Understanding the ancient bronze wares of the three kingdoms of China, South Korea, and Japan is rare to gather

On July 26, the National Museum of China, the National Central Museum of Korea, and the National Museum of Tokyo, Japan, jointly organized the "Oriental Jijin -Ancient Sino -Japanese Bronze Bronze Exhibition" at the National Expo. The exhibition displays about 50 ancient bronze wares (groups) of each characteristic of China, South Korea, and Japan. "Ancient Chinese Bronze Culture" concentratedly demonstrated the bronze utensils unearthed from the Tomb of Cai Hou (Cai Zhaohou, 518-BC) in the National Expo Pavilion, in order to explain the deep connotation of the pre-Qin Dynasty ritual and music civilization. The cultural relics selected by the "Ancient Korean Bronze Culture" and "Ancient Japanese Bronze Culture" span the times and are rich in utensils. It shows the context of the birth, development, and evolution of bronze culture between the two countries. This article introduces some key cultural relics to readers.

Ancient Chinese Bronze Culture

Cai Hou Bronze Ding (Figure 1) This tripod is the largest in Dingzhong in the tomb of Cai Zhaohou, and this style of Ding was unearthed in the tomb. Scholars generally refer to this huge ding of this body, and their functions are used to cook food or sacrifice. The bottom of this tripod has obvious smoky marks, which shows that it has been used as a cooking appliance. There is an inscription inside the cover, indicating that this is Cai Hou Shen's etiquette food device. The last word of the inscription is a special name of Ding.

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Cai Hou Bronze Sheng Ding (Figure 2) Sheng Ding is one of the representative utensils of the southern Chu bronze wares during the Spring and Autumn Period and the Warring States Period. Only senior aristocrats at the monarch level can be used. There are 7 bronze tripods unearthed in the tomb of Cai Zhaohou, Shou County, Anhui. The shapes are the same and the size of each other. It is a group of Ding Ding used in supporting, which matches Cai Hou Shen's status and status. When unearthed, there was a bronze dagger in each tripod, and the inner wall of the device was cast with inscriptions. The last word of the inscription is a dedicated name of Ding, that is, ascending Ding.

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Cai Hou Bronze Pot (Figure 3) This pot is one of the two square pots unearthed from the tomb of Cai Zhaohou. The top is covered as a hollow lotus petal, with a tattoo on the neck and the ears of the two beasts. Foot, smooth and vivid posture. On the inside of the pot neck, there is an inscription "Cai Hou Shen's 滆 滆 滆". This square pot has a large amount, magnificent momentum, and full of strong retro atmosphere. The font pattern and neck of the abdomen and the neck are slightly trapezoidal. Essence

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Cai Hou Bronze Fang Jian (Figure 4) and 缶 (Figure 5) have 4 sets of Jian and 缶 combinations of Cai Zhaohou Tomb, which have two types of round and square forms. Fang Ye was placed in Fang Jian, and the Yuanyu was placed in Yuanjian. This set of books and tadpoles are decorated with red bronze -inlaid beast patterns. This style of copper is more common in some high -grade tombs in the late Spring and Autumn Period. Fang Jian's mouth is the inscription "Cai Hou Shen's respect", and the lid and mouth of the device have the inscription "Cai Hou Shen's Zun", indicating that these are Cai Hou's device.

Figure 4

Figure 5

Ancient Korean Bronze Culture

Multi-buttons (Figure 6) in the Bronze Age of Korea (15th century-AD-3rd century BC). This device is unearthed at the Caopoli site of Xianping, South Korea. The site and the Hamona Valley site are representative sites of the Bronze Age of Korea. Wait. 3 copper mirrors unearthed in the site are exquisite fine -grained mirrors.

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This multi -button fine -grained mirror has two low semi -mirror buttons on the back. The decoration of the bronze mirror can be divided into three laps inner, middle, and outer, all of which are geometric patterns. The outer ring surrounds the interlaced triangle sawtooth pattern, and the middle and inner rings are decorated with densely arranged staggered parallel lines. The same as the Korean fine bronze sword culture is that the copper mirror -made copper mirror is also mainly unearthed in the south of the Qingchuan River. Through cultural exchanges, fine -grained and fine copper sword culture gradually spread to the Japanese islands.

