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Text: Gao Minsheng
Piles made of blue stone carvings stand solemnly in front of the audience's farmhouse. The ups and downs of history can't erase its vivid Shen Feng in Gu Zhuo. It is still a secular human touch and still reveals the martial character of Qin people. Broken statues symbolize thousands of years of national vicissitudes; The mottled pile presents an attractive mystery. There is no written record in the history books. Just because of the craftsmanship of folk craftsmen, magnificent Buddhist grottoes and famous royal tombs, the creators have no right to engrave their names, not to mention the residual stones scattered in the hinterland. "It's no use burying the dust again, but you can still sing every night." It is gold and always shines.
Starting with the intuition of modeling, collecting historical materials and investigating its evolution process may be beneficial to the study of the history of China folk sculpture.
Over the years, the word "tying a horse" seems to have been recognized by the academic community. But as one of the investigators, my heart has been restless. Because from the modeling style, they are not the products of the same period. Not every village and household has such piles, nor is the structure and height of each pile convenient for tying horses. If it is designed for tying horses, it is not a stable in front of the door. The "cross courtyard" on the side of the yard is a building specially for horses. On the street wall of the quadrangle, there is an iron ring embedded in the wall, which is more than one meter high and is specially used to tie horses. Tying the horse in front of the door is only a temporary and cheap use. It seems unreasonable for farmers who live a frugal life to carve stone piles for temporary tying of horses.
Since human domesticated wild animals, primitive productivity has been further liberated. Horses are the first of the six livestock. Zhou Li Xia Guan says: "Twelve or six kinds of horses are free on Sundays." (all: planting, tolerance, uniformity, knife, field, crossbow) The horse industry is prosperous and the horse administration is sound. If you have a picture of tying a horse to a stake for testing, please see Han Gan's Night White Picture in the Tang Dynasty. Draw a horse that Xuanzong Bao loves, unwilling to be tied to a stake in the forest and struggling to break free. This pile is polygonal, with a fixed iron ring, flat top and no decoration, and it is difficult to distinguish wood from stone. "White Horse Map" is painted with 13 tied horse piles, which were anonymous in the Northern Song Dynasty and were more than 2 meters high. The circular decoration of the pile is like a wooden stick, which seems to have evolved from the sentry box of the Tang pavilion or even the earlier "table wood". In the Yuan Dynasty, Ren Renfa painted a hexagonal column at the head of the trough, and the top of the column was decorated with lotus flowers and hammer clouds, which was basically close to the Weibei stone pile. All three pictures are officially stipulated, and the shapes are simple and flashy. It can be seen that there is a legacy in ancient times. However, the stone pile standing at the entrance of the dry farmhouse is quite exquisite, and the pile is carved with auspicious patterns. Most of the piles are for Hu people riding lions. Its form is different, interesting and the most distinctive. Statues are all facing the door, such as welcoming guests, the number of vertical piles in the house varies, and the pile position varies with the direction of the door. These facts, which make it impossible for local villagers to tell the truth now, seem to hide the profound meaning of the original incident. To solve this mystery, we must first make it clear that the stone pile is a small sculpture attached to the door of a rural residential building and belongs to the external space of the building.
The feudal society in China emphasized that "there is a distinction between honor and inferiority, and there is a distinction between upper and lower, which is called ceremony". Take the palace at home as a "ritual vessel". Ethics is based on etiquette and pays attention to the identification of residence and various symbols, metaphors and even taboos. Since the Qin and Han Dynasties, there have been stone sheep, Shi Hu, stone men and stone pillars in front of people's graves, so the front of the tomb and the ridge of the tomb have been decorated as symbols of their lives (The Story of the Feng Family Sheep and the Tiger in the Tang Dynasty), and the stone pillars are also called watchcolumns. "Cihai" "The fifteenth day of the first lunar month, facing the sun and the moon; The surname highly valued by the branch secretary is Betty Wong. "An aristocratic family is an aristocratic family. In the Tang Dynasty, Liu Yuxi looked at the tomb of King Chu Ping and wrote a poem with the title "A stranger looks at the Stone Forest, and a China watches through a thunderbolt in the air". Huabiao, a commemorative stone carving symbolizing the majesty of imperial power, is set in front of the pavilions of Shen Dao and Song Yongling in the Tang Fuling. " China people, talent, literary decoration, Song Xianzhi's meaning, China people's stomachs are descendants. "Huabiao is a symbol of noble status. Cui Bao's solution to the question and answer of ancient and modern notes in the Jin Dynasty originated from Yao Shi's "Slander Wood". " Road payment qu Shi Yan. Or it is called table wood to show that the king can be royal and also to show the way. "The existing Xiao Jing tomb table in the Southern Dynasties is simple and beautiful. If the square seat of the pile foundation is removed, the square card engraved with the tomb name in the column body is connected with the exorcism model at the top of the double column. Its simplified shape is similar to that of later China watches, and it has the functions of identification, exorcism and decoration. It should be a table pile or a different body of China table.
