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Chapter 576: You will be ruined!

After Mr. Wang finished speaking, he took the Simu Shu Large Square Ding and analyzed it. At the same time, he carefully introduced Zhang Wufeng and his rich learning and profound knowledge to the professor-level elders.

"I am personally very pleased that friend Zhang Wufeng is willing to give up this small square tripod. So, here, I would like to thank friend Zhang Wufeng again, thank you." Old Wang's voice was very sincere.

"Old Wang, I see that you want to help the younger generation, but you wouldn't say these things in an occasion like this, right? That brat who is still wet behind the ears can be compared with us? As the saying goes, a man without hair on the lips cannot do things well. This kid has been learning since he was born, and he wouldn't have achieved what we have. I'm already giving him face by letting him in."

A middle-aged man wearing glasses said very arrogantly.

"Yes, for a scholar, using the backdoor is an insult. It's not that we don't trust Lao Wang, but look at this kid, does he look like a scholar? I'm afraid he followed Jinxiu girl here!"

"Really? How shameful!"

……

This series of words made Mr. Wang a little dazed, and then his face quickly turned blue.

"Xue Yang, you old bastard, you even question my words?! When have I, Old Wang, ever given anyone a backdoor? When have I ever taken even a penny from anyone? This is outrageous!"

"Don't say I don't respect you. Maybe you, Old Wang, have also been deceived by this kid. Is the knowledge about Taotie patterns something that ordinary people can understand?"

"That's right. A junior should be humble. Look at how he takes it for granted when you praise him. I can tell at a glance that he is not a learned person. This is what they mean by a half-baked person."

"Grandpa, since they don't believe you, let Zhang Wufeng give a speech and tell these people what short-sightedness is!"

Wang Jinxiu didn't say anything, but when her grandfather looked over, she signaled with her eyes. This strong look made Old Wang startled for a moment, then he suddenly realized and sneered, "Okay, okay, since you think I accepted benefits from others, okay, I will let Zhang Wufeng come up and give a speech! In order to prevent you from saying that this is prepared, then you can ask any questions you want. If there is anything you can't answer, I, Old Wang, will give up my position in the association!"

Old Wang was also extremely annoyed.

Before this, he would not test the good seedlings recommended by these people, thinking that since they liked them, how could they be bad? But who knew that they would not be as good as he expected after one or two times.

And this time, he just praised him a few words and didn't say what he wanted to recommend Zhang Wufeng for. These people were so enthusiastic, it was really infuriating!
"Brother Zhang Wufeng, you have seen it all. I hope you can teach them a good lesson, let them know that 'age is not the limit for ambition', let them know that 'the wise are the teachers'!
"Haha, Mr. Wang, I agree to this matter!" Zhang Wufeng said proudly.

"Hmph, who knows if you guys colluded and just recited a passage to deal with it? Well, let's not talk about anything else, tell us about the evolution of the beast mask pattern!"

The middle-aged man with glasses sneered.

The evolution of animal face patterns is indeed a big difficulty. Of course, it is not difficult to make a few remarks about it, but it is somewhat difficult to grasp it as a whole. Generally speaking, people who do not study it in depth cannot answer it at all.

"Haha, no problem! Listen carefully!" Zhang Wufeng stood up proudly. Although he is low-key, it doesn't mean he will let others step on him.

"The Taotie beast-face pattern has existed since the Liangzhu culture period, but it has always been called the beast-face pattern until the Bogutulu during the Xuanhe period of the Song Dynasty began to call this type of pattern the Taotie pattern. Its meanings include "connecting heaven and earth", "connecting life and death", "driving away ghosts and avoiding evil", "mighty, brave, and fair", and "worshiping gods".

Although the Taotie pattern is composed of pieces, it does not mean that it is randomly pieced together. The ancients had no concept of the concrete image of Taotie, but they found its proper characteristics in various animals in real life (especially large beasts). So when shaping the image of Taotie, they integrated sheep (cow) horns (representing nobility), cow ears (good at discerning), snake bodies (mysterious), eagle claws (bravery), bird feathers (good at flying), etc. The mysterious monster has the organs of animals that people are familiar with, which enables people to quickly experience what kind of emotions they should have towards the Taotie pattern. The origin of mythology and the exaggeration of the appearance make the Taotie pattern hideous, terrifying, mysterious and majestic, and daunting.

