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The Decorative Pattern on One Chinese Bronze

Decorative patterns of Chinese bronze figure present the sense of symmetry. Top to bottom and front to back, whether it is the external form of or the decorations on this zun, it pays attention to the overall sense of symmetry with no exceptions, including the phoenix motif with curved neck and raised tails, the young phoenix with curly feathers and bending crests back to back, the two pairs of healthy and energetic phoenixes motif, the apparently protruding animal heads and raised-nail patterns, the carefully and neatly done “S”-shaped two-side-continual bands, lively and lovely frog patterns in pairs. All of these patterns serve for the symmetrical beauty and extrude solemn sense of order. The decorative patterns of Wu always show up in the symmetric picture that is mainly related to the production and molding techniques. What’s more, it can better embody the Wu’s attention to the symmetric touch of the external form of the musical instruments sculptures. Meanwhile, it exerts efforts to reflect the stable and majestic aesthetic pleasure brought about by the symmetric patterns, expressing the basic law of beauty in form.

Decorative patterns of Chinese nude statues give a sense of rhythm. The overall pattern design succeeds in presenting the rhythm and carries out artistic exaggeration and management to the phoenix coronet, phoenix wings, tails and claws. In the form of S, it excludes a graceful figure, strolling about and starting dancing. Phoenixes in pairs are provided with vibrant, elegant and moving rhythm; meanwhile they also reflect the alternation with the large and the small and the well-arranged sense of cadence, supplying the enjoyment of beauty. Wu is a state advocating of aestheticism. To break the lack of symmetrical patterns, they incline to apply changes to the local patterns and exaggerated means and S-shaped motif to spark off motion in static state and the entirely free and smooth artistic appreciation of beauty plus a kind of rhythmic musical beauty. The above explains the decorations of the Wu’s bronze sculpture noticing the aesthetic needs of the rhythm sensation.

Decorative patterns generate a sense of unity. This zun takes the priority to the phoenix design mixed with the thunder pattern with the protruding animal heads and raised nails. Regardless of diverse means of artistic expression or the adoption of the decoration technique of relief, it does not affect the harmony and unity of the entire pattern, seeking unity in a changing and variations in the uniform. In this way, it will not only break the monotony of the phoenix motif, but also enrich performance measures of the entirety. Under the lead of the motif, it makes the multiple patterns unify and harmonize to the best fit, resulting in a high aesthetic value. The Chinese bronze sculptures of Wu generally apply a fixed motif to serve as the major role of the whole pattern. If the conditions permit, they would supplement with a variety of other auxiliary patterns, which is another aesthetic character of the bronze wildlife sculptures in Wu in quest of harmony and unity in the variations and vice versa to achieve the perfect harmony and unity.

Today, when people praise these Chinese bronze sculptures of mottled color in the remote past, probably we would not recall the era of blood and fire, let alone the bronze arts are built on top of the clusters of bones of the slaves. Those exquisite shapes, energetic lines and patterns rich in decorative beauty, in spite of the childish nature, are still very modern, although rough but very beautiful, cumbersome yet very harmonious. They include the dignity and divinity of the Central Plains culture, shines with the wisdom and glory of the Wu state and make up a branch in the midst of the long river of Chinese art on behalf of the Oriental exquisite, exquisite and peerless art, conquering the people come to appreciate. This Chinese bronze angel phoenix zun can be compared to a bronze monument of the bronze culture and the pride of the Chinese nation.
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