My system is not decent

Chapter 1924 Meat and Makie
From the comprehensive analysis of lacquer quality and ornamentation, this bowl conforms to the Song system and is designated as the Song Dynasty.

There is also an elliptical plate of Song Dynasty ticking rhinoceros. The center of the plate is decorated with large Ruyi cloud patterns, and the outer wall of the plate is decorated with half of Ruyi clouds. The paint layer can be painted alternately in yellow, red, black, and red, which is the era characteristic of Song Dynasty ticking rhinoceros.

The same is true for Song-Yuan ticking rhinoceros discs. The lacquer layer can be seen alternately painted in yellow and red.

The appearance of layers of yellow paint and the alternate combination of several color paints are the characteristics of the early rhinoceros era.

By the Yuan and Ming Dynasties, there were only black lines between Zhu and Zhu, and the colored lacquer layer only appeared as a decorative belt, not the protagonist of the lacquer.

In addition, the two methods of picking rhinoceros are based on thick lacquer ash first, and then alternately combined with thin red and yellow lacquers.

The side of the oblique knife is exposed to gray paint, and the far-sighted effect is like piled paint (fake carved lacquer). If you look carefully, there are red, yellow and other colored paint layers on the near disk of the oblique knife edge, and the distance between them is basically the same.

This method is the same as the rhino-picking dowry box of the Southern Song Dynasty collected by the Songyang Museum in Jiangsu and Zhejiang, and the octagonal douche box with rhinoceros-picking ruyi cloud patterns unearthed in Chayuan Mountain, Chayuan Village, Beijiao, Fushi City, collected in the Fushi Museum.

It is a pity that many traditional crafts have been lost in our country.

At this point, sometimes we have to admire the little days.

There are many crafts of the family, and they are still well inherited, such as the production of some gold and silverware, and lacquer carving works.

Even fishing rods made of bamboo poles are passed down by some so-called masters.

As far as fireworks are concerned, they are now not only made by professionals, but also set off by professionals, and even have technical ratings, which are very conducive to the inheritance of traditional culture.

Of course, Chen Wenzhe is not interested in making fishing rods, nor does he want to make fireworks.

But he is really interested in lacquer carving.

In particular, the neon lacquer carvings really have something to learn from, of course, only part of them can be used for reference.

Lacquerware is an important symbol of neon traditional crafts. The development of lacquerware craftsmanship and design began from the Jomon period to the Meiji period until now.

This period of history will definitely shock your jaw, because the age spans tens of thousands of years.

Lacquerware has a long and rich history dating back to the Stone Age.

The red lacquer wooden bowl and red lacquer tube found in Yuyao Hemudu Cultural Site in my country is proof.

For thousands of years, people have used lacquer to protect or decorate the utensils and furniture of daily life.

Of course, this is domestic history, and the history of Neon is a bit ridiculous.

For example, their lacquered pottery bowls, wooden combs, and pots from the Jomon period all show that their lacquerware has a history of tens of thousands of years.

Regardless of whether these things are true or false, they have been exhibited together with some cultural relics in our country.

For example, the lacquered wooden cups of the Western Han Dynasty in my country, the lacquered wooden boxes of the Later Han Dynasty, and so on.

These are all lost to neon, and from these ancient, incomplete and simple cultural relics, we can see the earliest appearance of lacquerware.

From prehistoric times to the present, red and black have always been the main colors of lacquerware, which is related to the characteristics of lacquer.

Raw lacquer is the natural sap cut from the lacquer tree. It is milky white, brownish red after being oxidized by air, and it is almost black when it is a little thicker.

Red is made from natural ore mercury sulfide and lacquer. Red and black have almost become symbols of lacquerware.

It was historically popular to add white, yellow or green pigments to lacquer, but in the end, these colors did not survive in the world of lacquerware.

This may be out of respect for the material "lacquer", or nature.

According to the simple philosophy of our country, the lacquered wooden bowl contains the five elements of yin and yang.

The wooden body of the wooden bowl is wood, and the base powder made of clay is fire and earth.

The gold and silver flakes added to the lacquer are metals.

Without water, the paint cannot dry.

The black and red colors represent yin and yang, as well as death and life.

For a long time, lacquerware wooden bowls are "black on the outside and red on the inside", and there are almost no wooden bowls made in reverse.

The surface of life is shrouded in death...and the inside is crimson when a man opens his mouth and sticks his tongue out.

This is because human beings are filled with life... The inner red wooden bowl can be understood as both the universe and the way people live.

Interpreting the simple wooden bowl as a state of life may only be understood by a few people.

However, when standing in front of those ancient lacquerware thousands of years ago, even if you cannot identify or understand their functions and patterns, you can still feel a certain power exuded by the red and black.

In the eighth century, my country's gold-painting technique was introduced to neon, and it took root in the local area and became the world-renowned maki-e technique in the future.

Since then, Neon's lacquerware craft has continued to develop through reference and innovation, and ancient lacquerware crafts such as mother-of-pearl and gold-plated gold have almost only been handed down to this day in Neon.

The craftsmanship of lacquerware has become more sophisticated and diverse with the evolution of time.

Maki-e is a technique in which patterns and patterns are drawn with lacquer on the surface of lacquerware, and metal powder such as gold and silver is scattered while it is still wet, and the stickiness of the lacquer is used to make it adhere to the surface of the lacquerware.

The current Makie is the pride of Neon.

Neon Makie's early lacquerware, including the "Kasuga Mountain" Makie inkstone box, was born in the Muromachi period of Japan in the [-]th century.

The lid depicts a stag croaking in an autumn field.

On the top of the inkstone box, there is the Makie technique used in this lacquerware.

The technique used in "Kasuri Mountain" is "Meat and Makie".

It can make the raised paint surface form a gentle slope, making the performance of the picture more vivid and realistic.

Rouhe Makie was developed from Takamakie, and there are also Hirai Makie and Kenzo Makie.

In addition, the most technical content has been given to mother-of-pearl.

This technique is actually a design made of shell fragments.

It is the mother-of-pearl craft in lacquerware, which originated in my country and flourished in neon.

"Tian" means inlaid decoration. Craftsmen need to grind snail shells and seashells into thin slices, inlay them on the surface of utensils according to the needs of the picture, and then apply lacquer to the surface and polish it.

If it weren't for the text introduction and the ever-changing luster of the lacquer surface, it would be hard to imagine that the patterns depicting figures and flowers were polished and collaged through shells.

Then there is lacquer carving, the art of engraving patterns into lacquerware.

All kinds of lacquer carving works from the Southern Song Dynasty to the Ming Dynasty in our country have pushed this art to its peak.

Lacquer carving is to apply several colors of lacquer layer by layer on the ceramic, metal or wooden base.

Then through engraving at different depths, different colors are given to the patterns.

Then there are Jinjin and Cunqing, Jinjin and Makie have something in common, both use metal powder to express patterns.

The difference is that Jinjin is to carve the surface of lacquer with a carving knife, and then embed gold powder into the drawn patterns or patterns.

Makie uses the viscosity of lacquer to draw patterns.

Due to the complexity of these crafts and techniques, neon and neon lights were often used in the furnishings of court nobles in ancient my country.

(End of this chapter)