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The historical process of the development of Chu civilization has experienced four stages: gestation, maturity, prosperity, stagnation and decline, and its achievements are also reflected.
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Chu civilization, whether it is mature, prosperous or declining, not only accepts and embraces other civilizations for its own use, but also has an impact on other civilizations, which can be found in the cultural heritage of its surrounding areas. It is precisely because of the mutual influence and interaction of regional civilizations that China's ancient civilization was carried forward in the fusion of diverse and complex cultural factors and continued to develop for 2000 years.
Introduction to Jingchu culture Jingchu culture, named after Chu State and Chu people, is a regional culture that rose in Jianghan Basin from the Zhou Dynasty to the Spring and Autumn Period and the Warring States Period. It mainly refers to the ancient Jingchu history and culture with Hubei Province as the main radiation area today. Jingchu culture is an important part of Chinese national culture, which inherits many characteristics of Shang and Zhou cultures. It has a long history, extensive and profound, distinctive regional characteristics and great economic and cultural development value. Chu Ci is regarded as the source of China's romantic literature, which has a more direct influence on later Han Fu. "Writing Chu language, Chu sound, gathering Chu land and making famous Chu utensils", together with other Chu culture essences, has built a magnificent and peculiar Chu culture.
Brief Introduction of Chu Culture Chu culture is the general name of the material culture and spiritual culture of Chu, the southern vassal state of China in the Spring and Autumn Period, and it is an important part of Han civilization. Chu's ancestors originally lived in the Central Plains of the Yellow River Basin (Xinzheng, Henan). After moving south, they brought China's advanced civilization factors to Chu, and developed Chu culture, especially Ji, on the basis of Shang and Zhou civilizations in the Central Plains. At present, most parts of Hubei Province and southwest Henan Province are the central areas of early Chu culture. Southeast Henan, Jiangsu, Zhejiang and northern Anhui are the centers of the late Chu culture. Hunan and Jiangxi are the central areas of Chu culture after the mid-Spring and Autumn Period. Parts of Guizhou, Yunnan, Guangdong and other places have also been influenced by Chu culture. From the cultural point of view, Chu culture retains the characteristics of Ji Zhou and Wen Ming in the Central Plains, while absorbing the characteristics of a small number of barbarian cultures. The later the time, the more its own style appears, and it is imitation, variation and innovation to advance along the development track of the whole Chu civilization.
Where is the source of Jingchu culture? Danjiangkou in western Hubei!
Generally refers to the territory of Nanzhang, Xiangfan, Shan Zhinan in northwest Hubei! ! !
In history, Nanzhang, Xiangfan, known as the county town with three thorns: Chu, Luo and Lu Rong were all founded in Nanzhang!
The historical origin of Chu culture The Chu people are closely related to the Huaxia clan in the Central Plains. The ancestors of Chu people came from the Central Plains, which was a branch of the Chinese people who moved south. They brought the advanced elements of Chinese civilization to Chu, and gradually developed Chu culture, especially Ji, on the basis of Shang and Zhou civilizations in the Central Plains. As far as reunification is concerned, Chu was sealed off in the early years of the Western Zhou Dynasty and naturally accepted the rule. Moreover, the physical data also show that in the Western Zhou Dynasty, the personality characteristics of Chu civilization were not clear, and they still retained considerable characteristics of Central Plains civilization. It was only after the Spring and Autumn Period that a mature and unique culture was gradually formed, which was different from Ji and other regional civilizations in the Central Plains. The initial rise of Chu civilization, like other civilizations, should also have corresponding elements of civilization, so we can examine the approximate time of the rise of Chu civilization. From the time when Chu hunted bears to the time when Xiong Yi was sealed, all the documents recorded that Chu lived in Danyang (now Xichuan County, Henan Province) instead of Du Danyang, and there was no corresponding archaeological data to prove it. At that time, Danyang was just a place name, not a capital city, and there was no urban organizational system, and large ceremonial buildings had not yet been discovered. Bronzes suspected of being made or decomposed by Chu are not only found in archaeological excavations, but also in handed down works, not to mention words. At this time, Chu was "founded in Jingshan Mountain, and the road is blue", which shows that productivity is low and its production relationship can only be formed on the basis of simple blood relationship. Chu's social form