"Isomorphism of modes" is one of the greatest features of traditional architecture in China. Whether it is a yin house or a yang house, "the soldiers in the world are second only to States, counties, cities and even mountains, but wherever people are, they are all role models." Driven by the psychology of climbing high, regaining position and showing off wealth, aristocratic families in rural areas degraded themselves to imitate the Chinese style and set up sentry posts in front of Yangzhai to show their family background. This is the origin of folk "tying horses". Now there is a house, either ancestral or homestead changed hands. The local villagers alleged that it was "the ancestors who had the ability to make a fortune" who stood "watching the pile". It means not only that there are many animals in a big family, but also that the ancestors of these families are people with social status. It should be the original meaning of the pillar in front of the door, or the folk universality of the prototype of the "watchtower".
The second meaning of the stone pile is the town house. In the feudal society with underdeveloped science, low productivity and ignorant cultural thoughts, natural disasters and man-made disasters beyond the control of human resources are the breeding grounds of evil spirit culture in China. As the noumenon consciousness of human life, social psychological students who seek good fortune and avoid evil send out all kinds of superstitious worship and taboos. Based on the geographical environment, "Feng Shui" (secular "Feng Shui") attached to Yin and Yang, Five Elements and Eight Diagrams came into being, which is actually ancient environmental psychology. Before building a house, the geomantic theory "Grand Tour Year Method" was the most popular among the people since Ming and Qing Dynasties. If we refer to this theory and combine the directional construction of Weibei farmyard and Shidui, the intention of the town house is obvious. The door is the hub to ensure anger. "Harmony is auspicious, while occupation is empty and hostile." For example, the south gate is a little auspicious. Clockwise, the right southwest is Kun, corresponding to Yin, and the five elements belong to water, which is "six evil spirits and two evil spirits". According to the spell-bearing method, setting "Taishan Shi Gandang" in the fierce position can ward off evil spirits. "Famous families, where the door, alley, village head, all set stones to block evil." Using "Lingshi" to build a town house is the most common witchcraft among the people. It was first seen in Ji Jiu Pian, a historical tour in the Han Dynasty. Tang Yan's Shigu explained that there were many stone men in ancient times who were "respected by later generations". "Dare to be the first" means "be in an invincible position". In the eyes of the ancients, stone has supernatural power, "life is not as good as gold." Mount Tai in the east is the first of the five mountains. "Mount Tai is at the top, and all ghosts rest."
According to this, whenever the street gate faces south, the stone pile will stand on the right. Large households in Chengcheng County set up four rows on the right of their brothers in the south, just like the guards in the forest. The place north of the street gate is a hurdle. The six evil spirits in the northwest are the second fierceness, and the five ghosts in the northeast are the fierceness. There must be two symmetrical stone piles on the left and right sides of the street gate, which should be "left Qinglong, right White Tiger". Just like King Kong, the guardian of the gate of the Buddhist temple, commonly known as the Second Commandant, guards the peace of the master (a pair of "Eight Yi Jin Bao" stone piles stand in front of Lian Ruozu's house in Nansuku Village, Chengcheng County, for example). The east side of the street gate is the place where the earthquake occurred, and the northeast side is the "six evils". A stone pile must be erected on the left side of the gate. The door faces west, so there are no stones because it is auspicious on the left and right. Although the local villagers don't know the reason for setting up the pile, they call it "town affairs", which is the embodiment of this feng shui belief. From this, it is not difficult to understand why there are so many divisions in the carving at the top of the pile. This is a prayer to use the power of the "king of beasts" who can eat tigers and leopards to deter evil spirits.
