My system is not decent

Chapter 1921 It is difficult to distinguish the authenticity from the fake, it is a must

This Qianlong-style lacquer "Ruyi Palace Box" has gold-cut gold Ruyi cloud heads carved in the center of the cover, and a flying bat holding a lotus flower in its mouth below, supporting two symmetrical "Tuan Shou" characters.

The cloud head is surrounded by eight ruyis wrapped with ribbons, the head and the tail are facing each other, and four chimes are connected up, down, left, and right.

There are four diamond-shaped openings on the lid and the curved wall of the vessel, and the interior is decorated with swastika knots, flying bats and various tangled flowers, which means "all blessings and wishes".

The upper and lower sides of the mouth are densely covered with brocade patterns, and the ground is decorated with flying bat patterns of auspicious clouds and consecration, separated by passion lotus flowers.

The outer wall of the foot is painted with a lotus pattern of twining dragon branches, and the inner and outer soles are painted with black lacquer.

On the center of the outer bottom near the upper edge, there is a six-character inscription of "Qianlong Years of the Great Qing Dynasty" carved in gold-cut regular script, and the name of the "Ruyi Palace Box" is signed on the bottom.

This kind of box, you don't need to look at other things, just look at the appearance, you will know that it is extraordinary.

No matter who sees it, they will think it is a treasure and will never admit it wrong.

The objects of the palace are naturally extraordinary, like a square box with gold-plated lacquer flower and bird patterns, the colors are elegant, and they are equally wonderful.

This box is wooden, square, and two-story.

The whole body is painted with brown lacquer ground, and the golden pattern is filled with red, yellow and green lacquer.

The cover shows a beautiful idyllic mountain dwelling, with green grass near the lake and buffaloes strolling for food;

The waves of the lake in the middle scene are rolling, and a water truck is drawing water from the lake for irrigation;

In the distance, the village houses on the opposite bank can be seen, and there are several reed geese perched next to them.

The wall of the box is decorated with flower and bird patterns such as chrysanthemums, colorful butterflies and golden pheasants.

The inner and outer soles are all painted with vermilion lacquer.

The beauty of this box is that there is an interlayer inside the lid, which is filled with mercury.

When taking the box, you can see through the glass inlaid at the waterwheel, and observe the small wheel below as the mercury shakes and rotates, like a waterwheel running.

Once a little, you can see the ingenuity and taste of the people at that time.

And these are not the best, the best should be the box made by Baibao inlay technology.

It looks like a double peach-shaped box inlaid with gold-colored lacquer sea house Timing picture.

Decorate with the color, and the brilliance can reward the lacquerware inlaid with hundreds of treasures.

This is inlaid with processed and exquisite precious materials on the surface of lacquerware.

These precious materials are designed to form patterns, so as to achieve the purpose of decoration.

According to literature records, the inlay technique of Baibao began to appear on lacquerware in the late Ming Dynasty, but the handed down works are rare.

In the Qing Dynasty, the number of treasure-embedded lacquerware increased significantly, ranging from hanging screens and vertical cabinets for palace furnishings to small boxes, caskets, and stationery on tables and tables.

Inlaid lacquerware includes inlaid mother-of-pearl, Baibao inlaid and so on.

Regarding inlaid mother-of-pearl, "Painting and Decoration Records" says: "Mother-of-pearl, one is inlaid, one is clam, and the other is snail, that is, snail filling. All kinds of texts, dots, wipes, hooks, and strips are always fine and dense. It is wonderful to be as picturesque. It is also divided into shell colors, and those who decorate with the colors will be rewarded with brilliance. There are also pieces of inlays, all of which are inscribed in the borders of Guoli. There are also those in Gaza, where the sand is fine and thick."

The mother-of-pearl material comes from shellfish such as white plate shells, pearl shells, abalone shells, and giant clams.There are thick and thin points, thick mother-of-pearl is generally white, also known as hard mother-of-pearl.

Compared with thick mother-of-pearl, thin mother-of-pearl is colorful and brilliant, also known as soft mother-of-pearl.

Thin mother-of-pearl can often be polished with multiple times of lacquer, and it is even with the lacquer surface, and the touch is smooth and smooth.

Regarding Baibao inlaid lacquerware, "Painting and Decoration Records" says: "Coral, amber, agate, gemstones, tortoiseshell, mother-of-pearl, ivory, rhino horn, etc., mixed with colored lacquer boards and engraved with inlays are very expensive."

