My system is not decent

The lacquerware from the Mawangdui Han Tomb still follows the Chu people's custom of advocating red, with red as the main tone.

The gorgeous red and black match, shining brightly, supplemented by ocher, gray green and other colors.

These paints are made by mixing mineral pigments such as cinnabar, stone yellow and lead powder with lacquer and oil.

From the perspective of development trend, the earlier the time, the closer it is to the style of Chu lacquerware.

The owner of Tomb No. 2 in Mawangdui was buried earlier than the owners of Tomb No. 1 and No. 3.

The style of its lacquerware is similar to that of Husha Chu lacquerware in the late Warring States period.

The style of lacquerware in Tomb No. 1 and No. 3 shows the characteristics of Han culture.

After Emperor Wu of the Han Dynasty came to power, he accepted the theory of the end of the five virtues, and issued an edict in the first year of Taichu (104 BC), announcing "correct the Shuo and change the color".

"Historical Records Xiaowu Benji" records that in the first year of Taichu, "Xia, Han changed the calendar, with the first month as the beginning of the year, and the color was still yellow."

Therefore, the system of Shang Huang was established in the form of decrees.

In other words, the ideology that Chinese people regard yellow as noble was established in the Han Dynasty.

This change in ideology also affects changes in lacquerware decoration.

After Emperor Wu of the Han Dynasty, lacquerware with yellow as the main color appeared.

Compared with the contrasting positive red and positive black commonly used in the early Western Han Dynasty, the lacquerware in the middle and late Western Han Dynasty is smooth, delicate and rich in color.

During this period, positive black and positive red were rarely used.

Instead, a large number of sauce purple, brown, yellow brown, dark brown, etc. are used to draw patterns.

Others may paint yellow lacquer on vermilion ground and brown lacquer on black ground.

For example, the royal tomb at No. 1 Fengpengling, Shawangcheng, Husha, unearthed a painted lacquer plate, with red and black painted clouds and dragon patterns on the yellow-brown lacquer in the center of the plate.

On the brown lacquer base, the vermilion painted scroll cloud pattern has a small color scale span.

The lacquer painting of this period is especially a world of clouds, curves, long lines, and thin lines.

Cloud pattern is no longer a concrete image, but a composition of abstract lines, which is a distinctive feature of lacquer painting in the mid-Western Han Dynasty.

Since the colors have changed, the inheritance and variation of the decorative patterns are naturally inevitable.

Cloud and air patterns were the mainstream decoration in the early Han Dynasty, and cloud patterns became popular after the middle of the Warring States period, perhaps because people's attitudes towards the relationship between heaven and man changed.

The consciousness of "fearing the destiny" before the Spring and Autumn Period was gradually replaced by the concepts of "harmony between man and nature" (Mencius), "unity of man and nature" (Zhuangzi), and "separation of man and nature" (Xunzi).

In addition, Chu people are good at ghosts and gods, handsome and elegant, and the clouds, phoenix and bird patterns attached to lacquerware just become the objects of Chu people's romantic expression.

Judging from the lacquerware of the Mawangdui Han Tomb, the cloud pattern in the early Han Dynasty was more publicized.

The Han people are very good at gods, and various gods, animals and gods are painted in the cloud pattern to form a new auspicious pattern called "cloud pattern".

The cloud pattern is also combined with other patterns to form patterns such as cloud dragon pattern and cloud phoenix pattern.

According to statistics, there are more than a dozen types of cloud patterns on the lacquerware of the Mawangdui Han Tomb.

These cloud patterns are like flowing clouds and flowing water, with a strong sense of movement.

The decoration of flying clouds became the most obvious symbol of lacquer decoration in this period.

In addition, the feathering and ascending immortals, hunting patterns, etc. also have their own characteristics of the times.

After Emperor Wu of the Han Dynasty, the decoration of lacquerware changed.

During this period, the artistic style of the early Han Dynasty was changed, and patterns advocating filial sons, righteous men, holy kings, four spirits, five spirits and stories full of life appeared.

This reflects the ethics and morality of people at that time who respected Confucianism, believed in Taoism, "three cardinal principles and five constant principles", and "loyalty, filial piety, benevolence and righteousness".

