1. Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition
Li-Chun Huang
Teacher of Li-Ming Elementary School, Taichung City, Taiwan
Presented by Li-Chun Huang

2. Introduction Methodology Literature Review Conclusion
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period
Conclusion
Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition

3. Introduction

4. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Design begins to germinate practically since human beings existed and began to produce living utensils.
The bronze ware from the Pre-Qin Period is famous for its great value in history, art, and craftsmanship as well as its skillful casting technology.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition

5. ＊ Investigating the dragon patterns on bronze ware.
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Dragon pattern is the most historical pattern in the application of Chinese decoration art.
This paper aims at：
＊ Investigating the dragon patterns on bronze ware.
＊ Examining the proposition of metaphysical aesthetics in the Pre-Qin Period by means of the transformation of dragon patterns on bronze ware.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 5

6. Methodology 6

7. Methodology Based on the Literature Research.
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Methodology
Based on the Literature Research.
This paper explored Chinese literature , mythology
ethnology, and art history too.
＊ Interpret the particular meaning of dragon patterns on bronze ware
＊ Examine the proposition of design aesthetics in the Pre-Qin Period.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 7

8. Definitions The Bronze Ware ：
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Definitions
The Bronze Ware ：
Bronze mainly indicates an alloy of copper, tin, lead, etc. and the ware made of bronze is called bronze ware or bronzes.
The Pre-Qin Period in this paper indicates：
The three dynasties of Xia, Shang, and Zhou as well as the periods of the Spring and Autumn, and the Zhanguo (Ye, 1996).
（夏、商、周、 春秋、戰國）
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 8

9. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
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The Rubbing of the Great Ke Caldron from the Late Western Zhou Dynasty （大克鼎 ） 9
Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 9

10. Literature Review

11. The Bronze ware from the Pre-Qin Period
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Bronze ware from the Pre-Qin Period
The quantity of the bronzes from the Pre-Qin Period is still unable to be calculated so far.
The great quantity of fine bronzes have become the best authentic objects for later generations to research the crafts design of the Pre-Qin Periods (Yang, 2005).
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 11

12. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
1 Bronze Varieties
In light of use, the bronzes of the Shang and Zhou Dynasties can be divided into six varieties (Gao, 2006:70) ：
food vessels, liquor vessels,
liquid vessels, musical instruments,
miscellaneous objects, and weapons.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 12

13. Musical instruments of the bronzes
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Musical instruments of the bronzes
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 13

14. 2 The Evolution of Bronze Manufacturing Technology
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
2 The Evolution of Bronze Manufacturing Technology
“mud model casting method,”
→ “one mold, multiple models method”
→ “lost-wax casting ”
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15. “one mold, multiple models method”
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
“one mold, multiple models method”
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 15

16. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Transformation of the Pattern Motives on the Bronzes from the Pre-Qin Period
The decorative patterns on the bronzes can be divided into three categories namely ：
＊Animal pattern ＊Human figure pattern
（Tiger）
＊Geometric pattern （Cloud）
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 16

17. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Each dynasty in the Pre-Qin Period had different decorative motives of bronzes.
＊The Shang Dynasty ：
Tao-Tao pattern ＆animal shapes （seen in real life and imaginary ）
＊ The Zhou Dynasty：
More simply and tend to be fixed
＊The period of the Spring and Autumn ：
Coiled-dragon pattern and snake pattern
＊The period of the Zhanguo ：
More abstract and geometric patterns ＆life-reflecting topics
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 17

18. Tao-Tao patter Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Tao-Tao patter
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 18

19. The Bronze ware of the Zhou Dynasty
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Bronze ware of the Zhou Dynasty
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 19

20. The Bronze ware of the period of the Spring and Autumn
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Bronze ware of the period of the Spring and Autumn
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 20

21. The Literature Relevant to Dragon Pattern
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Literature Relevant to Dragon Pattern
Dragon pattern is the most historical pattern in the application of Chinese decoration art.
There is not any final conclusion about what a dragon really is.
The opinions about the origin of dragons are still widely divided.
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22. The Origin of Dragon 1、Dragon Indeed
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Origin of Dragon
1、Dragon Indeed
Almost birds, beasts, and reptiles indicated by the independent hieroglyphic words physically exist or existed in the world.
Dragon just like elephant, it disappeared in the current hinterland of China (Zhang, 1987: 8-10)
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 22

23. The word, dragon, on the oracle bone
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The word, dragon, on the oracle bone
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 23

24. 2、From the Observation of Astronomic and Atmospheric Phenomena
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
2、From the Observation of Astronomic and Atmospheric Phenomena
Connecting the seven constellations of Constellation Fang （π Scorpii） into a figure, one may find that the figure is almost identical to the word of dragon on the oracle bone.
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25. 蒼龍七宿：The seven constellations of Azure Dragon
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
蒼龍七宿：The seven constellations of Azure Dragon
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 25

