Chapter 563: Gluttonous Imprint [2]

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Gluttonous imprint

"Hehe, that's fine. Zhang Wufeng said with a smile, the other party really didn't think about it, but under normal circumstances, guarding against strangers is what some normal people should have, and Zhang Wufeng still wants to continue Taobao, so he doesn't want to run away with Xinjiang people too much.

As the two spoke, they had returned to the stall, and the tripod in Zhang Wufeng's hand was also temporarily held in his hand and played, and the young man from Xinjiang who was watching the stall had already run back to get something at the moment.

Although it is said that things are valuable, there are not many people who understand the value of this thing, and this thing is not a big guy, but a miniature version, and it is very convenient to bring it.

"Grandpa, do you think that 'Ding' is a real status symbol? So why are emperors all represented by 'dragons'? A familiar voice came, making Zhang Wufeng can't help but look over.

In the crowd not far ahead, a girl in yellow and an old man walked towards this side chatting and laughing.

"Hey, Zhang Wufeng, it's you, are you setting up a stall here?" When the girl saw Zhang Wufeng, she couldn't help but be slightly stunned, and then asked with a little surprise.

Although she scolded in the hotel a few days ago regardless of her identity, it was also because Chen Xingbin's words were too annoying, and Ye Qi, a girl, has always been her sister, although Wang Jinxiu also disapproved of Ye Qi's approach, but since she is a sister and her sister is bullied, she should come forward. But when I saw Zhang Wufeng at this moment, and I also understood that he had real talent and learning, his attitude became gentle.

As for the cute temperament, after all, people are people, they all have seven emotions and six desires, and it is impossible to be cute from beginning to end, and cute people will also be angry and sad, lost and hesitant.

"Well, Wang Jinxiu, you're here too, this is your grandfather." Zhang Wufeng said with a smile.

"yes, hey, what's in your hand?"

"That's gluttonous bronze." The old man replied with a smile.

"Well, this is the gluttonous pattern Fang Ding." Zhang Wufeng said with a smile.

"Did you buy it, young man? You have a good eye. "The old man's spirit is very strong, and there is appreciation in his eyes at the moment.

"Grandpa, this is the Zhang Wufeng I told you, he transferred to our department before, well, he is very knowledgeable." Wang Jinxiu said very cutely.

This girl, when she was in school, Zhang Wufeng paid attention to it, because this person looks very ancient, how to say it, just like the feeling that Xiao Guo Xiang gives people, she is indescribably pure and cute, but it is a little different from Xia Xiaoyan.

She is dressed in a goose-yellow velvet coat with a different charm, which has both a sickly weakness and a wordless gentle temperament, coupled with a pair of smart big eyes, she feels very good.

And at school, although Zhou Minghui is a few points better in appearance, this girl has more suitors.

"Hehe, it turned out to be Zhang Wufeng, looking up for a long time. Brother Zhang's strength is beyond doubt. Xiuxiu, didn't you ask why the gluttonous pattern is a symbol of status, but why is the symbol of imperial status a dragon? Hehe, little brother Zhang, you definitely know. ”

The old man said with a smile.

Zhang Wufeng smiled when he heard this. At this moment, he saw a lot of people gathered around, some of them were mostly attracted by Wang Jinxiu's beauty, and some of them were attracted purely because of this topic, and he immediately said: "Baoding is the important weapon of the Chinese nation in the Bronze Age.

In the Zhou Dynasty, the "Ding" of "One Word and Nine Dings" was an artifact and ritual vessel that symbolized the supreme kingship, and it was also a sacrificial vessel to worship the heavens and ancestors. Ding in the minds of the Chinese ancestors in the national 'totem pole' status, therefore, only the totem belonging to the nation is qualified to ascend such a lofty position and be engraved and cast on the Baoding heavy weapon.

This phenomenon reflects two problems: First, by the time of the Shang and Zhou dynasties, the Chinese nation was a dragon totem, and the totem worship legacy of the ancestors of the Yandi and Yellow Emperors may still exist. Because, Zhou originated in Xirong, and Xirong is mostly a nomadic people who worship wolf totems; Second, the 'dragon' at that time may not have been universally accepted and had not yet truly become the national totem of the Chinese nation. Otherwise, Baoding, a symbol of royal power, will definitely use the dragon as the main ornament. And at that time, Zhou Tianzi had not yet sat on the dragon seat, and at that time he still continued the nomadic legacy of Yan and Huang: sitting on the ground.