is natural and primitive. Xiong Yi's seal was the beginning of Chu's founding. The historical facts between his five male canals are unknown, and there is no clear archaeological data to use. It seems that even if the State of Chu is founded, it may not really enter the era of civilization in the strict sense. But in Xiong Qu, Chu expanded for the first time, which should reflect the great growth of Chu's economic and military strength, and bronze weapons should be widely used. In the late Western Zhou Dynasty, there were a few bronzes in the tomb of Zhaojiahu in Dangyang, Hubei Province, and a few bronzes were handed down from generation to generation, which showed the rise of Chu bronze smelting and casting industry from one side. During this period, a small number of sites suspected of Chuncheng were discovered. Moreover, the social form of Chu has undergone fundamental changes, completing the transition from clan society to class society. Xiongyi Culture Avenue is located in Paifang Bay in the south of Baokang County, Hubei Province. It starts from Tumen Sancha Road in the south, ends at Fengyin Yanzui in the north, ends at the red line of the road in the east and ends at Qingxi River in the west. Along the way, 10 street attractions and two early Chu culture squares will be built, which will be integrated with the completed Chu culture relief corridor to form a 10 km Chu culture landscape belt along the Qingxi River. Qi Ming Square, Chengshui Yuqiao and Chu Yuan Fengtai will be built on Xiongyi Culture Avenue. Baokang is one of the cradles of Chu culture. Chu has a history of more than 800 years, and it has been in Baokang for more than 350 years. It has a long history and profound cultural heritage. According to historical records, Xiong Yi is a descendant of a branch of Zhu Rong family. Zhou Chengwang era, Xiong Yi was named Chu Jun, giving "Zinan" land. Therefore, Baokang Avenue along the river is named after Xiong Yi, which means that the essence of "Jingshan Chu Yuan is the early stage of Chu culture" is integrated into it, and the Chu people who led the tribe to "open up the mountains" with their ancestors Xiong Yi are persevering, pioneering, innovative, hard-working and pioneering. In the early and middle period of the Western Zhou Dynasty, the territory of Chu State was very small, which was mainly influenced by Wen Ming of Ji Zhou in the Central Plains. Therefore, the cultural outlook of the areas ruled by Chu people is close to the style of Wen Ming, Ji Zhou in the Central Plains. At that time, although Chu civilization was in its infancy, its personality characteristics had already begun to breed. At the beginning of the Western Zhou Dynasty, with the beginning of the first military expansion, Chu people had the opportunity to further contact with the peripheral barbarian culture. The blending of Chinese civilization and barbarian culture made Chu people not only inherit Chinese civilization, namely Ji Zhou and Wen Ming, but also transform it according to the gradually formed self-consciousness. Chu civilization was originally produced in this process of adhering to the main source and eclecticism, which can last until the early Spring and Autumn Period. It is also in the special multi-ethnic environment and survival consciousness that the diversified characteristics and distinctive personality of the late Chu civilization were laid. In Chu culture and art, we can often feel a series of mysterious and eccentric image combinations, such as staghorn crane, tiger phoenix, the mixture of man and god in lacquer painting, dragon and phoenix in embroidery, and multi-tone in bronze ware. This is the cultural spirit of Chu people, who "know the world alone". The flow and growth of flowers give people a free and vivid imagination. Chu is rich in beautiful women with thin waist. Chu culture and technology: A large number of bronzes, jades and lacquerware were unearthed from the tomb of Zeng Houyi in Suizhou, Hubei Province, with rich artistic categories and complete shapes. Among them, the process of copper plate casting by lost wax method is wonderful and is known as the "peak of pre-Qin"; The patent leather suitcase is marked "... >>"
Chu culture is located between Jianghan and Huai, where Huaxia language in the north, Tibetan-Burmese language in the west, Miao-Yao language in the south and Zhuang-Dong language in the southeast all contact and communicate. The formed Chu dialect is naturally a dialect with rich vocabulary and unique pronunciation, which absorbs many language elements. Chu language belongs to the Chinese system and has many characteristics in pronunciation and vocabulary. There is not much difference between Chu's writing in the Western Zhou Dynasty and other countries in the Central Plains. Gong Chu Jia Zhong's inscriptions are similar in style to those in Zongzhou, with vigorous momentum, regularity and slight twists and turns. From the Spring and Autumn Period to the mid-Warring States Period, Chu's characters gradually tended to be slender, with thin and consistent strokes, neat and beautiful arrangement, smooth strokes and free and unrestrained style. By comparing the inscriptions of chimes