Behind the huge success of "Traveling with the Phoenix", how much do you know about the historical image of the phoenix?

Phoenix

The recent ancient puppet drama "Traveling with the Phoenix" is very popular

The heroine's phoenix true form impressed the audience

In traditional Chinese culture and ancient myths and legends

The images of auspicious birds and beasts are varied.

Such as deer, cranes, Suanni, Xiezhi, Qilin, etc.

Among them, the phoenix is ​​the king of birds in Chinese mythology.

Evolved from the ancient bird totem worship...

In this issue, we will take you to learn about the history of Huaxia Feng

Let’s get the infinite charm of Phoenix together~

Shang Zhou

The phoenix is ​​one of the iconic totems of Chinese civilization and has been regarded as a sacred bird and a sign of good fortune since ancient times.

The Classic of Mountains and Seas records: There is a bird, which looks like a chicken, with five colors and patterns, and is called the Phoenix... This bird eats and drinks naturally, sings and dances by itself, and when it is seen, the world will be at peace.

Throughout the thousands of years of Chinese history, the image of "Phoenix" has had completely different interpretations in different periods.

During the Shang and Zhou dynasties, people's primitive totem worship of the phoenix gradually transformed into awe of the centralized rule. The mythical bird "Phoenix" had a special political meaning and became an auspicious symbol of "peace in the world".

Shang Dynasty Sacrifice Cup with Phoenix Pattern

Image source: Shanghai Museum official website

Phoenix pattern on the Phoenix-patterned Sacrifice Gong

Image source: Shanghai Museum official website

During the Shang and Zhou dynasties, bronze ware was mostly used as sacrificial ritual vessels and had a strict grade division.

During this period, the phoenix pattern was mainly expressed as the "Kui (kuí) phoenix" - one foot, wide eyes, standing sideways, and the overall painting style was relatively abstract and simple.

Spring and Autumn Period and Warring States Period

During the Spring and Autumn Period and the Warring States Period, the image of the "Phoenix" was more widely used, appearing on lacquerware, fabrics and mirrors in addition to pottery, bronze and jade. The flexible, smooth and unrestrained style replaced the static and square form of the Shang and Zhou dynasties.

Warring States Jade Bi with Chifeng and Cloud Pattern

Image source: The Palace Museum official website

The image of the phoenix during this period has also changed greatly compared to that of the Shang and Zhou dynasties, from mysterious and rough to graceful and elegant. Its main features are its slender neck and long legs, gorgeous feathers, and drooping tail, showing a light and lively posture, exuding confidence and pride.

During the Warring States Period, the Chu people worshipped the phoenix to a new level. Lacquerware, Chu embroidery, and silk paintings became new carriers of the phoenix. Representative lacquerware includes a tiger-seated bird-framed drum and a phoenix-feathered man. The southerners (especially the Chu region) worshipped the phoenix, which was called "fengzhu". The northerners revered the dragon, which was called "longteng". This is the so-called "fengzhulongteng".

Warring States Period Lacquer Wood Tiger-Base Bird Drum

Image source: Hubei Provincial Museum official website

Warring States Phoenix Pattern

Image source: First Cultural Relics Restoration Research Institute

In addition, phoenix patterns began to appear together with various cloud patterns and diamond patterns, and gradually merged into one.

The most important change during this period was that the "phoenix" would often appear together with the "dragon" as a whole. The classic combination of dragon, phoenix and auspicious clouds indicated auspiciousness and has been passed down for thousands of years.

Kuifeng Pattern

Image source: First Cultural Relics Restoration Research Institute

The phoenix has a horn on its head and a long tail that is three times as long as its body. From the late Shang Dynasty to the Zhou Dynasty, phoenix patterns became more common, and the long crown and curly tail showed the noble majesty of the phoenix.