The ornamentation on the Zhou Ding is mainly composed of gluttonous patterns and moire patterns, with gluttony as the center, and moire patterns surround it. Obviously, the gluttonous beast was in the sky, poking its head out of the clouds and looking down at the world. Its body is hidden in the clouds. I don't know if there is a snake body or a dragon body, but if a dragon body is attached to the back of the gluttonous head, it will not be far from the later standard dragon. So, I think there may be a transitional stage of gluttonous totems between the wolf totem and the dragon totem. Gluttony has both the character of a wolf and the hideous face of a later dragon.

……

The true name and prototype of the mythical beast referred to by the beast face pattern have long been buried in the irreproducible era, and the descendants are given the name gluttony because of their fierce appearance, mysterious, terrifying, and some of them have human heads in their mouths. Gluttony was originally used in the Zuo Chuan to describe the unkind and unrighteous people who are greedy for money and gluttony, and modern scholars have pointed out that naming the animal face pattern as a man-eating gluttony is purely far-fetched and contrary to the social and cultural conditions of the Shang and Zhou dynasties.

Because of its ferocious and terrifying face and notoriety for its gluttonous nature, the beast is almost impossible to find in the evolution of Chinese culture and art. In the middle of the Western Zhou Dynasty, animal ornamentation, which had prevailed for hundreds of years, suddenly withdrew from the field of bronze decoration. However, several animal patterns that appeared on the bronze at the same time as the gluttonous pattern, such as dragons, tigers, phoenixes, turtles, etc., appeared in large numbers in the later cultural evolution, both official and non-governmental, and became the most famous mascots in Chinese culture, and the theme of artistic expression endlessly. Dragons, in particular, in the Bronze Age, mostly possessed the same ferocious faces as gluttonous patterns. In terms of mystery, might, and status, dragons were far inferior to gluttony in the Bronze Age. However, the dragon later ascended to the highest throne of Chinese cultural and political symbolism, and the supreme "glutton" of the Bronze Age is no longer to be found.

……”

Zhang Wufeng's words are quoted from the side, and he has his own opinions, and his words have made everyone's eyes light up, and at the same time, they feel happy and convinced.

In particular, Zhang Wufeng's words and confident and calm attitude made Wang Jinxiu admire in his heart.

As for his grandfather's attitude towards Zhang Wufeng, Wang Jinxiu also felt shocked

Wang Jinxiu's grandfather is a Ph.D. supervisor in culture and history at Peking University, and he also holds many titles such as professor, so it can be said that he is very famous in China

Take today, for example, I will give a thesis lecture on bronze animal face patterns in the evening

But is this such a person, and he actually respects Zhang Wufeng very much? Wang Jinxiu's heart couldn't help but feel a little apprehensive and excited, and a pair of big eyes suddenly fell on Zhang Wufeng.

"Little Brother Zhang, your understanding of this aspect really makes me a researcher who is ashamed and ashamed of the culture of the Shang and Zhou dynasties, in fact, it is very broad and profound, and most of the people who study this piece now do not have such a profound depth, although the accumulation and understanding of countless materials, the knowledge will definitely be very wide, but it is one thing to understand and understand, and it is another thing to come at hand."

The old man said with emotion.

"Professor Wang, in fact, when it comes to this aspect, it's just a hobby, I yearn for the culture of the Shang and Zhou dynasties, so I know a little more, plus I have a very good memory, so what I have seen, I will remember it firmly, so it is not a problem to come at hand, but it has little to do with erudition." Zhang Wufeng was a little modest.

"What you've seen, you'll remember?" The expression on Wang Jinxiu's face couldn't help but be a little strange, in Peking University, as we all know, her memory is not the best, but it is also one of them, but at her level, she has followed her grandfather for more than ten years to study hard, but for the culture of Shang and Zhou, although she is proficient in the heart, she can't do it on the side.

But what about Zhang Wufeng?

What did you say before?

"It is recorded in Cihai that gluttony is 'the legendary gluttonous beast. The shape of its head is engraved on the ancient bell and Ding Yi vessel as a decoration. "Cihai" said in the explanation of the word gluttony: "gluttony" is "greedy, "Hanshu. Lile Zhi": 'Greedy and dangerous' Yan Shigu Note: 'Greedy is very greedy. 'Specifically gluttony.

