Why do the shapes and patterns of bronzes change? (Combining historical knowledge to analyze the current social situation at that time)

Bronze ware is the representative of art and culture in Shang and Zhou Dynasties, and also the product of aristocratic social culture. It is not only an appliance for daily life, but also an important ritual vessel for religious sacrifice. Therefore, the history of bronze ware development can be called the history of Shang and Zhou civilizations. In the past, the traditional study of bronzes focused on the significance of inscriptions and archaeological dating, while ignoring the study of ornamentation and shape. But inscriptions, shapes and ornamentation are integrated. Not all bronzes have dating inscriptions, but most bronzes only have patterns or shapes. Therefore, the best research direction is to comprehensively study bronzes. Due to the limitation of time, the author can't make a comprehensive study on bronze wares, but only make a preliminary study on the "ornamentation" of bronze wares, in order to gain something and lay the foundation for future research.

Rong Geng, a beginner in the late Qing Dynasty and the early Republic of China, was the first person to study bronze decorative patterns. He listed 77 kinds of decorative patterns in the chapter "A General Examination of Yi wares in Shang and Zhou Dynasties" (194 1). In this paper, the bronze decorative patterns are classified in detail for the first time, and all kinds of decorative patterns are listed in detail, and the origin, evolution and times of all kinds of decorative patterns are introduced. Through the introduction of Mr. Rong Geng's special book, later bronze researchers began to face up to the existence and value of bronze ornamentation. Recently, there are many works with bronze patterns, and there are also many articles on various animals, including birds, dragons and animals. Although there are many articles about dragon decoration in these categories, most of them only pay attention to the classification and origin of dragon decoration, and rarely discuss the evolution and artistic value of dragon decoration. Therefore, this paper chooses this category as the research direction, hoping to further explore the artistic connotation of dragon decoration.

To understand why dragon patterns appear on bronzes, we must first understand the origin of decorative patterns, and the myth should be explored from ancient books and Neolithic artifacts. Dragon pattern did not suddenly appear on Shang bronzes, but its origin can be traced back to Neolithic pottery and jade. In addition, on the significance of the existence of dragon patterns, this paper discusses the relationship with contemporary politics and religion. The classification of dragon patterns is based on Mr. Ma Chengyuan's classification method. Because Mr. Ma's classification method is the most practical and theoretical value, and the dragon patterns of most Shang and Zhou bronzes are outside this range, the classification of dragon patterns discussed in this paper is generally based on Mr. Ma Chengyuan's classification, and a table is drawn up to explain in detail the prevailing times and artistic value of various dragon patterns.

The second chapter is the origin and significance of dragon pattern.

The first section of the mythical dragon

In primitive society, the dragon represents one of the important beliefs. Myths about the dragon emerge one after another, and there are many records in ancient books, such as Shan Hai Jing? 6? 4 Hainei Beijing: "Bing Xu's face, take two dragons"; Or Shan Hai Jing? 6? 4 "Xishan Jing": ... Zhongshan, the son is called a drum, and the face is dragon. " "Mandarin? 6? Zheng Yu said, "Summer decline also praised the God of man and turned it into two dragons, so that with Wang Ting, he said," I praise two gentlemen ". The myths in history books include Historical Records, Hanshu, Southern History and so on. In the historical records, there are "people, Gao Zu Pei Fengyi, surnamed Liu, father Taigong, mother Liu Wei." First, Liu Xin often breaks the evil of Ozawa and dreams of meeting God. When the thunder and lightning were hazy, Tai Gong looked at it and saw the dragon on it, so he became pregnant and gave birth to Gao Zu. "There is a saying in the Han Dynasty that' Emperor Wang Wei was drunk, and Wang Wei saw Yi Long on it'. In Southern History, there is "Xiao Daocheng, the Qi Emperor of the Southern Dynasties, whose appearance is different from that of Britain. He has a dragon bell, which is seven feet and five inches long and is covered with scales. "Based on the dragon myth recorded in the pre-Qin literature, there are about four representative statements that can be sorted out. Note 1:

First of all, confuse people with dragons. For example, Fu, the pioneer of the universe, Nu Wa, the creator of life, Huangdi, who defeated Chiyou to create material culture, and Shennong, who tasted hundreds of medicines, were all described as having a dragon face and a snake face (figure 1). It reflects the ancient primitive people's worship of the winners in the struggle with nature.

Second, Longnai is the embodiment of human beings. For example, Kun, Dayu's father, did not rot for three years after his death and turned into Huanglong.

