Chapter 7 The first part is selected from the posthumous works. Section 7. The application and development of dragon and phoenix patterns (2)

First, from the inscriptions on oracle bone inscriptions to the era of "there is a phoenix to come" in the Book of Changes, that is to say, the characters are still indeterminate, but they are like eagles on jade and peacocks on bronze patterns. era.It is worth noting that at this time, the phoenix was also used on the woman's hairpin.It can be seen that on the one hand, it is Zhenxiang, and on the other hand, it has begun to have a certain connection with the love between men and women. Second, there is "the phoenix is ​​flying", Confucius has "the phoenix does not come", the Chu Ci has "the phoenix, the sun is far away", and the story has "playing the flute to attract the phoenix" in the mature period of the legend.That is to say, the real phoenix proves that few people have seen it, but in the plastic arts, there have been Jincun-style exquisite carved jade ornaments, and Changsha lacquer ware with phoenix patterns, as well as various beautiful patterns on gold and silver interlaced ware and bronze mirrors. The era of lively cloud and phoenix patterns.

3. The description of the phoenix in the "Shi Kuang Bird Classic" was handed down from generation to generation, and the phoenix was regarded as one of the auspicious signs of the country again. It was attached to politics and influenced the art of the court. In the emperor's era, there were "Tianfeng" and "Five Phoenixes". , "Phoenix", seen in plastic arts, first became one of the five auspicious, and then transformed into Suzaku, representing the south, and Qinglong, Baihu, and Xuanwu symbolized the four gods of the four directions.In architecture, there is the Suzaku Que, and Suzaku tiles appear on the tiles.That is to say, the general large-scale buildings are also high on the roof, in the pose of a canary with wings spread out (the later Tongque Terrace was also formed from this), and in various departments of art, they have a certain period of status.

4. In people's poetry, it has a similar status to mandarin ducks, birds, and birds, and they are both symbols of love.Reflected in the bronze mirror art is more specific.But in the feudal court art, the other side was recombined with the dragon and became a symbol of upper-level ruling authority, especially a symbol of female concubines.In addition, the Shuanglu and Azalea in the game have been fully used.Because of the theme pattern of "Dragon and Phoenix Bringing Prosperity", it also matured in this period.However, in general artistic patterns, it is no closer to the people and pleasing to the people than mandarin ducks and other water birds.

5. Because peony has become the king of flowers, it has a new combination with peony in art, from Yunfeng in Tang Dynasty to "Phoenix wears peony" and "Danfeng Chaoyang", which is reflected in various departments of craft patterns, so it gradually monopolizes The spring breeze, symbolizing light, happiness, love and reconciliation, etc., has become more and more beautiful and gorgeous in image, and at the same time it has become the theme painting period in the auspicious patterns of the people. We say that everything is constantly changing in development, and the Phoenix pattern is no exception.The image of the phoenix pattern that most people are familiar with, as well as its scope of application, so that the emotional impact and concept on people are also constantly developing and changing.

For example, although the saying that the phoenix is ​​the king of birds dates back to 2,000 years ago, the saying that peony is the king of flowers started in the Tang and Song dynasties, only a thousand years ago.As for the combination of the two to become the theme painting of "Phoenix Wearing Peonies", it has been reflected in various departments of arts and crafts and has become familiar to the people. According to the analysis of the current materials, it actually matured in the Song Dynasty during the thousand years.Although the pattern of "Dragon and Phoenix in Prosperity" became popular in court art around this period, it continued to develop. The pattern of "Phoenix Wearing Peony" has gradually become a very affectionate picture for the people.There is also another practical reason for this, that is, the popularity of works such as "Peony Spectrum" and "Luoyang Peony Records", as well as the popularity of physical cultivation, have increased people's knowledge of the name and color of peonies.The imaginary phoenix, in the hands of the people's artists, is made into various beautiful and moving poses, which are reflected in the artistic creation together.