unearthed from Wang Ziwu Ding in No.2 Chu Tomb in Sixia with those unearthed from No.2 Chu Tomb in Dadian, Shandong Province, we can find that the characteristics of Chu characters are slightly worm-shaped, which is the embryonic form of worm books. After the mid-Warring States period, bamboo and silk dominated, and bronze inscriptions were also influenced by it. The font tends to be flat, the body posture is simple, the horizontal pen holds its head high, the head is thick and the tail is thin, and some wave-potential picking methods have taken shape in later generations. During the Warring States period, the culture and art of Chu made brilliant achievements. Chu Ci is the representative of Chu culture and the source of Han Fu. Chu Ci, also known as Chu Ci, is a poetic style created by Qu Yuan, a great poet in the Warring States Period. The works use Chu's writing style and dialect rhyme to describe Chu's mountains and rivers and historical customs, which has strong local characteristics. In the Han Dynasty, Liu Xiang compiled Qu Yuan's works and Song Yu's works "Cheng Qu Fu" into a collection called Songs of the South. After The Book of Songs, it became a collection of poems with far-reaching influence on China literature. Qu Yuan's Li Sao is a masterpiece of Chu Ci, so Chu Ci is also called "Sao" or "Sao Style". During the Spring and Autumn Period, the music of Chu State was very developed. Chu set up a music official, who was in charge of music affairs. For example, Zhong Yi, Duke of Chu Yun, inherited the position of "actor" from generation to generation. Zhong Jian was appointed by King Zhao of Chu as a musician and a music official. Chu has various musical instruments, including bells, chimes, drums, harps, shovels, pens [bamboo/tiger], flutes and so on. In 2002, Jiuliandun tomb was excavated on a mound at the junction of Wudian Town and Xinglong Town, about 2 1 km southeast of Zaoyang City, Hubei Province. A large number of musical instruments were also unearthed in Tomb No.2, including two well-preserved lacquerware with string marks on it. In addition, there are bells, chimes, drums, sheng, cymbals, harps, harps, flutes and so on. Among them, reeds remain on the sheng and cymbals. Chu music also shows the characteristics of nationality and integration. Selected works? Song Yu asked the king of Chu: "There were guests of the Song Dynasty in Ying, who started from the Xialiba people, and there were thousands of people who made peace with the country." It is called "Yang A Xielu", and there are hundreds of people who belong to it. This is "spring snow", and only a few dozen people belong to middle schools. China merchants carved feathers, and few people returned to China to make peace. It is its high music and sparse harmony. "Xialiba people" is a popular song in areas where Chu people and Ba people live together. When people sing, they are simply singing and dancing, and the scene is very lively. The rest of the songs, because of the greater difficulty, people can gradually reduce. The dance was accompanied by music. Witch dance has been popular in Chu since Shang and Zhou Dynasties. Wang Yi's "Songs of Chu" said: "The south city of Chu, between Yuan and Xiang, is a place where people believe in ghosts and gods and like shrines, and its shrines must sing songs to cheer up the gods. "Witchcraft dance is actually a kind of religious dance, which has been very prosperous in Chu. Qu Yuan's Nine Songs and other articles vividly reflect all aspects of witch dance. Music and dance in Chu Palace is different from folk music and dance, and the performance scene is much bigger. For example, "Evocation" wrote: "The food is too shameful to pass, and women are happier. Chen Zhong made some new songs according to the drums. Pick diamonds in the river and carry forward the lotus. " "It is not surprising that it is beautiful by clothing fiber. Long-haired men are more gorgeous. " "Will be crazy, Ming drum. The court was shocked and excited. In addition, due to the close cultural exchanges between countries, the court music and dance of Chu State have also been widely absorbed or introduced, which has become a major feature of the music and dance of Chu State. "At the same time, the music and dance performances of all countries in the world have reached the point of' competing for flying around and changing their voices'" ("Big move"). Both folk witch dances and court music dances pay special attention to the beauty of lines and rhythms of dancers. For example, Evocation of the Soul and Great Motion talks about "graceful posture", "long hair fluttering", "fleshy and tender", "tolerant and beautiful", "slender waist and beautiful neck", "long sleeves waving" and "fleshy and slight", which shows that Chu people are pursuing the beauty of slender waist, otherwise they will dance. & gt