Art always comes from a specific cultural model. In Weibei rural areas, especially Hancheng, Heyang, Chengcheng, Baishui, Fuping, Dali and other places, the image of Hu people can be seen at most. This special artistic phenomenon must be investigated from the history of national development.
Guanzhong, Shaanxi Province has experienced many wars and turbulent regimes in history, and the process of great integration of all ethnic groups is long and complicated. During the Jin and Tang Dynasties, the Han nationality who lived in Di, Xianbei and Turkic nationalities and "the land" changed from nomadic life to agricultural settlement life after migration, mixed residence and marriage, accepted the Han culture with Confucianism as the main body, changed to Han surname, and gradually assimilated with mixed blood. Jin and Yuan dynasties ruled Guanzhong for more than 240 years. Tibetans, Jurchen, Mongolians, Semu people (including Uighurs) are mostly integrated with the local Han nationality. "Savage conquerors are always conquered by the high civilization of the conquered nation", and Marx profoundly revealed this historical law. The monument of "One Hundred Artificial Elephants of Hefang Yizhi" unearthed in Weinan in September of the second year of Wucheng in the Northern Zhou Dynasty, the three-year iron bell of Jinmingchang in Chengcheng County, the Menghan Monument in Heyang County in the Yuan Dynasty, the pucheng county Menghan couple's burial tomb and its murals are all evidence.
However, the sinicized grassland nomads still accumulate their own ethnic genes in the "collective unconsciousness", which is a cultural accumulation passed down from the race. Martial arts spirit is still stubbornly flowing in the blood of Chinese descendants, and the cultural ghost of ancestors has turned into an ancestral complex, which is hidden in the memory of future generations. According to Jung's psychoanalytic theory, this kind of "collective unconsciousness" is presented in the form of "original images", and the original images are all vivid. It is still hidden in the deep layer of everyone's unconsciousness, and it is the warehouse of human ancestors' memory traces. This kind of memory trace has accumulated into people's psychological structure and brain nerve types, which, like the morphological structure of the human body, is left over from generation to generation. Northern grassland nomads who believe in Shamanism fear heaven, Huns have the habit of worshipping heaven with golden statues (idols) symbolizing gods about ten feet high, and Tuoba of the Northern Wei Dynasty worships heaven with "forty-nine wooden statues, Xu, skirts and ponytails" and "Shi Lao Zhi"; Xianbei has the custom of "casting a statue of Bujun", "The Biography of Lu Wei in Nanqi"; Turks have the habit of setting up stone statues to make meritorious deeds and a statue of the undertaker beside the tomb. In Weibei rural area with a long history of sinicization and relatively concentrated social groups, the refined and polite folk customs contain brave, bold, rough and simple temperament. As a folk sculptor of Hu people, the heritage of the custom of carving wood and casting gold statues in Hu people has been repeatedly valued. It is this "collective unconscious" artistic behavior that is inevitable for the assimilation of grassland, wheat and millet vitality. People who have lived in Guanzhong for generations can't tell the clan of their ancestors, and no one dares to say that they are pure Han Chinese. The historical fate of consanguinity and geographical relationship conveys desolate, mysterious and wild life information on the stone pile of Hu people's statues, and at the same time it is filled with peace and warmth of farming life.
If Hu people are good at controlling, building piles and tying horses is also a kind of "collective unconscious" behavior, and the shape and use of stone piles are not limited to this. Jin and Yuan dynasties ruled Shaanxi for a hundred years and practiced military feudalism. History: The provinces in the early Yuan Dynasty were basically the same as those in the late Jin Dynasty, and they were temporarily set up for military operations. The armies of the Yuan Dynasty were organized into 10 households, 100 households and 1000 households according to the decimal system. "When you get on the horse, you will prepare for the war. When you get off the horse, you will gather for grazing." At the end of Yuan Dynasty and Song Dynasty, it took 85 years to set up Wandu Prefecture in Shaanxi, and this military system continued until the end of Yuan Dynasty. Due to the strong resistance of the people in the conquered areas, the rule was not consolidated and soldiers were used for a long time. Even if the group cavalry is widely assembled or set up a post station, the uncertainty of its military behavior will inevitably lead to the temporality of daily facilities. It will cost a lot of money to carve gorgeous stone piles just to tie horses, which does not have the necessary conditions subjectively and objectively.
