My system is not decent

Chapter 1920 Gold Painted Paint
According to literature records, gold lacquer was produced in the Yongzheng Dynasty, but the quantity was not large.

During the Qianlong Dynasty, the production volume was relatively large, and the decorative themes were rich, among which auspicious and bionic themes were the most common.

In the Qianlong period, there were more forms of bionic lacquerware, such as a Qianlong-style red lacquer bowl with golden phoenix and peony patterns on it.

This bowl is made of wood, with a skimming mouth and a ring foot. The whole body is painted with red lacquer and painted with gold, reflecting the luxurious decoration of palace utensils.

The auspicious patterns of peony and phoenix bird are painted on the wall of the bowl. The phoenix bird shuttles and dances among the peony flowers, also known as "the phoenix wears peony", which means happiness and beauty.

The foot wall decoration is painted with gold and sea water patterns for a week, and the mouth and bowl are inlaid with silver.

Inside the two gold-painted frames on the bottom of the bowl, there are six characters and three lines inscribed in regular script "Qianlong Years of the Qing Dynasty".

According to archives, there were [-] pieces of this bowl made at that time, all of which are now preserved in the Palace Museum, and one piece has not been lost.

Over the past 200 years, the ornamentation is still as bright as new.

Fine wooden bowls like this are really rare, but there are still many works of the same type in the Qianlong period.

For example, the Qianlong style red lacquer painted with gold phoenix and peony pattern silver bowl, and the Qianlong style black lacquer painted with gold landscape and figure figure Fangsheng plate.

This plate in particular belongs to the shallow plate, wooden body, Fangsheng style, flat bottom, and conformal ring feet.

The whole body is painted black and decorated with gold patterns.

In the center of the pan are two pictures of mountains and rivers and pavilions overlapping at one corner.

On it, pavilions, terraces and waterside pavilions are well arranged, and a small boat moves forward slowly.

The place where the gold is traced is made of rocks and rocks, with distinct layers and hazy shades, presenting a quiet and elegant atmosphere with lofty artistic conception.

The inner wall of the plate is painted with brocade patterns of six-petal flowers, and the outer wall is decorated with group flowers.

Various broken-branched flowers are scattered on the outsole, and the four-character double-line inscription "Made in Qianlong Years" in gold-painted regular script is signed inside the two frames in the center.

This plate draws on the technique of neon maki-e, and paints and grinds transparent lacquer on the gold-painted patterns to make the lacquer ground darker and brighter, and the patterns more three-dimensional.

There is also a Fangsheng-style plate with black lacquer and gold-painted landscape figures in Qianlong style, and a black lacquer and gold-painted Ganoderma lucidum bonsai that also uses black lacquer technology.

The surface of the Ganoderma lucidum is pasted with gold foil, and the carving is lifelike, and a round wooden block falls from the root to fix it.

The basin is in the style of respect, with a skimmed mouth, a neck, a bulging belly, and a circle of feet, which are integrated with the base.

Its whole body is painted with black lacquer as the ground, the edge of the mouth is painted with gold, and the bottom of the neck is decorated with banana leaf patterns;
The belly of the pot is bulging, covered with lotus patterns, and the lower abdomen is decorated with banana leaf patterns for a week.

The inner wall of the pot mouth is decorated with various broken branches and flowers.

Ganoderma lucidum has always been a symbol of longevity in Chinese traditional culture, and the golden and plump Ganoderma lucidum is more wealthy and gratifying.

This bonsai was originally stored in the Shoukang Palace in the Forbidden City, which was the residence of the Empress Dowager, and the concubines and concubines lived here.

There are many works similar to the Ganoderma lucidum bonsai with black lacquer and gold banana leaf pattern, and there are even many works using the same process.

For example, a Ruyi cloud-shaped box with lotus pattern drawn in oil, the whole body is painted with light blue lacquer as the ground, and the pattern is painted in oil tones.

The cover is decorated with gold and consecrated along the shape, and the inside is painted with lotus and bat patterns;

The hooked lotus branch is wrapped around the vine, which symbolizes longevity, and the combination with the bat pattern means "blessing and longevity".

The side walls are all decorated with lotus and phoenix patterns, and the inside is painted with gold lacquer.One branch and two persimmons are painted in the center of the outsole, which means "everything goes well".

In the mid-Qing Dynasty, all kinds of craftsmanship reached their peak, and many works that used one kind of material to imitate another kind of material appeared.

