Shang bronzes, most are complicated and detailed patterns, such as the mysterious twists and turns and well-angle of thread, also known as a paper or Yunlei Wen, a symbol of lightning or a storm cloud, this thread, long ago in primitive art period pottery. He asked to build the bronze sculpture and then placed them in the capital to represent the whole nation. This decoration, the first multi-round, the middle course of development, there are two circular linked condition, and finally, into a thread by a well-rounded and angular style, this scenario painted pottery in the Neolithic period began Machang embryonic period and appeared to Changxindian continuous circular pattern with the emergence of such a well-rounded corner or thread, in the Neolithic Age, pottery mainly to decorate the neck.
To the Shang Dynasty, the patterns will be the decorative pottery, bronze and bone horn used to decorate objects. As described above, Ding, Ge, mostly in objects with a pattern on the neck carve and decorate a paper on the inside is full. Again, in the Neolithic Yang-shao pottery in the performance of the mats of the streak pattern decorative patterns, in three generations can be seen on some bronze. The nine china bronze sculpture> were looking upon as the national treasures and handed down from generation to generation. The motif appears in primitive art is the original stone, wood or clay, and bronze to the slavery era of advanced technology, this decoration or direct transfer, or based on the original transformation but also extended to use a metal can be said that Chinese pottery shapes and decoration of the original formation of the decorative art of China’s unique rules, and in the Shang and Zhou to be more perfect expression.
Another three generations of the basic characteristics of bronze art performance in their own unique, aesthetic style in itself, there are also changes and developments. In late Xia, Jie was profligate and devoid of principles and the bronze statue sculpture was moved to Shang. With the emergence of slavery and the economic and political development, although the bronze craft bronze art of the original on the art of pottery has a pulse period of the relationship between the legend, especially in the early era of slavery still has some original pottery that simple, lively Yun taste, but three generations, after all, a self-integrity system, as the emergence of class and country.
Some people in society have been completely liberated from the physical labor out, specializing in bronze casting bronze and design shape and decorative patterns the mental, the separation of art and labor, through the artifacts cleverly appearance reform shows a strong sense of not only art but also has original rules, bronze casting will slowly from the original mainly useful for the purpose of turning getting out of touch with real life, become a specialized profession, to meet the upper nobility and the political demands of pleasure. So the nine china bronze sculpture were obtained by Zhou.
It is due to the emergence of this factor, bronze art is not only made great progress in technology, such as the invention of the wrong payment technology, and decorative stones embedded in the green pine, but also changing artistic style, bronze development to about summer solstice. All these mentions have demonstrated that chinese bronze sculpture was the mark of the nation and regime. the early Shang Dynasty, artistic style from the lively, happy tend to solemn, mysterious, heavy, single taotie for patterns (also known as Animal Mask) epidemic is not only the expression of a cover of Ning Li without beauty, but also reflects some kind of primitive, clumsy flutter of beauty; development to the mid-Western Zhou, artistic style by Ning Li, tend to the mysterious calm, clear, dignified and mysterious atmosphere that gradually weakened.