My system is not decent

Chapter 1918
Jiajing's round box with red cloud and crane longevity pattern, the red teapot with Ruyi pattern, and the red cloud and crane longevity disc are all very distinctive.

These lacquerwares are all decorated with patterns of praying for blessings and auspiciousness such as cloud cranes, longevity characters, and Ruyi patterns. They have distinct characteristics of the times, and they are all lacquerware made by officials of the Jiajing Dynasty.

Ming Wanli tick red dragon and phoenix disc, is a piece of lacquerware in the Wanli period of Ming Dynasty.

The disc is round, diffuse and shallow, with circle feet.

The dragon and the phoenix are engraved on the bottom of the plate. The dragon is strong and powerful, and the phoenix is ​​soft and beautiful. They are centered on orbs, chasing each other, forming a picture of the dragon and the phoenix.

The inner wall is illuminated in four directions, and broken branches of peonies, camellias, chrysanthemums and pomegranates are carved clockwise on the inside, and a Ganoderma lucidum is placed at intervals outside the openings.

The outer wall is engraved with flower pattern, no matter how you look at it, it will feel very beautiful.

Officially made lacquerware in the Ming Dynasty had its first peaks in the Yongle and Xuande dynasties.

The second peak is the Jiajing and Wanli dynasties.

The styles and characteristics of lacquerware in these two periods are completely different, and each has its own priority in terms of decorative patterns.

The Wanli Dynasty was dominated by dragons, phoenixes and double dragons, with a small number of landscape figures and flower and bird patterns, reflecting the strong palace characteristics.

This dragon and phoenix dish is an outstanding representative.

After that, the masterpieces of Tihong's works must have been produced in the Kang, Yong, and Qian dynasties.

These three dynasties were the golden age of lacquerware production in the Qing Dynasty, and the products of the Hall of Mental Cultivation Office represent the highest level.

Records of making carved lacquer during the Qianlong period can be seen frequently in the work files of the Manufacturing Office.

There are dozens of poems about carved lacquer written by Emperor Qianlong.

The production of Qianlong carved lacquer and Baibao inlay was very prosperous, and the carved lacquer was deeply influenced by the artistic style of Jiajing and Wanli carved lacquer in the late Ming Dynasty.

The color of Tihong lacquerware is darker than the bright red of the Ming Dynasty, and the patterns and decorations are more colorful. In addition to flowers and auspicious animals, there are many decorative patterns that imply auspiciousness and praise the peaceful and prosperous age.

The decoration is gorgeous and complicated, reaching the pinnacle.

Among them, the classic one is the purple sand teapot with red lotus pattern in Qianlong, with bright red lacquer, sharp and accurate knife work, and clear and powerful ridges.

The composition is full, the flowers are blooming, the branches and leaves are lush, gorgeous and rich.

It is rare to use purple sand as the fetal bone of lacquerware, so this pot is very precious.

"A hundred miles, a thousand knives and a catty of lacquer", there are a lot of Qianlong Dynasty lacquerware in the Forbidden City.

The Qianlong Dynasty lacquerware collected by the Palace Museum was once open to the public, and more than 100 pieces of Qing Dynasty Qianlong Dynasty lacquerware were exhibited.

These lacquer ware cover a variety of techniques such as carved lacquer, gold-finishing, inlay, etc., presenting the style characteristics and artistic aesthetics of lacquer ware in this period.

The Palace Museum has more than 1.8 sets of lacquerware, of which Qing Dynasty lacquerware accounts for the largest number.

In particular, the lacquerware of the mid-Qing Dynasty represented by the Qianlong Dynasty is an important part of the lacquerware collection.

The more than 100 pieces of lacquerware from the Qianlong Dynasty in the Qing Dynasty collected by the Palace Museum were previously exhibited. The exhibits are divided into four categories based on the common crafts of lacquerware used in the Qing Dynasty: carved lacquer, decorative and gold lacquer, golden lacquer and filling lacquer, and inlay. unit.

In addition, five units of imitation lacquerware are added to present the style, characteristics and artistic aesthetics of lacquerware in this period.

The national power of the Qing Dynasty entered its heyday, which laid the foundation for the great development of court arts and crafts.

Among the many crafts, lacquerware was favored by Emperor Qianlong, which brought prosperity to the production of lacquerware used in the court.

In the Qing Dynasty, the Manufacturing Office of the Ministry of Internal Affairs and Sushi Weaving and others contracted to manufacture court lacquerware. Emperor Qianlong often personally supervised and put forward clear requirements.

This has led to an extremely wide variety of lacquerware, and its techniques are mainly divided into plain painting, decorative stacking, carving and filling, and inlaying.