Third, the dragon is a miraculous god. For example, when Dayu was managing water, he got the help of Shenlong because his persistence in managing water moved the world. The dragon drew a river with its tail to help Yu control water.

Fourth, the dragon is an animal controlled by the man of God. According to Shan Hai Jing, Ru Shou, the God of the West, Zhu Rong, the God of the South, Yujiang, the God of the North, and Ju Mang, the God of the East all rode two dragons.

Although the above myths and legends can't be verified, we can know that "Dragon" has its special position and significance in the hearts of China people. The reason why the dragon became the object of worship in China's primitive society reflects that people worship divine power, and the dragon is a symbol of divine power, because it can fly around and call the wind and rain, so it becomes an image with divine power. However, in the ancient culture of China, the dragon was only an imaginary creature. In ancient books, the description of dragons is as follows:

Shuowen said: "Dragon, scale worm can be quiet and bright, thin and huge, short and long." . The vernal equinox reaches the sky and the autumnal equinox dives deeply. 」

"Guanzi" said: "Pool": "If you want to be small, you will become a worm, and if you want to be big, you will hide in the world; If you want to go up, you will enter the cloud, and if you want to go down, you will enter the deep spring. It changes every day, up and down. 」

"Shang Shu Hong Fan" said: "Five elements of latitude said:" Dragons, insects are also deep in life, walking but invisible, and those who swim in the sky are also. 」

What exactly is a dragon? What shape is it? Many scholars have done textual research since ancient times. The unanimous conclusion is that the dragon originated from the totem worship of primitive clan society and is a virtual object composed of many animal totems. In the ancient clan society 5000 years ago, people could not fully understand all kinds of natural changes, and they regarded everything in nature as spiritual. From the sun, moon and stars in the sky, the storm and lightning in the air, to the living and non-living things on the ground, they are all regarded as gods. Primitive people realized that these natural phenomena were mysterious forces, reverence and awe, so they linked the sky with the world images and tried to explain them with familiar animals around them.

For the survival and development of primitive people, every clan or tribe regards one of the gods as the patron saint of the tribe, as its own symbol or symbol, worships it and regards the gods as ancestors. This is totem worship. At that time, there was a phenomenon of tribal or clan merger. When a powerful tribe merges with another tribe, it absorbs the most powerful part of the other tribe into its own totem, and merges into a new totem that is superior to the original image and represents all the merged clans. The image thus formed, that is, the unreal animal, becomes a virtual comprehensive creature. As a symbol of China traditional culture, "Dragon" comes from the totem of clan and tribe.

The legendary dragon is actually a deified snake, and the image of the dragon mainly comes from snakes. Legend has it that the ancients were often attacked by snakes, first fearing cloth clothes, and then deifying them into gods who could avoid all disasters. This abnormal psychology has given satisfactory answers to many incomprehensible natural phenomena. Such as lightning in spring and summer, after a tortuous white light flashed, it was a downpour. Lightning is like a dragon, flying in the air in an instant, full of twists and turns, so people associate it with "the cloud comes to ride the dragon", and for a long time, "the dragon snake is an angel." Lightning can cause fires, so dragons can breathe fireworks. In this way, the snake became a god in the minds of primitive people. It becomes the master of totem, and all other animals can only attach themselves to it, so the myth of dragon naturally comes into being.

In the second quarter, the sprout of dragon pattern in Neolithic age

"Dragon pattern" is not the original product of the Bronze Age. As early as the Neolithic Age in primitive society, the image of dragon appeared on various utensils used by China people. Even though the original form of "dragon" has no textual research, through the excavation of modern archaeology, it can be proved that "dragon pattern" has sprouted and developed as early as the Neolithic Age.

