Abstract: This paper mainly discusses the characteristics of the tile in Han dynasty, such as rich theme, beautiful shape, changeable structure, and both form and spirit, so as to explore its aesthetic connotation.
Keywords: the aesthetic connotation of tile is both physical and mental
According to the literature, tile appeared after matriarchal society entered paternal society. As an ancient building material in China, tile is an epoch-making progress in the architectural history of China. The physical objects of tiles were first seen in the early Western Zhou Dynasty ruins. China ancient tile is divided into two types: slab tile and tube tile. When the roof of a house is covered with tiles, the relatively wide tiles are placed on the roof in turn, and then the tube tiles with relatively narrow radian are covered and buckled on the longitudinal joints of the tiles. The head of the lowest tile closest to the eaves has a drooping semicircle or round part, that is, the tile, commonly known as the tile head. Tile is the most brilliant part of tile. Tile solves the problem of roof rain protection. Its main function is to prevent wind and rain erosion, protect eaves, prolong the life of buildings, and beautify and decorate eaves. The physical objects of Wadang were first seen in the Zhaochen site in Fufeng, Shaanxi Province in the middle and late Western Zhou Dynasty. According to archaeological data, the tile-roofed in Han Dynasty has the largest number, the richest forms and the highest quality, which is a unique treasure in ancient Chinese tile-roofed art. The tile-roofed in Han Dynasty was mainly unearthed in Shaanxi, Henan and Shandong provinces, especially in Xi 'an, Shaanxi, from architectural sites, kilns, ash pits and tombs. Its most precious feature is its practicality and beauty, and the perfect unity of function and decoration.
since the "rule of cultural scene" in the western Han dynasty, there has been a "bustling world, all for profit; The world is bustling, all for profit. With the prosperity of commerce and the great recovery of economy, a lot of important progress has been made in architecture. The courtyards of the Western Han Dynasty are inherited from the legacy of Zhou, Qin and Chu, with magnificent momentum, such as Changle Palace, Weiyang Palace, Mingguang Palace and Shanglin Garden, each holding its own terrain, even belonging to groups, gorgeous and luxurious, and the construction scale is grand. These laid a broad foundation for the development of tile-dang art in the Han Dynasty. In these buildings, exquisite and far-reaching tiles will be used to show the royal atmosphere and majesty, thus forming a unique architectural style of the Han Dynasty. On the one hand, tile is a practical building product, and at the same time it is a decorative handicraft, so its ideological content of the upper class has unconsciously become an accessory for the upper class to carry forward social ethics, political aspirations, political achievements and artistic preferences. The theme of Wadang in Han Dynasty is very rich, with humanity and nature coexisting, myth and reality coexisting, abstraction and realism coexisting. Its rich theme, beautiful shape, changeable structure and ready form and spirit not only reflect the outstanding artistic skills of the ancients, but also reflect superb artistic achievements and aesthetic connotation.
1. Rich themes
Although Confucianism and Confucian classics prevailed in the Han Dynasty, and the idea of "civilizing and helping others" followed by Confucianism was defined as a utilitarian duty in the vast art fields from literature to painting and music, the characteristics of artistic creation in the Han Dynasty were not bound by this idea. The sages of Han Dynasty had a keen sense of artistic smell and profound artistic perception. The themes chosen by Wadang in Han Dynasty are rich and colorful, and the materials include almost all parts of heaven, underground, mythical world and human life. The theme of tile is mainly divided into three aspects: pattern tile, image tile and text tile.
1. The patterns mainly include cirrus, water and plant patterns, which are highly generalization, refinement and abstraction of specific images in real life. Pattern has been divorced from its concrete and intuitive image, and it is a stylized freehand brushwork of flowing clouds, trees and flowers in nature. It is not only a pattern of life, but also a pure pattern. It uses simple geometric lines to describe and outline, and the lines themselves constantly generate new vitality and have abstract beauty.