The most important feature of the Taotie pattern is probably its eyes. No matter how it changes, the Taotie pattern cannot be without a pair of huge eyes that are piercing and majestic without anger. It stares at the outside world, shocking people's hearts, but also strongly attracts people's attention. Taotie patterns mostly appear as theme patterns on the abdomen of bronze ware, and a small number appear on the feet. The wide space gives it enough room to display, and the eye-catching position gives it more dominance and majesty.

In the ancient cultural history of Yun State, Taotie culture occupies an important position. Its ferocious, rough, unrestrained and uninhibited appearance and its shocking power are important symbols of Yun State's history of breaking away from barbarism and entering a civilized ancient country. All ritual vessels with the image of Taotie show dignity, authority and strength, and are symbols of power and status. "

Zhang Wufeng paused for a moment. Most of the old men and middle-aged scholars who had been noisy and looking at him with contempt, now began to discuss in a low voice.

Some nodded secretly, some frowned in dissatisfaction, some seemed to be thinking about something, and some looked at Zhang Wufeng from time to time with curiosity.

“Taotie beast facial patterns appeared in three periods: the Erligang period, the Yinxu period and the early Western Zhou Dynasty.

The decorations of bronze wares in the Erligang period are concise, mostly in the shape of strips, and there are few objects with full flowers. The Taotie patterns of this period are also relatively simple, mostly in the shape of strips, with linked beads on the top and bottom. Generally, they are single-layer, without a ground pattern as a base, and are mostly expressed by protruding lines. They are composed of rough, curved and swirling lines, all of which are deformed patterns. Except for the round and large animal eyes as a symbol, the other stripes do not specifically express the various parts of the image. All animal face patterns do not have thunder patterns as the ground. The wall of the bronze ware is relatively simple, with few and simple decorative patterns; and the picture structure is relatively simple, with clear distinctions between the various patterns, and a single-layer raised pattern, which looks simple and solemn.

The bronze vessels of the Yinxu period were heavy and richly decorated, forming a new style with distinct layers, richness, complexity and mystery. The Taotie pattern at this time was no longer a simple strip layout, but occupied a larger space of the vessel, developing in the direction of full-body decoration and three-dimensional multi-layer decoration. Most of them were decorated with ground patterns, that is, the blank space at the bottom of the Taotie main pattern was engraved with dense and delicate cloud-thunder patterns as a foil. The delicate and dense abstract animal face patterns, interwoven with the exquisitely carved fine thunder patterns and neatly arranged and dense feather patterns, formed a gorgeous and mysterious triple pattern. Not only did the combination of patterns present a complicated trend, but the characteristics of the animals in the animal patterns (such as the horns of the animal face patterns and the feathers of the bird patterns) were also highlighted and exaggerated, and varied. At this time, composite patterns such as birds and animals and Kui and animals also appeared. It is also worth noting that a large number of Taotie patterns with complete and concrete faces appeared in this stage. For example, the Taotie beast-faced patterns in Sanxingdui. The bronze beast-faced images unearthed in Sanxingdui can be divided into three types according to their shapes, with three pieces of each type, for a total of nine pieces. They are all in the form of thin sheets, cast using the technique of shallow relief. Most of their faces have long eyebrows and straight noses, large eyes with bulging eyeballs, and two rows of square teeth in their wide and long mouths, all of which show exaggerated human face features. The pair of wide and long upward curved horns on both sides of their heads, the wider fork-shaped sword edge on the top of the head and the pair of small outward curled horns on both sides, as well as two pointed and long ears with the upper ends hooked down, show the magical animal form. Some beast-faced images also have two Kuilongs with their heads facing each other under their chins, forming a vivid shape that arches the beast face. Looking at these beast-faced images that look like neither beasts nor humans, the ferocious and majestic shapes, the grinning and staring expressions, the strange decorations and exaggerated shapes all give people a sense of surprise. The masks have both a rough style and delicate depiction. In their ferocious and severe appearance, they also reveal a bit of simplicity and kindness. These imaginative masks that combine the features of human and animal faces embody a rich primitive mysterious color.