The prototype of the dragon first appeared on the cliff of persimmon beach in Jixian County, the southern tip of Luliang Mountain in Shanxi Province. It's a fish-tailed deer painting in Longyan, about ten thousand years ago. In archaeological excavations, among the cultural relics unearthed in Gangu County and Wushan County of Gansu Province, painted pottery belonging to Yangshao culture has been decorated with dragon patterns. They were once called "the face of the giant fish", but they should be called "the dragon pattern". In addition, at the Hongshan Culture site at the border between Inner Mongolia and Liaoning, archaeologists also unearthed a variety of jade dragon-shaped vessels, including the "dragon-shaped Zan" in Nastai, Bahrain Right Banner, Inner Mongolia; "Jade Dragon" in Samsung Lata Village, Onniute Banner, "Pig Dragon Jade Decoration" in Niuheliang, Liaoning Province (Figure 2), and "Jade Emperor with Double Dragons" in Dongshanzui, Kazuo County. Pieces of clay sculpture "Pig Dragon" were found in the "Goddess Temple" of Niuheliang site. The pottery dragon pattern of Dadianzi was also unearthed at the Xiaoshan site in Aohan Banner, Inner Mongolia (Figure 3), which was the product of the lower cultural relics of Xiajiadian about 3,400 years ago. In addition, the "dragon pattern" was also found on the painted pottery unearthed from Taosi in Xiangfen County, Shanxi Province (Figure 4). On the Tao Pan unearthed from Taosi Temple, the inner wall of the bottom of the dish is polished, and the red and white are painted with dragons. The dragon's head is in the outer ring and its tail is in the coil. The dragon body is a snake with a big mouth and sharp teeth. It looks like a snake instead of a snake. Obviously, this dragon is an imaginary synthetic virtual creature, which is an important discovery of the early dragon image. According to the textual research of relevant data, this "dragon pattern" was not later than 4,500 years ago, and it can be called "the first Yi Long in the world". However, if the "Jade Dragon" in Hongshan Culture is compared with the pottery dragon unearthed in Xiangfen, Shanxi, it shows that the Jade Dragon has primitive flavor and cultural characteristics, so some archaeologists speculate that the Jade Dragon should be 5,000 years ago. As a result, Jade Dragon replaced Tao Silong and became "Yi Long in the world".

The above-mentioned "dragon pattern" appeared about four to six thousand years ago, belonging to the Neolithic age. They have the same characteristics: the image is a combination of two or three animal images, with a big head and a curled body in a ring or semi-ring. The difference is that the dragons in Hongshan Culture and Xiaoshan sites are a combination of pig head, snake body and horse; The dragon of Yangshao culture is the head of human or beast, and the body of snake or fish is integrated into one. Yangshao and Hongshan Culture almost belong to the same era, but they belong to different cultural regions. They are related to their respective origins. It is precisely because of cultural differences that the image characteristics of dragons have their own characteristics. This proves that the concept of "dragon" is not exclusive to a clan, but gradually formed in long-term cultural exchanges and has become a totem symbol of many tribes.

The name of the pattern on the bronze ware was first seen in Lu's Spring and Autumn Annals: "Greedy, having a body, damaging its body, and more rewarding words." Another example is Lu Chunqiu. Seeing the Right Way from the Vulgarity: "Zhou Ding stole music for a long time, and the whole song was defeated. Gourmet and Pirate Song are the names adopted by later generations as the decorative patterns of Shang and Zhou bronzes, but the reasons for their naming cannot be traced back. The so-called gluttonous characters are sometimes animal faces on bronzes and sometimes dragon faces. As for stealing, it is called transforming the text, or turning it into a vortex text. According to Shuowen, Cui, Qiu and Guo patterns on bronzes are all related to dragons, or they are aliases of dragons or sons of dragons.

The meaning of the dragon pattern in the third quarter

When people talk about prehistoric art, they all think that primitive decorative patterns are inseparable from primitive society and religion, and this phenomenon also existed in Shang and Zhou Dynasties. In primitive society, decorative patterns were not only used for aesthetic purposes, but their artistic activities seemed to be more closely related to social patterns and religious beliefs. Cassirer, a western scholar, once said: "Art seems to be closely related to myth at the time of its origin and creation. Even in the process of development, art cannot leave the scope and influence of mythical thinking and religious thinking. " Note 6. Therefore, the original decorative patterns are closely related to social culture and religion.

Decoration plays an important role in bronze art in Shang and Zhou Dynasties. From the classification of decorative patterns, it is not difficult to find that animal patterns are the main theme of Shang and Zhou Dynasties, and dragon patterns account for the vast majority of animal patterns. This phenomenon reflects that animal images in Shang and Zhou Dynasties have a special lofty position in people's minds, and animal ornamentation is closely related to the religious belief in worshipping ghosts and gods in Shang and Zhou Dynasties. Mr. Zhang Guangzhi thinks that the animal patterns of Shang and Zhou artifacts are the media to help wizards communicate with the gods of heaven and earth. Note 7: In the Bronze Age of China, he once said:

In the early Shang Dynasty, the mythical function of animals was to communicate the world of human beings with the world of ancestors and gods ... In ancient China, divination as communication with dead ancestors was carried out with the help of animal bones. Rites and bronzes were obviously used to worship ancestors at that time, and those who went to worship ancestors were buried together after death. Therefore, these bronze sculptures are mythical animal patterns, which serve as a communication medium between the human world and the world of ancestors and gods.