The Divine Sutra. The Southwest Wilderness Classic: 'There are people in the southwest, hairy, and pigs on their heads. Greed is as vicious, accumulating wealth without using it, and taking away people's grain. The strong take the old and the weak, and they are afraid of the strong and hit the single, which is called gluttony. "Spring and Autumn" glutton, Jinyun's untalented son. ’

"Left Biography. "The Eighteenth Year of Duke Wen" cloud: "The Jinyun clan is not talented, greedy for food, risky for bribes, greedy for extravagance, and not disgusted; Accumulation and accumulation, do not know the extreme; No distinction between widows and orphans, no compassion for the poor. The people of the world compare the three evils, which is called gluttony. ’

The so-called 'Spring and Autumn Period' in the "Divine Sutra" is this.

Lü's Spring and Autumn. First Knowledge": 'Zhou Ding is gluttonous, has a head but no body, cannibalism has not swallowed harm and his body, and he will repay him with words. ’

Song Luomi's History of the Road. The Legend of Chi You Note Yun: 'The god of Chi You Tianfu, the shape is not constant, three generations of Yi weapons, and many of them are like Chi You, which is the ring of the corrupt. Its image is in the shape of a beast, with meat wings. 'As he said, he is also gluttonous.

"Zuo Biography" said that gluttony is "Jinyun's untalented", and "Historical Records. The Five Emperors Benji collection quoted Jia Xuan as saying: 'Jinyun's family, surnamed Jiang, is a descendant of Emperor Yan, and he was also an official in Jinyun when he was the Yellow Emperor. 'Chiyou Jiang's surname is also a descendant of Emperor Yan ("History of the Road. Chi You Biography"), so Chi You is likely to be the 'untalented' gluttony of the Jinyun clan. According to legend, the gluttony is the head of the head that was cut off after Chi You was defeated by the two emperors of Yan and Huang, and it has the ability to devour all things, and was sealed by the Yellow Emperor with the Xuanyuan sword (the dragon pattern on the sword), and was guarded by the lion clan for generations (guarding the stone lion). and "The Classic of Mountains and Seas. The "roe deer owl" recorded in the Northern Second Classic, Guo Pu noted that it was the gluttony of "Zuo Chuan".

"Gods and Demons. Strange Beasts: There are evil beasts in the extreme south of Shenzhou, with four eyes and black skin, long necks and four legs, fierce sex, and extremely greedy. Traveling swiftly like the wind, it is a disaster. A kind of Jiaolong water beast, the head has a pair of horns, the whole life is surrounded by cold, most of them are blue-white, dozens of zhang long, sometimes mild and sometimes irritable, soaring into the air and stirring up several zhang water waves, mighty.

The Classic of Mountains and Seas. There is a cloud in the Beishan Sutra: "The mountain of Hook Wu has many jade on it, and there is much copper under it." There is a beast, its shape is like a sheep's body and human face, its eyes are in the armpits, tiger teeth and human claws, its sound is like a baby, its name is roe deer owl, it is a cannibal. ’

The Divine Sutra. There are clouds in the Western Wilderness Classic: 'Gluttony, the name of the beast, the body is like an ox, the face of a man, the eyes are in the armpits, and the cannibalism is eaten. ’

……”

There are many of them, but these, casually, really make Wang Jinxiu feel collapsed.

Of course she knows that this is not Zhang Wufeng's showmanship, because with a maid like Sun Shanshan, Zhang Wufeng's attitude is not half exaggerated and frivolous, so why would he show anything?

A person's temperament, etc., is very obvious, what to express, what purpose, words and deeds will always have a little flaw or flaw, and Wang Jinxiu is extremely smart, naturally has a strong ability to recognize people, although she also understands Ye Qi in her heart, but her impression of men is not good, so she didn't help her relatives before.

But at this moment, in the face of Zhang Wufeng's profundity, she felt ashamed.

It's a kind of intellectual gap, which makes it impossible to resist and break free.

And obviously, Zhang Wufeng is definitely not only good at this industry, because it is obvious that he just came here after Taobao picked up leaks.

How astonishing will the depth of the other aspects be?