2. The image patterns mainly include four gods, deer, fish, dragon and phoenix totem and figures. This kind of ornamentation inherits the style of Zhou and Qin dynasties, but it is different from the ferocious beauty of Zhou and Qin dynasties, and it becomes more free, lively and open. For example, the "deer pattern" tile has different themes such as singing deer, running deer and double deer, and the form is natural. However, in 1956, the "Four Gods Pattern" unearthed from the Han Great Wall site in Xi 'an was vivid, bold in form and rich in imagination, which was worthy of being a fine product. The tile with this theme is not only the worship of animal form, but also the yearning for life vitality, with natural beauty and romantic beauty.
3. Wen Wen has the most characteristics of the times in the Han Dynasty, occupying a prominent position, rich in content and extremely simple in words. Its contents include words of auspicious prayers, words of documentary records, words of seeking advantages and avoiding disadvantages, etc. The number of words varies from one to dozens, and most of them are in Yangwen. Such as blessing and praying, there are "eternal life without promise", "longevity without promise", "long live without promise" and so on; The purpose of recording and marking is to indicate the names of buildings, such as Changle, Weiyang and Shanglin, which respectively indicate the Han architecture such as Changle Palace, Weiyang Palace and Shanglin Garden. Indicating the use of official positions, there are "shanglin agricultural officials" and "all are common"; The names of tombs are "Emperor Gaozu's eternal life", "Western God of Changling" and "Yin's burial pawn". There are "Han and the world" and "Shan Yu Tian Xia" who express their praises. Wording tile is the mainstream of Han dynasty, and most of them are written with Miao seal, which has a high ancient flavor and its superb calligraphy value is highly praised by literati in past dynasties. Calligraphy and painting are of the same origin, and Wadang calligraphy is a unique artistic category and aesthetic phenomenon in China. The beautified lines in calligraphy are more free than the abstract geometric patterns of painted pottery. The straight movement and spatial structure of the lines with diversified text patterns show and express the momentum of various body postures, emotions and interests. The word tile in Han Dynasty is a master of the art of China word tile. It uses the expansion and contraction of lines to form a melody with endless changes, which has the classical beauty of seal and calligraphy.
2. Beautiful shape
The tile in the early Western Zhou Dynasty was plain and semi-circular, which was called semi-regular tile. The tile in the Qin Dynasty developed from semi-circular to full-circular. In the Han dynasty, round tiles were popular. The production of tile in Han dynasty was more prosperous than that in Warring States period. Tile, which is also an accessory of tube tile, has a circular or semi-circular tile head. The production of Han Wadang in the mature period is that the face-to-face and the tube tile are integrated and formed at one time. Tile in Han Dynasty actually refers to a kind of gray or semi-gray pottery, and people often use "Qin Brick and Han Tile" to describe the achievements of Qin and Han Dynasties in building materials. The so-called Qin brick refers to the complete hollow brick technology and quality inspection technology in Qin dynasty; Suwei Hanwa is a unique tile making technology and plastic arts in Han Dynasty. Usually, there are several steps to make tile: making tile blank, making tube tile, cutting, drying and roasting. The method of making tile with patterns and characters is to carve a wooden pattern (positive pattern) first, and then press the clay tile pattern (negative pattern) with the wooden pattern. Put the tile model in the kiln, burn it and take it out, then you can use it. Therefore, there are few blunt knife marks in the tile in the Han Dynasty, which is very elastic, and there is a rich and calm artistic style in the simplicity, which is related to the pottery making technology in the Han Dynasty. Most of the famous palace buildings in Han dynasty have ceramic kilns for firing bricks and tiles, which are specially designed and produced. Arc modeling is not only the consideration of architectural mechanical properties, but also a dynamic and rhythmic modeling. As the background and set-off of decorative modeling, it can highlight the echo and unity of Fiona Fang combination of the whole picture and enhance the overall aesthetic feeling of artistic image.
Third, the structure is changeable
In Han Dynasty, tile-shaped ornamentation pays great attention to the overall shape, and usually adopts the shapes of axial symmetry structure, spiral structure, emission structure and free structure, which all reflect different aesthetic connotations and cultural values.
