My system is not decent

Chapter 1365
In the blue sea below Gui and Bi, a picture of perfect turbulent waves was carved.

And amidst the big waves, the central cliffs stand tall and jagged with strange rocks.

Between movement and stillness, the state of the waves beating the flying beads and jade, and the immovable imposing manner of the high cliffs are all ready to come out, making people feel as if there is wind in their ears and sea fog blowing against their faces.

This pattern is the most classic seawater river cliff pattern.

Sea water river cliff (pattern) is a traditional pattern, which is mostly used on the hem of dragon robes and official uniforms.

That is to say, there are many curved lines arranged obliquely under the pattern, which are called water feet, representing the deep sea, and the water feet are decorated with rolling waves.

A mountain rock stands upright in the water, implying the blessing of the mountains and the longevity of the sea, and also the meaning of the unity of the mountains and rivers, and the unity of the world.

If it is further combined with the round and sky appearance of the bi, it will happen to form the shape of the sea and the sky holding the sun.

The bi is a perfect circle, with standing edges all around, and eight sets of bas-relief antique animal-mask patterns on both sides.

The overall lines are smooth, and the knife is strong, highlighting the awe-inspiring majesty of the animal face.

If you look carefully, it has the mysterious color of totem worship, and has a strong legacy of ancient times.

And on this gui wall, the most impressive thing is actually the animal face pattern on it.

The animal face pattern, also known as the Taotie pattern, first appeared on jade articles from the Liangzhu Culture in the lower reaches of the Yangtze River [-] years ago.

The animal face pattern is one of the traditional patterns in my country, which was popular in prehistory, Shang Dynasty and early Western Zhou Dynasty.

An abstract image highlighting the animal's face, without horns, torso and tail, with a ferocious and ferocious form.

"Lu's Spring and Autumn Annals Xianzhi" says: Zhou Ding wrote gluttony, which has a head but no body, cannibalize people without swallowing, and harms its body.

"Zuo Zhuan·Wen Gong Eighteen Years" states: Jinyun had a son who was not talented, greedy for food and drink, risking bribes with goods, lust for aggression and admiration of extravagance, don't be bored with profit, accumulate wealth, and don't know the extremes of discipline.Regardless of orphans and widows, no compassion for the poor.The people of the world compare themselves to the three fiercest, and call it gluttony.

During the Three Dynasties period, Taotie patterns often appeared on bronze wares, especially tripods.

There are many types of Taotie patterns in the Shang and Zhou dynasties, some of which resemble dragons, tigers, cows, sheep, and deer;
Others resemble birds, phoenixes, and people.

The name of the Taotie pattern did not exist since ancient times, but was named by the people of Song Dynasty with the rise of epigraphy.

For example, Lu Dalin's "Archaeological Map" records that Guiding said: "There are animal faces in it, covering the image of gluttony."

From the Western Zhou Dynasty onwards, the mysterious color of this kind of decoration gradually decreased, and gradually evolved into the decoration of antique utensils in the Song, Yuan, Ming and Qing Dynasties.

In the Qing Dynasty, things were different.

In the Qing Dynasty, from the founding of the country by Huang Taiji to Qianlong, it has gone through five dynasties.

At this time, the national power is strong, the economy is prosperous, and the cultural undertakings have also developed greatly, and innovations in the field of culture and art appear from time to time.

At this time, textual research and antiquity are also popular.

Qing Emperor Gaozong himself, that is, Emperor Qianlong, was a participant and promoter of cultural and artistic activities during this period.

He fostered innovation and advocated the textual research of classics and the archaism of utensils.

Antique jade wares in the mid-Qing Dynasty developed under such circumstances.

Emperor Qianlong believed that classical utensils were simple, pure, elegant and meaningful.

Inheriting the ancient Chinese literati's tradition of chasing the ancients and thinking about the quiet, the aesthetic psychology has a strong tendency to seek teachers and describe ancient styles.

In his poems and essays, he often expresses similar feelings: Hetian jade is a partner, and there are quite a lot of ingenious systems.I gradually want to attract the ancients, and I will return to the beginning.

