My system is not decent

Chen Wenzhe likes carving, so when he saw lacquerware, he immediately thought of Tihong.

However, Tihong is just a variety of lacquer carving, and it is also the most common variety.

Lacquerware has been produced for a long time, and lacquerware has existed for 7000 years from ancient times to the present.

The production of lacquerware as we know it covers the Song, Yuan, Ming and Qing Dynasties to modern and contemporary times.

For example, the one-color lacquer of the Northern Song Dynasty, the carved lacquer of the Southern Song Dynasty, and various types of lacquerware from the Yuan Dynasty to the early Ming Dynasty.

The largest number is carved lacquerware in Ming and Qing Dynasties, and the lacquerware from the Southern Song Dynasty to the early Ming Dynasty is less in existence.

One of the major categories is definitely carved lacquer, among which the high-quality products are heavy carved lacquer vessels by Zhang Cheng, a famous carved lacquer craftsman in the Yuan Dynasty.

Carved lacquer is a process of painting layers of paint on the carcass, and then engraving the paint layer to form a pattern after the paint layer has a certain thickness.

Carved lacquer has a variety of varieties due to its complex production techniques, and carved lacquer has developed the lacquer craft from a flat art to a relief art. It has a unique artistic beauty and is the highest quality lacquer craft variety.

And because it is easy to preserve, it is also the largest variety of ancient lacquerware in the world.

Carved lacquer can be divided into red, black, color, yellow, green and rhinoceros according to different paint colors and techniques.

Tihong is only the most common variety of carved lacquer.

Paint the carcass with red lacquer, and draw the outline with pen and ink before the thick paint layer is completely dry.

Then use a knife to carve out the patterns, and then remove the parts other than the required decorations, so that the decorations will naturally protrude three-dimensionally above the carcass plane. This technique is called red picking.

In the early red lacquer, one or two layers of black lacquer were added to the red lacquer layer.

A black line is formed on the side of the knife edge as a sign to distinguish the store.

Black lines often appear on the primer layer, or near the topcoat layer.

This method of adding black lines is most common in the red-picking ware from the Song to early Ming Dynasties.

Tihei refers to the carved lacquer that uses black lacquer as the paint material, which is common in carved lacquer in the Southern Song Dynasty.

The Tihong in the early Song, Yuan and Ming Dynasties are all of excellent lacquer quality, and the use of Zhu is very fresh.

The flowers and leaves are realistic, the yellow lacquer is plain, not engraved with brocade, the knife is well-rounded, and the hidden edge is not exposed.

The themes of landscape and figure patterns are all backgrounds of heaven, earth, and water brocade.

There are very few red lacquer ware in the early Song, Yuan and Ming dynasties because of their age, and each one is a rare item.

Judging from the unearthed and handed down lacquerware, both the technology and the pattern are of a very high standard, and have been highly praised by future generations.

The quantity and high quality of lacquerware in the early Song, Yuan and Ming Dynasties is astonishing.

For example, in the Southern Song Dynasty, the peony-patterned rhombic dish with a black ribbon has a peony pattern. The flowers and leaves are stacked and lush, and the petals are freely curled. The ribbon is light and flexible, and the feathers are fully visible.

It has a thick pile of lacquer, moist lacquer color and vivid charm. It is a masterpiece of carved lacquer in the Southern Song Dynasty.

Carved lacquer in the Yuan Dynasty, famous artists came out in large numbers, and made great achievements.

Jiaxing carved lacquer represented by Zhang Cheng and Yang Mao continued the round and smooth style of the Song Dynasty.

Their works have a clear front and no knife marks, but the pile of lacquer is thicker than that of the Song Dynasty, and the patterns are round and fat, but the details are extremely fine and full of texture.

The flower pattern does not engrave the background pattern of the brocade pattern, but generally a huge flower is carved in the center of the plate.

Surrounded by small flowers and buds that are about to bloom, the layers are clear.

There are both realistic flowers and patterned flowers, which are full of strong decorative interest and give people a simple and simple aesthetic feeling.

Works with flower and bird themes mainly use yellow plain lacquer as the ground, without engraving brocade patterns.

