My system is not decent

Chapter 1280
After finishing one piece, seeing that there were still some corals left, Chen Wenzhe directly made a "Fushou Ankang" red coral tree bonsai.

This piece was made by the Zaoban Office in the middle of the Qing Dynasty and was previously collected by the Qing Palace.

The overall height is 108.5 cm, the coral height is 48 cm, and the pot diameter is 65-32 cm.

The three-layer peach-shaped basin is made of various techniques such as chiseled gold, cloisonné enamel, and painted enamel.

Copper rods and cloisonné enamel branches and leaves are coiled at the bottom, and extend between the three layers of double peaches, interspersed and hidden.

There are two large bats spreading their wings at the front and back of the peach pot, holding up a cloisonné enamel Tuan Shou character surrounded by chiseled gold flowing clouds.

Between the three layers of peaches, there are seven small copper-plated bats flying up and down beside the peaches.

A large red coral tree is inserted in the pot, which is bright and moist, with a huge shape and evenly distributed branches.

"Make two more pieces, and the rest will not be done, but these two pieces will be more complicated and more beautiful."

"Do bangs first!"

This time, beeswax was used. The bonsai made of beeswax made of stone bangs and toad has a total height of 37 cm, a seat height of 17 cm, a length of 26.5 cm, and a width of 20 cm.

Prepare the materials first, this time is more complicated, and more materials are used.

After a bit of regularization, there are quite a few. There are square corner seats, and the walls of the seats are inlaid with three kinds of colored materials, such as imitation suet white jade, imitation sapphire, and imitation lapis lazuli.

In addition, there are five-color materials such as malachite, Venus stone, and coral.

Among them, the blue set of Venus material and malachite are used as the upper and lower borders and the dividing grid.

In the frame of the seat wall, 18 pieces of imitation jade and 4 pieces of transparent blue material are embedded, all of which are engraved with square kidnappers and dragon patterns.

The front of the seat wall is inlaid with a piece of coral with relief bats and flowing clouds, and in the center of the coral piece is embedded a piece of ruyi-shaped beeswax, engraved with Kuilong pattern.

The seat is made of malachite carved mountain stones, and on the stones stand bangs immortals made of amber and beeswax.

He is holding a coral carving money chain, smiling happily, and is playing with a three-legged toad.

The toad is made of gold star material, inlaid with rubies and blue materials, bent its back and raised its head, looking up at the money chain in Liu Hai's hand, with an air of eagerness to try.

Beside the bangs are planted red coral branches and bergamot trees, dyed tooth leaves, giant clams and bergamot fruits made of red beeswax.

Others include copper branches and leaves, coral flower camellia and coral, blue material Ganoderma lucidum, etc.

After finishing this piece, Chen Wenzhe took a break and looked back at his work, feeling very satisfied.

However, after reading it, Chen Wenzhe found that most of the things he made were from the middle Qing Dynasty.

He did Yongzheng, Qianlong, but not Kangxi.

Therefore, there is not much room for choice in the last one, just imitate a Kangxi gem bonsai.

What he made this time is the "Wannian Xianshou" bonsai inlaid with jewels, which was made by the Kangxi Manufacturing Office of the Qing Dynasty.
The overall height is 69 cm, the basin is 51.5 cm long and 28.3 cm wide.

Silver-plated rectangular basin with brocade pattern, the rim of the basin is covered with green material vertical cloud pattern, and the center of each cloud head is inlaid with rubies, a total of 50 in a week.

The front and back sides of the belly of the pot have the same decoration, with chiseled fan branch patterns as the frame.

The lower part of the pattern in the frame is golden silk sea water, and the turbulent waves stand in the middle of a fairy pavilion.

On both sides of the fairy pavilion, there are Leisi River Cliffs, Filling Green Flowing Clouds and a Leisi Golden Dragon.

The eyes of the two golden dragons and the pearls they play are all inlaid with pearls.

Pearls and rubies are also inlaid on the fairy pavilion, just like hanging lamps under the eaves.

This bonsai is resplendent and glittering with jewels.

There is a channel under the glass cover on the surface of the basin, and mercury is poured into the channel.