Chu-Han cultural symbol culture is the crystallization of human material culture creation and the carrier of human spiritual culture creation. In Chu-Han culture, symbolic culture is mainly embodied in graphics, colors, ornamentation and characters. First, graphics. Graphics originated from totem worship in symbolic culture. The snake totem worshipped by Dongyi tribe later evolved into the first snake figure of Fuxi and Nuwa. Qu Yuan said in Tian Wen of Chu Ci: "Nuwa has a body, who should make it", and Han Yanshou said in Fu of Lulingguang Temple: "Fuxi has a scaly body, and Nuwa has a snake body". Since then, the figures of Fuxi and Nuwa's snake body are common in Han stone reliefs. When the Yellow Emperor defeated Chiyou, a part of Chiyou tribe belonged to the Yellow Emperor. The lightning totem of snakes and Huangdi tribes merged, from simple to complex, and the dragon totem came into being. Since the Han Dynasty, the dragon has become a totem symbol of the Han nationality. Chu advocates fire. Because Zhu Rong is the ancestor of Chu people and the descendant of Vulcan. The ancients believed that the sun was the essence of fire, and Chu worshipped the sun. According to legend, Sun has three feet of witches, and then gradually evolved into a phoenix. Mr. Guo Moruo thought that a phoenix was born in a fire, so he wrote "Phoenix Nirvana". After the cultural integration of Chu and Han, the image of "dragon and phoenix" appeared. Therefore, "Dragon and Phoenix" has become an auspicious figure in China culture, which is actually the product of the cultural integration of Chu and Han in Xuzhou. Coupled with Taoist culture, there are graphic symbols of "Four Gods" and "Four Spirits" which are advocated by Taoism first and then recognized by the society, namely South Suzaku, North Xuanwu, East Qinglong and West White Tiger. There are various forms of graphic expression in Chu and Han cultural symbols, such as sculpture, carving such as pottery, tile, Han stone relief, jade, painting such as silk painting, lacquer painting, casting such as various bronzes and so on. Second, color. Color is the carrier of symbolic culture. The basic colors of thousands of lacquerware unearthed from Chu tombs of the Warring States Period in Changsha are Zhu, Bai, Jiang, Jin and Qing. Chu people are still on fire, and cinnabar is the main color. Therefore, Liu Bangben, a Chu man, called himself "Chi Di Zi", and after the establishment of the Han Dynasty, red was the main color. The lacquerware unearthed from the Han tombs in Xuzhou is mostly in three colors: Zhu, Jiang and Qing. In particular, the colors of Zhu and Qing represent the two directions of "south" and "east" respectively, and then the two figures of "dragon" and "phoenix" both reflect the culture of Chu and Han, which is no coincidence. Third, decoration. Decorative patterns on objects, also known as patterns, are generally divided into individual patterns, angular patterns (angular patterns), ribbed patterns, scattered patterns and continuous patterns (including two-way continuity and four-way continuity) in Chu-Han culture. The main forms of decorative patterns are Feng Niaowen, dragon pattern, moire pattern, geometric pattern, petal pattern, diamond pattern, deformed dragon and phoenix pattern, animal face pattern, flat thick pattern and so on. Bronze ware is the main object embodied by decorative patterns in Chu-Han symbolic culture. Such as "respect", "Zhang", "Fang Yi" and "wine vessel" of wine vessels; Weapons "Ge", "Yue" and "Jian"; Food containers "Ding", "Bean" and "Bowl"; Musical instrument "clock"; There are also bronze mirrors, hooks and other household appliances, especially bronze mirrors. Chu copper mine is rich in copper smelting and casting, and the bronzes are very exquisite. In particular, more than 500 bronze mirrors were unearthed from the Chu tomb in Changsha. After the integration of Chu and Han cultures, the copper casting industry moved to Xuzhou. According to incomplete statistics, nearly a thousand bronze mirrors have been unearthed from the Han tombs in Xuzhou. Mainly in the Han dynasty. The decorative patterns of bronze mirrors in Chu and Han dynasties are strikingly similar, mainly including flat worms, flat worms, grass leaves, even arcs, true phoenixes, four gods and animals. Lacquerware, such as household appliances, boxes, etc. Funeral equipment, coffin. Musical instruments include harp, harp and so on. Decorative patterns are mostly dragon and phoenix patterns, moire patterns, geometric patterns and special-shaped phoenix patterns. Finally, the text. China script originated in Oracle Bone Inscriptions. The emergence of "Chinese characters" was after Chu and Han Dynasties, and the characters were seal scripts of Qin Dynasty. Wei Heng of Jin Dynasty said in the book History of Four-style Books that "seal script was used in Qin Dynasty, and it was difficult to make seal script, even if the official (Xu Li) wrote a book, it was called official script". Cheng Miao compiled it into official script, which became a popular script in Han Dynasty. In addition to the product of Chu-Han cultural integration, "dragon" and "phoenix". Surnames include "bear" and "rice". "When Xiong Yi was there, he was given the title of Chu, his son was Zhou, and he lived in Danyang". Up to now, Xuzhou still has surnames such as Xiong, Mi, Chu and Jing. Of course, Xu, Peng and other surnames in Xuzhou also exist in Hunan and Hubei, which shows the traces and surname symbols left by the integration of Chu and Han nationalities.