26. 3、The Transfer of Totem Worship
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
3、The Transfer of Totem Worship
Almost all primitive races have the habit of worshiping snake totems.
In terms of the history of Chinese totem art, the culture of worshiping snake was not too long since it was replaced by worshiping dragon.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 26

27. 4、Illusions upon the Emergence of Spring Thunder
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
4、Illusions upon the Emergence of Spring Thunder
Some scholars think that if the lightning occurred while thundering and lightning is drawn, it looks like the shape of dragon or snake, and if the thunder is described in words, it is “dragon.”
When ancient people mentioned a dragon, it was always relevant to wind or rain. It is thus evident that dragon and rain or water are related.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 27

28. The Differentiation between Dragon ＆ Snake Patterns
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Differentiation between Dragon ＆ Snake Patterns
1、Dragons have feet, but snakes do not.
In the ancient time, wizards or witches from worshiping snake would certainly beautify the idol snake .Although these decorated snakes still kept the bodies, they were not natural snakes. They should be regarded as dragons.
The snakes with feet on bronzes should be dragons, and the long objects without feet should be snakes.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 28

29. Dragons have feet, but snakes do not. Dragon Snakes
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Dragons have feet, but snakes do not. Dragon Snakes
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 29

30. 2、Dragons have horns, but snakes do not.
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
2、Dragons have horns, but snakes do not.
If the dragon character in the upper part on the oracle bone, does not have such a horn, “ ” , it will be the same to the snake character.
Some scholars have proposed two explanations as follows:
It is relevant to the ancient people’s reproduction worship: Both “ ” and “ ” were represent male genitals which hope that the descendants can be propagated abundantly.
The “ ” symbol is representative of humanism: it indicates honorable as well as a sacred symbol, like the crown nowadays. (Wu, 1987: )
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 30

31. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
In the upper part of the dragon character on the oracle bone , there is a symbol similar to “ ”
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 31

32. In the upper part of the dragon has horns.
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion .
In the upper part of the dragon has horns.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 32

33. The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period

34. Ernest Grosse, a German scholar, indicated that：
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Ernest Grosse, a German scholar, indicated that：
＊The demands of the beauty appreciation are to satisfy the minor desires of humans.
＊Primitive decorations possess practical meanings and symbolic attributes. (Yeh Liu, 1997)
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 34

35. Investigate the totem meanings of dragon pattern.
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
We inferred that the application of the decorative dragon patterns on bronzes in the Pre-Qin Period can be used to ：
Investigate the totem meanings of dragon pattern.
Explain the aesthetics of transformations from religiosity to practicality.
Examine the proposition of metaphysical design aesthetics, such as ：
＊The aesthetic thought of “virtue comparison” of the Confucian school.
＊The aesthetic thoughts in Yijing（ the Book of Changes ）－ falseness-trueness or yin-yang integrate and confront.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 35

36. The Totem Meanings of Dragon Patterns
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Totem Meanings of Dragon Patterns
Image of dragon is actually formed by the image of snake plus various animals which might be used as the gathering sign by several ancient tribes and clans.
The ancient Chinese races most respected dragons and made dragons into totems indicates worshiping dragons
Ancient emperors said they had blood relationship to dragons, they could represent God’s will and guide all the people. Dragons became the symbol of emperor.
Chinese called themselves the descendants of dragon.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 36

37. The Emergence of Pragmatistic Aesthetics
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Emergence of Pragmatistic Aesthetics
In the Shang Dynasty：
＊Everything had to be checked with gods or ghosts by means of religious rituals.
＊While manufacturing and decorating bronzes, the ruling class would concretely reflect some kind of attitudes and ideas, such as the hope of the people or their reverence for the great nature, to gods.
＊The most common pattern on the objects is the tao-tao pattern, blended with the dragon pattern and cicada pattern.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 37

38. In the Shang and Zhou Dynasties ：
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
In the Shang and Zhou Dynasties ：
The dragon patterns of the bronze ware were simpler .
In the period of the Zhanguo：
＊The bronze ware were mainly for daily use.
＊The complicated model constructed by several dragons coiling became a common decoration on bronzes.
The pragmatistic aesthetics of dragon pattern transferring from being ritual to being decorative should be noticed.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 38

39. ←The bronzes of the West Zhou
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
←The bronzes of the West Zhou
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The bronzes of the Spring and Autumn → 39
Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 39

40. The Confucian Aesthetics of Appearance and Nature
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Confucian Aesthetics of Appearance and Nature
The Confucian aesthetics is predominant in the aesthetic history of China.
＊ In Confucius’s opinion, it was the supreme state of beauty that appearance and nature harmonized with each other.
＊According to this concept, the content and the form of craft works must be mutually dependent.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 40

41. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
In the periods of the Spring and Autumn and the Zhanguo, the design of bronze ware had already changed dramatically.
Confucius had said, “A Gu does not look like a Gu. Is this really a Gu? How can this be a Gu?” Actually, Confucius was not only discontent with the change of the Gu shape but also angry at the downfall of the ritual system in the Zhou Dynasty.
Moreover, since dragon patterns became more complicated and less regularized, I think it might not answer to the Confucius’ aesthetics of the harmony of appearance and nature.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 41

42. 觚 =Gu is a kind of wine ware.
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
觚 =Gu is a kind of wine ware.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 42

43. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
In my opinion：
＊The social developments can not be stopped. The limits and the constraints which resulted from the Confucian aesthetic concept of virtue comparison should not be underestimated. If they are reflected in design, sometimes they will form traditional thoughts and concepts which are deep-rooted, stick to old ways, and seek no innovation.
＊But sometime the Confucian aesthetic concept of virtue comparison may let craft works have special inner Spirit which is differed from other races.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 43

44. The Aesthetics in the Book of Changes （Yijing ）
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Aesthetics in the Book of Changes （Yijing ）
1、To Examine the Proposition of the Harmony of Yin （Female ）and Yang（ Man ）
The legend of two dragons emerged very early in ancient China. It was developed after the system of marriage was formed. In the Han Dynasty, they were called Nuwa （女媧）and Fuxi（伏羲）.
Nuwa and Fuxi always stood side by side or copulated, basically resembling dancing.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 44

45. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The copulating figure of Nuwa and Fuxi, namely two dragons, also appeared on bronze decorations.
Before the Han Dynasty, there was not Taiji （太極）, in China. This winding image of a female dragon and a male dragon is possibly the predecessor of the Figure of Taiji（太極圖） or the yin-yang （陰-陽）symbol.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 45

46. Nuwa and Fuxi http://www.epochtimes.com/ci/ctrinity_Nuwa.jpg
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Nuwa and Fuxi
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 46

47. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
2 To Examine the Proposition of the Confrontation and Harmony of Falseness and Trueness
Yihan Jiang （姜一涵 ）divides the human culture into two worlds:
＊The Yi（易） world－
Symbolizes the civilized world in Chinese culture, also called the realistic world or the true world.
＊The Dragon （龍）world －
Symbolizes the deific world in Chinese culture, also called
the surreal world or the false world.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 47

48. The Confronting Worlds of Dragon and Yi
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Confronting Worlds of Dragon and Yi
The dragon world (falseness) – deity
The ruler of the false world
The supreme type in the realistic world
The Yi world (trueness) -
sanctity
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49. In Yihan Jiang opinion：
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
In Yihan Jiang opinion：
The concepts of deity-sanctity and falseness-trueness indicate the concept of Taiji.
TWo worlds of deity and sanctity which not only contrast each other but also integrate and blend mutually become the lifeline and origin of Chinese culture.
＊In the Dragon world, the dragon is the body of deity and the deity dominates the dragon. In the Yi world, the sanctity is the body of Yi and the sanctity is the supreme type in the Yi world.
＊Deity administers everything in the Dragon world and sanctity administers everything in the Yi world.
＊The boundaries of the false and true worlds are specific, and the responsibilities of deity and sanctity are also entirely different.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 49

50. The Book of Changes（Yijing ） is the Book of Dragons.
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The Book of Changes（Yijing ） is the Book of Dragons.
The Yi character is the hieroglyph of reptile. The kind of giant reptile crawling on the ground, which was seen by ancient people before a deluge, was dragon.
Dragon is combines the characteristics of animal, human, and god, it can come and go between the realistic and the falseness world .
Falseness and trueness are the two most important concepts, which contrast but sometimes integrate with each other, the dominating power of which constantly continues until nowadays. (Jiang, 1989)
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 50

51. Conclusion

52. ＊ The modeling of dragon pattern changed from simple to intricate.
Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
The dragon pattern transformations on the bronzes from the Pre-Qin Dynasty ：
＊ The modeling of dragon pattern changed from simple to intricate.
＊The function changed from the use of religion or politics to the use of everyday life.
The pattern of copulating dragon reflect the Yijing aesthetic concept of Yin and Yang as well as falseness and trueness from the Pre-Qin Period.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 52

53. Introduction Methodology Literature Review
The Correlation between the Dragon Pattern Design and the Metaphysical Aesthetics in the Pre-Qin Period Conclusion
Furthermore, the content and forms of the bronze ware in the Pre-Qin Period did not answer to the Confucian aesthetics appealing to the harmony of appearance and nature.
We still could see the bronzes from the Pre-Qin Period are indeed craft treasures for the later generations to research and appreciate.
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Studying From the Bronze ware of change of Dragon pattern to authenticate the Pre-Chin Dynasty design aesthetic proposition 53

54. Li-Ming Elementary School, Taichung City, Taiwan
Thanks for Your Attendance and Attention
Li-Ming Elementary School, Taichung City, Taiwan