In the early Western Zhou Dynasty, bronze wares were basically the same as those of the late Shang Dynasty, and it was difficult to distinguish them clearly, including the Taotie pattern. However, bronze wares of this period also showed a trend of simplification. The Taotie pattern gradually faded in the wares, transitioning to the plain surface of the middle Zhou Dynasty. For example, the Fugui Ding only has a circle of decorative bands under the mouth, and the pattern is simple and vague, and the three legs are in the shape of a Kui with a raised tail. The rest are plain tripods.

The style of bronze ware in the middle of the Western Zhou Dynasty turned to "plainness is precious". The original "texture is precious" cumbersome and ferocious Taotie pattern gradually lost its former glory. Taotie beast face pattern, Taotie beast body deformation pattern and the like have undergone drastic changes. Taotie beast face pattern gradually declined. The unique curled Kui pattern appeared. Correspondingly, the bronze ware thereafter also gradually turned to life-like decorative patterns in the process of "ritual collapse and music destruction" in which the king's power was decentralized. The fierceness of bronze ware weakened, and the liveliness strengthened. The decoration first became magnificent, cumbersome and circuitous, and then became sparse, open, concise and pleasant. On bronze ware, monster patterns decreased, sculptures praising life increased, and banquets, music and wars centered on human life replaced the status of Taotie patterns. Therefore, Taotie patterns became a kind of image memory of the past, and gradually lost their original connotations in the course of historical changes.

In his book "The Civilization of the Cloud Country", René Grousset pointed out that the image of "Tie" has been widely popular in the art of the Cloud Country for more than 20 centuries. It is actually the illusion of a mysterious monster that often lingered in people's minds at that time.

The deep and protruding strange images of the Taotie patterns, the fine and tortuous decorative lines, and the solid and stable shape of the objects are filled with vague and distant emotions, ideas and pursuits, full of barbaric and brutal deterrence, and exuding a primitive, innocent and simple beauty.

Various Taotie patterns highlight a primitive force pointing to an infinite abyss. They present a ferocious beauty, and in that seemingly ferocious and terrifying mystery, there is a deep historical power accumulated.

……

Taotie is an imaginary mysterious monster. It is a common decoration on bronze ware. It is a patterned animal face, so it is also called animal face pattern. This monster has no body, only a big head and a big mouth. It is very greedy and eats everything it sees. Because it eats too much, it is finally choked to death. It is a symbol of greed. It is the ninth son of the Dragon King of the East China Sea.

Taotie pattern first appeared on Liangzhu culture jadeware in the lower reaches of Qianjiang River 21.0 years ago. "Lüshi Chunqiu. Xianshi" says: "Taotie is carved on the Zhou Ding, with a head but no body, eating people before swallowing, and harming their bodies." Taotie pattern has been found on bronzes in Erlitou and Xia culture. With the bridge of the nose as the center line, the two sides are arranged symmetrically, usually on the lower lip. Taotie pattern appears on bronzes, especially on Ding. There are many types of Taotie patterns in Shang and Zhou dynasties, some of which look like dragons, tigers, cows, sheep, and deer; others look like birds, phoenixes, and people. The name Taotie pattern did not exist in ancient times, but was named by the Song people when epigraphy emerged. The most perfect Taotie pattern mask is cm high and is now in the Silodo Library of Sri Lanka. In the Western Zhou Dynasty, its mysterious color gradually faded.

The first to use the name of Taotie pattern was the "Xuanhe Bogutu" in the Song Dynasty. Taotie is a legendary evil beast that is greedy and gluttonous; it is also a metaphor for greedy and vicious people. "Lüshi Chunqiu. Xianshi": "Taotie is engraved on the Zhou Ding, with a head but no body. It eats people before swallowing them, and harms its own body, which means revenge." "Zuo Zhuan. Wen Gong Eighteen Years": "Jinyun clan has an untalented son who is greedy for food and bribes. He is greedy and extravagant, and he cannot be satisfied. He accumulates wealth and knows no limit. He does not distinguish between the lonely and the widowed, and does not care about the poor. The people of the world are compared to the three evils, and are called Taotie. "Du Yu's note: "Greed for money is Tao, and greed for food is Tie."

In the Shang and Zhou dynasties, bronze was often used to cast wine vessels. This Shang Dynasty Taotie bronze vessel unearthed in Qianshan County, Yanjiang in 1972 was buried underground for more than 3000 years. When it was unearthed, it was not only intact, but also gleaming with green light, with exquisite and beautiful patterns. It is a national first-class cultural relic and is now in the collection of Yanjiang Provincial Museum.

