My system is not decent

Chapter 1916 Thousands of texts are indescribable

Another example is the works with landscapes as the theme. Yang Mao often composes the pictures with close-up shots, and uses delicate expressive techniques to highlight the activities of the characters.

Zhang Cheng paid more attention to the artistic conception of landscapes and overall changes.

Not many of Yang Mao's handed down works can be seen at present.

For example, the Tihong Flower Pattern Zun collected by the Shendu Palace Museum, the Tihong Viewing Waterfall Picture Bafang Plate, and the Tihong Plum Pattern Plate collected by the Shendu Art Museum.

Although there are not many works handed down from generation to generation by Zhang Cheng and Yang Mao, they are both exquisite carved lacquer works of the Yuan Dynasty, representing the highest level of carved lacquer craftsmanship in the Yuan Dynasty.

From the works, we can see their unique artistic talent and exquisite carving skills.

In addition to Zhang Cheng and Yang Mao, two master lacquer carving masters, there was also a famous red picker Zhang Minde at the end of Yuan Dynasty.

He inherited Zhang Cheng's technique, and it is more delicate.

Therefore, some people speculate that it may be a descendant of Zhang Cheng.

In the Palace Museum in Shendu, there is a round box with a picture of appreciating flowers in red, with "Made by Zhang Minde" stitched on one side of the lid.

This can be regarded as the anti-counterfeiting label of the craftsman at that time.

The composition of this box is precise, the depiction is delicate, and the image is lifelike, just like a beautiful relief picture scroll.

This is Zhang Minde's only handed down solitary product, which is extremely precious.

In addition, Zhang Cheng and Yang Mao also have a fellow villager Peng Junbao who is famous all over the world for his gold and silver. There are also many unknown masters of lacquer art, which are innumerable.

These well-known or unknown lacquer craftsmen pushed the craft of carving lacquer in Yuan Dynasty to a peak.

They made important contributions to promoting the development of lacquer art in the Yuan Dynasty, and wrote a brilliant page in the history of lacquer art in my country.

The craftsmanship and technology of ancient Chinese lacquerware are constantly developing and improving.

Therefore, from the past to the present, it is also a process from bad to good.

During the Warring States Period, Qin and Han Dynasties, lacquerware penetrated into all aspects of social life;

During the Eastern Han Dynasty, a large number of high-quality and cheap porcelains were fired, which gradually reduced the production of lacquerware;

Since the Sui and Tang Dynasties, porcelain has replaced pottery, bronze, and lacquerware as daily-use utensils.

In addition, the production of lacquerware in my country is known as the saying that the south is prosperous in the north.

Xiangzhou, North Lake, was the largest producer of lacquerware in the Tang Dynasty. There are records of lacquerware from the court of the Tang Dynasty in the literature of the Tang Dynasty.

However, real lacquerware in the Tang Dynasty was extremely rare. After the Song Dynasty, Hangzhou, Wen and Fu in the southeast became emerging centers of lacquerware, famous for their painting.

There are few varieties of Song and Yuan lacquerware, and there are not many remains, so the Song and Yuan ware seen today is also rare.

During the Ming and Qing dynasties, lacquerware production has long been known as a well-developed one. The government workshops produced a large variety of palace utensils, rich in shapes, varied techniques, and complicated decorations.

Mr. Wang Shixiang made a general summary of lacquerware in the Ming and Qing Dynasties according to "Painted Decoration Record" written by Huang Cheng in the late Ming Dynasty.

First, there are 14 categories of one (single) color lacquerware, overcoat lacquerware, colored painting, gold tracing, piled lacquerware, filling lacquerware, carving filling, mother-of-pearl, rhinoceros skin, ticking red, ticking rhinoceros, style, gold, and inlay.

He also spoke highly of Ming and Qing lacquer lacquer as "the combination of different lacquer decorations ushers in the richness of lacquerware".

The carved lacquer mentioned earlier is the most important variety in lacquerware.

Dozens to hundreds of coats of lacquer are applied, and patterns are engraved with needles or knives to add concave-convex interest and show the beauty of yin and yang.

Carved lacquer is painted in different colors, which can be divided into red, yellow, green, black, colorful, and rhinoceros, etc., and red objects are more common.

Carved lacquer appeared in the Tang Dynasty, which is recorded in detail in "Painting and Decoration Record".

"Picking red, that is, carving red lacquer. The thickness of the painting layer, the light and shade of vermilion, and the fineness and roughness of carving are also very clumsy. Many printed boards made in the Tang Dynasty are engraved with flat brocade and vermilion. The carving method is ancient and clumsy. Brocade."

