Chapter 564 Makes You Fall into Disrepute!

After Wang Lao finished speaking, he also took Si Mu Shu Dafang Ding to analyze, and at the same time very cautiously introduced Zhang Wufeng and his rich knowledge and profound knowledge to all the professor-level elders. 【No Pop-up Novel Network】(Hand-typed novel)

"This little Fang Ding, Zhang Wufeng's friend can cut love, and I am personally very pleased. So, here, I would like to thank Zhang Wufeng again, thank you. Elder Wang's voice was very sincere.

"Lao Wang, I think you want to promote your juniors, so you won't say this on such an occasion, right? That stinky kid can be compared to us? As the saying goes, if you don't do things well, this little guy will come out to learn from his mother's womb, and there will be no achievements for us until now, and I have been very face-saving to come in. ”

A middle-aged man with glasses said very arrogantly.

"Yes, for those who are academic, it is an insult to go through the back door. It's not that we can't trust Lao Wang, but you look at this kid, like a scholar? I'm afraid I'm chasing after the splendid girl."

"Really, what kind of system"

……

A series of words made Wang Lao a little sluggish, and then his face quickly turned blue.

"Xue Yang, you old horseman, don't even question my words? When did my old Wang walk through the back door, and when did he take a penny and a half from someone else? How unreasonable is that."

"Don't say I don't respect you, maybe Lao Wang, you were also deceived by this kid, is this the knowledge of gluttonous patterns that ordinary people can understand?"

"That is, the juniors should have the modesty of the juniors, you see that you praise him for his natural appearance, and at a glance you know that he is not a learned person, the so-called half a bucket of water swaying, that's what it means."

"Grandpa, since they don't believe you, you can ask Zhang Wufeng to give a speech and tell these people what it means to be blind."

Wang Jinxiu didn't speak, but when her grandfather came over, she gestured with her eyes, this kind of strong look made Wang Lao couldn't help but be slightly stunned, and then suddenly, sneered: "Okay, good, since you think I have accepted other people's benefits, okay, I will let Zhang Wufeng come up and make a speech In order to avoid you saying that this is ready, then you can ask questions casually, if there is anything that can't be answered, my old Wang's position in the association, just let it down."

Lao Wang was also extremely annoyed immediately.

In the past, he would not test the good seedlings recommended by these people, thinking that since they liked it, how could it be bad, who knew that it would be unsatisfactory once or twice.

And this time, he just praised a few words, and didn't say what he wanted to recommend Zhang Wufeng to do, these people were so intense, it was really infuriating

"Brother Zhang Wufeng, you have seen it, I hope you can teach them a good lesson, let them know that 'ambition is not in old age', and let them know that 'the master is the teacher'

"Haha, Elder Wang, I agreed to this matter" Zhang Wufeng said proudly.

"Hmph, who knows if you colluded and memorized a paragraph to deal with it? Okay, let's talk about the evolution of the animal face pattern."

The middle-aged man with glasses sneered.

The evolution of the beast's face pattern, this is indeed a major difficulty, of course, it is not difficult to casually flicker a few words, but on the whole, it is somewhat difficult, and people who do not study it in depth cannot answer at all.

"Hehe, no problem, listen" Zhang Wufeng stood up proudly, although he was low-key, it didn't mean that people would step on his head.

"The gluttonous animal face pattern has existed since the Liangzhu culture period, but it has always been called the animal face pattern, and it was not until the "Bogu Tulu" of the Xuanhe Dynasty in the Song Dynasty that this kind of pattern began to be called the gluttonous pattern. Its meaning is 'through heaven and earth', 'through life and death', 'to drive away ghosts and avoid evil', 'mighty, brave, just', 'to worship the gods' and other symbolic expressions.

Although the gluttonous pattern is made up of patchwork, it does not mean that it is put together at random. The ancients had no concept of the concrete image of gluttony, but they found its due characteristics in various animals (especially large beasts) in real life, so when creating the image of gluttony, they integrated sheep (ox) horns (representing nobility), ox ears (good discrimination), snake body (mysterious), eagle claws (bravery), bird feathers (good flying), etc., mysterious monsters have familiar animal organs, which enables people to quickly experience what kind of emotions they have in response to gluttonous patterns. The mythical origin and exaggeration of the appearance make the gluttonous pattern hideous and terrifying, mysterious and majestic, and daunting.