Among them, ticking red, in the carved lacquer process, was produced in large quantities because of Emperor Qianlong's preference.

Lacquer trees generally grow in virgin forests where no one has ever visited, and a lacquer tree can only cut about 10 kilograms of raw lacquer in its entire life cycle.

When cutting lacquer, the cutting edge should not exceed ten cuts, and every ten days of cutting requires ten days of rest, and every year of cutting requires one year of rest.

Therefore, in ancient times, there was a saying that "a hundred miles, a thousand knives and a catty of paint".

Due to the viscous nature of lacquer, lacquer ware is also inlaid with mussel slices, horn bones, metal, jade, glass and other materials into patterns to decorate lacquerware, which increases the beauty of the utensils.

There are mother-of-pearl, gold and silver flat off, Baibao inlay and other craft techniques.

Mother-of-pearl lacquerware appeared as early as the Shang Dynasty. "Painting Records" states that "the mother-of-pearl is thick in ancient times, but thin in modern times".

Artisans in the Tang Dynasty also used mother-of-pearl to decorate bronze mirrors, which is unique and novel.

In the middle of the Ming Dynasty, mother-of-pearl and gold and silver lacquer techniques became popular.

The production of mother-of-pearl mother-of-pearl developed to its peak in the early Qing Dynasty. The craftsmanship was exquisite. The shells were yellow, red, and white.

Mother-of-pearl is the most magnificent technique of lacquerware painting.

Emperor Qianlong was so fond of ancient wares that vintage and antique wares flourished.

The shape of lacquerware mostly imitates the system of porcelain, jade and ancient bronze ware.

The cong-shaped vase with red mother-of-pearl inlays and flower patterns, imitating the shape of a jade cong, embodies Emperor Qianlong's thought of "observing the past and the present with an embrace".

The shape is simple and dignified, the composition is vivid, the color is bright, the layers are rich, and it is delicate and exquisite, which is amazing.

This must have once again reflected the artistic charm of lacquer carvings showing off their skills and extravagance during the Qianlong period.

There are more than 50 cultural relics of Qianlong carved lacquer exhibited in the Forbidden City. In the exhibition, these more than 50 cultural relics are divided into 6 chapters.

They are allusions of literati, imitation of ancient times, imitation of Ming Dynasty, auspicious meaning, display and appreciation, and exclusive functions.

For example, one of the red "Chibi Treasure Boxes" in Qianlong period is a representative of "literati allusions".

This square box has three upper and lower layers, and the four corners are decorated with ruyi-shaped protrusions.

The outside is painted with red lacquer, and the cover is carved with a picture of the Red Cliff. Su Zi and his guests are boating under the Red Cliff with wine and fish.

At this time, "the frost and dew have fallen, and the leaves have all fallen off." The two guests looked up at the bright moon reflecting on the cliffs of Linjiang, and enjoyed it.

Inscribed in the center of the cover, the name of the "Chibi Treasure Box" in gold.

The center of the outsole is engraved in gold-blocked regular script: "Great Qing Qianlong Year System" six characters and three lines.

Su Shi, a litterateur in the Northern Song Dynasty, visited Chibi with friends twice, and wrote the former and later "Red Cliff Fu".

The ancients often made artistic creations based on the descriptions in the text, such as "the moon rises above the eastern mountain, wandering between the bullfights", "the river flows with sound, the bank is thousands of feet away, the mountain is high and the moon is small, and the water falls and the stone emerges" and so on.

This work shows the scene in "Ode to the Red Cliff".

The "Chibi Treasure Box" of the Qianlong period is also a "pictured box of red landscape figures" that also shows the interest of the characters.

The box is in the shape of a jade chime, with the sky covering the ground, and several Ruyi-style feet with mud on the bottom.

The whole body is carved with red lacquer, and the cover is decorated with pictures of immortals celebrating their birthdays.

With the rolling mountains and the vast sea as the background, it shows the magnificent scene of eight immortals crossing the sea to celebrate their birthday.

Two celestial beings in the air circled with cranes, and auspicious air rose from the water.

The bat on the top of the cover is combined with the chime shape, implying "Fuqing".The side walls adopt the method of landscape painting, and also carve auspicious patterns such as birthday celebrations and gift offerings.

Inside the box are four sub-boxes, decorated with lotus patterns drawn in oil, with neat and elegant patterns.This box is decorated with complex patterns and many characters, but the composition is dense and dense, and the primary and secondary are distinct.

In particular, the characters are portrayed with different expressions, reflecting superb carving skills.

(End of this chapter)