Xi History of Ceramic Tiles Development in Qin Zhuan Hanwa Museum.

The earliest ceramic tiles in China began in the Western Zhou Dynasty. The Western Zhou Dynasty inherited the Shang Dynasty and was the heyday of slaves. Joo Won? site complex in Chenzhao Village, Fufeng, Shaanxi Province is large in scale. Not only began to use ceramic tiles, but also according to the structure and function of buildings, semi-circular plain tiles, chord tiles or heavy ring tiles appeared. It is worth noting that the design of this ceramic building accessory is the same as that of the bronze ritual vessel symbolizing the ruling power. What does this mean? According to archaeological findings, these early tiles were only used in high-standard palace buildings, that is, only the ruling class had the right to use them, and ordinary people were not interested at all. In this sense, tiles were also a symbol of power in the Western Zhou Dynasty. The implication of its thick ring pattern composed of simple geometric lines is even more mysterious and strange.

In the Spring and Autumn Period and the Warring States Period, it coincided with great social changes in China, with a hundred schools of thought contending and a hundred flowers blooming. Tile art presents a brand-new artistic style, with diverse decorative patterns and strong local colors. During this period, great changes in society, politics, economy, ideology and culture have brought unprecedented artistic activities, and art is most sensitive to the reality, which is also reflected in the changes in tile decoration.

In the spring and autumn period, there were mainly rope patterns, plain faces and a small number of identifiable pattern tiles. During the Warring States period, there were mainly image patterns and tiles, such as gluttonous patterns, animal patterns, Yunshan patterns and cirrus patterns in Yan State, tree patterns and animal patterns in Qilu, deer patterns, tiger patterns and leopard patterns in Qin State.

Moire patterns can best reflect the commonness of ceramic tiles in various countries. Moire tiles have been unearthed in many places, but under the fine products, they are unique and varied. It can be said that the Warring States period is a major turning point in the qualitative change of Wadang decorative patterns. People were liberated from the gloomy atmosphere of slave society and broke through the complicated pattern of primitive abstraction in the early days. Starting from describing the mysterious and grotesque surreal world, they face nature directly and extend their brushwork to birds, animals, trees, flowers, fish, turtles and insects, which embodies the artist's beautiful feelings about real life and healthy aesthetic taste.

Ceramic tile art in Qin Dynasty was based on the unification and unprecedented development of material civilization and spiritual civilization in feudal empire. Qin Shihuang swept Liuhe and unified the Central Plains. "Every time a vassal breaks, he remembers his palace and stands in Xianyang North Osakanoe." At the same time, he thoroughly inspected his palace and other gardens. Its scale is incomparable in previous lives, and it also pushes the art of tile-dang to a peak. The firing technology of Qin Wadang is relatively mature, with high temperature and hard texture. As long as you think about the terracotta warriors and horses of Qin Dynasty, you can understand the superb pottery-making technology of Qin Dynasty. There are two kinds of tile decorative patterns in Qin dynasty: images and patterns. Images are mainly animal patterns, such as deer, leopard, fish and birds. Patterns are mainly varied moire patterns. While firing a large number of ceramic tiles, he also created a super-large "tile king", which is also worthy of the national prestige of the powerful Qin Empire.

Han Wadang reached the acme of prosperity in both content and form. Han inherited the Qin system and built many buildings, which were extremely luxurious and even more so than Qin. The imperial capital is dotted with palaces and other pavilions all over the country. Large palaces, warehouses and tombs must be decorated with tiles. The image tiles in Han Dynasty are the most prominent, such as Qinglong, Baihu, Suzaku and Xuanwu. The word "Wadang" has the most characteristics of the times and occupies a prominent position in the Han Dynasty. Emperor Wu of the Han Dynasty's concept of "harmony between man and nature" is unprecedented. The figures in the heyday of the Han Dynasty are very rich in content and flowery in words. Give people a strong artistic enjoyment. Wadang in Han Dynasty was unearthed in a wide range, and it was found in almost all provinces and regions in China, especially in Guanzhong area of Shaanxi Province. Wadang in Han Dynasty is a collection of achievements since the Western Zhou Dynasty, which embodies the spiritual temperament of typical China traditional artistic style and makes the art of Wadang reach a brilliant peak.

After the Han, Wei and Six Dynasties, Wadang gradually declined. The tiles are greatly reduced and the patterns are single.

In the Sui, Tang and Five Dynasties, lotus pattern became the most common tile pattern, which continued until the Northern Song Dynasty. Since the Song Dynasty, animal face tiles gradually replaced the dominant position of lotus face tiles, which were widely popular in Song, Liao, Jin and Xixia until the Ming and Qing Dynasties.

Throughout the Song, Yuan, Ming and Qing Dynasties, the artistic quality of tiles was far worse than that of Qin and Han Dynasties, but the production technology of tiles was quite mature during this period, and the application of glazed tiles in palaces and temples was gradually popularized. Brick rubbings art "has been full of wind and rain, bring a piece of paper to ask Qin and Han Dynasties". We know that the Hanwa culture of Qin bricks is different from other cultures. Its biggest feature is that it can be expressed and spread through rubbings, or that the tiles are reliefs. Their rubbings reflect the sense of strength through the back of paper and the thick feeling of bricks, from plane to three-dimensional, from three-dimensional to plane. This alternate creation is thought-provoking. Brick rubbings finally formed an ancient art form in China and were accepted by the world.

"Make the past serve the present, expand to serve us", explore the profound connotation and artistic connotation of Wadang rubbings, and sort out and carry forward traditional culture to cater to today's prosperous times. Due to the role of rubbings, Qin Zhuan Hanwa can play an irreplaceable role in spreading China culture to the world, and can be combined with poems, books and paintings to derive works of different forms and contents, adding spiritual food to a harmonious society. Tile rubbings are black or vermilion, and they also have a quaint artistic conception. The blank space around the rubbings can also be used for inscription or writing some related words. The epigraphy of rubbings, with interesting inscriptions, landscapes, flowers, birds, insects and fish, is full of charm and is a rare artistic masterpiece.

At the same time, the original extension of the tile is extremely precious. Buried underground, eroded by loess for thousands of years, the soil rust (we call it patina) on the surface of the tile reveals the beauty of simplicity and obscurity, reflecting the glory of history, which can be compared with the bronze rust and the blood stasis of jade. In order to protect these patina, the tiles should not be moved easily. You can't make a lot of rubbings at will. Tiles are muddy, not as hard, delicate, fragile and washable as stones and jade. Tiles are easy to absorb water when rubbed, which leads to mortar falling off. Once you lose this precious "coat" and reveal a new stubble, it will be bleak. Especially orphans or treasures.