Baibao inlay also uses the adhesive properties of natural lacquer to carve and grind various precious materials and then inlay them on the lacquer surface.

A red lacquer inlaid mother-of-pearl mosaic pattern storage box is a good proof of this point.

The whole body of this box is painted with vermilion lacquer, and the center of the top cover is inlaid with gilt-bronze Tuan Shou characters.

The outer wall is scattered with yellow and white mother-of-pearl flowers of different sizes and styles, either stacked in twos or decorated separately, which contrasts strongly with the color and texture of the vermilion lacquer, making it even more splendid.

There are nine small storage plates inside, with a round plate in the middle, decorated with the Chinese character Tuan Shou written in gold.

In the eight fan-shaped small plates around, bats with different postures are also represented by the technique of literacy and gold painting, which are finely drawn and bright as new.

The internal and external decorations are combined with each other, taking the auspicious meaning of "good fortune and longevity".

This box gathers all kinds of bunch flowers in one, the layout seems random but contains tricks, the colors are gorgeous and luxurious, and the palace atmosphere is strong.

Of course, in addition to the box, there are some other lacquerware.

For example, the Begonia-style pen holder with Baibao inlaid flowers and butterflies, its outer wall is painted half brown and half black.

The surface is decorated with jade-inlaid wintersweet, autumn chrysanthemum, narcissus, peony and other four-season flowers, as well as ganoderma lucidum, emerald bamboo and butterflies, and golden flowers and plants are dotted beside it.

This box uses dark lacquer to set off the pattern of flowers and cordyceps mosaiced from various materials such as dyed teeth, turquoise, white jade, agate, and mother-of-pearl. The colors are refreshing, lively, interesting and elegant.

Emperor Qianlong had a wide range of interests, and he liked to make various attempts and explorations in the production of handicrafts.

His father, Emperor Yongzheng, had already borrowed shapes from different crafts and imitated patterns or textures.

In addition to bionics and imitation of antiques, the court utensils of the Qianlong Dynasty were cross-imitated with different materials and techniques, which became one of the highlights of the court utensils of the Qing Dynasty.

Porcelain imitation lacquerware is one of the representative types.

Imitation lacquer porcelain generally uses bright glaze color to approach the color of lacquer.

For example, imitating bodiless red lacquer chrysanthemum-shaped porcelain and using the technique of carving porcelain body to imitate carved lacquer are all difficult to distinguish between authentic and fake, which can be called unique.

This form of imitation is also where the interest of the emperor's game craftsmanship lies.

The Qianlong imitation red lacquer painted gold cover box is one of the classics.

This box is in the shape of a steamed bun, with the upper and lower mouths fastened together, with a deep arc belly and ring feet.

The inside of the box and the ring feet are glazed with turquoise green, and the outer wall has the effect of imitating bamboo lacquerware, and the vermilion lacquer floor is decorated with golden color.

In the center of the cover, there is a group of longevity characters, surrounded by five bats, which means "five blessings hold longevity".

The lid and the side walls of the box are each decorated with four fan-shaped consecrations painted in gold. The inside of the consecration is engraved with bamboo weaving patterns, and the outside of the consecration is painted with gold-colored folded branch patterns.

The center of the outsole is left blank, and the six-character three-line inscription "Qianlong Years of the Great Qing Dynasty" is signed in alum red color seal script.

This is the golden age of Qianlong Dynasty in the history of lacquerware development.

There are many kinds of lacquerware in this period, and the production process is not tiresome, and the materials are not tiresome.

At this time, the overall style of lacquerware 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.

During the Qianlong period, there were a large number of lacquerware, a variety of varieties, and exquisite utensils.

In terms of craftsmanship, it covers carved lacquer, mother-of-pearl, gold-filled lacquer, and one-color lacquer.

The themes include decorative themes such as flowers and feathers, character stories, small landscapes, dragons, phoenixes, auspicious animals, and auspicious wishes.

After that, the development of lacquerware also changed with each passing day.

Taken together, there are many major ancient lacquerware in my country.

Up to now, there are also many lacquerware in foreign countries, such as Neon and Southern and Northern Dynasties.

Up to now, some Neon Meiji and previous lacquerware can still be found, as well as a small amount of Korean, Ryukyu and East Asian lacquerware.

(End of this chapter)