Perhaps the most important feature of a gluttonous pattern is its eyes. No matter how it changes, the gluttonous pattern is indispensable to the pair of giant eyes that are bright and not angry and self-threatening. It stares at the outside world, shocking people's hearts, but at the same time it strongly attracts people's attention. Gluttonous patterns mostly appear as motifs on the abdomen of bronzes, and a small amount on the feet. The wide space gives it plenty of leeway, and the striking position gives it more dominance and majesty.

In the history of ancient Chinese culture, gluttonous culture occupies an important position, and its hideous, rough, uninhibited, and shocking power is displayed to symbolize the important symbol of China's history to break free from barbarism and enter the ancient civilization. All ritual vessels with gluttonous images show dignity, authority and strength, and are symbols of power and status. ”

Zhang Wufeng paused, and most of the old and middle-aged scholars who were originally noisy with contemptuous eyes had already begun to talk in a whisper at this moment.

Some nodded secretly, some frowned dissatisfiedly, while some thoughtfully, and some looked at Zhang Wufeng from time to time with curious eyes.

"The gluttonous beast face pattern appeared in three periods: the Erligang period, the Yinxu period and the early Western Zhou Dynasty.

The bronze ornaments of the Erligang period are concise and concise, most of them are ribbon-shaped, and there are few utensils full of flowers. The gluttonous pattern of this period is also relatively simple, with many ribbon-like strips, and the upper and lower beads are sandwiched. It is generally a single layer, there is no ground pattern as a substrate, mostly to the convex lines to perform, it is composed of rough hook and whirlwind lines, all are deformed patterns, except for the round eyes of the beast as a symbol, the rest of the stripes do not specifically show the various parts of the image. All beast face patterns are not based on thunder patterns. The walls of the bronze ware are relatively simple, and the decorative patterns are few and simple; And the structure of the picture is relatively simple, and the decorations are distinct, with a single layer of convex ornamentation, which looks simple and solemn.

The bronzes of the Yinxu period are thick and richly decorated, forming a new style that is layered, rich and mysterious. At this time, the gluttonous pattern is no longer a simple ribbon layout, but occupies a large space of the vessel, develops in the direction of full flowers, and develops to three-dimensional multi-layer decoration. Most of them are decorated with ground patterns, that is, the bottom blank of the main pattern of gluttony is engraved with a dense and slender cloud and thunder pattern as a foil. The delicate and dense abstract animal face patterns are intertwined with the delicate fine thunder patterns and neatly arranged and dense feather patterns to form a beautiful and mysterious triple pattern. Not only is the combination of patterns complicated, but the characteristics of animals in animal patterns (such as the horns of the animal face pattern and the feathers of the bird pattern) are also highlighted and exaggerated. At this time, there were also composite patterns such as birds and beasts, and beasts with kui. It is also worth noting that a large number of complete and figurative gluttonous lines appear on the face at this stage. For example, Sanxingdui's gluttonous beast face pattern. The bronze beast face unearthed in Sanxingdui can be divided into three types according to the form, three pieces of each type, a total of nine pieces. They are all in the form of thin sheets, cast in bas-relief. Most of its faces are long eyebrows and straight noses, large eyes bulging out of large eyes, and two rows of square teeth are exposed in the wide mouth, all of which show exaggerated human features. A pair of wide and long curved horns on both sides of their heads, a wide forked blade on the forehead on the top of their heads, a pair of small outer curly horns on both sides, and some of them have two long, pointed ears with the upper end hooked downward, show a magical animal form. Some of the beast faces are also cast with two dragons with their heads facing each other, forming a vivid shape that arches the beast face. Looking at these beast-like and non-beast, human-like and non-human beasts, the hideous and mighty forms, grinning expressions, strange decorations and exaggerated shapes all give people a sense of surprise. There is both a rugged style and a detailed portrayal. In its hideous and severe, it reveals a bit of simplicity and kindness. These imaginative masks are a blend of human and animal faces, embodying a rich sense of primitive mystery.