Wang Jinxiu's heart suddenly bumped into her heart like a deer, and her pretty face was slightly flushed, she didn't feel shocked by her grandfather's high evaluation at all, but felt that such an evaluation was not high enough

"Xiuxiu, what's wrong, shocked?" The old man joked with a smile.

Wang Jinxiu suddenly came back to her senses, immediately blushed, and then said coquettishly: "Grandpa, you bullied Xiuxiu again, it's really annoying"

"Hahaha, it's rare that you also have a time when you're embarrassed, haha, your little ancestor also knows-"

"Grandpa, do you still want to drink?"

"Uh, yes, yes, drink, grandpa likes wine the most."

The poor old man was threatened, and suddenly gave up the rare opportunity to laugh at his granddaughter.

Zhang Wufeng looked at this scene with a smile, and suddenly felt that this scene was very warm.

Soon, the things were delivered, and when the young man took the things and handed them to Zhang Wufeng, the old man was not idle, he was also watching.

"Okay, 10 million, well, is it going to be a transfer, or is it a check?" Zhang Wufeng said with a smile.

"A check will do. Mr. Zhang, you are a learned person and a master, if you still can't believe it, then we will talk about what is the descendants of the Shang and Zhou dynasties, what antiques and family inheritance. The Xinjiang people said seriously.

"Well, it's ten million, you're very good at this thing, I'm very satisfied and I like it." Zhang Wufeng said, took out a check casually, filled it out, and handed it over directly.

"Ahh

The Xinjiang people's eyes widened suddenly, and after seeing that this was a check from the Tianfeng Group, he didn't have any worries.

"Little brother, your vision, good, good" The old man looked at the miniature version of Dafang Ding, and his heart was full of emotion.

"Professor Wang, if you like it now, I'll send you to study it in the evening, anyway, as far as our identity is concerned, money is a trivial matter." Zhang Wufeng said with a smile.

"That, that's thank you, little brother, at six o'clock in the evening, we have a thesis speech on bronzes, do you want to listen to it, this speech, I said, although it is not as proficient as you are little brother Zhang, but there are some aspects, you can still learn it."

Professor Wang said gratefully.

"Well, okay, I'll definitely go then."

"Well, here's the business card and the invitation card, the address is on the invitation card, of course, the address is in the academic lecture hall not far from here......"

Professor Wang said excitedly.

In fact, he couldn't determine the authenticity of the bronzes, because if this thing was fake, it would be difficult to distinguish without instruments.

But with Zhang Wufeng's identity, he is so determined, he doesn't doubt it.

If this trumpet's Fang Ding is real, it is really not a matter of tens of millions, it is a subversion of something special.

After Zhang Wufeng and Professor Wang separated, they then Taobao got some jade wool, as well as some special things containing spiritual imprints, because considering the trouble of transferring money in batches, Zhang Wufeng simply bought it together and then asked seven or eight people to follow and transfer it together.

In this way, Zhang Wufeng and his entourage bought more than ten things.

But among these things, only Fang Ding is the most precious.

After leaving Panjiayuan and coming to the academic lecture hall, he just said his name, and suddenly, no one inquired about Zhang Wufeng's invitation card, so he directly took Zhang Wufeng to a very large conference room like a lecture hall.

Here, there are many old people already sitting together, and they are discussing some issues carefully.

Zhang Wufeng, on the other hand, was playing with Fang Ding in his hand, and then put Fang Ding on the inside of the conference table when people were not paying attention, and then used the internal strength and the Sky City Exercises to start absorbing them.

The process is not difficult.

But the benefits of this process to Zhang Wufeng are huge.

The gluttonous imprint, because it was the representative of the emperor in the Shang and Zhou dynasties, and these things, obviously, are things worn and owned by the emperor, which are equivalent to the power of the dragon vein

But there is one thing that others would never think of, and that is the cultural system of the Shang and Zhou dynasties.

At that time, there were allusions such as King Wu's war, and there were mythical stories such as the list of gods, at that time, the Ninety-Five Supreme was really born in response to the mandate of heaven, and the symbol of the emperor at that time, its potential, how huge

"Sneer—"

"Sneer—"

The two gluttonous imprints suddenly penetrated into Zhang Wufeng's body, originally there were five dragon vein powers, but at the beginning, for the birth of his son Zhang Reincarnation, the power of these dragon veins had been completely consumed, but at this moment, the two gluttonous imprints directly made the power of the dragon veins that had been consumed completely restored, and even went one step further

At this moment, at this moment, Zhang Wufeng used the energy of this gluttonous imprint to remove the coating on the outer layer of the other small square ding, and then revealed the true benefits inside.