Later, Yang Ming added: "The system of the Tang Dynasty is as mentioned above, but the sharpness of the knife is beyond the reach of later generations. Those who have fallen into the ground, the brocade is mostly like a thin hook cloud, which is quite different from the cutting method since the Song and Yuan dynasties. .”

The Fine Art Collection of the Qing Dynasty brings together fine lacquerware from the Song, Yuan, Ming and Qing dynasties for exhibition.

This is the epitome of the development history of my country's lacquer making technology from the 13th century to the 18th century.

It reflects the superb level of "ingenious workmanship" of lacquer painting, and its gorgeous and colorful artistic style is shocking and amazing.

Just like Yang Ming's praise in "Preface to the Record of Painted Decoration" in the Ming Dynasty that "a myriad of texts are indescribable".

The lacquerware collected by this master lacquerware collector that Chen Wenzhe saw truly showed the characteristics of lacquerware in different eras.

For example, the types of painted ware in the Song and Yuan Dynasties include monochrome lacquer ware, piled lacquer and gold painting, gold-cut gold and carved lacquer.

One-color lacquer ware was the most popular in the Song Dynasty. The painted lacquer ware that flourished in the Warring States Period and Qin and Han Dynasties was transformed into pure single-color lacquer ware, showing the aesthetic appeal of different eras.

The classic lacquerware of this period includes the black peony double phoenix crabapple dish and the black peony peacock pattern dish.

Even if these works have been handed down to the present, they are still thickly painted and bright as new.

Their knives are thick and round, just like the comment in "Painting and Decoration Records" that "the system of the Song and Yuan Dynasties has clear Tibetan fronts, hidden roundness, slender and delicate, and some without brocade patterns."

Volume 153 of "History of the Song Dynasty" records that red lacquer is mostly used in state sacrifices, rewards and tributes, and daily use by the court, and the court has a clear ban on vermilion lacquer.

The craftsmanship of Yuan Dynasty lacquerware was greatly improved compared with that of Song Dynasty.

In the fourth volume of "Zhi Zhengzhi Ji" in the Yuan Dynasty, the lacquerware made by the Neifu, which was made of gold and silver, is praised endlessly.

In the Yuan Dynasty, carving lacquer achieved the most remarkable achievements, and famous craftsmen emerged in large numbers.

Yuan people Zhang Cheng and Yang Mao are the most famous.

According to "Jiaxing Mansion Chronicle": "Zhang Cheng, Yang Mao, and Yanghui, Xitang, Jiaxing Mansion, are the most famous for Tihong."

Most of the works are decorated with flowers and landscape figures, which are quiet and elegant.

Zhang Cheng's carved red peony plate, the lacquer layer is thick, and the large and full flowers are carved.

The flower branches and leaves he carved can be rolled freely, and the craftsmanship is exquisite, which strongly shows the graceful and luxurious characteristics of peony, which is a masterpiece of a generation of masters.

Zhu Di, Emperor Chengzu of the Ming Dynasty, preferred carved lacquerware and set up a palace lacquerware workshop in the Jingcheng Orchard Factory.

The lacquer work is presided over by Zhang Degang, the son of Zhang Cheng, and gathers a group of skilled craftsmen.

According to the "Ming Hui Dian", there are as many as 5000 painters who come to Beijing to serve in shifts each time.

They work carefully, and excellent lacquerware, especially carved lacquerware, emerges in endlessly.

Emperor Yongle presented the red carved lacquer three times as a precious gift to the Neon King.

Documents of the Ming Dynasty recorded the gifts in the fifth year of Yongle (1407): "1000 taels of flower silver, [-] ingots, and [-] pieces of brocade..."

Among them are "twenty red ruler plates, thirty red incense boxes..."

It can be seen that the imperial lacquerware workshops of the Ming Dynasty had a considerable scale, which also reflected the important position of Tihong in carved lacquerware.

The red ware from Yongle in the Ming Dynasty was also deeply loved by Emperor Qianlong. The Forbidden City Museum in Shendu has a round box with a picture of watching waterfalls in red, engraved with a poem inscribed by Qianlong, praising the beauty of the red ware from Yongle.

Lacquer ware is most precious in red. Volume 153 of "History of the Song Dynasty" records that state sacrifices, rewards and tributes, and daily use of the court are mostly painted with red paint, and the court has a clear ban on vermilion lacquer.

(End of this chapter)