This is the first 匜 of the jade kui chanting Hetian, recorded in the forty-first year of Qianlong in the Bingshen year of Qianlong, an anthology of imperial poems, four collections, and thirty-four volumes;

Needless to say, there are many related treasures besides the Hetian Yukui Shouyi, such as the Kuilonggai embossed in relief of the imperial poem "Ode to the Hetian Yukui Shouyi" inscribed in white jade.

As for the real good things in the antique wares, in addition to the Khotan jade kui head, there are also important treasures such as the Guibi, the white jade carved dragon pattern "Changyi descendants" and other important treasures.

During the Qianlong period, there were countless imperial jade carvings.

This white jade carved dragon pattern "Changyi's descendants" wall is exquisitely carved, using ancient ritual jade as the base.

According to the chapters on rites and rites in the Han Dynasty, the ancients used jade to honor heaven.

Although this heavy vessel was not made for etiquette and ceremonies, the jade biscuit resembled the sky, and it was still a symbol of power until the Qianlong period of the Qing Dynasty.

Heavy weapons like this were not uncommon in the Qianlong period, but until now, ordinary people can rarely see them, even in museums, it is difficult for ordinary people to see them.

There are also many poems describing this kind of treasure, such as: don't teach common hands to be new, playthings still retain the old feelings of teachers.

This is a poem chanting Hetian Yulongwei Gong, which comes from the Renyin Year of Qianlong, the [-]th year of Qianlong's imperial poetry anthology, four collections and ninety-two volumes.

It looks like a white jade antique dragon tail cup inscribed by Emperor Qianlong of the Qing Dynasty, with a size of 17 centimeters and an estimated price of RMB 300 million to 500 million.

This is the price of Qianlong's antique jade. Anyone who loves to play with jade must know the term "Qianlong Gong".

Qianlong Gong, as the name suggests, is the craftsmanship of jade in the Qianlong period. Why is there no Kangxi Gong, Cixi Gong, only Qianlong Gong?
Because the craftsmanship of jade wares in the Qianlong period was a pinnacle in the history of Chinese jade carving.Because of the exquisite materials used, meticulous craftsmanship, no expense spared, and the characteristics of the times, it has become a fixed noun-"Qianlong Gong".

How far did Qianlong work cattle?The first is to work well.

Qianlong was addicted to jade. During his 60 years in power, the court was filled with antique jade wares.

Its furnishings, clothing, utensils, sacrificial vessels and playthings are all made or decorated with jade, precious stones and gold and silver.

In the first year of Qianlong's reign, the Ruyi Pavilion was built in the palace. It was a handicraft workshop of various palaces mainly making jade wares, and Qianlong personally supervised the production.

So where is the job?For example, Chen Wenzhe's Qing Qianlong Jasper Carved Taotie Pattern Phoenix Holder Ring Ear Cover Furnace is a typical representative of it.

"Qianlong Gong" strives for excellence in craftsmanship and has achieved perfection.

Qianlong also transferred the master jade makers in the south of the Yangtze River to the Ruyi Hall in the palace, and asked the court painters to draw patterns and rush to make jades day and night.

Therefore, the jade wares at that time were not only well-crafted, but also artistic.

Chen Wenzhe has one such jade in front of him. This is a Qingbaiyu imperial inscription on Luohan Shanzi.

In addition to craftsmanship, there are also skills, such as this Qingfeng Qingfeng Mangrove Map Shanzi inscribed with green jade and leather.

It embodies the craftsmanship of Qianlong's craftsmanship, which is reflected in three aspects: fineness, multi-layer, thinness and ingenuity.

Fine means that all the lines on the jade are smooth and clear, and the knife technique runs through and powerful without any discontinuous knife technique.

Multi-layer means that for the bas-relief, all the raised curved surfaces are rounded and smooth, without any sticky feeling, and each detail is engraved inwards along the jade texture layer by layer, with distinct layers.

Thin and delicate means that the jade material is treated as thin as paper, so that the carved patterns on it can be seen through the light and clearly visible.

Skillful refers to being good at measuring jade materials and expressing their best side, which is the so-called making the best use of everything.

For example, the white jade with imperial inscription poems imitating the ancient dragon tail gong mentioned earlier is also very cleverly carved.

(End of this chapter)