However, the gluttonous imprint has disappeared, for Zhang Wufeng, this thing is no longer very useful, but for ordinary people, without the spiritual pressure of the gluttonous imprint, this thing is more dazzling and attractive.

Maybe that's the difference in realm.

For this, Zhang Wufeng sighed with emotion, and in this way, he just gave these two things to Wang Lao.

Professor Wang Lao Wang is also a person who really does learning, otherwise, Zhang Wufeng would not have given it to him, in fact, when Zhang Wufeng said allusions before, he also deliberately said more, of course, this is not a performance, but just an examination of Professor Wang's ability, but after knowing his knowledge, the other party still let him participate in academic speeches, so it seems that Professor Wang must be a real cultural person.

And for such a person, Zhang Wufeng only has respect in his heart.

"Little Brother Zhang, you're here. It's good to come, I'm afraid you won't come. ”

Professor Wang said enthusiastically, and at this time, the other old men who were discussing also looked at Zhang Wufeng.

"Elder Wang, take these two."

"Haha, okay, okay, this thing, after I report it to the state, check out the value, and it will definitely be compensated at that time, don't shirk it, although my old king loves these things, but these are your private ones, once handed over to the state, the country will naturally not let you suffer."

……

After talking to Zhang Wufeng for a while, many old men watched the little square tripod carefully, and then Wang Lao walked onto the podium.

“……

The animal face pattern was widely used in the Shang Dynasty and the early Western Zhou Dynasty sacrificial heavy vessels, and was the most common and one of the most important ornaments on Shang and Zhou bronzes. The early bronze animal face pattern of the Western Zhou Dynasty should be the imitation and inheritance of the style of the merchant by the Zhou people, and the animal face pattern mainly reflects the ideology of the merchants. Ideology will be integrated into the production of ornamentation, and ornamentation will become the material carrier of ideology. Because the animal face pattern has a non-negligible position in the discussion of Shang and Zhou society, culture and ideology, it has constantly aroused scholars' discussions on its meaning. Combined with previous research, we believe that the Shang and Zhou bronzes represent the supreme god in the minds of the merchants, God. The extensive use of animal face patterns in the Shang Dynasty reflects that the Shang Dynasty was a society with a pervasive divinity.

Bronze ware is an important symbol of Shang and Zhou social civilization, almost every bronze ware embodies the talent and creativity of the people of the time, not only become an outstanding work of art, but also become a valuable material that cannot be ignored in the study of Shang and Zhou history. In the study of bronzes, the ideas contained in the ornaments and the changes in the ideas reflected in the changes in the ornaments are relatively backward compared with the studies of other aspects of bronzes. Moreover, the ornamentation is mostly used as the basis for the dating of bronzes, while ignoring the ideas contained in it. We believe that we should not ignore the study of ornamentation, because the ideology of that time will be integrated into the production of ornamentation, and ornamentation will become the material carrier of ideology.

Of course, the current state of bronze research is in line with the internal logic of academic development. Without the study of the artifact itself, it is impossible to penetrate into the ideas contained in the artifact; Without an accurate dating of the bronzes, it is impossible to understand the ideology of that era through the ornamentation. It is on the basis of the continuous research of our predecessors that we can stand on a higher basis today to discuss the ideas and concepts contained in the bronze ornaments of the Shang and Zhou dynasties.

In the Shang and Zhou Dynasty bronze ornaments, the most widely debated, the most charming, and the most influential is the animal face pattern. The animal face pattern, formerly known as the gluttonous pattern, was first seen in "Lü's Spring and Autumn Period". Lü's Spring and Autumn. First read the fourth": 'Zhou Ding casts gluttony, has a head but no body, cannibalism is not swallowed, harms his body, and repays it with words, and it is also bad for it. Later generations have been using it, such as Lu Dalin in the Song Dynasty in the "Archaeological Map": "It is also a dragon and tiger in the Ding text, with a beast face, and a gluttonous elephant". Until now, some people have insisted on using the word gluttonous pattern when the functional meaning of the ornament is not clear and clear, and it is not advisable to replace the original name with another inferential name. However, the gluttonous pattern is not the self-named name of the merchant, modern scholars through the in-depth study of this ornament, mostly deny the scientific nature of the name of the "gluttonous pattern", especially Mr. Ma Chengyuan in the "Shang and Zhou Dynasty Bronze Decoration Overview" article is to resolutely abandon the "gluttonous pattern" and replace it with the "animal face pattern". And when Mr. Ma Chengyuan presided over the work of the Shanghai Museum, the bronze hall of the Shanghai Museum all used animal face patterns, which played a great role in the publicity and promotion of "animal face patterns". Nowadays, scholars are more inclined to use the term "animal face pattern". And in my speech this time, I also used 'animal face pattern' instead of 'gluttonous pattern'.