At this time, the "four spirits" patterns of Qinglong, Baihu, Suzaku and Xuanwu were popular.

The four spirits, also known as the four gods, originally refer to the stars in the direction. People regard the four spirits as auspicious patron saints, and they are often decorated with lacquerware.

The white tiger, tortoise, dragon, unicorn, and phoenix are the "five spirits" pattern, which is the traditional auspicious pattern of the "five virtues and blessings", which is a concrete reflection of the five elements theory of Chenwei in art.

The Five Elements Theory formed during the Warring States Period expanded into an all-encompassing system in the Han Dynasty through the development of scripture teachers from Dong Zhongshu onwards.

Compared with the lacquer ware decoration style which was prevalent in mysticism in the early Han Dynasty, the decorative patterns in this period are exquisite, and the artistic expression techniques of realistic or virtual reality are mainly used.

Fresh compositions such as swaying flowers and branches or pairs of birds and birds have become the mainstream aesthetic purport.

For example, the Han Tomb No. 304 in Yangjiashan, Husha, unearthed a lacquer box with a silver buckle.

There are gold foil appliqué decorations on it, such as an old man in a red robe cross-legged, an acrobat dancing with sleeves, a jade rabbit, and a flying geese.

There are also patterns such as birds and animals and geometric cloud patterns, with thick and light colors, representing a new style of art.

Unearthed from the Royal Tomb No. 1 in Fengpengling, Hushawangcheng, a lacquer box with gold foil and silver buckles was unearthed, and the stickers were made of gold foil to make patterns such as phoenix, tiger, rabbit, horse, flying bird, and grass leaves.

These patterns are collaged in an orderly manner and decorated gorgeously, especially the finely carved pattern parts on the gold foil, which are vivid and intuitive, and are art treasures of the Western Han Dynasty.

To sum up, the Western Han Dynasty lacquer craft is in a prosperous historical stage in the history of Chinese lacquer craft.

It not only inherits the fine tradition of pre-Qin lacquerware manufacturing technology, but also opens up a new field of lacquerware technology, forming a unique technological feature.

The lacquerware unearthed from the tombs of high-ranking nobles in the Western Han Dynasty in Nanhu just reflects the development process of the inheritance and variation of the functions and crafts of lacquerware in this period.

It is also the epitome of the unprecedented prosperity of Western Han lacquerware technology, and occupies an important position in the history of lacquer technology development in my country.

Of course, to be honest, throughout the Western Han Dynasty, all handicrafts were of a very high level.

Just like now, although Chen Wenzhe is hiding at home to study stone carvings, wood carvings and lacquerware, some gains have already been delivered through the clues he provided.

Among them, the most exquisite piece of bronze is a hook that looks very simple.

This kind of thing has been found before, it is a four-petal flower-shaped hanging ape copper hook in the Western Han Dynasty.

This thing is a cultural relic from the Western Han Dynasty, and the one discovered before is now in the Beihe Museum.

This thing is 13.3 centimeters high, and it is also the land of No. [-] Han Tomb in Manchengling Mountain.

This copper hook is shaped like a flower hanging upside down.

It has four petals, each with a long hook that bends upwards.

A gibbon hangs upside down under the flower stamens. The ape turns upside down, with its legs curled up, its right hand and tail hooking the flower stamens, and its left arm bent upwards as a hook.

The ape and stamen can be rotated, with exquisite conception, vivid shape, rich decorative color and realism.

Such a bronze ware shows the high level of development and artistic achievements of the handicrafts and arts and crafts of the Han Dynasty.

If this thing is not knowledgeable, why don't you know what you have seen.

For example, when it was just unearthed, many experts did not know what this "strange" bronze vessel was unearthed from Han tombs in Mancheng.

He even turned this copper vessel upside down, only to find out at last, and only then did he know what it was for upside down!

The Han tombs in Mancheng are world-famous, and they also provide extremely valuable physical evidence for the archaeological community to study the burial system of the Western Han Dynasty.

In the Han tombs in Mancheng, a very strange bronze vessel was unearthed.

The purpose of the bronze ware made the archaeologists feel as if they were in the clouds.

It wasn't until the expert said a word that the mystery was finally revealed!

This is how it happened?