At the beginning of the Western Zhou Dynasty, the bronzes were basically the same as those of the Late Shang Dynasty, and it was difficult to distinguish them, as did the gluttonous patterns. However, there was also a tendency towards simplification in the bronzes of this period. The taotao pattern gradually faded in the utensils, and the transition to the plain noodles in the middle of the Zhou Dynasty. For example, the father only has a circle of ornamental ribbon under the mouth, and the pattern is simple and blurry, and the three-legged tail is in the shape of a warped tail. The rest are all plain noodles.

In the middle of the Western Zhou Dynasty, the style of bronzes shifted to 'plain is precious'. The gluttonous pattern of the original 'literature as precious' has gradually lost its former glory. Gluttonous beast face patterns, gluttonous beast body deformation patterns and the like have undergone drastic changes. The gluttonous beast's facial pattern gradually declined. A distinctive curly pattern appears. Correspondingly, the subsequent bronzes also gradually moved towards life-like decorative patterns in the process of decentralization of royal power. The ferocity of the bronze is weakened, and the liveliness is strengthened. The ornamentation first became magnificent, complicated and circuitous, and then became sparse and open, concise and pleasant. On the bronzes, the number of monster patterns has decreased, the number of sculptures extolling life has increased, and the feast and battle maps centered on human life have replaced the gluttonous pattern. As a result, the gluttonous pattern has become a kind of image memory of the past, and gradually lost its original connotation in the flow of history.

Resnais? In his book "Chinese Civilization", Grusset points out that the image of 'gluttony' has been widely popular in Chinese art for more than 20 centuries, and it is actually an illusion of the mysterious monster that haunted the minds of those people at that time.

In the grotesque images of the deep and convex gluttonous patterns, the fine and tortuous decorative lines, and the solid and stable shapes of the utensils, they are full of vague and distant emotions, ideas and pursuits, full of barbaric and brutal deterrents, and exude a primitive, innocent, and simple beauty.

All kinds of gluttonous patterns highlight a primordial power that points to an infinite abyss, and they present a fierce beauty, and in that seemingly terrifying mystery, there is a deep historical power.

……

Gluttony is an imaginary and mysterious monster. Bronze ware is commonly ornamented. It is a patterned animal face, so it is also called the animal face pattern. This monster has no body, only a big head and a big mouth, is very greedy, eats whatever it sees, and finally dies because it eats too much. It is a symbol of greed. He was the ninth son of the Dragon King of the East China Sea.

This kind of pattern first appeared on the jade of the Liangzhu culture in the lower reaches of the Yangtze River 5,000 years ago. Lü's Spring and Autumn. "Foresight" chapter Neiyun: 'Zhou Ding is gluttonous, has a head but no body, cannibalism has not been swallowed, and it is harmful to his body. 'The gluttonous pattern has been found on the bronzes in the Erlitou and Xia cultures. With the bridge of the nose as the midline, the sides are arranged symmetrically, usually the lower lip. Gluttonous patterns appear on bronzes, especially tripods. There are many types of gluttonous patterns in the Shang and Zhou dynasties, some like dragons, tigers, cows, sheep, and deer; Others are like birds, phoenixes, and people. The name of the gluttonous pattern is not in ancient times, but when the rise of gold and stone science, it was named by the Song people, and the most perfect gluttonous pattern mask is 21.0 cm high, and is now stored in the Seattle Library in the United States. During the Western Zhou Dynasty, its mystery gradually faded.

The first to adopt the name gluttonous pattern was the Song Dynasty's "Xuanhe Bogutu". gluttony, a kind of gluttonous beast in legend; It is also a metaphor for the greedy and wicked. Lü's Spring and Autumn. Foreknowledge": 'Zhou Ding is gluttonous, has a head but no body, cannibalism is not swallowed, harms his body, and repays him with words. 'Left Biography. The Eighteenth Year of Duke Wen": 'The Jinyun clan is not talented, greedy for food, risky for bribery, encroaching on extravagance, not disgusting, accumulating and accumulating, and ignorant of discipline. No distinction between widows and orphans, no compassion for the poor. The people of the world are called gluttonous compared to the three evils. Du pre-note: "Greed for money is gluttony, gluttony is gluttony." ’

In the Shang and Zhou dynasties, when bronze ware was popular, bronze was often used to cast wine vessels. In 1972 in Qianshan County, Anhui Province unearthed this Shang Dynasty gluttonous (sound Tao iron) pattern bronze statue, buried underground for more than 3,000 years, unearthed not only intact, and the blue light shines, the ornamentation is exquisite and beautiful, belongs to the national first-class cultural relics, is now in the Anhui Provincial Museum.