This time, thanks to Zhang Wufeng's friend......

The animal face pattern reached its peak from the late Shang Dynasty to the early Western Zhou Dynasty. The early bronze animal face pattern of the Western Zhou Dynasty should be the imitation and inheritance of the style of the merchant by the Zhou people, and the animal face pattern mainly reflects the ideology of the merchants. Wuwang Keshang is a "small state Zhou" and a "Dayi merchant". The Zhou people were clearly unprepared for the sudden victory. The Great Edict describes the appearance of the Zhou people in this way: "If the boy wades into the abyss, he will seek help", showing a sincere and fearful look. And the Yin remnants did not accept the rule of the Zhou people convincingly, and they always waited for the opportunity to restore the rebellion. The victory of the Western Zhou Dynasty was the subjugation of the tribes with lower culture over the tribes with higher culture, which led to the phenomenon of the assimilation of the lower culture by the higher culture. Marx once said: 'Barbarous conquerors, according to an eternal law of history, are themselves conquered by the higher civilization of their subjects. This law is embodied in the relationship between Shang and Zhou: politically, the Zhou people conquered the Yin people; Culturally, the Yin people assimilated the Zhou people. In this way, the Zhou people will undoubtedly learn advanced culture from the Yin people. In the early Western Zhou Dynasty, a large number of Yin relics must have a nostalgia complex for the original culture. This is reflected in the bronzes of the early Western Zhou Dynasty and even the middle of the Western Zhou Dynasty. At this time, many craftsmen of the Zhou royal family were Yin relics, so the Zhou people completely imitated and inherited the style of the merchants on the early bronzes. It was not until the middle of the Western Zhou Dynasty, due to political stability and cultural maturity, that the style of the Zhou people was truly reflected in the bronze. Although the ornamentation on the bronzes of the late Shang Dynasty and the early Western Zhou Dynasty is almost the same, it cannot be assumed that the Zhou people and the Shang people had the same ideas and concepts at this time. Because there is a certain process from the formation of ideas to the formation of artifacts that reflect thoughts, coupled with the change of dynasties and special social backgrounds, the bronze ornaments in the middle of the Western Zhou Dynasty truly reflect the ideological concepts of the Zhou people.

The main ornamentation of Shang Dynasty bronzes is the animal face pattern. The animal face pattern was widely used in the sacrificial heavy weapons of merchants, which undoubtedly reflected the ideology of merchants. Although Lü's Spring and Autumn Period is the earliest to clearly record the animal face pattern, its interpretation of the meaning of the animal face pattern seems to be debatable. As we all know, the book "Lü's Spring and Autumn Period" was compiled by Lü Buwei and his disciples, and the purpose of compilation was to serve the Qin Dynasty, which was about to unify the world, and it can be regarded as a book to guide political operations, and the book was still compiled after Lü Buwei's death, so the historical authenticity of the book is inferior to the political nature. Among the animal face patterns we have seen in a large number of archaeological discoveries, only a few have no heads. This can also prove that in the era in which the editors of "Lü's Spring and Autumn Period" lived, there were not many sacrificial heavy weapons of the Shang Dynasty that they had seen, and the animal face pattern had withdrawn from the dominant position of bronze ornamentation. They no longer understand the specific meaning of this ornamentation. Therefore, they put forward the educational function of the animal face pattern, but they could not correctly reveal the ideological connotation represented by this pattern.

