The chinese bronze of this dynasty is short of imagination on the aspect of various decorations

A pulse with the Shaanxi peasant painting, paper cutting and folk art tradition, rough and generous style of art, no delicate gas, obviously retains the cultural traditions and style of the Zhou, Qin, Han, Tang and delicate techniques, different forms. Clay Sculpture learn from the Zhou, Qin, Han and Tang's artistic style is the descendants of understanding and knowledge of those times the wealth of information carrier. Whether the people or the bronze, they tended to the direction of specification and unity.  Threat Fengxiang bronze the Fengxiang bronze behind the success of the success of Fengxiang bronze successful countries attach great importance to the protection of intangible cultural heritage, May 20, 2006, which included the first batch of national intangible heritage approved by the State Council Heritage List. June 5, 2007, determined by the Ministry of Culture, Fengxiang County, Shaanxi Province, Hu deep representative inheritors of the cultural heritage items, and are included in the 226 representative inheritors of the first batch of national intangible cultural heritage items list.
 Shaanxi, a master of arts and crafts Hu Xinmin old artist Hu deep bronze horse, bronze sheep for two consecutive years by the National Post Office Stamp Design Division to determine the main design of the stamps; 2007 HU Xinmin designed and manufactured "Fu pig, once again impressed the experts of the State Postal Bureau, not only was selected as the main figure of the 2007 China Post prizes stamped postcards, once again crowned the 2007 Chinese Lunar New Year Stamp. Fengxiang bronzes have been exported to overseas such as USA, Germany, France, Japan, etc., at the same time each year with a lot of visitors, visiting, buying, village people flow up to 100,000 people six Yingcun also was named in Shaanxi Provincial Department of Culture Industry Demonstration Base. The lack of the ferocious beauty, I think, should be a major difference from the bronze of the Shang.
 Fengxiang bronze threats threats in the business environment under the influence of the now the Fengxiang bronze artist often to market ability of simply pandering to the needs of the market, which makes many of the traditional products close to extinction, also makes the the Fengxiang bronze skills gradually losing the cultural connotation of the original, and constantly mutate. It is a chief cause that the decorations and shapes of the bronze can not compare with that in the late Shang. Also into the reasons of the market, Hu deep elderly's apprentice to do the clay when compared to the older generation of folk artists, the sense of commodity concentrated, and delve into the spirit, which makes a large number are treated as tourism products sold bronze work flow in general, and artistic, especially independent creative works less and less. The the Fengxiang bronze as China a unique tourist handicrafts, distinctive of its image and performance of the unique shape of the achievements of its own unique personality.
 It can be said that the tourism crafts design, a sense of technology and art, organic combination, on the basis of the laws of science and technology, to play the material functions and forms of aesthetic expression. For foreign tourists, the cultural connotation of the difference, artistry is the attraction, tourism, arts and crafts market prospects largely depend on the difference on this culture, visitors are like strong local characteristics of tourism handicrafts. It is a regional and a national culture of the show. In particular, the chinese bronze of this dynasty is short of imagination on the aspect of various decorations.  Furthermore, to make various types of tourism handicrafts have become truly effective consumer to select the object, to adhere to the cultural characteristics is inevitable. The root of the value of art lies not in the material to manufacture products, but rather the charm of the product itself, the charm comes from the false pretense of natural simplicity of the original emotional expression.