The Spring and Autumn Warring States jade occupies an extremely important position in the history of Chinese jade development. It changed the simple and simple style of Shang Zhouwang, created a large number of new art treasures of style, pattern and craft style, and wrote a glorious page for Chinese jade culture. However, for a long time, in the field of identification and research of ancient jade, people have always used to refer to the jade articles of the Spring and Autumn Period and the Warring States period as the Spring and Autumn Warring States jade, and their art styles are called the Spring and Autumn Warring States jade style. In recent years, with the deepening of archaeological work and the continuous enrichment of new materials, we have gained a better understanding and understanding of the jade articles during the Spring and Autumn Period and the Warring States Period. Through careful observation and comparison, it is not difficult to find that there are certain differences in the craftsmanship and decoration of the Spring and Autumn and the Warring States jade.
First, spring and autumn jade:
According to archaeological data, the spring and autumn jade is the continuation and development of the Western Zhou jade. In the early days, the double-yin line was still used to scribe the pattern, and the decoration further strengthened the dragon pattern that appeared in the shape of a single or intertwined in a certain shape in the late Western Zhou Dynasty, so that the small deformation and the together Many dragon patterns often appear in the main body shape, while the layout is dense and there is almost no room left. For example, the jade tiger unearthed from the tomb of Huang Junmeng in Guangshan County, Henan Province, has a flat tiger shape, a low arched back, and a curved limb. Although this tiger's demeanor is somewhat dull, there is no strong dynamic, but the decoration on the tiger is particularly eye-catching. In addition to a few geometric lines in the abdomen, ankles, and both limbs, the body is full of deformed dragon lines, staggered up and down, echoing left and right. This unique double-yin line technique and the "shape-shaped" decorative technique are extremely popular in the early spring and autumn jade, which is a major feature of the early spring and autumn jade.
After the middle and late spring and autumn, this densely engraved decorative line pattern gradually became sparse, and was often carved with a wide oblique knife. In the late stage, the engraving process was gradually reduced, and the fascination was the prevalence of bas-relief techniques. Such as jade sulphur, jade, etc. unearthed from the tomb of Jinqing Zhao in Jinsheng Village, Taiyuan, Shanxi, not only fine craftsmanship, honing smoothness, but also the use of bas-relief craftsmanship and more abstract and simplified dragon pattern, so that the dense picture, Through the high and low undulating and orderly layout, it is rich in a profound and meaningful three-dimensional effect, adding a certain mystery.
It is worth noting that this kind of dense and abstract dragon ornament that is popular in the spring and autumn period is gradually disappearing with the change of people's aesthetic consciousness and cultural concept. As Mr. Wu Haohai said in "Understanding Ancient Jade": the gallbladder dragon eyes that prevailed from the late Spring and Autumn Period to the early Warring States period degenerated, disintegrated into clouds and valleys, and gradually developed into grain, peg, and embossing. Regular geometric patterns. Here we will not discuss whether the common moiré and grain in the warrior jade are evolved from the dragon pattern in the Spring and Autumn Period, but it is safe to say that the fine and small dragon pattern prevailing in the spring and autumn jade paintings is in the Warring States Period. It has not appeared (especially after the mid-war period). Although there is still a jade unearthed in the tomb of the Warring States Period, the author believes that it should be a relic of the Spring and Autumn Period (or the early Warring States Period). Because art is a reflection and abbreviation of social reality in a certain period of time, with the development of society, people's aesthetic tastes, changes in consciousness, and their style will certainly be innovated. In other words, different social fashions will certainly create different artistic styles. Jade is like this, and so is other arts and crafts.
Second, the Warring States jade:
Due to the social changes in the Warring States period, the development of productive forces, and the various moral and cultural connotations that Confucianism gave to jade, the royal aristocrats of the Warring States period were all wearing Peiyu as fashion. According to the current archaeological data, the warrior jade is more abundant than the spring and autumn jade. It breaks through the decorative jade and burial jade, which are mostly small pieces in the Spring and Autumn Period, and there are large jade sulphur, jade wall and dragon shape. With hooks, etc.; the craft is more delicate, exquisite and translucent, and more often with the techniques of floor and bas-relief, clever ideas and unique shapes; the decoration is more varied, not only has grain, moiré and other geometric patterns, but also There are spiral patterns, mosaic patterns and patterns depicting natural life. At the same time, the sacred beasts in the works of the Warring States jade are full of a kind of tense momentum, which greatly enhances the inner spiritual rhythm and fully shows the Lingyun spirit of the vassals of the various rulings during the Warring States Period.
In the early Warring States period, the jade was represented by the jade artifacts unearthed from the ancient city of Shandong Lu and the tomb of Zenghou Yi in Hubei. The craft is more complicated than before, the shape is gradually stretched, and the corners of the body are sharp and sharp, especially the image of the dragon and phoenix that looks back on the chest has begun to show a certain dynamic. The decorative patterns are mostly dense, grainy, cirrus, etc. that are hidden in the ground. Some valleys also scribe a negative line around the perimeter, and even make it hooked. At this time, the bas-relief jade went to the ground not completely, and it was milled along the pattern, which produced an artistic effect that was sometimes hidden and varied. Among them, the many dragons and phoenixes unearthed from the tomb of Zenghou Yi, which is the world's most eye-catching, are rare art treasures in the early jade articles of the Warring States Period. The jade is fine and exquisite, with a length of 48 cm and is made of 5 jade. The face is carved with dragons, phoenixes, glass, etc., and the geometric lines are decorated. At the same time, the collection of inscriptions, reliefs, hollowing, picking, and grinding in one device is complicated and extremely difficult, reflecting the high level of jade treatment in the early Warring States Period.
In the middle and late period of the Warring States period, the jade crafts continued to develop, and it showed a splendid scene. At this time, the choice of jade material is more strict, and the white and warm Hetian jade is more than before. The jade process is more mature, and because the near-approach uses metal tools, the warrior jade is more tidy than the early styling rules, and the corners of the objects are sharp and sharp, and the lines are neat and clean, and there is no place for mud and water. Whether it is bas-relief, openwork, or slashing, it is all done with excellence. In particular, the shape of the dragon and phoenix that pierces the chest and squirms the body significantly, and clearly shows the momentum and strength of being strong and hard. Such as our common hollow dragon-shaped pebbles, out of the jade wall and all kinds of jade, etc., the fine texture, novel design, dripping water and nuanced engraving and ingeniously clear hollow, vibrant lines and whole body The luster is all about making people clap their hands and stunned.
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