But what kind of thinking does the animal face pattern represent? When the Japanese scholar Hayashi Naifu studied the animal face pattern on the bronzes of the Shang and Zhou dynasties in China, he believed that the animal face pattern was the sun god of the Hemudu culture. The image of this sun god is 'a pair of back-to-back birds with a shining circle behind them, from which protrudes a three-pointed shape, in which there are also longitudinal thin lines' and 'a pair of birds with their necks turned upwards, and at the intersection of the necks there are circles inlaid with concentric circles, and the upper part of the circle protrudes with something like a flame.' The circle with the radial linear flame is undoubtedly a celestial body, and the three-pointed or one-sided convergence is the light seen during the eclipse, so that the image of the sun god supported by a pair of birds can be seen as a whole. Lin's comparative study of the animal face pattern of the Shang and Zhou dynasties with the decoration of prehistoric societies should be said to be desirable in terms of methodology, but he believes that the animal face pattern is the sun god of the Hemudu culture, and no solid evidence can be found in archaeological excavations and ancient documents. We should also look to the early literature for answers. The third year of Xuangong recorded a passage from Wang Sunman: "In the past summer, there are virtues, distant pictures, tribute and gold and nine herds, casting tripod elephants, and preparing all kinds of things, so that the people know the traitor." Therefore, when the people enter the mountains and forests of Sichuanze, they are not lucky; Nothing can be met. Use energy to cooperate up and down, so as to rest all day long. This is one of the earliest records in the literature of the meaning of bronze ornamentation. It has been cited by almost all scholars who have studied bronze ornamentation, but their understanding is not the same, or even very different. The reason for this lies in the different perceptions of cultural backgrounds. Zhang Guangzhi said in his "The Evolution of the Relationship between Man and Animal as Seen in Shang and Zhou Mythology and Art": "In the early Shang and Zhou dynasties, the function of mythical animals was to communicate with the world of human beings and the world of ancestors and gods. Ritual bronze vessels were clearly used for ancestor worship ceremonies at the time, and were buried with those who went to join the ranks of their ancestors after death. Therefore, it is not difficult to understand that the castings on these bronze vessels are mythical animal ornaments that serve as a medium for communication between the human world and the world of ancestors and gods, and it is not difficult to understand that Zhang later combined it with modern shamanism to arrive at the 'shamanic psychic theory'. The scope of influence of this theory involves various fields such as archaeology, history, and art, and there are many people who agree with it. However, its conclusions are still unsatisfactory and have been discussed by scholars. Mr. Yu Weichao believes that if you worship 'all kinds of things', you can resist the infestation of ghosts, so that 'you can't meet the charms and ghosts'. Then the image on Xia Ding should be the gods who dispel the 'charm and spirit', and the image of the deified animal that can be seen on the bronze ware of the three generations is of course the symbol of the gods. In the above remarks, we basically agree with Mr. Yu's view. How should we understand Wang Sunman's words? How can the things cast on the top of the Ding make the people know that they are treacherous? How to make the people enter the mountains and forests of Sichuanze, it is not as good as it; Nothing can be met? How can we work together to rest all day? If we look at it in the way of primitive thinking, Wang Sunman's words will be easy to explain.

Lévi Bleuer argues that primitive thinking is fundamentally different from modern thinking, and that it is a mysterious, protological thinking based on collective appearances governed by the law of interpenetration. According to the principle of "interpenetration law", the reason why the things cast on the tripod can play such a large and huge role is that it is 'interpenetrated' with the people. Because of the omnipotence of God, the things cast can know the gods and treachery, distinguish good and evil, so that the people will enter the mountains and forests of Sichuan, will not encounter demons and monsters, and will be in harmony with the top and bottom, so as to be blessed by God.

After analyzing Wang Sunman's words from the perspective of primitive thinking, we believe that the animal face pattern represents the 'god' in the mind of the merchants. Among the many animal face patterns, we can see that many of the so-called animal face patterns are not the same. Such as changes in the ears, the presence or absence of teeth, etc. But at a cursory glance, the structure between the whole is very similar, so they are collectively called animal face patterns. The whole animal face pattern cannot be found in nature, but the various parts that are broken down are indeed part of various animals in nature, although some are exaggerated. If these different parts are constructed in a fantasy way, is it still an animal? We believe that the combined figure is no longer an animal, and certainly not a human, but a 'god' in the mind of a merchant