In the Shang and Zhou Dynasties, offering sacrifices to ghosts and gods was a frequent occurrence. Businessmen are still ghosts, so they ask ghosts and gods for help in everything, and the work of asking ghosts and gods is done by witches, which is called "divination" Although witchcraft and religion are not the same in primitive times, there is still an inseparable relationship between witchcraft and religion; Primitive religion developed from witchcraft belief. As a ritual vessel, bronzes are mostly used for religious sacrifices, so the ornamentation on bronzes is related to religious beliefs and ghost worship habits. During the Shang and Zhou Dynasties, there was a concept of "casting a tripod like a thing", and the dragon pattern was mainly designed as a symbol of "the divine right of destiny", so it was of great religious significance.

People in Shang and Zhou dynasties regarded animals as gods with infinite divine power, so the animal patterns on bronzes had political significance besides religious sacrifices. Because Yin people are still ghosts and fear divine power, their sacrifice and worship are not the ultimate goal. In Shang and Zhou Dynasties, people regarded animal patterns as a medium for wizards to communicate with heaven and earth, and only nobles or leaders could monopolize this communication mode. It is precisely because of this privilege that the leadership, in order to safeguard its political status and interests, publicizes its strength through mysterious and solemn animal patterns on bronzes. Because the symbol of this strange image is admirable and frightening, it can intimidate the ruled under it and achieve the purpose of consolidating its status and authority. This animal pattern virtually strengthened its political power as a ruler.

Chapter III Dragon Patterns and the Evolution of the Times

The first section dragon pattern category

Dragon pattern classification can be divided into three types according to the shape of dragon body: straight body, bent body and rolled body. But the dragon pattern has been popular for a long time, and people belonging to the same category are far apart in time, and the evolutionary relationship is not clear. Rong Geng's "A General Introduction to Bronzes in the Shang Dynasty" divides dragon patterns into four categories: flat dragon patterns, double-tailed dragon patterns, crawling dragon patterns and dragon patterns. Mr. Ma Chengyuan divided dragon patterns into five categories: crawling dragon patterns, rolling dragon patterns, intersecting dragon patterns, catamaran dragon patterns and double-headed dragon patterns. Mr. Zhu divided dragon patterns into seven categories: Kuiwen, Yi Long, Panlong, Tuanlong, Xiaolong and Qulong. Because scholars have different views and opinions on classification, Mr. Ma Chengyuan's classification method is the most practical and theoretical value. Most bronze dragons in Shang and Zhou dynasties are not included in this list. The classification of dragon patterns discussed in this paper is generally based on the classification of Mr. Ma Chengyuan. In bronze decoration, all animals with bent bodies can be attributed to dragons. Dragon patterns can be divided into the following categories:

(1) reptile dragon pattern

The crawling dragon pattern (Figure 5) is a side image of a dragon, which is mostly placed horizontally, with the faucet facing forward and the body crawling. Usually the faucet opens downward, the upper lip rolls up, and the lower lip rolls down or into the mouth. The forehead has different angles, the trunk is in the middle, there is one foot, two feet or no feet below, and the tail is often bent and rolled up. The creeping dragon patterns on bronzes are mostly symmetrically arranged, consisting of animal heads and snake bodies from different angles, which are popular from the middle and late Shang Dynasty to the early Western Zhou Dynasty. The one who looks at one foot from the side in the dragon pattern is called "Kuiwen". The so-called Kuiwen refers to the profile of a dragon with one foot, two feet or omitted feet. With the mouth open, the body straight or bent, the forehead angular, and the tail rolled up or down, it can all be called the chief. Wei Xiao's name comes from Shuo Wen Jie Zi: "Wei Xiao is also a god, like a dragon." Shan Hai Jing? 6? 4 Ye Dongjing: "There is a beast as strong as an ox, pale and without horns. When one foot is in the water and the other foot is in the water, there will be a storm. Its light is like the sun and the moon, and its sound is like thunder. Kui can be described as a comprehensive variant of dragons or reptiles, and the composition does not need to be symmetrical. Instead, the whole body is composed of deformed animals, and this unique dynamic and rhythm is expressed by deifying dragons and beasts.

