Shang Dynasty jade ring dragon
As early as the Yellow Age, the dragon became the common totem of the Chinese tribes. Later, the Xia Dynasty used Huanglong as a totem. During the Shang and Zhou Dynasties, the dragon culture was widely spread. On various bronzes and jade articles unearthed, various dragon ornaments are everywhere. At that time, although the descendants of Huaxia had never seen the appearance of a real dragon, they were determined to regard themselves as descendants of the descendants of the Yellow Emperor and the Dragon. The dragon, as a kind of god created by the ancient Chinese to the fusion of various animals and astronomical phenomena, is essentially the deification and sublimation of the natural forces by the ancestors. Today, it is widely believed that the dragon is a totem of the Chinese nation, a spiritual symbol with strong capabilities, a heritage and symbol of excellent historical culture, and an emotional bond between the carrier of faith and national unity.
"The dragon is in the sky, the gathering is shaped, and the scattered is the gas." Today, the image of ancient dragons that people see is mostly recorded in cultural relics. For example, the Kowloon Wall of the Forbidden City in Beijing, the Dragon Chair of the Hall of Supreme Harmony, the Longzhu, the Chinese watch in front of the Tiananmen Square, etc., but the most vivid and exquisite, it is the dragon on the official kiln porcelain used in the Ming and Qing Dynasties (pictured). It can be said that it is the supreme embodiment of the ancestors who used the wisdom of the millennium and the spirit and art. When we understand these history and understand the different styles of the five thousand years of China and the works of artisans and artists who have worked hard for generations, we will certainly be respectful and proud of the greatness of our great country.
Dragon origin and legend
From the abstract jade c-type dragon and jade pig dragon in the period of Hongshan culture, to the painted image of the five-jawed dragon on the official image of the official kiln porcelain in the Xia, Shang-Ying and Qing dynasties, after more than 5,000 years of historical evolution, the dragon of each era Totems or dragon charts have subtle changes and corresponding historical stories. The dragon, the god that condenses the spirit of the people, although rare, has been described in detail since ancient times. In the Han Dynasty Wang Chong's "On the Heng · Long Xu" article, "the image of the secular dragon, the head of the snake". And inferred that the dragon is "horse, snake and the like." In the Song Dynasty, "Tai Ping Guang Ji" 4:25 quoted "Record of the Record of Wang Zonglang", "There is a group of dragons out of the water, into the Han River, the big ones are a few feet, the small ones are the rest, such as the color of the five parties, like a horse In the eyes of the ancients, the horse is dragon-like, and the dragon and the horse can change each other. Such as "Zhou Li Xiaguan Sima": "Ma is more than eight feet for the dragon." "Wu Cheng'en poetry anthology · send me to get started": "Ma has three points dragon." Liu Zongyuan "Long Ma Tuzan": "Ming Huangshi Lingchang County has a different horse in the river, its shape is dragon scales, Shanwei... After the emperor Xi Xing, the horse to the Xianyang West into the water into a dragon, swimming to go, I do not know what to end." Visible, in the image, the horse is high The head and the graceful figure gave the dragon. In terms of connotation, Ma has contributed to the dragon with the qualities of fortitude, strength, friendliness, kindness, unrestrainedness and freedom, so that the dragon can exert greater energy in the wider sky to benefit the children and grandchildren. Can be described as "Dragon Horse Spirit."
The Han Dynasty scholar Wang Chong's description of the dragon is that the horn is like a deer, the head is like a camel, the eyes are like a rabbit, the neck is like a snake, the abdomen is like a scorpion, the scale is like a fish, the claw is like an eagle, the palm is like a tiger, and the ear is like a cow. And describe the dragon can go, can fly, can cloud the rain, have the power to turn the river down. The dragon can also show hidden energy, can be big and small, the spring equinox flies to the sky, and the autumnal peninsula dive in the Yuan... In myths and legends, the dragon is divided into many types. If there are scales, they are dragons, those with wings are Yinglong, those with angles are dragons, those without angles are dragons, those who are not rising are dragons, those with good waters are clear dragons, those with good fires are fire dragons, and those with good fires are fire dragons. For the dragon, the combatant is the lizard... The ancients also called the undulating mountain range "Dragon Vein", the natural reservoir as "Longtan", and the East Sea to the Dragon Palace. Because the ancient people asked for rain farming, I believe that the dragon has magical positive energy, and it will also be painted on the robes or dragon ornaments, usually under the dragon.