1. Axially symmetric structure
Axially symmetric structure presents the beauty of symmetry, which refers to aesthetic categories such as equal amount, equal amount, unequal amount and unequal amount. At all times and in all countries, many ancient cities, palaces, houses and mausoleums are also relatively left and right. This symmetrical design of spatial position is an organic imitation of nature, in which human beings get the pleasure of senses and the cultivation of sentiment, and then produce aesthetic feelings beneficial to people's physical and mental health. In the Han Dynasty, supported by the central axis or center point, the tiles were decorated with the same or similar shapes and sizes up and down, left and right, making the whole picture unified, symmetrical, solemn and generous, and full of rhythm and rhythm. Unearthed tiles, such as "trees with two beasts", are typical axial symmetry structures, with abstract trees as obvious axial symmetry lines, as well as symmetrical structures with or without obvious axial lines. For example, one side of the axial trees is a beast, and the other side is a person, which is equal and unequal, belonging to asymmetry in symmetry and symmetry in asymmetry. However, most moire tiles are generally symmetrical structures, with care as the central point, divided into symmetrical grids, and each grid is a unit to repeat a continuous pattern. Primary and secondary, density are unique, and its lines are unpredictable, which adds a sense of beauty to this symmetrical structure.
2. Spiral structure
Heaven worships beauty, and spirals exist everywhere in nature, which usually embodies natural beauty. These beautiful shapes have a mysterious regularity, which is in sharp contrast with the chaotic world around them. This kind of structure is mainly used in the Chinese sunflower tile. The sunflower pattern rotates from the moving state to the left and right, and the petals are connected with each other in the geometric outline, emphasizing the pursuit of internal rhythm. The whole picture is lively, simple and beautiful, with a strong sense of rhythm and healthy aesthetic taste.
3. emission structure
the emission presents a kind of beauty of diffusion or convergence, which means that it surrounds a center, and its shape uniformly expands around or contracts towards the center. Emission is also a common form in nature, indicating the force balance in all directions. Some moire tiles focus on caution and radiate in all directions, depicting a pattern of strong radiation with concise lines. Its structure is symmetrical and stable, charming and radiant, symbolizing perfection.
4. Free structure
In the tile art of Han Dynasty, free structure is an important modeling structure, and the modeling is free and eclectic. This kind of structure is mainly used in word corrugated tile and animal image corrugated tile. Free structure is divorced from the formal laws of symmetry, spiral, emission, proportion, harmony, hierarchy and rhythm. The layout varies according to the size of the shape, which has a lively and vivid beauty. For example, the word tile "Long live" breaks the static structural space, stippling and blending, the lines are even up and down, the left and right sides care for each other, reflecting each other, imposing and free and easy. Its imposing manner is overwhelming, occupying most of the picture, setting off the dynamic image with asymmetric flexible composition, and rendering a simple and brilliant feeling with thick and clumsy brushwork. It is completely different from the light and flexible beauty of later generations, and it does not pursue glitz and wonder. The whole picture shows simplicity and solemnity and the beauty of Gu Zhuo.
A large part of Chinese animal image ornamentation is also of this arbitrary structure, with a main body ornamentation coming from the whole picture. In particular, the four gods of "Qinglong", "White Tiger", "Suzaku" and "Xuanwu" in the era of Wang Mang were representative because of their free forms. The Four Gods are the four gods in ancient legends, among which Qinglong is the first of the four gods, which can call the wind and call the rain, symbolizing the east, the left and the spring. Suzaku is an ideal auspicious bird, symbolizing the south, below and summer. The white tiger symbolizes the west, the right and autumn. Xuanwu is a combination of turtles and snakes, symbolizing the north, above and winter. The four gods are considered as symbols of four colors at the same time, namely blue, red, white and black. There is an obvious center in the pattern of the four gods of Wadang, that is, the breast nail, which echoes the strong sidebar and gives people solemn beauty in style. Around the center of the pattern of the four gods of Wadang, the pattern is stable, plump, rich and full, and dynamic and static.
