【正文】 ungshan culture. In Eastern Zhou, Qin and Han Dynasties, patterns of twobody animals were often engraved on round flat pieces of jade with holes in the middle. The ancients believed that the middle of the hole on a round piece of jade was the immutable north pole of the world outlook (tai chi, taiyi), so when honored aristocrats were buried, they were put into boxes with jade pieces stitched onto. In addition, a round flat piece of jade with holes in the middle was stitched onto the part of the box which covered the top of the head of the dead. This was just because they were convinced that the souls of the deceased could reach the acme of immortality through the gate to the Heavenly Palace via the hole on the jade.Meanwhile, traditional Chinese ceramics is more of an embodiment of which Chinese art stresses integrity, perfection, harmony, flavor amp。 unity of perceptual manifestation and rational norms, the unity of craftsmanship and the construction of artistic conception.3. The traditional Chinese creation art ideology of “utensils are meant to convey truth”The ideology of “utensils are meant to convey truth” were often applied in traditional Chinese creation art, and this ideology embodies the semantic values of traditional Chinese design culture. It is written in The Book of Change unity in all aspects: the harmony amp。 spokes symbolize thirty days in each month。 Autumn Period and the Warring States Period that “Making utensils requires conforming to weather, adapting to geographic elements, highquality material and ingenuous craftsmanship. Only with these four elements can fine utensils be made” Thereof, “weather, geography and material” proceed from characteristics which ply with natural laws, and “craftsmanship” refers to the process and manufacture of forms and shapes of utensils, which gives prominence to people’s subjective initiative during the manufacture process. Only when work of nature and manual work are bined can fine utensils be made. This is a kind of concept of creation art and such concept respects nature and material, thus to integrate humans, utensils and nature.Creation art relies heavily on nature. In ancient China, metal, wood, water, fire and earth were regarded as five basic material elements that constitute the world, and thus the concept of five elements was formed. Pottery made of natural clay was the utensils used most in people’s daily life in ancient China. During the manufacture process, the ancients gradually grasped the natural quality of clay material, and then they elutriated and kneaded the clay according to its properties. Next via jolleying and carburization techniques, eggshell pottery which is as black as lacker, as bright as a mirror, as thin as paper and as hard as porcelain would be finished. This is exactly a masterpiece of which workmanship of nature was applied to manual work.Chinese people’s worship and reverence for nature pursued the lofty realm of “man is an integral part of nature”, and this was also embodied in the forms and shapes of utensil manufacture. In terms of the design and manufacture of vehicles, it was described in Kao kung chi that “square carriages symbolize earth。 music is the core of China’ thousands of years’ political systems, and this concept is deeply stamped with the brand by China’s traditional system of creation art. There were always patterns which stood for some meaning on traditional Chinese utensils, thereby systematizing utensils via the system of Chinese rites amp。 music is bound up with aesthetics. The first is “rites”. Rites are a general reference to a set of rites of sacrifice, daily life, military and politics. Their fundamental features are that they make pulsory requirements, restrictions and control of individuals in terms of extrinsic behavior, activities, movements and appearances. Via restrictions on codes of individual conduct, the stability and unity of groups and organizations are guaranteed. The core of the system of “rites” signifies that the reigning crux has shifted from “deity” domination to the emperor, which confirms the important institutional alteration from the collegiality of aristocracy groups to autocratic monarchy. However, influenced by the system of “rites”, the traditional Chinese system of creation art was taking shape and evolving further in the form of materialization.The system of “rites” is the restriction and standard of people’s daily conduct, which involves the aspects of perceptual forms of appearances, movements and patterns and so on as an expression of materialization. This aspect is relevant to “pulchritude”. Chinese rites and music include formalized requirements for a series of sequences such as various kinds of movements, conduct, expressions, apparel and colors and so on. In terms of the bination relationship of utensils, there are very clear reflections of this on bronze wares. In Zhou Dynasty, cooking vessels was substituted for drinking vessels as sacrificial vessels, and inscriptions recording feats and conferring titles of nobility on somebody started to turn up the utensils, thereby declaring and intensifying the strength of monarchs’ and aristocrats’ benevolence and benefaction. On that basis, “Nine ding” system of rigid hierarchies came into being gradually. Hierarchical differe