This cloud-head box is an example, and its decoration imitates cloisonné enamel on a copper body.

It is not only highly imitative in color and decoration, but also deliberately imitates the gilt texture of copper body and filigree. Only when you hold it in your hand can you tell the authenticity.

This kind of top craftsmanship can only be seen on palace objects.

For example, a gold lacquered rectangular box with eight auspicious patterns is painted with gold lacquer all over, and inside the inscription on the cover is inscribed in regular script "Following Preface to the Imperial Summer Resort" in ink.

Four passion lotus flowers are decorated on each side, supporting the eight auspicious patterns.

The four sides of the cover wall are covered with twining lotus flowers, with huge flower heads and winding branches.

There are ruyi cloud-shaped baffles standing on the four corners of the seat surface, which are used to fix the small drawer with paper body and brocade that holds the album pages.

The base has Ruyi Yuntou style feet, decorated with kidnapper patterns.

The original collection of the album "Preface to the Imperial Summer Resort" in the box was written by Emperor Qianlong's No.11 son Yongxuan.

"The Preface to the Summer Resort" is a famous article written by Emperor Qianlong in the 47th year of Qianlong (1782).

It got its name because it was written after Emperor Kangxi's "The Summer Resort".

Prince Yongxun was a master of calligraphy, and the pages of the Later Preface, meticulously transcribed by him, are included in this exquisite gold lacquer case, presented to Emperor Qianlong.

On the rectangular box with golden lacquer and eight auspicious patterns, gold-plated lacquer and lacquer filling techniques are used, so it has a strong imperial color.

In the Kangxi Dynasty of the Qing Dynasty, the production of gold-colored lacquerware was more popular. Although the production of the Yongzheng Dynasty is recorded in archives, there are very few real objects left.

The Qianlong Dynasty was a period of vigorous development of gold-colored lacquer crafts, not only in large quantities, but also in high-quality products.

Its outstanding features are thick gold, bright colors, fine decoration, and the overall decoration is brilliant and bright, with a strong palace color and atmosphere.

Jinjin colored lacquer is a composite process combining "jinjin" and "colored paint".

The so-called engraving is to engrave a pattern on the same color lacquer ground, and then apply gold foil or gold powder to the Yin line to form a golden pattern.

After the gold is filled in the line, it is still a negative line, which is lower than the paint plane.

The so-called color paint can be divided into filling paint and drawing paint. Filling paint is to carve low-slung patterns on the lacquer floor according to the designed pattern, fill the pattern with color paint, and then polish it so that the pattern is consistent with the paint surface. flat.

Drawing color lacquer is to paint patterns on the lacquer floor with various colored lacquers. Because the patterns are drawn, the patterns are slightly higher than the lacquer plane.

In this way, two processes of gold-filled paint and gold-painted paint are formed. Relatively speaking, the production process of gold-filled paint is more complicated.

According to the actual objects handed down, the Ming Dynasty mainly used gold-filled paint, while the Qing Dynasty mostly used gold-painted paint. The academic circles are accustomed to collectively refer to the two as gold-colored paint.

The technique of filling paint was valued in the Qianlong Dynasty.The surface of the lacquer work is smooth and delicate, subtle and introverted, giving people a subtle beauty.

The production process is complex, time-consuming, and difficult to operate, so the decoration is generally dominated by standardized patterns.

Such as the brocade pattern, the lotus pattern with twining branches, etc., the top of the vessel is covered with repeated delicate patterns. Although the pattern is simple, it is simple and elegant.

For example, a lacquered lotus-leaf plate, wooden base, lotus-leaf style, rolled edges, flat bottom.

The inside and outside of the plate are painted with green paint as the ground, and the veins and veins are filled with red paint.

The center of the plate is decorated with four lotuses, with leaf veins shooting out from the center and forked branches at the end, reaching the edge of the plate.

Yellow lacquer is used to fill in the curly grass patterns between the veins, and the lines are soft and smooth.

The shape of this plate imitates the style of the Ming Dynasty, and it is the only one in the old collection of the Qing Palace.

This kind of collection embodying unique craftsmanship is rare everywhere.

However, some top-level crafts are not uncommon, such as the "Ruyi Palace Box" of Qianlong's gold-cut gold lacquer, which embodies extremely high "gold-cut" craftsmanship.

The whole body of this box is painted with brown lacquer as the ground, decorated with golden lacquer patterns.

(End of this chapter)