According to historical research, Buddhism prevailed in the Yuan Dynasty. In the Tang and Song Dynasties, the old system of placing halberds on the official residence was abolished, and stone lions were decorated on the official residence, instead of hanging peach symbols or painting door gods on the door during the Spring Festival. Lions are auspicious animals in Buddhism. They evolved into lion dances in the Northern and Southern Dynasties and became popular among the people. There were lion dances in court dances, religious dances and folk dances in the Yuan Dynasty. Most of the "Lion Langs" who lead the dance are conference semifinals. Lion dance is full of energy and charm, and contains symbolic spirit. The owner asked the folk sculptor to permanently put the image of the Hu people riding the lion on the stone pile and stand at the "ventilation" door, which seems to have the dual spiritual meaning of town house and charm.
Wangzhuang is quite ingenious in plastic arts, unique in style and very attractive, including its own artistic language. China's traditional sculpture is subject to the laws of painting. As a three-dimensional sculpture of a circular sculpture, its creation began with the line drawing "chalk book" of two-dimensional space. Folk sculptors choose materials and cut according to the graphics, and expand their spatial imagination on the basic modeling of the plane. This modeling method takes the line element as the modeling concept, because it determines the linear characteristics of traditional carving in China, and forms a visual effect that the front of the round carving is fully depicted and the back is relatively flat. The stylized modeling of the theme figures with flowers piled on the front and the front method conforms to the psychological set that Chinese people are used to watching from the front.
From the theory of "architectural psychological field", a pile is a "point" field, and the people at the top of the pile near the gate are like welcoming guests, forming a centripetal psychological gravity field in the surrounding space, which first attracts people's attention to the front of the gate, just like the sound of gongs and drums at the beginning of the opera.
Generally speaking, the pile body is square and the top of the pile is round. "The rounder governs the body and the potential rotates; The square is rectangular, and its posture is also self-satisfied "(Liu Xie's Wen Xin Diao Ding Long's) contains the symbolic meaning of" the sky is round and the place is round ",and the overall shape is quite beautiful and bright. In detail, the front of the pile body is embossed and spread with Schumann's lotus scroll grass pattern to make it rise vertically, and the end is embossed with a horizontal rectangular Tianma, golden pheasant Ji Xiangwen or brocade symbol to form a vertical and horizontal short lining; The pile neck transitions from lotus to drum pier, such as leisure; On the top of the pile, round carvings and line carvings are used to carve the manners of Hu people controlling lions or riding horses, which makes the outline of the main body protrude out of the void and is particularly eye-catching and vivid. Its spatial division ratio is very particular about rhythm, Zhang Chi is moderate, concise and appropriate, the contrast between straight and curved, the combination of rigidity and softness is full of the beauty of music rhythm.
Folk sculptors use the rule of conformity and the characteristics that the diagonal of the quadrangle is longer than the side to arrange the front of the main image in the diagonal position, thus expanding the carving space without exceeding the quadrangle of the pile. In vertical vision, it receives the trend of horizontal opening, which makes the statue look full of atmosphere and symmetrically misaligned with the corners. Produce the dynamic beauty of torsion.
