My system is not decent

Chapter 1290 Dazzling Pearl and Treasure
Among the national treasure reconstruction projects, the first Qianlong treasure is an enamel colored baby play bottle!

In fact, it is quite normal for enamel colors to be on the list. In addition, this picture of babies playing in the Qianlong period was written by Jin Tingbiao, a well-known painter enshrining the inner court.

So who is Jin Tingbiao?It is not surprising that he was a painter in the Qing Dynasty.

So what does he have to do with Qianlong?It really does matter, and it's not a small one.

This person is not a dead-study person. He was in the twenty-fifth year of Emperor Qianlong (1760), and during Qianlong's southern tour, he entered the "Painted Arhat Picture", which made Long Yan very happy.

Therefore, he was ordered to enter the inner court as an offering.

The freehand autumn fruits and figures he painted were all inscribed by Emperor Gaozong.

After entering Zhizhi for several years, he died in Jingyu.

Jin Tingbiao is a painter, and his paintings are very extraordinary. He once wrote the volume "Imitation of Chen Rong's Nine Dragons", which was compiled into "Sequel to Shiqu Baoji".

The works handed down from generation to generation include "Picture of Worshiping Stones", which was compiled into "Painting and Calligraphy Collection of the Forbidden City";
Others include "Picture of Green Peach", "Picture of Meng's Mother's Migration", "Picture of Evening Sitting in Maple Forest", "Xuanhua Shoushi" album pages (3 sheets), which were compiled into "Famous Paintings of Chinese Dynasties".

"Shiqu Baoji" recorded 81 of his works, which is a great achievement.

If you don't know "Shiqu Baoji", you don't know what it is!
In fact, this is a large bibliographical document.

"Shiqu Baoji" is a large-scale bibliographic document during the Qianlong and Jiaqing years of the Qing Dynasty.

It was first compiled into a book in the tenth year of Qianlong (1745), with a total of forty-four volumes.

It describes the calligraphy and painting collections of the past dynasties collected by the Qing court, divided into volumes, such as scrolls, picture scrolls, and combined volumes of calligraphy and painting.

Secondly, there are axes, book axes, painting axes, and combined calligraphy and painting axes.

Then there are the albums, which include nine categories, including book albums, picture albums, and calligraphy and painting albums.

As an ancient masterpiece in the history of calligraphy and painting description in our country, the works recorded in the book bring together all the works in the heyday period of the collection of the Qing royal family.

The people in charge of compiling are all masters of calligraphy and painting at that time, or authoritative experts in the study of calligraphy and painting.

In 2014, Jiangmei Publishing House and Forbidden City Publishing House, on the basis of "Shiqu Baoji", jointly published "Shiqu Baoji (Selected Edition with Selected Illustrations)", which is a picture for "Shiqu Baoji".

This is a new development of the former in contemporary times, which increases its research value and collection value.

Up to now, as long as the treasures of the Qing Dynasty are identified, they generally refer to this "Shiqu Baoji".

Because "Shiqu Baoji" is a large-scale description of calligraphy and painting compiled by collecting the essence of calligraphy and painting collections in the Qing palace.

It collects the most outstanding calligraphy and painting works of famous calligraphers and painters in my country from the Wei and Jin Dynasties to the early Qing Dynasty for nearly two thousand years, with a total of more than [-] kinds.

This classic is definitely a precious cultural heritage in the history of the Chinese nation and art.

As long as it is a treasure once collected by the Qing Palace, it will generally be found in this book.

If you can't find it, it's likely a fake and not genuine.

Of course, if you want to use this book to identify ancient books and treasures, you also need to pay attention.

It is better to have no books than to believe in books, so we should treat the paintings and calligraphy recorded in "Shiqu Baoji" objectively and rationally.

In "Shiqu Baoji", there are not only dazzling pearls and treasures in the history of the development of Chinese calligraphy and painting, but also a large number of fakes and imitations of past dynasties.

The works of a certain family described in the book are not necessarily the authentic works of this family.

Now in the calligraphy and painting warehouse of the Palace Museum, there is a special database for storing works that are not authentic although they have been described in "Shiqu Baoji".

Therefore, the description of calligraphy and painting in "Shiqu Baoji" should be divided into two parts.

We should not only pay attention to its historical value and precious significance, but also face up to its defects and deficiencies.

The description of "Shiqu Baoji" can only guarantee a few points. The first is that the recorded works were indeed collected in the Qing Palace.

The second is the counterfeit recorded in "Shiqu Baoji", no later than Qianlong or Jiaqing.

In addition, "Shiqu Baoji" has its own flaws. It has no pictures, but only text, which the ancients could not solve.

In addition, "Shiqu Baoji" is only relatively objective, reflecting the situation of the court collection.

But in the identification, there are still many imprecise places.

This was caused by several aspects. On the one hand, there was no museum at that time.

Whether it is the emperor or his close ministers, their understanding and learning conditions for calligraphy and painting are relatively poor.

At that time, they were all private or royal secret collections, and it was difficult for outsiders without special connections to see them.

Compilers or appraisers, because of their level of knowledge, their judgment will be greatly reduced.

On the other hand, it was caused by the hierarchical system of the feudal society at that time.

The emperor said what he said, and others could not disobey.

For example, the counterfeit of Huang Gongwang's "Dwelling in the Fuchun Mountains" entered the court first.

Qianlong liked it very much when he saw it, and wrote poems desperately, and praised it immeasurably.

In the end, the real work came, and he also knew that the real work was better than the fake one, but with his identity here, it was impossible for him to admit that I was wrong.

Therefore, he asked his ministers to write poems saying how bad this authentic work is.

This is the real black history of Qianlong, not to slander him out of thin air!

Anyway, a book that records the treasures of the past dynasties, especially the book that records the works of masters in the Qing Dynasty, has a large number of paintings on it, which is enough to show that Jin Tingbiao is powerful.

Of course, there are more powerful ones, which can be seen through a work of Yushan.

In the thirty-first year of Qianlong (1766), the Xinjiang region paid tribute to the imperial court with a large piece of jade.

This large piece of jade reminded Qianlong of a landscape painting "A Journey in the Autumn Mountains" by Jin Tingbiao, so he decreed that it should be made by the court jade master.

However, the more than [-] jade craftsmen working on the palace jade work rushed to make it every day. It took six months of daily work and four months of night work to complete only [-]%, and the progress was extremely slow.

In desperation, Qianlong ordered the jade materials to be shipped to Yang City for processing.

This is also the first time that Yang City has been ordered to grind such a large Jade Mountain.

The Lianghuai Salt Administration decided to recruit skilled craftsmen from Yang City.

After some selection, 3000 jade craftsmen from Yang City were finally recruited.

Four years later, after jade craftsmen worked hard day and night, the work was finally completed.

In 1770, Yushan was transported back to the capital by water.

When Qianlong saw it, the dragon's heart was overjoyed.

The light yellow blemishes on the jade turned into autumn vegetation;

The grains in the jade material turned into steep peaks, steep cliffs, and rugged plank roads loomed in the mountains, with a pack team driving donkeys walking slowly.

The composition of the work is distinct, the layout is patchwork, the autumn is strong, and the artistic conception is lofty.

In the thirty-fifth and thirty-ninth years of Qianlong's reign, Qianlong also wrote poems to praise him twice.

From this, you can imagine how good this work is.

It can also be seen from this that Jin Tingbiao's works are of what standard!
Although it cannot be said that every work of Jin Tingbiao is a treasure.

But each of his works is very extraordinary, that's for sure.

(End of this chapter)