This statue is 21.5 cm high, 19.4 cm in diameter, and weighs 2 kg. It has a trumpet-shaped mouth, a high neck, a bulging belly, and round feet. It is named after the Taotie pattern on the body. Taotie pattern is a common pattern on bronze ware, also known as animal face pattern. The pattern symbolizes the face of Taotie, a greedy and fierce beast in ancient legends. It was often used as a theme pattern on objects from the Shang Dynasty to the Western Zhou Dynasty. It was often decorated with cloud and thunder patterns, and the patterns varied. The eyes of the beast face on the statue are wide open and bulging, majestic and mysterious. There is a phoenix on each side of the beast face, with a long crown and huge claws, flying upwards. The ground of the statue is cloud and thunder pattern, and the raised Taotie pattern is engraved with Yinxian pattern. There are two convex string patterns on the neck and feet. The patterns are diverse and the body is majestic.

Zun is a wine container and also a wine pouring vessel. According to Shuowen, Zun is a wine container used for sacrifice or entertaining guests. Lu You's Miscellaneous Feelings contains the line "One Zun is easy to get wine, but it is hard to see the Stork Tower after thousands of miles". Zun is second only to Ding in bronze ritual vessels. In addition to round, bronze Zun also has square and simulated bird and animal shapes, collectively known as "Bird and Animal Zun". Bronze Zun was rare in the Spring and Autumn Period and the Warring States Period. This 3000-year-old animal-faced Zun has important historical value; from an artistic point of view, it is also a very valuable craft art, because it concentrates many patterns and shallow carvings, reliefs, and intaglios around it, and combines flat images with reliefs, and utensils with animal images. The structure of the entire bronze Zun is indeed delicate enough. All of these are expressed through casting technology, thus achieving satisfactory results.

Bronze ware, also commonly referred to as copperware, mainly refers to utensils made of copper-tin alloy in the pre-Qin period in Chinese archaeology, including cooking utensils, food utensils, wine utensils, musical instruments, weapons, etc. The bronze ware we see now is the creation of the ancient Chinese working people. However, in the slave society, bronze utensils were mainly owned and enjoyed by the slave-owning class. But as history has developed to this day, if it is used as a wine pot, it would be disgusting, because from the overall shape of this zun, it is very similar to the spittoon used in modern times.

......"

Zhang Wufeng cited a wide range of sources and gave a detailed argument and narration of the evolution process of the Taotie beast facial pattern and some corresponding cultural relics. The whole narration took more than 30 minutes, and his classic narration and detailed explanation made the whole hall quiet.

At this moment, Mr. Wang was still standing next to Zhang Wufeng, and Zhang Wufeng was still standing in the lecture position.

After a long time, thunderous applause broke out in the venue, and many old men at the scene stood up spontaneously to show their respect for Zhang Wufeng.

"Mr. Zhang, have you ever seen the bronze animal-faced statues from Sanxingdui?"

"Mr. Zhang, do you have any Sanxingdui bronze animal-faced statues in your collection? Can you let me appreciate them?"

"Mr. Zhang, I am extremely ashamed for doubting your shallow knowledge before..."

"Mr. Zhang, do you have anything to add? Based on the evolution of the animal face patterns, what are the characteristics of the slave society in the Shang Dynasty?" Among the crowd, the middle-aged man with glasses had a slightly gloomy expression on his face, and then asked proudly.

"Hehe, I actually mentioned this a while ago. I thought you understood it. If you don't, well, I really need to explain it in more detail to improve your understanding."

"you--"

"Well, the typical characteristics of the slave society of the Shang Dynasty are fully reflected in the arts and crafts works, which are the product of the ruling class of the slave society strengthening its own rule. The mysterious, weird and terrifying atmosphere on the bronze ritual vessels is a reflection of the characteristics of the era.