On the cover, various types of precious stones are used to pile up the longevity stones, and there are mainly three towering ones.

On the left is the golden silk inlaid ruby ​​mountain, the tallest one in the middle is the malachite mountain, and the right is the ruby ​​mountain.

Two red coral trees are planted at the back of the mountain. In the middle and front of the mountain, there are pine trees inlaid with gold-plated copper and pearls, and plum trees inlaid with tourmalines and rubies.

There are also some chiseled gold and spiritual flowers and plants made of various gemstones planted on the rocks, which are more and more dazzling on the gemstone mountain.

In the middle of the scene beside the Malachite Mountain, the longevity star carved with red coral holds a stick in his left hand and an emerald ganoderma lucidum in his right, with gilded fairies and deer standing beside him.

This is the largest bonsai with the most scenery and the most exquisite figures and animals.

This can be regarded as Chen Wenzhe's peak level in filigree and inlay techniques.

After finishing this piece, he felt that he should have reached the pinnacle of filigree inlay.

Not to mention anything else, just making cloisonné enamelware, there should be no problem at all.

Therefore, after finishing this piece, Chen Wenzhe didn't plan to do it. After all, he had made porcelain-bodied enamelware before, and now he just replaced it with copper-bodied cloisonné enamel.

Chen Wenzhe now feels that he can not only make copper cloisonné enamel, but also perfectly reproduce cloisonné, and even enamel painting can be done very well.

In particular, he has done a lot of works combining various techniques.

With unique skills, especially the so-called Yanjing Eight Unique skills, it is natural to show it!
The simple filigree inlay is not done, but returns to enamelware.

Intertwined golden and colorful colors, colorful and dazzling, are the manifestations that Ming and Qing court copper body cloisonné enamel should have.

In the section of antiques and curiosities, the exquisite works of copper body cloisonné enamel in Ming and Qing Dynasties must not be missed.

Cloisonné enamel technology was introduced into my country in the [-]th to [-]th centuries.

In the early Ming Dynasty, Cao Zhao called it a "big food kiln" in "Ge Gu Yao Lun".

Due to the complex production process, strict technical requirements, and high cost, cloisonné enamel has been monopolized by the royal family since the day it was born in my country, and it has been hidden in the deep palace.

This time, the works produced by Chen Wenzhe are not limited to the top Qing palace works, but a few pieces of enamel wares with unique styles, ingenious ideas, or rare ones carefully selected by him.

Just like the Qing Qianlong copper body filigree enamel Taiping Xiangbajixiang multi-treasure box, it may not be too expensive, but it is very distinctive.

This treasure box from the "Qianlong Annual System" is 20.8 cm high.

The evaluation price is not high, only between RMB [-] million and [-] million.

The cloisonné enamel technique reached its peak in the Qianlong Dynasty. In addition to inheriting various utensils from the previous dynasty, it also carried out the production of antique bronze utensils and religious offering utensils.

The enamelware of this dynasty was even more innovative, and various practical display utensils in the shape of animals were fired.

These utensils are intricately decorated with traditional chilong, animal face, auspicious decorations, lotus ponds, landscapes, lotus and lotus petals, chrysanthemum petals and various Western-style flowers.

During this period, the filigree technique was more skilled, the thickness was even and smooth, the color glaze was diverse, the glaze color was bright and clean, and the technological development was perfect.

This multi-treasure box is undoubtedly an ingenious work of cloisonné enamel in the Qianlong period.

The whole vessel is in the shape of a four-petal pygmy flower-shaped box; the top is bas-relieved with gilt copper to outline the winding branches and curly grass.

A button is erected in the center, and a reclining elephant is placed on the lotus platform, with a graceful figure, looking back and looking into the distance;

The elephant is covered with ornate wreaths and carries a pure bottle on its back. It is a typical jade pot spring bottle, with intertwined lotus patterns and upside-down lotus patterns all over the surface, perfectly displaying the essence of Qing palace utensils.

The vase carried by an elephant is a metaphor for "Taiping", so it is called "Taiping has an elephant", or "A happy image promotes peace".

(End of this chapter)