This statue is 21.5 centimeters high, 19.4 centimeters in diameter, weighs 2 kilograms, has a trumpet-shaped mouth, a high neck, a bulging belly, and a round foot. Gluttonous pattern, a common pattern on bronzes, also known as animal face pattern. The pattern symbolizes the face of a gluttonous beast in ancient legends, and is often used as the theme decoration on the utensils from Shang to the Western Zhou Dynasty, and is lined with cloud and thunder patterns, and the patterns are varied. The eyes of the beast are round and bulging, majestic and mysterious. The beast is decorated with a phoenix bird on both sides of the face, with a long crown and huge claws, soaring upward. The ground is the cloud and thunder pattern, the raised gluttonous pattern is engraved with the yin line pattern, the neck and the foot are decorated with two convex string patterns, the ornamentation is diverse, and the body is vigorous.

Zun is a wine container, also used as a wine infusion vessel, "Shuowen": Zun is a wine container for sacrifice or entertainment guests. In Lu You's "Miscellaneous Feelings", there is a poem "A statue of wine is easy to drink, and it is rare to meet the stork magpie tower for thousands of miles". Zun's position in the bronze ritual vessels is second only to Ding. In addition to the round, the bronze statue also has a square shape, and there are also imitation birds and beasts shape, collectively referred to as 'birds and beasts'. Bronze statues were rare in the Spring and Autumn Period and the Warring States Period. Like this 3,000-year-old beast face tattoo, it has important historical value; From an artistic point of view, it is also a very valuable arts and crafts, because there are many ornaments and shallow carvings, reliefs, and carvings around it, and the combination of flat images and reliefs, utensils and animal images are combined, and the structure of the whole bronze statue is indeed exquisite enough. And all of this, in turn, is expressed through the casting process, so as to receive satisfactory results.

Bronze, often referred to as bronze, in China's archaeology, mainly refers to the pre-Qin period with copper tin alloy made of utensils, including cooking utensils, food vessels, wine vessels, musical instruments, weapons, etc. The bronzes we see now are the creations of the working people of our country in ancient times. However, in slave societies, bronze utensils were mainly owned and enjoyed by the slave-owning class. However, history has developed to this day, and if it is used as a wine jug again, it will be unappetizing, because from the whole shape of this statue, it looks like a modern spittoon.

……”

Zhang Wufeng was quoted from the side, and detailed argumentation and description of the evolution process of the gluttonous beast's face pattern and the relevant introduction of some corresponding cultural relics, the whole story was told for more than 30 minutes, and its classic narration and detailed explanation made the whole hall quiet.

At this moment, Wang Lao is still standing next to Zhang Wufeng, and Zhang Wufeng is still standing in the position of the main speaker.

For a long time, there was uncontrollable thunderous applause in the field, and many old people at the scene spontaneously stood up to show their respect for Zhang Wufeng.

"Mr. Zhang, have you ever seen the Sanxingdui bronze beast face?"

"Mr. Zhang, Sanxingdui bronze beast face, do you have a collection, can you let me appreciate it?"

"Mr. Zhang, I was so ashamed to question your superficial knowledge before......

"Mr. Zhang, do you have anything else to add? According to the evolution of the beast's face pattern, what are the characteristics of the slave society in the Shang Dynasty? Among the many people, the middle-aged man with glasses had a slightly gloomy face, and then asked proudly.

"Hehe, I actually mentioned this just now, I thought you understood, you don't understand, okay, I really have to say more about your understanding."

"You-"

Well, the typical characteristics of the slave society of the Shang Dynasty are actually fully reflected in the works of arts and crafts, which are the products of the ruling class of the slave society to strengthen their own rule. The mysterious, grotesque, and terrifying atmosphere on the bronze ritual vessels is a reflection of the characteristics of its times.

