My system is not decent

Chapter 1919 Three things about lacquerware
Then there is the picture pan box with red landscape figures, which is also a boutique in the Qianlong period.

On the cover of this "Treasure Box of Elegant Collection of Red Picking in Qianlong Style", one scholar is playing the piano under a pine tree, and two scholars are talking on the ground, reflecting the interest of ancient literati gathering.

There were quite a few boxes like this in the Qianlong period, such as the "Qianlong Style Ticking Red Yaji Treasure Box", carved lacquer works with red ticking craftsmanship, and every detail is extremely elaborate.

For example, a Qianlong Baizi treasure box has 52 boys carved on both sides and 48 boys carved on the side wall.

Combined into "Baizi" as the representative of "auspicious meaning".

It is like a professional display of large-scale cultural relics on the scene, among which the classic is the screen insertion of the picture of the Fuhai map of the Red Shoushan Mountain.

The screen is painted with red lacquer and carved on both sides.

One side of the sea is wide, with little sails, and a fairy mountain floats in the middle. The mountains are layered with mountains, palaces and pavilions are lined up, and the trees on the seaside are shaded, implying "Shoushan Fuhai".

On the other side, sixty pairs of red lacquer Fushou characters are carved on the yellow lacquer floor.

The base is stacked in three layers, and is full of red lacquer decorations, which are complex and exquisite.

During the Qianlong period, the screens were mostly used for display and appreciation. They were often decorated with a hundred sons, cranes and deer, dragons and phoenixes, and flowers, implying auspiciousness.

As a representative of "display and enjoyment", the Tihong Shoushan Fuhai Picture Insert Screen is a very special scroll box with Tihong group pattern.

The box is divided into three layers. It is composed of a letter box and three scroll boxes. The shape is vivid.

Carved on the box is a long strip of inscriptions, with ivory inlaid at both ends, symbolizing paper pages.

The whole body is made of green lacquer patterns as the ground and red lacquer flowers as the pattern, imitating the effect of brocade.The group flowers are divided into three types: chilong, four-petal flowers, and longevity characters. They are arranged in horizontal rows, vertical columns are staggered, and the oblique direction is uniform.

The base is painted with black lacquer and carved with brocade.

There are many types of scroll-style boxes handed down from the Qing Dynasty, with different shapes and sizes, and are both practical and ornamental.

For example, a set of "Ticking Red Eighteen Arhats" pen holders "Ticking Red Three Things-Kuifeng Pattern Furnace" reflects the nature of "exclusive function".

The so-called three things are placed on several cases, and the utensils used for burning incense and purifying are generally composed of three pieces: a furnace, a bottle, and a box.

The furnace is a burner, the box contains spices, and the bottle holds chopsticks and shovels.

When in use, use chopsticks to pick up the sandalwood in the box and burn it in the furnace. After burning, remove the ashes with an incense shovel.

The combination of three things originated in the middle of the Ming Dynasty, and was produced in large quantities during the Qianlong period of the Qing Dynasty, with a variety of craftsmanship and materials including jade, enamel, porcelain, glass, etc. Such three things for lacquerware are relatively rare.

This set of carved lacquer three things is matched with a few, a total of four pieces.

The surface is all painted with red lacquer, carved with phoenix, animal face, banana leaves, flowers, geometric figures and other patterns.

The top of the furnace cover is inlaid with white jade cloud and bat pattern buttons, which are very elegant, reflecting the elegance of the palace furnishings.

And the following Qianlong style "Dragon and Phoenix Collecting Blessing Plate", with eight sunflower petals, and the ring foot follows the shape.

The surface of the disk is painted with seven layers of paint in red, green, red, brown, yellow, green and red from bottom to top.

A pair of hooked blessing characters are deeply carved in the center of the pan, and plum blossoms, bamboo branches, ruyi, guqin, silver ingots, orbs, corals and other treasures are inside the pen path.

In addition to consecration, the three patterns of dragon, phoenix and crane are staggered.

Roses, gardenias, lotuses, plum blossoms and other broken branches are carved on the outer wall.

In the center of the outsole, the inscription "Qianlong Years of the Great Qing Dynasty" is inscribed in six characters and three lines in gilt script, and the name of the vessel "Dragon and Phoenix Collection Blessing Plate" is horizontally engraved on it.

The name of the utensil is generally four characters, but this is five characters, which is a special case.

