The Perspective on China’s Existing bronze
Compared with the Han and Tang Dynasties, the Ming Dynasty sculpture mostly missing | Research | RESEARCH Ming imperial tombs in Fengyang lack of creativity and vitality. Practices realistic blending clever clumsy, flowing lines, subtle crafted financial overall great local fine, they represent the highest level of the bronze figure of the early Ming period. Its tall body, stout, thick, simple, but the lack of momentum. The bronze made a great improvement in Qing. Obviously, the tomb of the Ming Dynasty bronze art features to recover traces of the Han, Tang style. Its face is mostly lack of new ideas from the theme to the sculptures become increasingly secularized, civil. These are generally reflected a long tradition of decorative taste, the Ming Dynasty, Han Chinese culture has been a revival of traditional crafts and sculpture to be carried forward. Ming Dynasty art has a strong retro flavor, and its artistic expression, no personality, spiritual atrophy.
Ming Dynasty sculpture, too, Ling Road, before Dan Wenguan good works, but he could not hide the spirit shrinking, and it followed the Song Dynasty tomb made like some of the characteristics, namely, the pursuit of a mild, thick, delicate and elegant styling. Knowing how to identify and appreciate the bronze had nearly become a sign of noble status. But has lost the Ming Dynasty made like the kind of full and tension, the Ming Dynasty tomb carved significant feature is the pursuit of the decorative features, as well as deep, religious and noble loss, which should be the cultural prosperity of the Ming Dynasty, the people, the elite culture and the tendency of elite consciousness has been diluted. Tomb sculpture in such a great background it is casual, the image of atrophy. The performance is one of the short limbs of animal statues and are unable to figure statues in favor of the limbs short and thick, the spirit of dull, expressionless face.
Some statue to the secularization of filmmaking, secularization has led to degradation of the large-scale sculpture, he has also brought the prosperity of small sculpture. The enthusiasm for the pursuit of bronze sculpture statue has been continued for thousands of years. Secular Trend also brought indifference to religious ideas, thus making large religious statues in the loss of economic support, we can say the statue in the development process of secularization, secularization does not necessarily mean a retrogression, large work was the result of state of spiritual atrophy, of course, and then the mainstream of society aesthetic. Small sculptures in the Ming Dynasty more popular, more extensive mass foundation, so more likely to be simple but healthy taste combining at the same time it does not have the kind of obvious purpose of the large instrument Wei and religious statues.
It also reflects the political system of the emperor era, is a comprehensive reflection of traditional culture, exudes the art of ancient civilizations Guanghua. By 1949, the books on the china bronze have been up to hundreds. Third, the artistic value of the Ming Dynasty tomb of bronze sculpture and the natural human environment closely linked, first and foremost consider the environment level layout settings, the specific treatment of each sculpture, the art of carving knife, drapery, face, three-dimensional effects, aspect ratio, The dynamic rhythm and expression only reflects the level of its surface, while the overall carving group only as the embodiment of life, rather than its independent aesthetic significance. From the perspective of China’s existing sculpture heritage, more concentrated reflected in figurines, tombs and Buddhist statues.