All kinds of flowers are carved on the plate or on the cover. Among the flowers, two birds flutter their wings and want to fly, or dance and play against each other, such as peonies with ribbons, camellias with ribbons, egrets and hibiscus, and double cranes and chrysanthemums.

The favorite flowers used in carved lacquer in the Yuan Dynasty include peony, camellia, hibiscus, okra, plum blossom, peach blossom, gardenia, chrysanthemum and so on.

There are not only individual performances, but also several kinds of flowers in one vessel.

Carved lacquer in the Yuan Dynasty is divided into two major parts, those with type and no type.

Such as Zhang Cheng, Yang Mao, Zhang Minde, Qian Lu and so on.

These needle engravings are very shallow, looming.

For example, the large plate with gardenia and skylark patterns in Yuan Tihong, the shape of the plate is regular, the lacquer is thick and smooth, the lacquer is ruddy and bright, and the most important thing is that the patina is shiny and beautiful.

The "Zhang Chengzao" style should be a post-engraved style from the analysis of the strokes, but the lacquer plate is indeed a masterpiece of the Yuan Dynasty.

The original packaging of the dish also comes with an appraisal letter from Showa 13 (1938), stating that this dish is a representative fine work of lacquerware.

Another Yuantiao red lychee flower pattern plate, painted with vermilion lacquer, the lacquer is tough, the lacquer layer is thinner, the bottom is painted with black lacquer, and the ice is broken.

The center of the pan is consecrated in the shape of a plum blossom, with a double-line square grid of rice characters brocade ground inside, embossed with folded and litchi patterns.

The long leaves are curled freely, the meridians are fully revealed, and the lychees are full of fruits.

Three different brocade patterns, to simulate the texture of the shell in different states of large, medium and small, very delicate.

The consecrated exterior is decorated with six kinds of flowers: gardenia, peony, apricot, chrysanthemum, pomegranate and dahlia.

The composition is sparse and natural, and the brocade ground is meticulously crafted, giving people an elegant and beautiful aesthetic feeling.

The outer wall of the plate is carved with rhinoceros and cloud patterns, and the knife technique is relaxed, flexible and powerful.

The shape of the whole vessel is upright, the color is bright, and the workmanship is so fine that the pulp is smooth.

"Zhang Chengzao" can be vaguely seen on the inner edge of the ring foot, but from the perspective of decoration style, it is more Yang Mao's decoration style.

Few of Yang Mao's works have been handed down from generation to generation, and what is known so far is all red pickers.

It is characterized by "thin pile of lacquer, exquisite and rigorous carving, and slightly plain patterns.

He is good at using flowers and landscape figures, and his flower composition is exquisite and detailed, with small flowers and leaves, passing through branches and stems, sparse and natural, elegant and beautiful."

Yangmao's carved lacquer, no matter flowers or landscapes, can always give people a sense of elegance, elegance and beauty, which shows that the author has profound painting accomplishment and superb carving skills. .

A red lychee plate perfectly fits Yang Mao's decoration style.

It's just brocade as background decoration, which is very rare in carved lacquer with flower and bird patterns in Yuan Dynasty.

But the composition of the main lychee pattern is sparse, with small flowers and small leaves. If there is no brocade as a foil, it will appear lifeless.

The density is consistent, which is exactly the designer's superb point.

Judging from the handwriting of the engraving, it is not like engraving later.

In the early Ming Dynasty, the carved lacquer at this time inherited the characteristics of carved lacquer from the Yuan Dynasty.

The decorative patterns of carved lacquer are mainly flowers, landscapes and figures.

The pattern design and composition of official lacquerware are programmed, standardized, and neat, but lack individuality.

The round box of Gao Shitu in Yongle Tihong Courtyard in Ming Dynasty. In the courtyard, there are towering pines and strange stones.

Outside the courtyard, there are auspicious clouds and rippling blue waves.

The distant mountains and near rocks echo each other, which is magnificent.

The flower pattern on the side wall is turned upside down in pairs, the design is ingenious, complex but not chaotic.

The lacquer layer is thick, the lacquer is hard, the color is moist, and the carving is exquisite and round. It is a standard official work in the Yongle period.