Fourth, both form and spirit are available
Confucius and Confucianism in the pre-Qin period emphasized articles on rites and music, and emphasized the political enlightenment of art.. The official religious theology system of Han dynasty developed this kind of aesthetics of Confucianism into mysticism aesthetics. By the Wei, Jin, Southern and Northern Dynasties, there was a new tendency, emphasizing the beauty of nature itself and the way that art should lead to nature. The Han dynasty is a transitional link from pre-Qin to Wei, Jin, Southern and Northern Dynasties. Liu An's Huai Nan Zi and Wang Chong's Lun Heng are important philosophical works in the Han Dynasty, which contain rich aesthetic thoughts and give full play to Lao Zi's philosophical thoughts to confront and criticize the official religious theology system in the Han Dynasty. Therefore, Wang Chong himself believes that his thought of "Heaven and Nature" is "contrary to Confucianism, and is in line with the righteousness of Huang Lao". The theory of vitality in Huai Nan Zi emphasizes: "Heaven and earth are in harmony, and everything is born by itself." The "theory of form and spirit" in Lun Heng emphasizes: "A man who is a man of form gives up his life; Those who are angry are full of life; God, the system of life; If you lose your position, the three will be hurt. " Both the theory of vitality and the theory of form and spirit believe that matter is the carrier of breath and spirit; Spirit and artistic conception are the reflection of material appearance. The ideas of "the theory of vitality" and "the theory of form and spirit" had a great influence on later philosophy, as well as on the culture and art at that time.
Hanwadang is an unusually lively world full of extraordinary vitality and exuberant vitality. With the unique sensitive sense of art, the ancients contained political, economic, artistic, cultural and religious contents in social life in an extremely limited space. Judging from the unearthed data of Han Wadang, it embodies the aesthetic thought of "both form and spirit" in Han Dynasty.
The aesthetics of the Han Dynasty is different from that of the Western Zhou Dynasty and the Pre-Qin Dynasty. The Western Zhou Dynasty and the Pre-Qin Dynasty worshipped totem and clan symbols, advocating mysterious and ferocious beauty. In the Western Zhou Dynasty and the Pre-Qin Dynasty, the tiles presented gluttonous patterns, dragon patterns, flat patterns, deer patterns and tiger patterns. For example, the deer pattern, the ancestors of Qin, Fei Lian, became the leader of Qin nationality because they were good at running in hunting deer, and the deer became the totem of Qin tribe. Qin people are very careful about animal observation, and they are superb in tile expression. There are vigorous running deer, alert lying deer and tender female deer on the tile, all of which are vividly displayed. This is the reverence of Qin people for their ancestors and the memory of deer. The Han dynasty advocated "valuing the truth but not being pragmatic" and "those who cultivate reality do not cultivate China". Wang Chong has three levels of "truth", "goodness" and "beauty" when discussing art, emphasizing "true beauty". In the Han Dynasty, the tile was used to wash away the lead and restore the simple and natural beauty. Living images such as plant patterns, animal patterns, human patterns, cirrus patterns and water patterns in the tiles of the Han Dynasty are the embodiment of the ancients' love and embrace of nature. The four gods are often connected with time, solar terms, orientation, stars and yin and yang. People must use Qinglong, Baihu, Suzaku and Xuanwu to achieve the induction of human beings and spirits, which also reflects the idea of depending on form and spirit.
The Han Dynasty's character patterns are rich in composition styles, which are displayed in different layouts with different words, including unbounded grids, two grids, three grids and four grids, such as "Guan", "Shang Lin", "Long life without promise", "Long life with heaven" and "Long life without promise". The word tile is often combined with the circular boundary in the form of Miao seal, keeping white and keeping black, and considering the reading sequence of words, the stroke space between words borrows the idea of harmony and consistency. Pluralistic, free and decent space division ability is relatively mature, the characters on the tile are orderly and not scattered, and the line distribution of each Chinese character shape calls itself order, thus resulting in neatness in disorder and put in order's chaotic rhythm. The thickness rhythm and morphological rhythm of lines effectively ensure the balance and stability of caution and circular boundaries. Lines are not rigid models, but more the rhythm of life, which has obviously reached the level of superb calligraphy and seal cutting, and embodies the aesthetic feeling of calligraphy itself, which is the embodiment of the idea that both form and spirit are prepared in calligraphy.
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