Represented by bronze patterns, gluttonous patterns have a certain representative significance, with high aesthetic value and social significance. The solemn, dignified and mysterious artistic characteristics of the gluttonous pattern not only meet the political needs of the ruling class of the slave society, but also show the most basic design idea of the ancient Chinese bronze decorative pattern, which can be changed according to the needs of attracting people's attention, and the type and ornament are used to meet the owner's requirements for rank and affiliation. Gluttonous patterns generally appear in the image of animals, with the characteristics of insects, fish, birds, beasts and other animals, and are composed of several parts: eye lines, nose lines, eyebrow lines, ear lines, mouth lines, and horn lines. It is precisely by using these features that people are drawn to a mysterious world of art, and the Shang Dynasty's taotao patterns are particularly effective in attracting people's attention. The gluttonous pattern is fierce and solemn, the structure is rigorous, the production is exquisite, the realm is mysterious, it is one of the best works in the bronze decorative pattern, representing the highest level of the bronze decorative pattern.

In the late Spring and Autumn period, slavery began to disintegrate, and the characteristics of social turmoil and active thought were also reflected in the arts and crafts. It also reflects the Spring and Autumn Period and the tyrannical Shang Dynasty slave society, the people's degree of domination is relatively weakened, so that the arts and crafts bloom, showing a fresh and lively, dexterous and changeable style, a change of bronze ritual dignified and majestic, large and bulky characteristics. The theme of the work is transformed from mysterious and grotesque idol patterns to real-life themes such as wars and historical stories with educational significance. Such as the lotus crane square pot, the shape is beautiful, the idea is ingenious, mainly the pan claw pattern and the pan crest pattern, giving people a fresh, lively, natural, relaxed feeling.

Of all visual images, the most basic is ornamentation. Ornamentation is the basic unit of decorative surface, and it is also the starting point of other image composition. From the very beginning, traditional Chinese culture has recognized and emphasized the role of ornamentation. the world-famous faience culture of prehistoric times; The bronze ornament of the Yin Shang era is 'casting a tripod elephant, and a hundred things are prepared for it, so that the people know the treachery' (from "Zuo Chuan. Xuan San""), the Tang Dynasty's ever-changing Buddhist ornaments 'curly grass pattern' and so on. A long historical country has bred a rich traditional culture, and many cultural relics from ancient to present have shown that Chinese traditional culture has taken the initiative to understand and master the ornamentation. ”

"Okay, what are the styles and characteristics of traditional Chinese patterns?" The middle-aged man with glasses asked unwillingly.

"China's traditional patterns are varied, rich in content, it not only represents the long history of the Chinese nation, the development and progress of society, but also the great wealth in the treasure house of world civilization and art. From those endlessly changing, simple and vigorous traditional patterns, we can see the level of craftsmanship in various eras and the cultural traditions of the Chinese nation, many traditional patterns have endured for a long time, and are still in use today, maintaining their vigorous vitality. The patterns of various historical periods in China are rich and diverse, and each has its own characteristics. The solemn and generous, natural and harmonious patterns of the Neolithic period, the majestic and mysterious bronze ornaments of the Shang and Zhou dynasties, the lively and diverse, dexterous and changeable patterns of the Spring and Autumn Period and the Warring States Period, as well as the combination of Buddhism and traditional Chinese patterns after the introduction of Buddhism into China, etc., all show that the design of traditional patterns has experienced a process from simple to complex, single to diverse, both in terms of modeling and decoration. At the same time, in different regions and eras, the characteristics of decorative patterns are also different, and they have different characteristics in terms of topic selection, expression techniques and artistic styles.

……

According to the characteristics of the pattern itself, the first point is the accident of the pattern.

Engels wrote in The Family. The Origin of Private Property and the State states that 'it may be shown that in many places, and perhaps everywhere, the manufacture of pottery was produced by the coated clay of the woven or wooden contemporaneous to make it resistant to fire. In doing so, it soon became clear that molded clay could also be used for this purpose without an internal container. 'When people don't use these braids, they still retain the traces of these braids on the surface of the container. The production of pottery has its accidentality, which is made possible by the specific life background of primitive society - the primitive people in the evolution of human society through labor, and the attempt in labor makes the production of pottery possible. The decorative patterns on the surface of pottery were also produced in this similar situation, and further beautified human life in the later development of society.