(2) the scroll dragon pattern

The scroll dragon pattern (Figure 6) is the image of the dragon body curled up. Book of rites? 6? 4 Wang had a saying of "Dragon Roll Sacrifice". Zheng Xuan's Note: "Draw a dragon in clothes"; Confucius said in Ying Da Shu: "The dragon scroll is a sacrifice, and the scroll is called the scroll. Draw this dragon shape and wrap it on clothes to worship the ancestral temple. In ancient times, dragon paintings were curly. In bronze decorative patterns, the dragon scroll can be divided into two categories. One is that the upper body of the dragon is upright, the dragon is covered with a Yun Leiwen, the lower part is horizontally rolled into a rectangle, and the faucet is placed in the center of the bronze plate, which varies with the change of composition and times, from Shang Dynasty to Warring States Bronzes; On the other hand, the body curled into a ball, centered on the faucet, or connected end to end, or in a spiral shape, called dragon pattern, which prevailed in the late Shang Dynasty and the early Zhou Dynasty. The dragon pattern is centered on the faucet and coiled into a round dragon pattern, which is mostly decorated at the bottom of the bronze plate. There are often patterns of dragons, fish, arowana and birds around the body.

(3) Cross dragon pattern

Cross dragon pattern refers to a pattern in which two or more dragons are intertwined, also known as "dragon pattern". The dragon tattoo on the horizontal body (Figure 7) is the image of the dragon's body intertwined. Can this be found in Zhou Li? 6? 4 spring official? 6? 4 division commander: "Wang Jian Dachang, princes build flags. Zheng Xuan's note: "A warlord draws a dragon, which is like his rising to the DPRK and his submission." And "publish your name? 6? Release the soldiers: "The horizontal dragon is the flag, but it is also inclined." Draw two dragons living together. "This design has several embossed dragons interspersed with each other on the bronze ware. The dragon body is like an endless belt, and the ornamentation closely matches the shape of the vessel, giving people a sense of rhythm and three-dimensional sense. On bronzes, based on X-shaped and ∞-shaped structures, complex dragon-crossing images are often transformed. The dragon-crossing images are called dragon-crossing, and the upper one goes up and down, the lower one goes up and down, and the upper one goes down, and the two are intertwined. During the Spring and Autumn Period and the Warring States Period, not only two dragons crossed, but also a group of dragons intertwined and developed into various complex forms. On bronzes, the body is relatively thick, and the dragon pattern used to be called "flat". The cross dragon pattern with reduced deformation is called "flat snake pattern" (note 1 1).

(4) Double Dragon Pattern

The dragon pattern on the dragon's body is characterized by the center of the dragon's head, the body spreading to both sides, and the two sides are divided into two tails, four claws (or the dragon has no feet), and the tail is rolled up, formerly known as "double-tailed dragon pattern" (Figure 8). The composition of this decorative pattern is similar to that of an animal's face, and the body spreads to both sides. This pattern is often decorated in the narrow range of the neck of bronze objects, which is distributed in strips. Its advantage is that the dragon body can be completely unfolded, which is the double dragon pattern; It prevailed from the late Yin Shang Dynasty to the middle of the Western Zhou Dynasty.

(5) Dragon patterns at both ends

This decorative pattern is characterized by a dragon head or a dragon head at each end of the beast, which used to be called "dragon pattern at both ends" (Figure 9). On bronzes, animal bodies are mostly diagonal or zigzag, which is the phenomenon of pattern deformation. The two faucets are not exactly the same, sometimes one is the front and the other is the side. The simple and unique dragon patterns at both ends are more common in the middle and late Western Zhou Dynasty. The winding dragon pattern prevailed in the middle and late Spring and Autumn Period.

Section II Evolution of Dragon Patterns in Shang Dynasty

First, in the early Shang Dynasty:

In the early Shang Dynasty, the main decorative pattern was animal face pattern. With the complexity of bronze decorative patterns, two snake-shaped auxiliary patterns often appear on both sides of the animal face pattern. This snake-like pattern often appears in the form of a long strip with one foot, head down, mouth open and lips rolled up. It is the prototype of the dragon pattern. Although dragon pattern was only used as an auxiliary decoration of animal face pattern in the early days, it has gradually evolved into dragon pattern.

Second, the intermediate business:

There were two special phenomena in the middle of Shang Dynasty. One is that the "true dragon pattern" is independent from the accessory part of the animal face pattern and becomes the true dragon pattern; Another phenomenon is that "dragon pattern" began to develop. During this period, the real dragon has three visible patterns, which can be divided into the following according to the order of their appearance:

(1) straight and short, head forward.