The Book of Rites. The "Epigraph" specifically commented: "Yin people respect God, lead the people to serve God, first ghosts and then salutes, first punish and then reward, respect but not kiss." The defeat of its people is unstable and unstable, victorious and shameless. 'Respecting the gods and leading the people to serve the gods was an important feature of the Shang Dynasty society. This is also reflected in the oracle bone inscriptions of the Shang Dynasty. For example, it can be seen from the above divination that the Shang Dynasty almost all had to carry out divination. From expeditions and sacrifices, to travel, rain, sickness, and many other things in life, ask about God's will. In the Shang Dynasty, there was a weekly sacrifice system with frequent sacrifices. Worship, as a major event of the state, was very important and sacred at that time. As a sacrificial vessel, the ritual vessel should have its rich ideological connotation, and the ornamentation cast on such an important vessel must occupy a prominent position in the minds of merchants.

'Yin people respect God', the status of the supreme god in the hearts of Yin people is undoubtedly the most important. How to understand the supreme god of merchants? Mr. Wang Hui said: "The God of the Yin people is the supreme god of the Yin people, and it is the main god of the Yin people who combines the ancestral gods with the natural gods. As the ancestral god, the god of the Yin people is the emperor, that is, the ancestor of the Yin people; As a god of nature, imperial power is combined with the worship of the sun and moon gods, and God rules over the gods of storm, clouds, and thunder. The combination of ancestral gods and natural gods was a characteristic of the imperial power of the Yin Dynasty. 'The union of the ancestral gods with the gods of nature itself brings great ambiguity, mystery and uncertainty to the image of the supreme god, and it also provides great freedom for the casting of his materialized image, so that the animal face pattern shows a kind of overall similarity in casting, but its partial depiction is varied. As for the detailed changes in the animal face pattern, such as the change of the ears, it may be related to the totem worship of various tribes, and we believe that the Zhou bronze animal face pattern represents the supreme god God of the Yin people.

Combined with the religious beliefs of the merchants, it seems not an exaggeration to understand the animal face pattern as the supreme god in the minds of the merchants. The animal face pattern in the early Western Zhou Dynasty was the imitation and inheritance of the Zhou people to the merchants, and the significance in the history of thought was not very significant, and the ornamentation in the middle of the Western Zhou Dynasty reflected the ideological concepts of the Zhou people. In the middle of the Western Zhou Dynasty, the ornamentation of bronzes was dominated by abstract ornaments such as plagiarism and ring patterns, as well as realistic ornamentation. Compared with the animal face pattern, the realistic ornamentation is no longer so mysterious, so that people can not walk in, but there is more breath from life, giving people a fresh feeling. The biggest difference between the realistic ornamentation and the animal face pattern is that it is a realistic or exaggerated or abstract representation of a specific animal that exists in nature, rather than a fantasy combination of multiple animals, which is a key transformation. The fantasy combination of a variety of animals highlights not reality, but fantasy; The realism or abstraction of a concrete animal highlights the reality rather than the fantasy. Of course, this huge change is not groundless, it is the change of the actual social conditions at that time, which led to the change of ideology and concepts, and further materialized on the utensils.

During the Spring and Autumn Period and the Warring States Period, the internal essence of bronze ware was alienated in terms of shape, decoration, craftsmanship, and ornamental content. Bronze ceremonial instruments have gradually transformed from artifacts for worshipping gods and ancestors into luxury goods used by wealthy nobles on ceremonial occasions and family banquets. These phenomena strongly indicate that humanity has been revived in this era, and society has shifted from an era of divinity to an era of human nature. From the original animal face pattern to show respect for gods and ghosts, the society with divinity has moved towards paying attention to reality and paying attention to reality, and then developing to highlight human nature, completing the return from divinity to human nature. This return from divinity to humanity laid the foundation for the future development model of Chinese culture, and enabled China to embark on a completely different development path from the West, that is, to focus on the world on this shore and less on the world on the other side.

Combined with the research results of our predecessors, we discuss the meaning of the Shang and Zhou beast face patterns from the perspective of thinking and religious beliefs, and conclude that the Shang and Zhou bronze animal face patterns represent the supreme god God in the minds of the merchants. Through the comparison of the bronze ornaments of the Shang and Zhou dynasties, it can be seen that compared with the bronze ornaments from the middle of the Western Zhou Dynasty to the Warring States period, the animal face pattern mainly shows divinity, and its extensive use in the bronzes of the Shang Dynasty reflects that the Shang Dynasty was a society with diffuse divinity.

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