My system is not decent

Chapter 1925

Someone held an exhibition in Neon before, which showed a comparison of domestic cultural relics and neon cultural relics.

Of course, the comparison is lacquerware.

A wooden table of the Han Dynasty in my country in 109 AD, and its imitation.

The replica is a wooden table made by a 20th century neon artist, put together, one with a rough surface and a lot of wear, and the other with a bright sheen, intact all around, which seems to be still in use today.

A Hanashirakawa Makie inkstone box from the [-]th century Muromachi period juxtaposed with two copies of it from the [-]th century Edo period.

Their patterns are similar, but the color and luster, lines, etc. are not the same.

Under these visible differences to the naked eye, it seems unknown from the exhibits how the artist made the wooden body when re-engraving, how he used metal powder to depict pictures hundreds of years ago, and what they found when re-engraving. .

However, these problems hidden under the surface of the utensils may be the meaning of "re-engraving".

These imitations reflect later generations' research on ancient lacquerware, and they are not simple replicas.

In the exhibition, they themselves become "cultural relics" for people to watch and study.

The so-called re-engraving is not just making old things as they are.

Re-engraving is to understand the beauty exuded by those ancient objects, fully understand and grasp the inevitability of this beauty.

Lacquerware plays an important role in the daily life of people in small days. From diet to rituals, lacquerware is integrated into every aspect of life.

It is used for various functions, for example, a part is also made into a musical instrument decorated with Makie.

Compared with the plain lacquer ware commonly used in daily life, ancient lacquer ware embodies the excellence of ancient craftsmen in lacquer ware craftsmanship.

In this regard, Xiaotian has done very well, because people study hard.

However, it's not without some oolongs, such as some complicated utensils, they are not very proficient in learning, take shortcuts, and think they are good, which is ridiculous.

For example, they didn't learn Chinese lacquer carving, but these little devils came up with a foolish carving method after trying it.

If you love to collect utensils, you will know many interesting stories behind them.

For example, there are many interesting things in neon, such as Kamakura carvings.

We all know that lacquer carving was popular in the Song Dynasty, which is to pile up layers of raw lacquer, so it is also called Zhuizhu, and then carve.

The lacquer layer can be seen in the carved knife marks, and the carved things are very delicate.

The little devils were fascinated by it, and wanted to learn it too, but they didn't learn the craft of lacquering, and they found it troublesome...

In the end, I came up with a tricky method—carving directly on the wood, and then painting it with red paint.

In this way, they are quite proud, because this kind of carving has been handed down in the Kamakura area, so it is called Kamakura carving.

Now, it has become a classic craft.

In ancient times, every literati in several households would have a study room. From a broad perspective, the study room is the study or study of the literati.

Then the writing, painting and reading utensils in the study room are collectively referred to as the study utensils, which are the favorite things of literati and refined scholars.

Playing with a red pen holder in his hand, Chen Wenzhe suddenly remembered that when he was in Southeast Asia, Gao Qijing once bought him some small souvenirs.

Among the two small souvenirs, the main reason why he bought them at the time was that they reminded Gao Qijing of neon lacquerware.

Although the quality and workmanship of the travel souvenir shop are not exquisite, but the price is still cheap, so he bought a few.

One of them is a wooden pen holder from South Vietnam, and the other is a Thai aromatherapy box.

Now most people, when it comes to lacquerware, the first thing that comes to mind is neon.

But in fact, my country is the first country in the world to recognize lacquer and use it for beautification and decoration.

As early as 7000 years ago in the Hemudu Culture, archaeologists discovered a red lacquer bowl with a wooden body, which is recognized by the archaeological community as the earliest lacquerware found in China.

Later, with the frequent cultural exchanges between China and Japan in various dynasties, especially in the Tang Dynasty, the Chinese craftsmen who went to Neon spread the seeds of lacquerware craftsmanship on the Neon land.

Due to the advantages of the geographical environment, coupled with the continuous innovation and research of the neon craftsmen, the neon lacquer art has developed Dahe national characteristics.

When it was passed back to China during the Qing Dynasty, it was greatly loved by emperors such as Yongzheng and Qianlong.

In the process of continuous historical change and cultural integration, Neon has now come from behind to become a big country of lacquerware. In Spanish, "Japan" means lacquerware.

Although neon lacquerware is highly praised, the ancient lacquerware in our country is even more amazing.

Ancient lacquerware has been handed down to the present, and many of them are classics, such as the tiger-shaped bird rack drum.

The Huzuo bird rack drum is a musical instrument of the Chu State during the Warring States Period. It has a history of more than 200 years and is the most typical cultural relic unearthed from the Chu tomb in Jingzhou.

Its main body consists of three parts: double tigers, double phoenixes, and flat drums, all of which are carved from nanmu wood, painted with raw lacquer on the wooden body, and painted with phoenixes, tigers and other decorative patterns.

The tiger-striped phoenix feathers and decorative patterns are mainly red, yellow and black. The painting lines are smooth, and the images are lifelike and lifelike.

In this combined image of the phoenix and the tiger, the phoenix is ​​tall and majestic, looking down on the sky, while the tiger is small and crouching on the ground.

There are also painted figures with chariots and horses traveling in circles, which are things from the Warring States Period.

The outer wall of this lacquered dowry depicts scenes of horses and chariots traveling in the Warring States Period. When it was unearthed, the outer wall was separated from the lacquer tire.

If you unfold the outer wall, you will find that it is a long scroll painting with a length of 87.4 cm and a width of 5.2 cm.

This is the pre-Qin painting with the most colors found so far.

The picture uses 5 trees to separate 4 groups of related pictures, which are coherent from beginning to end and have natural transitions. It is the earliest "comic strip" in my country.

The picture is divided into two parts according to its plot. The first part depicts galloping chariots and horses, crowned nobles, attendants and greeters, showing the scene on the way;
The other part is dominated by the majestic royal and the carriage about to travel, showing the scene of welcoming and sending off.

In the picture, 26 figures are running or sitting, whipping and urging the horses, the clothes towels are flying, the dogs are jumping and barking, and the trees are swaying in the wind.

These pictures together constitute a fresh and timeless picture of life, reflecting the artistic taste and enthusiasm for life of the Warring States Period.

In addition to these, there are also lacquer ware on top of bronze ware, such as the octagonal mirror with lacquer back gold and silver in the Tang Dynasty.

The Tang Dynasty was the heyday of my country's ancient bronze mirrors. Tang mirrors not only inherited the cultural traditions of the Han and Wei dynasties, but also absorbed the artistic achievements of the frontier peoples.

At the same time, the excellent parts of foreign cultures, mainly Persian and Indian cultures, are also eclectic, which makes the art of bronze mirrors reach a new peak.

The lacquer-backed gold-silver flat-off octagonal mirror combines lacquer art, gold-silver interlacing and other techniques, and uses Tang Dynasty Baoxianghua and Phoenix patterns, fully reflecting the fine craftsmanship of Tang Dynasty mirror casting.

(End of this chapter)