He is the wicked beast of the legendary gluttony. He is greedy to eat even his own body, so his body is generally headless. "Lv's Spring and Autumn·First Look" said: "Zhou Ding is stunned, there is no body, the eater does not swallow and his body, and the words are more." In ancient Chinese mythology, jealousy is one of the four murderers. Legend has it that the Yellow Emperor was in a war, and Chi You was shackled. "Shan Hai Jing·Bei Shan Jing" has a cloud: "The mountain of Hook Wu has many jade on it, and there are many coppers under it. There are beasts, which are like the face of a sheep, whose eyes are under the arm, and the tiger's teeth are claws. Such as babies, famous, is a cannibal." According to Guo Yu’s annotations in the Jin Dynasty, “ç‹é¸®â€ is here. "Divine Sutra, Western Wilderness" also has a similar record: "Hey, the name of the beast, as a cow, human face, under the armpit, eating people." "The Book of Different Scriptures" said that the squad refers to the three Miao people in the southwest. The close-up Chen Mengjia further said that 饕餮 is Chiyou, and that Mr. Liu Zhiping’s "Question of Bronze Python" is considered to be Shennong. After the folks have the legend of Longsheng Jiuzi, Lu Rong and Yang Shen of the Ming Dynasty listed it as one of the Longjiu, which is already an attachment. Lu Rong’s "Zhuyuan Miscellaneous Notes" records "sexual water, so the bridge", and Yang Shen's "Sheng Sheng Ji" is remembered: "Good food, so stand in Ding." Modern research has already questioned whether this animal face pattern is a crepe pattern, but it has only led to the prevalence of crepe lines due to the long-standing traditional title. Many bronze scientists and ancient historians now say that the layout on bronze vessels is: the nose is the midline, the sides are symmetrically arranged, and the image of the animal face is large, with nose, double horns, usually without the lower lip. There are also lines that are symmetrically arranged using two ridges, called the animal face pattern, and no longer use crepe lines. Regardless of the crepe or the animal face, the exaggerated animal ornamentation and styling on the bronzes of the Shang and Zhou dynasties present a mysterious atmosphere and power that is super-disappearing, and Mr. Li Zehou calls it “the beauty of sternnessâ€. They have the power to threaten mystery because these symbols point to something that seems to be the authoritative power of the world. These casting engravings exemplify an infinite, primitive, original religious feeling, concept, and ideal that cannot be expressed in a conceptual language, coupled with a calm, solid, stable artifact, and a highly successful reflection. The barbaric age of blood and fire that must enter the civilized era.
The animal face ornamentation of the Shang and Zhou bronzes reflects the worship of the natural gods at that time, and thus has a mysterious and solemn atmosphere. However, the meaning of these thick and mysterious patterns represents a certain meaning. The bronze ware is the embodiment of the consciousness of "the respect for the gods" of the Yin and Shang dynasties. The Zhou Dynasty developed into the "King of Heaven and Heaven" and formed the representation of the trinity of religion, political power and nationality. Most scholars believe that the Shang and Zhou rulers used the bronze plaque of "terror" to express the "mysterious majesty" of the kingship, in order to express its possession of political power, status and wealth, which is daunting. The slave owners have placed all their majesty, will, glory, fantasies and hopes in these horrible patterns. Mr. Zhang Guangzhi also believes that “bronze is politics and powerâ€, but he believes that these animal patterns are not for threat, but for communicating with God. Due to the low level of primitive social productivity, people have attributed many unexplained phenomena to the power of God. People are full of awe in the spirit, begging the gods, please the gods, and use the power of God to dominate things. Therefore, the wizard who can "pass the gods" has a very high status, and the wizarding class becomes the original ruling class. Sacrifice is the privilege of the wizard, and it is also the central link between the communication of people and God and the sanctification of the human order. The wizards use the animals on the bronze to communicate with the gods, so these weird animal patterns represent mystery and power. According to Chen Gong's soft Zhang Changshou's research, the most primitive form of the faceless figure is just a pair of round bubble-shaped nails to indicate the eyes of the animal face. The origin can be traced back to Erlitou culture, and then gradually add nose. The corner of the eyebrows becomes an animal face with complete organs. The eye is the main body of the animal face, because the animal face is generally only seen with binocular, it should have originated from prehistoric eye worship. Prehistoric painted pottery has pairs of eye lines, and jade has pairs of eye lines. In the late Neolithic period, there was a standard animal face pattern, and there was also a simplified form of the animal face pattern, that is, the eye pattern. According to Mr. Tang Huisheng, the god of shamanism is also the sun god. The sun god is often drawn into an eye shape, because in many ancient myths, the sun is called the "eye of the sky." The sun god of the Baltic, also known as the "eye of the sky" or "the eyes of the world." Scholars who hold this view believe that the traditional pattern of crepe is not just a kind of animal face, but as the genus of the god or the sun god, the emphasis on the eye in the crepe is exactly what it is as the sun god. - A description of this feature of light.
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