Taking bronze patterns as a representative, Taotie patterns have certain representative significance, with high aesthetic value and social significance. The solemn, dignified and mysterious artistic characteristics of Taotie patterns not only meet the political needs of the ruling class of slave society, but also show the most basic design ideas of the decorative patterns of ancient bronzes in Yun State. It can be changed according to the need to attract people's attention, and the shape and decoration are used to meet the owner's requirements for rank and belonging. Taotie patterns generally appear in the form of animal faces, with the characteristics of insects, fish, birds, beasts and other animals, and are composed of eye patterns, nose patterns, eyebrow patterns, ear patterns, mouth patterns, and horn patterns. The facial structure is relatively distinct, and it is precisely by using these characteristics that people are led into a mysterious art world. The Taotie patterns of the Shang Dynasty are particularly effective in attracting people's attention. The Taotie pattern is fierce and solemn, with a rigorous structure, exquisite workmanship, and a mysterious realm. It is one of the most outstanding works in bronze decorative patterns and represents the highest level of bronze decorative patterns.
In the late Spring and Autumn Period, slavery began to disintegrate, and the characteristics of social unrest and active thinking were also reflected in arts and crafts. It also reflects that compared with the brutal slave society of the Shang Dynasty, the degree of people's rule during the Spring and Autumn and Warring States Period was relatively reduced, which made arts and crafts flourish, presenting fresh, lively, flexible and changeable styles, changing the solemn and majestic characteristics of bronze ritual vessels, large and bulky. The theme of the work was transformed from mysterious and bizarre idol patterns to themes such as wars and historical stories with educational significance in real life. For example, the Lotus and Crane Square Pot has a beautiful shape and ingenious conception, mainly with coiled dragon and coiled dragon patterns, giving people a fresh, lively, natural and relaxed feeling.

Among all visual images, the most basic is the decoration. Decoration is the basic unit of the decorative surface and the starting point of other images. The traditional culture of Yun State has recognized and emphasized the role of decoration since the beginning. The world-famous painted pottery culture in prehistoric times; the bronze decoration of the Shang Dynasty was the product of the consciousness of "casting tripods to represent things, preparing all things for them, so that the people know the gods and treacherous" (from "Zuo Zhuan. Xuan Sannian"), and the ever-changing Buddhist decoration "scroll grass pattern" in the Tang Dynasty. A country with a long history has nurtured a rich traditional culture. Many cultural relics from ancient times to the present have shown the active recognition and mastery of decoration by the traditional culture of Yun State. " "Okay, then what are the styles and characteristics of the traditional patterns of Yun State in the past dynasties?" The middle-aged man with glasses asked without giving up.

"There are many kinds of traditional patterns in my country, which are rich in content. They not only represent the long history of the Yun people, the development and progress of society, but also are great treasures in the treasure house of world civilization and art. From those ever-changing, simple and thick traditional patterns, we can see the craftsmanship level of each era and the cultural traditions of the Yun people. Many traditional patterns are enduring and are still in use today, maintaining their vitality. The patterns of each historical period of the Yun country are rich and varied, each with its own characteristics. The solemn, natural and harmonious patterns of the Neolithic period, the majestic and mysterious patterns of the bronze decorations of the Shang and Zhou dynasties, the lively, diverse, clever and changeable patterns of the Spring and Autumn and Warring States periods, and the combination of Buddhism with the traditional patterns of the Yun country after it was introduced into the Yun country, etc., all show that the design of traditional patterns has gone through a process from simple to complex, from single to diverse, both in terms of modeling and decoration. At the same time, the characteristics of decorative patterns are different in different regions and eras, and they have different characteristics in terms of subject selection, expression techniques and artistic style.

……

Analyzing the reasons for the formation of the pattern based on its own characteristics, the first point is the randomness of the pattern.

Engels pointed out in the book "The Origin of the Family, Private Property and the State" that "it can be proved that in many places, perhaps everywhere, the manufacture of pottery is due to the coating of clay on woven or wooden materials to make them fire-resistant. In doing so, people soon discovered that molded clay can also be used for this purpose without an internal container. "After people stopped using these woven materials, they still retained traces of these woven materials on the surface of the container. The emergence of pottery is accidental. It was due to the specific living background of primitive society - the primitive people who were evolving into human society changed their lives through labor, and the attempts in labor made the emergence of pottery possible. The decorative patterns on the surface of pottery also came into being under similar circumstances, and further beautified human life in the subsequent social development.

Represented by primitive culture, basket patterns and rope patterns are generally formed by rolling or beating the surface of pottery with a grooved pottery paddle or wooden paddle. Rope patterns and basket patterns are named because the patterns are similar to the patterns of ropes or baskets. In addition, fingerprints left on pottery when smoothing or beating pottery by hand and the association with fingerprints are also likely to be the source of concentric circle patterns, volute patterns, vortex patterns, etc. From the picture, we can see that concentric circle patterns, volute patterns, vortex patterns, etc. are also very similar to human fingerprints.