In the three dynasties of Yuan, Ming and Qing Dynasties, the dragon always represented a kind of divinity, and became a symbol of the Ninth Five-Year King, so it cannot be profaned casually.The random use of dragons in costume art is illegal and prohibited.Although the custom of "Dragon Boat Race" is popular wherever there is a river in the south of the Yangtze River, it is one of the entertainment programs for the majority of the people.The custom of dancing dragon lanterns during festivals is nationwide.But on the other hand, since the Jin Dynasty and the Six Dynasties, Buddhism has preached that there are dragon gods in the rivers, lakes, rivers and seas, and there are eight dragons in the sky. All dragon kings can make rain. Wang Weihou, this title of dragon god continued to be granted until the nineteenth century.Any small county in the south must have a Dragon King Temple. Whenever there is a drought, the feudal rulers have no choice but to pretend to be devout, go to the temple to pray for rain and offer incense, push the responsibility to the Dragon King, and increase people's respect for the Dragon King. awe, that is, to increase feudal theocracy.Therefore, the dragon cannot be used casually.Until fifty years ago, superstition was still deeply rooted in the hearts of the people.As for the combination of the phoenix and the peony, the relationship between the phoenix and the people has deepened day by day. Although in the feudal system, the phoenix is ​​still closely related to the princely women, queens and princesses must wear phoenix crowns, and the number of phoenixes is used to determine the rank.In court art, dragon and phoenix are still used together.However, there is one big difference. It is easy to commit crimes by using dragon patterns indiscriminately. You can embroider phoenixes flying together or phoenixes wearing peonies on the uppers or aprons of rural civilian women according to your imagination, and no one can control them.As for the handkerchiefs and pockets given to lovers, it is more common to embroider phoenixes and wear flowers to express the happiness of love.As for the folk slang libretto, and the opening cannot be separated from Phoenix. "Harmony between fish and water", "mandarin ducks playing with lotus", and "colorful phoenix flying together" are all folk embroidery themes, which are deeply rooted in the hearts of the people.The pattern of the phoenix is ​​no longer exclusively used by the court, but has long become a common art theme of the people.In other words, in modern terms, the phoenix is ​​close to the people, and the people enrich the image and content of the phoenix.Phoenix gives the broad masses of people the inspiration and hope of living a happy life.On the surface, because of this, the abstract status of the phoenix will inevitably decline day by day, and it can no longer be mentioned on the same level as the dragon.In fact, the phoenix has become one with the people emotionally, especially in folk women's embroidery, it is endowed with infinitely rich artistic life, making it immortal and immortal.

But we also have to admit another fact, that is, in the artistic achievements of the feudal upper class in the past thousands of years, silk brocade gowns, porcelain, lacquer and mosaic techniques, gold and silver processing, etc., all kinds of fine plastic art patterns, dragons, etc. The pattern of the dragon also has its certain achievements, and it occupies the main position, and the phoenix is ​​only a secondary position.However, from the artistic image point of view, even if it is used for interlacing with hundreds of flowers, the dragon wearing flowers is always close to make do, but the phoenix wearing flowers is extraordinarily natural.In terms of achievements, Feng Chuanhua is still worth learning.The most representative ones are from Xuande in the Ming Dynasty and the early Qing Dynasty, the clouds and phoenixes or the phoenixes wearing flowers are depicted on five-color paper with gold and silver methods, creating countless highly exquisite and lively works of art, which leave a deep and unforgettable impression on people.Putting it together with the thousands of phoenix peonies embroidered by folks in Southwest China, it can be summed up in two sentences: "The same song but the same effect, each has its own merits."

As the saying goes, the phoenix never dies, and will regenerate after death.This legend is very interesting.Anything that lives deeply in the hearts of the people, although it has a long history, will of course recombine with the creative enthusiasm of millions of people in the new era, and obtain immortality and eternal life. (My short analysis article has a weakness, that is, there are not many praise documents, and the pictures are rare and complete when citing real objects as evidence, and the convincing power is not strong. It can only be said to be a general explanation. There are many problems with the dragon and phoenix in the craft pattern, which deserves to be shared by experts. Pay attention to it. I am only trying to attract jade here. If I can write a special article introducing the development of this decorative pattern from each department - architectural painting, stone carving, ceramics, silk embroidery, when international friends ask questions about dragons and phoenixes, Our answer is expected to be certain and clear, and will not be vague and general).

Written in Badachu Chang'an Temple in June 1958 (Originally published in "Decoration", Issue 1, 1958)