In the literature of the pre-Qin, there are also records about the dragon. As discussed in Zuo Zhuan, Lu Zhaogong had a dragon appearing in the suburbs of Jin State in the 29th year. In the "Spring and Autumn Fanlu" written by Dong Zhongshu of the Western Han Dynasty, there is a rain event in which the folks pray for dragons to save the harvest. There is also the image of a dragon on the famous enamel painting unearthed at the Western Han Tomb of Mawangdui, Changsha. This shows that in the Western Han Dynasty, the dragon has been a kind of cultural consciousness that has spread widely in social life.
Ming and Qing Dynasties
During the Hongwu period of the Ming Dynasty, the shape of the dragon pattern basically maintained the shape of the dragon pattern in the Yuan Dynasty. Its characteristics are summarized as small head, thin neck, slender body, less hair, and three or four claws. During the Yongle and Xuande periods, the shape of the childish dragon, which was thin and small in the former dynasty, was changed. The dragon shape became tall and strong, and it was fierce. At that time, the dragon head was larger than the Yuan Dynasty. The Shangyu was longer and taller than the lower jaw. There were mouths and mouths. The mouth of the mouth is stretched (early as long as a scorpion, slightly shorter in the later stage), the upper lip of the mouth is like a wish, the sides of the nose have symmetrical long curved whiskers, and the lower jaw has two or three bundles of whiskers. The hair is a bunch of hairs, which is less in the early stage and more in the later stage.
In the years of Chenghua, Hongzhi, and Zhengde, the dragon type lost the majestic appearance of the former dynasty, and showed a gentle and docile attitude. A common type of closed-mouth dragon appears in the watercolor clouds of flowers, lotus ponds and seas. In addition to shutting the dragon, there are also a small number of Zhangkoulong and Xiaolong. In Jiajing, Longqing and Wanli years, the dragon pattern is more than a dragon. There are pairs of dragons, there are claws and claws, there are two dragons vying for the beads, looking back, there are also dragons and phoenixes dancing. There are dragons that walk in the flowers and dance in the clouds, and there are also dragons that swim in the sea. At this time, the dragon pattern is also divided into mouth and mouth dragon. In terms of craftsmanship, the dragon pattern is not as good as before. Common painters are simple and sloppy, and some draw dragon scales into simple mesh patterns, and the spirit is also poor. Some appear thin and lose the power of the sea.
During the Yongzheng and Qianlong years, the dragon's corners were forked into a mountain shape, and the dragon's eyes were rounded. The dragon's claws were not like the Ming eagle claws, and the five toes were in the shape of a "windmill". At this time, the dragon claws and the toes are far apart, and the toenails appear small, without the sharpness of the triangles of the Yuan and Ming dynasties. Therefore, the dragon claws of the Qing Dynasty gave people a sense of tangible powerlessness. In the tail, a few clouds are often drawn, which resembles a ganoderma. In the future, the imitation of the dragon pattern also appeared, but only the dragon's mouth was painted into a pig's mouth, and the others were in the Qing Dynasty. The dragon pattern in the late Qing Dynasty is not as powerful as the previous ones. It looks like a strong waist, and the old dragon bell is weak. The comparison found that the previous dragon body has a large curvature and has three waves of nine folds. At the end of the Qing Dynasty, there was less distortion, so the waist was hard and straight.
From the recent Ming and Qing dynasties, the changes in the type of dragon pattern are too numerous to mention. To sum up, the dragon pattern and the shape of the Ming Dynasty are strong and powerful, and the dragon is burly and sturdy. The dragon's toe is triangular, slightly curved, sharp and strong. In the middle of the Ming Dynasty, the dragon's head was long and flat, the upper lip was as intended, and the dragon claws were close to the windmill. In the late Ming Dynasty, there were still many dragons in the dragon. The head of the dragon was slightly round, and the mane was plucked into a cloak. At this time, the dragon's upper jaw muscles are high and high, and they are like a pig's mouth. They are called "pig-mouth dragon". The dragon pattern in the Qing Dynasty is luxurious and exquisite. Its prosperity, ambition, dry imperial power and the prosperity of society have been reflected in the dragon-shaped dragon pattern. Kangxi dragon pattern, dragon scales are fine and neat, dynamic and powerful, strong and powerful. Yongzheng dragon pattern, the back scale is more round and blunt, the body is smooth and dynamic, and the movement is strong. During the Qianlong period, the dragon's eye was round and the dragon's claws were full of changes. The overall shape was exquisite and luxurious. In short, we understand that mastering the evolution of dragons and dragons in various periods not only helps us to identify cultural relics through different characteristics, but also helps us judge the exact age of dragon ornaments.
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