The second point is that traditional patterns are influenced by social background.

In terms of political factors, the most important purpose of decoration for ritual vessels in class society seems to be to make the appearance of a ritual vessel eye-catching. Secondly, decoration can subdivide the types of objects. It prompts people to pay attention to the type of vessel, that is, the type of ritual vessel. In addition, in a specific type of vessel, the decoration also indicates the level, and in the level, it also indicates the relationship of the vessel.

The typical characteristics of the slave society of the Shang Dynasty are fully reflected in the arts and crafts works, which are the product of the ruling class of the slave society to strengthen its own rule. The mysterious, grotesque and terrifying atmosphere on the bronze ritual vessels is a reflection of the characteristics of the times. Represented by the bronze patterns, the Taotie pattern has a certain representative significance and has a high aesthetic value and social significance. The solemn, dignified and mysterious artistic characteristics of the Taotie pattern not only meet the political needs of the ruling class of the slave society, but also show the most basic design ideas of the decorative patterns of ancient bronzes in the Yun State. It can be changed according to the need to attract people's attention, and the shape and decoration are used to meet the owner's requirements for rank and belonging. Taotie patterns generally appear in the form of animal faces, with the characteristics of insects, fish, birds, beasts and other animals, and are composed of eye patterns, nose patterns, eyebrow patterns, ear patterns, mouth patterns, and horn patterns. The facial structure is relatively distinct, and it is precisely by using these characteristics that people are led into a mysterious art world. The Taotie pattern of the Shang Dynasty is particularly effective in attracting people's attention. The Taotie pattern is ferocious and majestic, with a rigorous structure, exquisite workmanship, and a mysterious realm. It is one of the most outstanding works of bronze decorative patterns and represents the highest level of bronze decorative patterns[4].

In the late Spring and Autumn Period, slavery began to disintegrate, and the characteristics of social unrest and active thinking were also reflected in arts and crafts. It also reflects that compared with the brutal slave society of the Shang Dynasty, the degree of people's rule during the Spring and Autumn and Warring States Period was relatively reduced, which made arts and crafts flourish, presenting fresh, lively, flexible and changeable styles, changing the solemn and majestic characteristics of bronze ritual vessels, large and bulky. The theme of the work was transformed from mysterious and bizarre idol patterns to themes such as wars and historical stories with educational significance in real life. For example, the Lotus and Crane Square Pot has a beautiful shape and ingenious conception, mainly with coiled dragon and coiled dragon patterns, giving people a fresh, lively, natural and relaxed feeling.

In terms of economic factors, the economic base determines the superstructure. With the development of productivity, culture will inevitably develop and strengthen. Only when people's food and clothing problems are solved and their living standards are improved accordingly, can the overall level of people's cultural literacy reach a new level. In this way, it will also play a positive role in promoting the development of culture.

The Tang Dynasty was a prosperous period of feudal society in my country. The culture was extremely active and Buddhist culture was further developed. In terms of decorative art, it is characterized by perfect modeling, full images, soft and beautiful lines, focusing on realism and spiritual engraving, and absorbing simple decorative styles. The colors are rich and thick, gorgeous and elegant. The decorative patterns are rich and full, rich and luxurious, and plants are often used as the first choice of themes. Commonly used patterns include scroll grass patterns, Baoxiang flowers, sea pomegranates, flower and bird patterns, canopy patterns, linked beads, slow belt patterns, and figure patterns. The caisson patterns in the Tang Dynasty were at their peak. The caisson patterns in the early Tang Dynasty had clear patterns, clear and beautiful, bright but not gaudy colors, emphasizing the fusion of overlapping rendering and line drawing, and had the beauty of craftsmanship. The center of the well is mostly square, with large lotus, large flower clusters, and twined branches as the main pattern. During the Prosperous Tang Dynasty, the center of the well became smaller, the number of border decorations increased, round flowers and twined lace were popular, and curling grass patterns, geometric patterns, and linked bead patterns were interspersed in an orderly manner. The pattern composition tended to be rhythmic, even and stable, the flower shapes were plump, and the lines were smooth, forming a style from the Prosperous Tang Dynasty to the Late Tang Dynasty.