Lacquer sheath bronze swords (Figure 7) The former Three Kingdoms era in South Korea (1st century-AD 3), unearthed from Changyuan tea households in South Korea, and collected by the National Kim Sea Museum in South Korea. This device was unearthed in the tomb No. 1 in Changyuan Tea House. This is the representative relic of the former Three Kingdoms era in the first century BC. Its wooden coffin was made from the 350 -year -old oak tree. The owner of the tomb may be the local leader, which is rich in funerals. In addition to the relics such as bronze swords, iron swords, and plate -shaped iron axes, it has also found export products introduced from China, Japan and other places. The vertical hole under the wooden coffin is used to place funerals, and the bronze sword is unearthed here.

Figure 7

This bronze sword is a narrow fine -shaped copper sword with a sword. The horn handle and the scabbard are wood, and there are traces of paint paint. The horizontal cross section of the scabbard is mirror -shaped, and the two pieces of wooden panels that are painted with black lacquer are sandwiched. The scabbard can be divided into four sections, and each section is connected with gold ornaments. Unlike Lelang lacquerware, the sword's hilt and scabbard surface did not apply primer on the surface, but directly applied the paint on the wooden board. The paint technique is relatively primitive, not only for showing gloss, but also waterproof and anticorrosive functions. This lacquerware culture and production technique can be said to be a unique cultural factors in tea households.

Bronze Bell (Figure 8) Korea's Korean Goryeo Times (918-1392), Unearthed by Tianan, Zhongqing, South Korea, and the National Central Museum of South Korea. This is the earliest Sanskrit bell in Korean history discovered so far. This clock not only inherited the shape of the Sanzhong bell in the unified Silla era, but also reflects the cultural factors of some Korean era. The clock body, dragon button and sound tube composition. The dragon button is a dragon overlooking his head, and his mouth is Ruyi Zhu, which is the new style of the Korean era. The sound tube is bamboo -like, which can be divided into 5 parts, decorated with Tang grass patterns and treasure -phase patterns. The edge of the bell is decorated with multi -petal lotus pattern, and the bell shoulders and skirts are decorated with lotus patterns and treasures of the treasure. The lower part of the body is decorated with the collision and flying and flying sky (handheld and foot clouds). There is a tablet -type inscription Guo between the flying sky and the hit seat. According to the inscription content, the Brahma bell is made in Tianxing Temple of Shengju Mountain. Figure 8

Bronze incense burner (Figure 9) in South Korea and North Korea (1392-1910), South Korea ’s Emoshiko Kinshu was unearthed, and the National Central Museum of South Korea was collected. This is a incense burner composed of ring feet, flared strokes, outer fold flat edges, and cylindrical tabs, also known as incense. It inherits the shape of the Goryeo era and is a representative Buddhist incense burner. The shape of this incense burner is similar to that of the instrument in the later period of the Goryeo era, but the micro -drum feet and body have the early style of the North Korean period. This incense burner is a bronze silver incense burner in the Korean era that is well preserved and earlier, which combines the elements of the late Korean era and the early Korean era, which reflects the content of praying and belief in the royal family in the context of Buddhism.

Figure 9

The surface of the incense burner is engraved with inscriptions: "Ding Ming Hongwu in the 30th year of Daming, Ding Chou, the founding ancestral ancestral ancestors of the North Korean Dynasty, the Queen of the Middle Palace of the Divine Palace of Jinyang Dadu, to help the Zenyong Qinggu Society Puguang Temple incense. All, for the pyramids of percentage, are printed with the Grand Tibetan of the Monk Hall, often transferred to Falun, breadth of all beings, and wish to drive the Golden Master of Luo Mansion, agree with the golden cricket, enter the silk Jinxingang, and the bronze husband. "According to the inscription, this incense burner is for this incense burner. Pray that Taizu Li Chenggui (reigned from 1392-1398) was made by the princess, the princess, and the blessing of the princess God Ethics (1392-1396). It was Jin Shigang and Jin Shigang inlaid with silver.