This kind of dragon has a single trunk with drooping tail (figure 10) or curled tail (figure 1 1), which was popular in the middle and late Shang Dynasty. Part of this pattern is still used as an auxiliary pattern on both sides of the animal face pattern, but its shape is mostly inverted.

(2) Folding type

The dragon body folding dragon pattern is characterized by the dragon body folding downward, the folding angle is at right angles, the tail is rolled up, and the mouth is downward (Figure 12), which is found in the middle and late Shang Dynasty.

(3) Bend down, roll up your tail and open your mouth forward.

In this period, the dragon's body was close to S-shape, and its mouth opened forward, which was popular in the middle of Shang Dynasty (Figure 13).

Dragon patterns in this period can be divided into two types: one is a bronze plate with the dragon head as the side and the body rolled down along the head (Figure 14), which was found in the middle period of Yin and Shang Dynasties; On the other hand, the head of the dragon is at the front, and the body of the dragon is coiled clockwise in a circle or a circle and a half in a copper plate, and there are often dragons between the bodies (Figure 15), which is more common in the middle period of Yin and Shang Dynasties and lasts until the early and middle period of Spring and Autumn. In addition, the "dragon-climbing pattern" was also popular in this period, and the images of animal heads and snakes appeared from different angles, such as the dragon pattern of a tiger head, the dragon pattern of a giraffe and the dragon pattern of an outer roll angle. This pattern prevailed from the middle and late Shang Dynasty to the early Western Zhou Dynasty.

Third, the late Shang Dynasty:

The style of "black nightshade pattern" inherited from the previous period continues to be popular, and a new variety of black nightshade pattern appears, which is characterized in that the trunk of the dragon is folded upward, the angle is at right angles, and the tail is rolled downward (Figure 16). "Dragon pattern" also continued to prevail during this period. According to clever design, this dragon is a set of patterns around the disc, which is the prototype of the dragon. "Climbing the Dragon Pattern" also continued to prevail during this period, continuing the previous style. In addition, two other dragon patterns began to develop during this period, one is "Shuanglong pattern" and the other is "Yilong pattern". The double-tailed dragon pattern began to appear in the late Shang Dynasty, characterized by the dragon head in the middle and the body spreading to both sides. Formerly known as "double-tailed dragon pattern", it prevailed from the late Shang Dynasty to the mid-Western Zhou Dynasty. Yi Long Wen sprouted in the late Shang Dynasty. The dragon pattern is short and straight, and the crown of the tail is vertical to the tail (figure 17). Although rare, it can still be seen in the early Western Zhou Dynasty (Figure 18). A dragon is mostly opposite, mostly distributed in the neck of the object as the main decoration.

Section III Evolution of Dragon Patterns in Western Zhou Dynasty

First, the early Western Zhou Dynasty:

In the early Western Zhou Dynasty, the "true dragon pattern" continued to develop, and many new variants of the true dragon pattern appeared. For example, the body is straight and short, the head is forward, the dragon's body is split in two, and the tail is rolled up (Figure 19). In addition, on the basis of this type, it evolved into another type of dragon pattern. This dragon pattern has a low head, a downward mouth, two horns on the forehead, and a long and curly upper branch, which looks like a trunk (Figure 20). Although this dragon pattern is similar to the dragon pattern of the split tail roll, it has knife-shaped feather wings on its back, so the difference between the two dragon patterns can be distinguished by this feature. This dragon pattern was seen in the early Western Zhou Dynasty. New varieties, such as Yi Long's first introduction of two bodies, namely "Shuanglong pattern", germinated in the late Shang Dynasty and continued to develop during this period; Or a body with a faucet at each end becomes two dragons, called "two dragons"; Or the strange body where Solanum nigrum meets Kui Feng (Figure 2 1). "Double Dragon Pattern" and "Panlong Pattern" also continued to be popular in this issue. During this period, a new variety of "crawling dragon pattern" appeared, called "long crown dragon pattern" It is characterized by replacing the horn of the dragon with the long crown of the phoenix, and its head is still the head of an animal, while the dragon's body is very long, with a foot or fin in the middle, and its tail is curled up and down separately. In addition, the pattern of "Yi Long Wen" is straight with two heads, and the double heads are opposite because of Yi Hui, which started in the early Western Zhou Dynasty (Figure 22) and lasted until the middle of the Western Zhou Dynasty (Figure 23).