Religion is a cultural phenomenon. Its influence on politics, economy, science, culture and other aspects is comprehensive and powerful. Therefore, its influence on cultural psychology is universal and profound. The subject matter of Buddhist art was originally a product of Indo-Roman culture. After it was introduced to Yun, it was necessary to shape, engrave or paint various religious images, pictures and patterns on religious environments and utensils, and through artistic processing, it was combined with the traditional cultural characteristics of Yun to impress and inspire people. As a result, the Buddha's life stories filled the walls of caves in various places, developing and enriching the traditional mural art and pattern art of Yun.

The lotus pattern among plant patterns is a more representative traditional decoration with strong national artistic characteristics. The appreciation of lotus in ancient my country first originated from the Chu State. "Gathering lotus as a garment" and "using lotus as a matchmaker" (Chu Ci) refer to lotus. Lotus patterns were first found on utensils during the Spring and Autumn Period and the Warring States Period. The lotus and crane square pot unearthed in Xinye, Kuncheng, has a lotus-shaped lid. After Buddhism was introduced to Yun State, the Buddhist lotus seat from the Indian Royal Lotus was transformed into Yun State according to the traditional image and aesthetics of Yun State, and the artistic style began to change. The early lotus petals of porcelain were slender and pointed, while the late petals were plump and pointed, with a more fixed form of expression. This is also an example of the influence of foreign culture on traditional Chinese patterns and their combination with them.

The ever-changing "scrolling grass pattern" used since the Tang Dynasty is a representative pattern in the transformation of Buddhist decoration. Buddhist plant patterns and ornaments, such as lotus, honeysuckle, bodhi, canopy, Dharma wheel, necklace, etc., are not suitable for the traditional modeling habits and aesthetic requirements of Yunguo. The "scrolling grass pattern" is a new pattern under this situation. It is difficult to say which image it is based on. The scrolling grass pattern is neither a modeling theme of Yunguo in the past, nor a specific object of Indo-Luo Buddhism. But its winding and winding flowers, leaves and branches are like auspicious clouds and the mood of Buddhist objects. It has both the etherealness of winding curves and the rhythm of flowing, and maintains a gentle and honest tranquility. It is a simple and characteristic Buddhist decorative pattern transformed by the Yunguo people by absorbing foreign religions. With the flowing rotating curve as the basic composition of the pattern, the foreign theme is integrated into the traditional aesthetic concept of Yunguo, and the Buddhist decorative pattern is transformed. The appearance of the curling grass pattern is not accidental. It marks the arrival of the heyday of Buddhism’s development by integrating with the Yun Kingdom culture.

The traditional decorative patterns of Yunnan are rich in connotation and profound in cultural heritage. Modern decorative pattern design is developed from traditional patterns, but it is not a simple copy and repetition of traditional patterns. Through the exploration and research of different development stages of Yunnan, we can further understand the composition characteristics of traditional patterns. Mr. Lei Guiyuan, a pioneer of pattern art in my country, pointed out that "nature is the source, and the ancient patterns are the flow. The source and the flow are the two wings of the pattern artist, and neither can fly high. "As a product of the handicraft era, traditional patterns are extracted from nature and life by artistic creators of all generations. Their shapes and colors are the essence passed down for thousands of years. Traditional folk art has tenacious vitality, expressiveness and high artistic value. We should fully learn the style and characteristics of traditional patterns and apply them to contemporary arts and crafts design. We should inherit and abandon traditional patterns, and carry out modern transformation, giving them new design concepts, functions and forms, so that they can become modern decorative patterns that adapt to and meet the aesthetic and practical requirements of modern society, so that my country's design can keep pace with the modern international community while maintaining its own style characteristics.

......"

Zhang Wufeng stopped here. In fact, if he continued, it would only make the topic more comprehensive. Besides, Zhang Wufeng did not want to undermine the confidence of these scholars because of his own strength.

"You, why don't you say anything? Have you finished showing off everything you were going to show off?" The man with glasses still attacked Zhang Wufeng stubbornly.

Zhang Wufeng glanced at the man and felt murderous in his heart.

With just a perception, he already knew that this person actually had his eyes on Wang Jinxiu, and that was why he was targeting him.

Sensing this, a sinister smile flashed across his lips.