Represented by primitive cultures, basket patterns and rope patterns are generally formed by rolling or beating on the surface of the clay blank with a pottery paddle or wooden paddle carved with grooves, and the rope pattern and basket pattern are named because the pattern is similar to the pattern of the rope or basket. In addition, the fingerprints printed on the pottery when smoothing or patting the pottery with the hand and the association with the fingerprints are also likely to be the source of patterns such as concentric circles, back lines, and swirl patterns. From the picture, we can see that concentric circles, back lines, swirl patterns and other patterns are also very similar to human fingerprints.

The second point is that traditional patterns are influenced by social contexts.

In terms of political factors, the most important purpose of ornamentation seems to be to make a ritual object stand out. Secondly, ornamentation can be subdivided into the types of utensils. It draws attention to the type of vessel, i.e., the type of ritual vessel, and in addition, in a particular type of vessel, the ornamentation also indicates the rank, and in the hierarchy, it also indicates the relationship to which the object belongs.

The typical characteristics of the slave society of the Shang Dynasty are fully embodied in the arts and crafts works, which are the products of the ruling class of the slave society to strengthen their own rule. The mysterious, grotesque, and terrifying atmosphere on the bronze ritual vessels is a reflection of the characteristics of its times. Represented by bronze patterns, gluttonous patterns have a certain representative significance, with high aesthetic value and social significance. The solemn, dignified and mysterious artistic characteristics of the gluttonous pattern not only meet the political needs of the ruling class of the slave society, but also show the most basic design idea of the ancient Chinese bronze decorative pattern, which can be changed according to the needs of attracting people's attention, and the type and ornament are used to meet the owner's requirements for rank and affiliation. Gluttonous patterns generally appear in the image of animals, with the characteristics of insects, fish, birds, beasts and other animals, and are composed of several parts: eye lines, nose lines, eyebrow lines, ear lines, mouth lines, and horn lines. It is precisely by using these features that people are drawn to a mysterious world of art, and the Shang Dynasty's taotao patterns are particularly effective in attracting people's attention. Fierce and solemn, rigorous in structure, exquisite in production, and mysterious in realm, it is one of the finest works of bronze decorative patterns, representing the highest level of bronze decorative patterns [4].

In the late Spring and Autumn period, slavery began to disintegrate, and the characteristics of social turmoil and active thought were also reflected in the arts and crafts. It also reflects the Spring and Autumn Period and the tyrannical Shang Dynasty slave society, the people's degree of domination is relatively weakened, so that the arts and crafts bloom, showing a fresh and lively, dexterous and changeable style, a change of bronze ritual dignified and majestic, large and bulky characteristics. The theme of the work is transformed from mysterious and grotesque idol patterns to real-life themes such as wars and historical stories with educational significance. Such as the lotus crane square pot, the shape is beautiful, the idea is ingenious, mainly the pan claw pattern and the pan crest pattern, giving people a fresh, lively, natural, relaxed feeling.

In terms of economic factors, the economic base determines the superstructure, and with the development of the productive forces, culture will inevitably be newly developed and strengthened. Only when the problem of food and clothing can be solved and people's living standards can be improved accordingly, and the overall level of people's cultural literacy can be raised to a new level. In this way, it will also play a positive role in promoting the development of culture.

The Tang Dynasty was a prosperous period of China's feudal society, and the culture was extremely active, and the Buddhist culture was further developed. In the decorative arts, it is manifested as perfect modeling, plump image, soft and beautiful lines, focusing on realism and spiritual engraving, and absorbing simple decorative style, rich and rich in color, gorgeous and elegant. The decorative patterns are rich and full, rich and luxurious, often take plants as the preferred theme, and the commonly used patterns are curly grass pattern, treasure phase flower, sea pomegranate, flower and bird pattern, canopy pattern, bead pattern, slow belt pattern, character pattern, etc. The caisson pattern of the Tang Dynasty was at its peak. In the early Tang Dynasty, the caisson pattern has clear patterns, clear and beautiful, bright but not bright colors, emphasizing the integration of overlapping halo rendering and line drawing, and has the beauty of craftsmanship. The center of the well is multi-square, with a combination of large lotus flowers, large clusters of flowers, and entwined branches as the main body of the pattern. The heart of the Tang Dynasty is reduced, the level of trim is increased, the group flower and the entwined branch lace prevail, the curly grass pattern, the geometric pattern, and the bead pattern are interspersed in an orderly manner, and the pattern composition is obviously tending to rhythm, all of which are stable, the flower type is plump, and the lines are smooth, forming a generation style from the Tang Dynasty to the Late Tang Dynasty.

