubbing)

Eastern Han Dynasty "Yiguan Daji" moire tile

Eastern Han Dynasty "Long live" text tile

The Western Han Dynasty "Long Live the Thousand Autumns" Wadang

The Western Han Dynasty "immortal Weiyang" Wadang

Western Han Dynasty "Changle Weiyang" Wadang

The Western Han Dynasty "and Hua Wuji" Wadang

The Western Han Dynasty "Immortal Boundless" Wadang

Western Han Dynasty "Gao'an Wanshi" Wadang

Seals were originally called seals. During the Qin and Han dynasties, seals and seals began to be called together, and there was a clear distinction between seals and seals used by people of different statuses. The Son of Heaven in the Qin Dynasty was called the seal, and the ministers and commoners could only be called the seal. In the Han Dynasty, in addition to the Son of Heaven called the seal, the queen and the princes and kings were also called the seal, and the ministers were distinguished by rank, or seal, or seal. Seals, seals, and seals were all used as symbols of power and proof of credibility in ancient times.

　　In the past, general researchers believed that the origin of the seal was roughly at the turn of the Spring and Autumn Period and the Warring States Period, which is naturally a very cautious and even quite conservative statement. This statement is mainly based on the fact that the vast majority of the ancient seals that have survived today are relics of the Warring States period. But in fact, at the turn of the Spring and Autumn Period and the Warring States Period, it has entered a period when the production and use of seals are relatively mature. Before the maturity of the seal, there should be a considerable period of time for the production and development of the seal.

　　Regarding the origin of the seal, the "Book of the Later Han Dynasty and the Sacrifice Chronicles" has inferred, saying, "Taste and hear people's words, the three emperors have no text, and they are governed by knots." Until the Five Emperors, there was a book deed. As for the three kings, the vulgarization of the carvings, the gradual rise of fraud, and the beginning of the seal, in order to check the treacherous cute". Although this statement is too general to judge the specific time of the start of the seal, it indicates the social conditions and social needs of the production and use of the seal.

　　Some myths and legends from the Wei books of the Han Dynasty also reflect the early use of seals in ancient times. The most important literature on the early use of seals can be found in the Zhou Li, such as the Diguan Sishi: "All currency bribes are used to enter and exit with seals." Zheng Xuan's note: "The seal festival, the seal, and now the bucket is sealed." The use of seals recorded in the "Zhou Li" reflects relatively early historical facts, because by the time of the Spring and Autumn Period and the Warring States Period, seals had been used in large quantities or even mainly for political purposes.

　　In addition, when people talk about the history of sealing, they also cite the record of "solid seals" in the "Book of Rites", such as Huang Binhong mentioned it in "Zhou Qin Yin Talk" and other articles, and Sha Menghai's "History of Seal Studies" also cited this material.

　　In the 30s of the 20th century, the antique artist Huang Jun recorded for the first time three bronze seals unearthed in Yinxu in Anyang (see Figure 1, Figure 2 and Figure 3) in his "Ye Zhong Pian Yu", which attracted extensive attention from archaeology and academic circles. Successive writings and selections include Yu Shengwu's "Catalogue of Ancient Artifacts of the Double Sword Clan", Hu Houxuan's "Excavation of Yin Ruins", Ding Shan's "Clans and Their Systems as Seen in Oracle Bone Inscriptions", and Jao Tsung-i's "General Examination of Yin Dynasty Zhenbu Characters".

Source: Songfeng Heying, the picture and text come from the Internet, the copyright belongs to the original author, and the infringement must be deleted.

(This article only represents the author's point of view and does not represent the position of this number)