The Two differs in the degrees of the attention to the ritual sculpture in bronze

Before the late Western Zhou Dynasty characters and the image of God in a different, closer to people's true colors. In the first place, different feudal estates gave rise to diversity of the bronze sculpture culture in the early period of these two countries. At a time when the proportion of very few characters, but after all characters entered in the decoration of bronze, which reveal the culture at this time, the emphasis on reality. Ceremony Disintegration into the Warring States period, as a historical theme of people have walked onto the stage. Zuo Duke Huan of six records.
Fu Man, Lord God, is holy Wang Xiancheng people dedicated to God and then. People have been mentioned first, God is reduced to a secondary position. Best embodies the big change from the Spring and Autumn Period to the Warring States Period Bronze and Etched on the prevalence of mosaic images, or those located within the outer end of the Bronze decorative figures show is a living activities. The shapes and types of bronze sculpture of Qin has a great impact on the Western Zhou culture. Such bronze in Henan, Shandong, Anhui, Sichuan, Jiangsu, Shanxi, Shaanxi, Hunan and other provinces have found that the distribution of a wide range. These screens can be seen from the author's real-life concerns.
Of the subject matter is broad, mostly aristocratic life, including feast, dance, practice shooting, picking mulberry, Ge, and land and water necessary condition for battles and other scenes shot, and many plot reflects the prevailing social outlook, which is unprecedented. Therefore, Chu was less influenced by Zhou’s culture of china bronze sculpture. In addition, statues of people in large numbers, this is one feature of the Bronze Age, such as from the tomb of the bronze bell on the image of the young warrior, wearing a flat circular crown, sword around his waist, the brow glow with one kind of British Gas.
Sanmenxia Ridge village unearthed kneel on the seat were painted lacquer lamps, engine light hands kneel sit to handle, comb side bun, wearing a hairpin, the right of junction dressed in robes, belted waist with hook fastening. The situation that no sacrificial chinese bronze sculpture or less importance on them in the early Chu did has something to do with the custom of the barbarians. All these phenomena are strongly beckons humanity in this era of recovery, the community also filled from the divine to highlight the humanity into the era of era. While the statues and ornamentation characters are different, but with Reiji's collapse, coupled with advances in technology bronze, bronze categories increased, people become statues in bronze as part of construction, which does reflect the social and ideological changes.
In a certain sense the characters as decoration in bronze statues on the understanding of a mutation and extension, also regarded as a decoration in society through methods of thought, especially when large numbers of people when the statues, we should not ignore their existence. Second, the Two differs in the degrees of the attention to the ritual sculpture in bronze. Through the above analysis, we change the Shang and Zhou bronze decoration can be seen, the return of human nature is divine aptitude ideas developed during this period the general trend. Han dynasty bronze mirror of the "abstract". Chance, to the antique market in a large bronze mirror that side.
Bronzes from the initial performance of the deity of the taotie things ghosts and spirits to diffuse concern about the social reality, focusing on reality, and then developed to highlight the humanity, the completion of a return to humanity by God aptitude. Of course, this return is based on the unique social development of China-based. The bronze sculpture of Shang Dynasty mostly were funerary vessels. This was also the Chinese culture. Premature "a performance. From the very beginning, the shapes of Qin’s ritual generally inclined to be small. This from the divine to the human nature eventually return, laid the pattern for future development of Chinese culture, so that China and the West to embark on a completely different path of development that focus on this side of the world, and less on the other side the world.