Take humans and lions for example, their heads are generally located on the vertical extension line of a square angle, and the theme image dynamically tilts forward from the center of gravity on the central axis, showing a vertical right triangle, thus strengthening the dynamic situation and causing an offensive effect on the positive image. In the dynamic structure of man and lion, everyone is positive, while the lion's head looks around, moves forward in silence and changes in fairness. Although the lion's head is bigger than the human head, it is relatively weak because it is alone at the highest point of the statue and obtains a striking position. In the proportion of people, the head length is less than 1/3, which is only interesting and not grotesque. Folk modeling emphasizes the big head and weakens the waist ratio, which stems from the traditional concept. "A leader is a shrewd master" (Huang Wen). "The head is in the hands of the gods, and it is as round as the sky (Spring and Autumn Period and Yuan Mingbao). The head is the focus of vivid expression, and exaggerating the head is intended to create a visual stimulus, which is a subjective strengthening of the mental characteristics of the image. China's ancient art formation system pays attention to the metaphysical spirit of freehand brushwork, disdains to imitate nature, takes people as the foundation, and pursues the ultimate goal of "harmony between man and nature". The elegant beauty created by the traditional freehand brushwork spirit has shown amazing elegance in the modeling of "storytelling figurines" in the Eastern Han Dynasty.
The similarity of stone pile modeling is also an important factor of its artistic charm. The "great harmony" formed by piles is the recognition of historical heritage and the concept of social integration; The "small difference" of carving on the top of the pile is the space for the owner and the sculptor to give full play to their free creation. The most wonderful and delicious thing about stone piles is that people and lions are very similar, but there is no similarity. Although folk art has the characteristics of stylization and symbolization, it does not mean sameness. Stone statues have different postures, are smart and interesting, and their personalized images are filled with the secular life of a specific era. Only from the characteristics of clothing can it be proved that they are derived from the personalized vitality of life. Doesn't this have any effect on Chen Xiangyin's inertia in modeling?
What is particularly commendable in modeling is the fuzzy space formed at the joint of the human-lion structure. This is different from the terracotta warriors and horses in the Western Han Dynasty and the tricolor horses in the Tang Dynasty. The modelling structure of these two China figurines is quite different from that of horses. Stone piles seem effortless in this space, but they are actually the most eye-catching. This ambiguity in the handling of round carvings is like the most exquisite blank space in Chinese painting. "Imagination and reality coexist, and what is not painted becomes a beauty" (painting is complete). The beauty of reality comes from emptiness. This ambiguity makes there is no critical value between the object and the image. Where the masses are intertwined, the morphological transition is inseparable, and the specious hazy image leaves the viewer with room for free imagination. The statue is simple and simple, which is the ingenuity of "elephants don't open". This vague space has been vividly displayed in the shape of the stone carving "Wild Man Fighting Bear" in Huo Qubing's Tomb in the Western Han Dynasty. The traditional fuzzy space processing with a long history can also be seen in the "Wangzhuang" in Weibei, which further proves the tenacious inheritance relationship of northern folk artists and their creative talents tailored for the times and the people.
"Wangzhuang" embodies a history of national integration, as if the tortuous narrative disappeared with heaviness and sadness. In the form of beauty, it contains folk wisdom and creative power, and radiates the light of traditional patriarchal clan system, ethics, religion and customs. Secular souls pray for eternal life under the protection of gods, so lifeless stones are beautified as symbols of life and happiness. On the solid stone pile, the fragility of life is hidden; In the gorgeous sculpture, the vanity of human nature is revealed.
"But spring is still autumn, and I think the Yang family is not the Li family." Things have changed, science has overcome ignorance, and aristocratic families have become ordinary people. With the change of social values, the practical function of tying horses has more replaced the spiritual pillar of sentry. I hope you don't just think of it as a tied horse.
Accessory ear, also known as ear fat, commonly known as horse nail.
Accessory ears, also known as ear fat, commonly known as horse nails, are mostly located in front, above or below the tragus. It has a variety of shapes, which can be single or multiple. It contains cartilage tissue and small blood vessels. Most people don't want to take off accessories, because it is traditionally thought to bring people good luck. In recent years, the number of people who require the removal of accessory ears has gradually increased, mainly because the existence of accessory ears affects the beauty of patients. Some people think that the accessory ear is connected with the nerve, and they worry that removing the accessory ear will affect the brain or have other adverse consequences. Not really. The treatment of the accessory ear is very simple, that is, it is removed from its root, and the cartilage tissue and blood vessels contained in it are also removed. This operation is mainly to pay attention to carefully suture the skin, which will not affect the postoperative beauty.