This dish is imitated from the works of the Jiajing Dynasty. The colors are bright and rich, the patterns are dense and diverse, and the layout is neat and symmetrical, which is a re-creation of art.

There are many high-quality lacquerware from the Qianlong Dynasty, such as the "Dragon and Phoenix Collection Blessing Plate" made by Qianlong.

Of course, there are also such types of utensils in the Jiaqing period, such as a Jiajing style plate with red blessing characters, square corners, square plates, and corners.

The center of the plate is consecrated according to the shape, and the square swastika brocade pattern is used as the ground, and the character "Fu" in regular script is carved on it. The edges of the strokes are raised with double lines, showing a three-dimensional effect outlined by heavy brushes.

The four openings of the pan wall are engraved with the pattern of swimming dragons in sea water, and the corners are decorated with miscellaneous treasure patterns.

The outer wall has four openings and the inside is carved with ganoderma lucidum supporting miscellaneous treasure patterns.

The bottom is painted with black lacquer, and in the center there is a six-character inscription in vertical lines of "Da Ming Jiajing Year System" in gold-filled regular script.

The Jiajing style ticked red blessing character square corner plate, the literature records that the lacquer carving process existed in the Tang Dynasty, and developed and flourished in the Song, Yuan and Ming dynasties.

Carved lacquer used in the court of the Qing Dynasty was resumed in the Qianlong Dynasty.

Overall, on the basis of inheriting the carved lacquer craft of the Ming Dynasty, it forms its own characteristics of the times and is produced in large quantities.

There are many kinds of utensils, and in terms of functions, they include everything from court ordinances to daily utensils.

There are everything from large screen thrones with a width of several meters to small cartridge snuff bottles with an inch-high height.

All kinds of utensils are dignified in shape, bright in color, finely carved, sharp in edge, rigorous in composition and dense in layout.

The decoration is rich in content, such as landscape figures, flowers, birds, fish and insects, dragons, phoenixes and auspicious animals, allusions of literati and so on.

The craftsmanship of carved lacquer reached its peak in the Qianlong Dynasty, pushing the ancient craft of carved lacquer to another peak.

In the history of the development of lacquerware, the Qianlong Dynasty can be described as the golden age.

All kinds of craftsmanship show off their ingenuity, and there are many kinds of lacquerware.

That's because Emperor Qianlong paid special attention to his own lacquerware, and personally gave instructions on the fetal bone, style, color, and lacquer painting process of the lacquerware.

According to the "Summary of the Qing Palace Internal Affairs Office Manufacturing Office", Emperor Qianlong would use "stupid" and "rough" to describe the lacquerware he was not satisfied with.

These lacquerware will be required to be modified in the direction of "delicacy", "subtlety" and "fineness".

In addition, Emperor Qianlong was also a very creative and creative emperor.

His lacquerware will imitate the shape and decoration of other utensils, such as bronze, jade, porcelain, ivory, and lacquerware from the previous dynasty.

As long as it can be imitated, he will not let it go, so the lacquerware of Qianlong Dynasty is delicate, rich and diverse.

The overall style of lacquerware in the Qianlong Dynasty was complicated and gorgeous, and no expense was spared in the production, so it became a dazzling wave in the long history of 7000 years of lacquerware.

It can be said that the Qianlong Dynasty played out all kinds of crafts, especially some crafts with luxurious appearance, which were the best.

The same is true for wood lacquerware.

For example, the round box decoration and gold lacquer of the color-picking Shouchun picture are rich in craftsmanship, and imitation of other types of materials can almost be true. In the lacquer process, gold tracing, colored lacquer tracing, and oil tracing can be classified as techniques for depicting ornamentation.

The Yongzheng and Qianlong dynasties produced a large number of gold-painted lacquerware, which can be divided into two types: traditional techniques and imitation foreign lacquer techniques.

Painted paint was popular in the Warring States and Han Dynasties, and the decoration was elegant, which was the most popular for a while.

Since the Tang and Song Dynasties, the variety of painted lacquerware has gradually declined. In the Qing Dynasty, there were not many painted lacquerware made by the court, but they had a high level of craftsmanship.

The color shown by the oil painting makes up for the lack of bright paint.

The oil painting works collected in the Palace Museum are all made in the Qing Dynasty. Although none of them have inscriptions, they can be regarded as works of the Qianlong Dynasty in terms of their rich colors and exquisite workmanship.

Gold lacquerware is elegant and luxurious, and was produced in large quantities by the Qing court.

(End of this chapter)