Ancient Japanese Copper Culture

Bronze Duo (Figure 10) In the middle of the Mi Sheng era in Japan (2-BC), I was unearthed in Maki-cho, Kurashiki City, Okayama Prefecture, Japan. Copper Duo is a bell-shaped bronze sacrifice. It is used in the sacrifice ceremony in the settlement in the middle and late period of the Miya era (2-AD 3rd century). Different from the distribution of weapon -shaped bronze wares, Tongduo is mainly distributed in the Kinki region and the East China Sea in the middle of the Japanese islands. The decorations of Tongduo are similar to the decorations on the pottery and wood products in the same distribution area. At the same time, the zigzag pattern and continuous vortex of the triangle composed of tongue are considered to be unique. type.

Figure 10

The ancestral source of Tong Duo in Japan can be traced back to the little Ton Duo on the Korean Peninsula. The earliest Tong Duo on the Japanese islands bears the function of musical instruments, suspended Tongduo, and made a sound of the stick -shaped tongue inside it. However, in the late period (1st-3 century AD), people paid more attention to their appearance, so Tong Duo gradually changed to a larger and gorgeous direction. This piece of Tong Duo, which has both musical instruments and sacrifice functions, can reflect its transition state in the process of functional changes.

龙 (Tuó) Dorroscope (Figure 11) In the middle of the ancient tomb of Japan (4th century), the Ancient Tomb of Takamuka, Niigata City, Japan, and the National Museum of Tokyo, Japan. From around the 4th century, the Chinese -style Chinese -style copper mirror in Japan has gradually become a funeral item in the ancient grave. The drama mirror is made by referring to the pattern of the Chinese circular cream god beast mirror. Featured that the beast patterns are distributed around the milk diced distribution, the bronze mirror images produced in the new period are similar to this mirror. In addition, in the ring inherited from the Chinese -style copper mirror image and used to divide the inner and outer areas, the auspicious words that originally existed in the Chinese copper mirror disappeared, and the semicircular grid belt -shaped decoration was filled. This original image is gradually deconstructed, but the pattern replaced by it is very delicate and frequent in design and production. It is also a major feature of Japanese copper mirrors at this time. Among the existing pupar mirrors, the largest diameter can reach 44.5 cm. Compared with other mirrors, it appears huge. At that time, the Japanese islands were regarded as treasures in bronze mirrors.

Figure 11

Rotor Vortex Bronze (Figure 12) In the middle of the ancient tomb of Japan (4th century), the ancient Tomo Tomb of Nakasako Moriuska, Hirakawa City, Kanagawa Prefecture, Japan, was excluded, and collected by the Tokyo National Museum in Japan. Observing this utensils can be seen that there are 4 flat hook -shaped feet around the central area, which are arranged radially. The circle of the utensil center is conical like the utensils of the ancient Tasaki Mountain ancient grave, and there are flat -shaped utensils similar to the ancient tombs of the red wife, which is late in the latter. Among these vortex -shaped copper wares, the center of the utensils is conical, there is a stick inside, and the center of the utensil is flat, there are holes in the middle, indicating that these vortex shaped copper wares are tied on the shield or arrow barrel with a rope belt. Decoration.

Figure 12

The ancients seemed to think that sharp things could be used to remove evil spirits.Maybe because of the sharp hook -shaped foot on the vortex, it is considered to be a decoration with powerful evil spirits, so it is often used for decorative weapons.There are many claims about the origin of the shape of the vortex -shaped copper ware. In recent years, the more influential statement is that this copper is made by a conch called Waterban near the Okinawa Islands.The snails have 6 very sharp tube spines.(Organization: Lu Yang; Picture: National Museum of China; Published on August 30th Edition 6 Edition) Editor: Lu Yang Luo Siqi

Review: Feng Chaohui

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