Religion is a cultural phenomenon, and its influence on politics, economy, science, culture, etc., is comprehensive and energetic, so its impact on cultural psychology is widespread and deep. After being introduced to China, Buddhist art themes need to be shaped, engraved or painted on religious environments and utensils, and combined with the characteristics of traditional Chinese culture through artistic processing, so as to move and inspire people's hearts. As a result, the Buddha Bunsheng Tu filled the walls of caves in various places, developing and enriching the traditional Chinese mural art and pattern art.

The lotus pattern in the plant pattern is a more representative traditional ornament, with strong national art characteristics. China's ancient appreciation of lotus first originated in the Chu State, "set hibiscus as clothes", "because of hibiscus and as a matchmaker" ("Chu Ci"), that is, the lotus. The lotus pattern was first found on the utensils of the Spring and Autumn Period and the Warring States Period. The lotus crane square pot unearthed in Xinzheng, Henan Province, its lid is lotus-shaped. After Buddhism was introduced into China, the Buddhist rosette from the Indian royal lotus was transformed into a Chinese according to the traditional Chinese image and aesthetics, and the artistic style began to change. This is also an example of the influence of foreign culture and the combination of traditional patterns in China.

The ever-changing 'curly grass ornament' used since the Tang Dynasty is a representative pattern in the transformation of Buddhist ornamentation. Buddhist plant patterns and ornaments, such as lotus, honeysuckle, Bodhi and canopy, **, Yingluo, etc., its image and Chinese traditional modeling habits and aesthetic requirements are not suitable, 'curly grass pattern' is a new pattern in this situation, it is difficult to say which kind of object it is based on. The curly grass pattern is neither a motif in China nor a specific object of Indian Buddhism. But its whirling and coiling specious flowers and leaves, but it has the spirit of auspicious clouds, the attitude of Buddha, it has both the ethereal curvy and the rhythm of circulation, and maintains a gentle and gentle quiet. It is a simple and characteristic Buddhist decorative pattern that the Chinese nation has adapted from absorbing foreign religions. With the flowing rotary curve as the basic composition of the pattern, the foreign theme is integrated into the traditional Chinese aesthetic concept, and the Buddhist decorative pattern is transformed. The appearance of the curly grass pattern is not accidental, it marks the arrival of the heyday of Buddhism's integration with Chinese culture.

Chinese traditional decorative patterns are rich in connotation, strong cultural heritage, modern decorative pattern design is developed from traditional patterns, but it is not a simple copy and repetition of traditional patterns, through the discussion and research of different stages of development in China can enable us to further understand the composition characteristics of traditional patterns. Mr. Lei Guiyuan, the pioneer of pattern art in China, pointed out that "nature is the source, the ancient pattern is the flow, and the source and the flow are the two wings of the patternmaker, and one cannot fly high without one." As a product of the handicraft era, the traditional pattern is extracted from the natural world and life by the art creators of the past generations, and its shape and color are the essence of thousands of years, and the traditional folk art has tenacious vitality, expressiveness and high artistic value. We should fully learn the style and characteristics of traditional patterns and apply them to contemporary arts and crafts design, for traditional patterns to inherit, but also to abandon, and modernize, give a new design concept, function and form, so that it becomes a modern decorative pattern that adapts to and meets the aesthetic and practical requirements of modern society, so that China's design can be in line with the modern international community while maintaining its own style characteristics.

……”

Zhang Wufeng stopped when he said this, in fact, if he continued to talk, he would only say more broadly, and for these scholars, Zhang Wufeng didn't want to hit their confidence too much because of his own strength.

"You, why didn't you say it? Are you ready to show that you have finished performing? The bespectacled man was still stubbornly attacking Zhang Wufeng.

Zhang Wufeng glanced at the man, and there was already murderous intent in his heart.

And just a perception, he already knew that this person's mind was actually moved to Wang Jinxiu, and then he targeted him like this.

Sensing this, a wicked smile flashed across the corners of his mouth.

And the middle-aged man with glasses, when he saw this smile, couldn't help but be slightly afraid.

