Visual, In Time And Space And Mind

This thesis takes the opportunity to discuss patterns found on bronze vessels in Yin Dynasty Ruins. These discussions are approached from the two dimensions of social space and time and the human mind, always expanding the study around the following potential problems:in viewing, what are the progress clues and relationships among plane patterns depending on specified vessel shapes (emphasizing visual perception and aesthetics), bronze vessels possessing particular materials (emphasizing selection and craftsmanship of materials), and bronze sacrificial vessels with primitive religious functions and political connotations (emphasizing primitive beliefs and social systems) in the early human history? What are the changes in the connection between man and nature, man and man (society), man and objects ("artworks") and the man himself (primitive beliefs) within these relationships? What lessons can we learn from these?Originating from "the author's" own view of the Simuxin Rectangle Ding, the introduction makes a detailed inquiry of how a torturer of situations (focusing on spatial and temporal facts) and observer of styles (focusing on mental facts) work together to build "truth", and introduces the thesis'methods of describing the history of patterns, based on the reflection of the relationship between academic history of pattern study and such a truth. According to the formation of said patterns, the first chapter traces their source, dating back to the early period of the New Stone Age, in which humans are in an integrated, simple and similar state, with a stance of recollection. With the appearance of surplus in produce and differentiation between rich and poor, social structure was changed, and some concepts relevant to "artwork" were created one after another (such as "art","ceremony","sacrificial vessel", etc.). Through the two great carriers of pottery and jade articles, bronzes with patterns transports us to the space and time of the Yin Dynasty Ruins spanning three hundred years, in the second chapter, and the Simuxin Rectangle Ding facing "the author" continues telling the story of itself and artisans, clay and flints. Later, we look back upon the revival and prosperity of the Shang Dynasty after its last capital shift to Anyang (Wu Ding Period) and the consequent constringency and adjustments (the periods of Zujia and Kangding), through pieces of works agglomerated by "artists'" skillful hands, sweat and the dark or bright flowers, pests, birds and animals on them. In the third chapter, with the arrival of words, bronze is equipped with "reading" function for viewers. In the late Shang Dynasty (the periods of Emperor Yi and Emperor Xin), the subtle changes in the function of patterns on bronze also reflect the possible changes in social environment and people's concepts between Shang and Zhou Dynasty, with patterns here as a remarkable guide.