Western Zhou Dynasty Phoenix Pattern Jue

Image source: The Palace Museum official website

The image of the phoenix in the Shang Dynasty was serious, solemn, and mysterious, and was mostly depicted from the side. In the Zhou Dynasty, however, it gradually became freer, more lively, and more realistic, with lines developing from straight lines to curved lines, making the phoenix appear softer and more vivid.

Qin and Han Dynasties

The phoenix in the Qin and Han dynasties was more graceful and elegant, and often had a sense of movement, such as dancing, flying, or standing with its head held high, or taking a big leap, or spreading its wings and flying high. This new style was full of vitality and made the phoenix look beautiful and vivid.

Phoenix pattern of the Han Dynasty

Image source: First Cultural Relics Restoration Research Institute

The details of the phoenix can be found in birds in nature. For example, the crown is similar to the peacock's crown, and the feet are more elongated than before. Some are very slender, resembling crane feet.

Phoenix pattern of the Han Dynasty

Image source: First Cultural Relics Restoration Research Institute

The image of the phoenix was basically finalized in the Han Dynasty, and is close to what people see as the phoenix today, which is described in "Han Shi Wai Chuan" as "a swan in front and scales at the back, a snake neck and a fish tail, dragon patterns and a turtle body, a swallow chin and a chicken beak."

The phoenix pattern on this jade hairpin with phoenix pattern housed in the Palace Museum reflects the characteristics of the phoenix pattern of the Han Dynasty. The phoenix has a slender body and long tail, with long and forked feathers on its head. Its posture is agile and free, and its temperament is elegant and unrestrained.

Han Dynasty Jade Hairpin with Chifeng Pattern

Image source: The Palace Museum official website

Buddhism emerged in the late Han Dynasty and the Six Dynasties. Influenced by the Buddhist idea of ​​detachment from external things, the image of the phoenix became more elegant and detached.

Sui and Tang Dynasties

Excavated on the top of Cave 401 in Mogao Grottoes during the Sui Dynasty

There is a large lotus with eight petals painted in the center of the niche.

Surrounded by flying celestial beings, winged horses, and phoenixes

Image source: Dunhuang Academy official website

After the turmoil of the Wei, Jin, Southern and Northern Dynasties ended in the Sui Dynasty, a unified country was re-established. The image of the phoenix in the Sui Dynasty not only had the elegance and thinness of the previous dynasties, but also gradually showed the vigorous momentum of the contemporary unified cause.

The phoenix of this period naturally embodies the temperament of the times with singing and dancing, prosperity, and vitality.

Tang Dynasty inlaid turquoise standing phoenix gold headdress

Image source: CCTV News/Qinghai Tibetan Culture Museum

Phoenix patterns are often combined with floral and grass patterns, with a plump and stretched body, dancing gracefully, contentedly, noble and gorgeous, prosperous and magnificent.

Tang Shuangfeng Bronze Mirror

Image source: Nanjing Museum official website

The pairs of phoenixes, holding a ribbon with a heart-shaped knot in their mouths, sing in harmony and wish each other well, symbolizing happiness and contentment, which is naturally closely related to the glorious material and cultural life of the prosperous Tang Dynasty.

Song and Yuan Dynasties

"Book of Song: Fu Rui Zhi" describes the phoenix as: "with a snake head and a swallow jaw, a turtle back and a turtle belly, a crane's head and a chicken's beak, a wild goose in front and a fish tail, a green head and parallel wings, a heron standing and a mandarin duck thinking." The image of the phoenix has become more specific and vivid than before.

The lines of Song Feng are smoother and more elegant, with fewer regular geometric patterns. The overall style is more delicate, elegant, fresh and soft, which is consistent with the aesthetic style of the entire Song Dynasty, which is known for its "elegance".

Song Dynasty White Jade Carved Phoenix Pendant

Image source: The Palace Museum official website

The phoenix pattern in the Song Dynasty is often matched with various floral patterns, especially the peony. One is the king of birds and the other is the king of flowers. The powerful combination naturally complements each other.

