Lotus crane square pot is not only beautifully decorated and novel, but also has complex structure and exquisite casting, which is a model of bronze craft in the Spring and Autumn Period. The top and bottom of the vessel with a height of 1 16 cm and a weight of 65 kg are decorated with various patterns and accessories, and the design is extremely complicated: the top pot cover consists of 10 groups of bronze lotus petals, and each lotus petal is still hollow; The pattern on the pot body adopts bas-relief technology, and it is also decorated with patterns such as dragons, phoenixes and tigers carved with silver thread. In the whole decoration process of lotus crane square pot, various techniques such as round carving, bas-relief, fine carving and welding are adopted. The exquisite craftsmanship of the lotus crane square pot reflects the characteristics of the times in the Spring and Autumn Period, and also shows Zheng's industrial technology level, especially the leading position of bronze casting level in the Spring and Autumn Period.
This pot (Lotus Crane Square Pot) is full of strange traditional patterns, which gives people a nameless oppression and can almost suffocate. It is an example of arranging lotus petals on the second floor around the lid of the pot with plants as patterns, which existed before Qin and Han Dynasties. In the middle of the lotus petals, a fresh and elegant white crane (crane) stands, spreading its wings and flying on one foot (Mr. Guo Moruo saw the photo of the lotus square pot and wrote this down. In the photo, the lotus petals covered one foot of the crane, so it had "one foot", and the crane actually stood on two feet), and its beak was like singing, which was another symbol of the spirit of the times. At the beginning, this crane broke through the ancient HarmonyOS system, was full of ambition, envied everything, trampled on tradition and wanted to fly higher and further. This is the first year of the Spring and Autumn Period. From the semi-mythical period of the Yin and Zhou Dynasties, all social conditions and spiritual culture have been faithfully demonstrated.
A bird stood on the top of the pot, spread its wings, looked around at the side of the pot, grabbed the device, and the bottom of the pot resisted and was eager to try. The whole design, on the attachment of behemoths, has a tendency of centrifugal forward, which can best symbolize the spirit of the times of striving for liberation and welcoming the dawn.