The middle-aged man with glasses couldn't help feeling a little scared when he saw this smile.

"Xue De, don't be so arrogant. Zhang Wufeng's knowledge has already put us professors to shame. If we still try to show off like this, then what kind of professors are we? We are just beasts! As for you, although you have published many academic papers, you are still far behind Zhang Wufeng in terms of expression!"

At the beginning, the old man named Xue Yang couldn't help but said in a deep voice.

"Xue De, don't think you can do whatever you want just because you have some ability. If you are really confident, you can compete with Zhang Wufeng on the spot!"

"Don't get excited, everyone. In addition to my expertise in history, culture, archaeology and antiques, I also have some accomplishments in medicine. Now, I will use a hypnotic method to let everyone hear Xue De's inner voice. However, if he is truly interested in studying, no matter how good my story is today, I will admit defeat!"

Zhang Wufeng said in a clear voice.

"Huh, what do you want to do? Hypnosis? And then deliberately make me say things that are not what I mean?" Xue De said with a sneer.

"Everyone, as professors, you must know something about hypnosis. As long as I don't speak and let him learn to speak, he won't imitate me. And you know that hypnosis only makes people relax so that they can tell the truth, but it won't make people speak against their will. This is well known. Xue De, if you don't dare, you must have something to hide!"

Zhang Wufeng said disdainfully.

"I have something to hide, bullshit! I am a university professor, how can I be afraid of your little hypnosis? Come on!"

"Okay, everyone just be a witness. Now be quiet!" Zhang Wufeng said, and then looked at Xue De, a special mental power permeating out.

"Xue De, look at me, be quiet, relax, remember to answer my questions truthfully, and truly let go of the shackles in your heart..."

Zhang Wufeng said softly, and Xue De's angry eyes softened. Then, his expression calmed down, and his arrogance and madness also calmed down.

"Xue De, why are you targeting Zhang Wufeng?"

"Why are you targeting Zhang Wufeng? Because I want to get Wang Jinxiu. I want to have some fun with such a lovely girl who is still a virgin. She is my ninety-third target. After I have sex with her, I will get six more virgins, and I will have a hundred. By then, I can prolong my life and cleanse my bones and marrow."

"Shut up, Zhang Wufeng, you are framing me!"

"What? You actually did something worse than an animal!"

"Xue Yang, don't get excited!"

Zhang Wufeng glanced at him coldly, then looked at Xue De again.

"Dad, I'm telling the truth. It's painful to hold some things in my heart. I also imprisoned Zhang Simiao. All my academic papers were written by him. I locked him up in the dungeon. I also forced his granddaughter, but unfortunately the woman couldn't bear it and committed suicide by jumping off the building.

Also, several of my students who were able to go on to graduate school had all been with me, and some of them had been with me several times. If they want to study for my master's degree and don't sleep with me, no matter how high the score is, I won't give her the chance!

And it was because there was a girl from the countryside among them, yes, it was Ye Qi, who gave up on herself after being raped by me. Because of this, a guy who was pursuing her found out and sent someone to kill me. As a result, I was stabbed and my ribs were injured.

When the principal found out about it, he expelled me, but I posted online saying that I had been teaching for more than 30 years, and the school was not responsible after the incident and should be expelled. I also threatened Ye Qi's family, so she didn't dare to testify.

Under pressure from public opinion, the school had no choice but to let me return to work and even covered my medical expenses of 7 million yuan.

In fact, I just injured some ribs, and the treatment cost less than 300,000 yuan.

This time I targeted Zhang Wufeng, but seeing Wang Jinxiu looking at him from time to time, and with admiration in her eyes, I was naturally upset. How could the woman I liked run away! Humph, even if it was Lin Qing from the Lin family, Sun Yunyun and Sun Shanshan from the Sun family, I would think of a way to get them. I have already made some plans for drugs and aphrodisiacs, and by then, the strong women will become sluts..."

The whole place was silent because these words were so shocking.

In addition to countless inside stories, there are also many gray areas such as murders.

Zhang Wufeng took out his cell phone, recorded everything, then just sneered and turned away.

Old Wang was so angry that his body was shaking. As for Xue Yang, his face had turned blue and he was almost fainting.

"Want to step on me? I will make you lose your reputation and never stand up again!" Zhang Wufeng sneered in his heart.

(End of this chapter)