Oval box with red carved pattern of phoenix and peony, late Song and early Yuan Dynasty

Image source: The Paper/Zhejiang Provincial Museum

In addition, the "phoenix head" often appears as an independent pattern symbol in various decorations.

Southern Song Dynasty Phoenix Head Gold Hairpin

Image source: Shanghai Museum official website

The image of the phoenix in the Yuan Dynasty can be roughly divided into two types: peaceful and ferocious. The peaceful phoenix is ​​often among curling grass and flowers, with an elegant posture and a pleasant expression; the ferocious phoenix is ​​mostly taken from raptors such as eagles and owls, with fierce eyes and huge and hooked beaks, giving people a sense of fierceness and murderousness.

Yuan Dynasty Stone Sculpture with Twin Phoenix and Kylin Design

Image source: National Museum of China official website

In artistic works, the Yuan Dynasty embodies the positive and enterprising spirit unique to grassland culture. Upon closer observation, the phoenixes of the Yuan Dynasty generally have a rather relaxed posture, as if they were about to spread their wings and soar into the sky in the next second, with the demeanor of a king that conquers all birds.

Ming and Qing Dynasties

Phoenix crown of Empress Xiaoduan of Ming Dynasty

Image source: CCTV News/National Museum of China

The phoenix in the Ming and Qing dynasties continued the style of the Song and Yuan dynasties, pursuing a more delicate and neat style, appearing complex and gorgeous.

The "dragon" is a symbol of feudal autocracy, but the "phoenix" is different. The custom of wearing a phoenix crown and bridal robe during marriage has further extended the use of the phoenix image from the nobility to the common people. The image of "dragon and phoenix bringing good luck" was widely used and became the golden couple in the patterns of the Qing Dynasty, active in various ceramics and fabrics.

A large Ming Dynasty blue-and-white plate with twin phoenixes and flowers

Image source: Nanjing Museum official website

The phoenix pattern is the most authoritative and representative palace decoration after the dragon pattern. Ancient rulers compared the phoenix to their concubines. The phoenix pattern can be used alone or combined with other animals for decoration.

Image source: Shenyang Palace Museum Client

Phoenix patterns in different periods have distinct characteristics of the times and different aesthetic preferences. In the Ming and Qing dynasties, phoenix patterns also have anthropomorphic colors, especially the eyes, which are like human eyes, with a small beak, and feathers and ribbons on the body. Among the common decorative patterns in the Ming Dynasty, the one with a flaming tail is a phoenix, but there is also a phoenix pattern with feather eyes on the tail feathers.

A large famille rose bowl with four phoenixes and flowers, Qing Dynasty, Guangxu mark

Image source: Shenyang Palace Museum Client

The phoenix pattern on the body of the "Qing Guangxu-style Famille Rose Four Phoenix and Floral Large Bowl" in the picture above has obvious Qing Dynasty characteristics, and the decoration is more gorgeous and elaborate. The outer wall is painted with famille rose of Kuifeng wearing floral patterns. This pattern is a common pattern on official kiln porcelain since the Qianlong period of the Qing Dynasty. It was custom-made for the palace. There are handed down items with the same pattern during the Guangxu and Xuantong periods.

Source: Chongqing Jiulongpo District Cultural Relics Management Office

Audit expert: Chen Tao

Sources: CCTV News, The Paper, Zhejiang Provincial Museum, Nanjing Museum, Palace Museum, Shanghai Museum, Shenyang Palace Museum, National Museum of China, First Cultural Relics Restoration Institute, Qinghai Tibetan Culture Museum, Dunhuang Academy, Hubei Provincial Museum

Image sources: Stills from "Traveling with the Phoenix", CCTV News, The Paper, Zhejiang Provincial Museum, Nanjing Museum, Palace Museum, Shanghai Museum, Shenyang Palace Museum, National Museum of China, First Cultural Relics Restoration Institute, Qinghai Tibetan Culture Museum, Dunhuang Academy, Hubei Provincial Museum

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