"Xue De, don't be ashamed, with Zhang Wufeng's knowledge, he has already embarrassed us professors, if this is still deliberately performing, then what kind of professors are we? It's almost you, although you have published a lot of academic papers, but in terms of expression, you are still too far behind."

At first, the old man named Xue Yang couldn't help but say in a deep voice.

"Xue De, don't think that you have some ability, you can come here, if you are really confident, you can try it with Zhang Wufeng on the spot"

"You don't have to be excited, in addition to being good at history, culture, archaeology and antiques, etc., I also have certain attainments in medical skills, now, I use a hypnotic method, I can let everyone listen to Xue De's heart, but if he really wants to do knowledge, no matter whether I tell it today or not, I am willing to admit defeat."

Zhang Wufeng said in a clear voice.

"Hmph, what do you want to do? Hypnosis? And then deliberately let me say something insincere? Na Xue De said with a sneer.

"Everyone, as a professor, you still know about hypnosis, as long as I don't speak and let him learn to speak, he won't learn to speak. And you know, hypnosis is just about relaxing people so that they can tell the truth, and they don't make people go against their will. This is well known. Xue De, if you don't dare, you have a ghost in your heart."

Zhang Wufeng said disdainfully.

"I have a ghost in my heart, fart my dignified ZD University professor, how can I be afraid of your little hypnosis, come on"

"Okay, everyone should be a witness, now it's quiet," Zhang Wufeng said, and then looked at Xue De, and a special spiritual power seeped out.

"Xue De, look at me, be quiet, relax, remember to answer my questions truthfully, and truly let go of the restraints in your heart......"

Zhang Wufeng whispered, and then Xue De's angry gaze softened, and then, his expression calmed down, and the arrogance and madness of the whole person also became calm.

"Xue De, why are you targeting Zhang Wufeng?"

"Why did you target Zhang Wufeng? Because I want to get Wang Jinxiu in my hands, such a cute girl is still in place, I must have a good time. She is my ninety-third goal, and when I finish her, I will have six more virgins, and I will be able to reach a hundred, and when the time comes, I will be able to prolong my life and wash my tendons. ”

"Shut up, Zhang Wufeng, you are framed"

"What, unexpectedly, to do such a thing that is inferior to a beast"

"Xue Yang, don't get excited"

Zhang Wufeng swept his eyes coldly, and then looked at Xue De again.

"Dad, I'm telling the truth, something is holding in my heart, it's really painful. I still imprisoned Zhang Simiao, all my academic papers were written by him, he was locked up in a dungeon by me, and his granddaughter was also forced by me, but unfortunately the woman couldn't think of jumping off the building and committed suicide.

Also, several of my students have been with me when they can go to graduate school, and some have been matched several times, and they want to study my graduate school, but they don't accompany me to bed, and they can't give her any high scores

And because there is a little girl from the countryside, yes, it is Ye Qi, who gave up on herself after being by my strong girl, and because of this, a man who pursued her found out and found someone to kill me, but I was stabbed and injured my ribs.

At that time, the principal found out about this and expelled me, but I spoke on the Internet saying that I had been teaching for more than 30 years, and the school was not responsible after the accident, and I was expelled, and then threatened Na Yeqi's family, so she did not dare to testify.

Under the pressure of public opinion, the school had to let me go back to work, and even covered my medical expenses of 7 million.

In fact, I only injured a little rib, and the treatment didn't cost 300,000.

This time for Zhang Wufeng, just to see Wang Jinxiu actually look at him from time to time, and the eyes are very worshipful, I am naturally unhappy in my heart, the woman I fancy can still run away, even if it is Lin Qing of the Lin family, Sun Yunyun and Sun Shanshan of the Sun family, I will find a way to get it, I have made some plans for aphrodisiacs, and then the martyrs will become......"

There was silence in the whole arena, because these words were so shocking.

In addition to countless insider stories, there are also quite a few gray things such as murders.

And Zhang Wufeng took his mobile phone, and after recording everything, he just sneered, turned around and left.

And Wang Lao was angry and his body trembled, and as for Xue Yang, his face was already blue and he almost fainted.

"Want to step on me? Lao Tzu has ruined your reputation, and you will never be able to turn over" Zhang Wufeng sneered in his heart.