My system is not decent

Chapter 1926 Beautiful scenery, concentrated in a square inch
The gold and silver flat-off process is an innovation of the Tang Dynasty.

Due to the high cost and complicated craftsmanship, the surface of the utensils made is full of gold and silver luster, which is extremely gorgeous, and it is a high-end customization that can only be enjoyed by the noble class.

These extremely gorgeous and extravagant daily necessities may hide the signal of the prosperity and decline of the Tang Dynasty.

The main reason is that these works are too luxurious, like Mido painted lacquer boxes.

This "Mituo Painted" lacquer box was used to hold incense ash at the "Great Buddha Eye Opening Meeting at Todaiji Temple" in 752 AD.

Miduo painting is a painting technique in the Tang Dynasty, which is similar to primitive oil painting.

The main raw material is Amitabha monk (the composition is lead oxide), which is mixed with paint and painted on the vessel, which is also related to the craft lacquer painting that is popular in later generations.

This kind of painting technique was introduced to neon in the Nara period. Because of its rich and luxurious colors and exquisite utensils, it fully caters to the fashion of royal nobles who demand luxury and indulge in pleasure. Therefore, painters in the court and field compete to imitate it and become a branch in the Nara painting garden. Wonderful.

In the Ming Dynasty, the lacquer-carved plate of Tengwang Pavilion was unearthed in a Ming Dynasty tomb in Gan Province, my country at the beginning of the last century.

Later, after being stolen from the tomb by tomb robbers, it was exiled abroad and is now collected in the British Museum.

This carved lacquer plate depicts the scene of a farewell party held in Tengwang Pavilion.

The most famous gathering was held in AD 675.

The poet Wang Bo (650-676 AD) participated in the gathering.

At that time, Wang Bo wrote a preface to the guest's collection of poems.

Engraved on the back of the lacquer-carved plate is part of the preface ("Tengwang Pavilion Preface").

On the plate, clouds cover the sky, pavilions, towers and pavilions, and rippling water are scattered in a well-arranged pattern.

People drink and compose poems, climb high and look at the beautiful scenery. The whole scene is like a fairyland on earth, which makes people imagine.

The cranes flying in the sky and the deer on the ground both symbolize longevity.

These exquisite dishes were often ordered for the emperor, and some were given to Neon as diplomatic gifts.

This Ming Dynasty lacquerware plate is simple and elegant in shape, fine and smooth in lacquer quality, full in decoration and composition, and fine and mature in carving. It is a model of imperial lacquerware in the Ming Dynasty.

Because the engraver carved his name and date on the door of the attic, and the red, green, yellow and black lacquers used in its production, it is extremely rare and therefore extremely valuable.

Such fine lacquerware from the Ming Dynasty is actually not uncommon, such as the round box with Du Fu's poetic intentions.

Three kinds of brocade patterns are carved on the cover of the box, and a pavilion is carved on it. Inside, there are elders looking up at the sky, and a group of egrets fly in the air.

An elder in the courtyard came, followed by a child with a piano.

There are two orioles perched on the willow trees on the bank, and there are small boats docked in the water, which is full of poetry.

The walls of the box are carved with yellow lacquer, peonies, camellias, pomegranates, chrysanthemums, roses and other flowers.

The inside and bottom of the box are painted with black lacquer, and the bottom is imitated and engraved with gold inscription "Daming Yongle Year System" in Qing Dynasty.

The pattern of this box is engraved according to the poetic sentiment of Du Fu, a great poet of the Tang Dynasty, "two orioles singing green willows, a row of egrets ascending to the blue sky. The window contains the snow in the Xiling Mountains, and the gate is moored with a boat thousands of miles away from Dongwu". The artistic conception is beautiful and romantic, and the carving technology is exquisite.

Of course, these are regular lacquer ware, and some are used on copper ware.

In addition to the previous Tang Dynasty bronze mirror, there are quite a few other bronze and lacquer works like this one.

For example, a fine work of the Qing Dynasty, the hand furnace with black lacquer depicting landscapes and pavilions.

This hand stove has an irregular but very symmetrical oblong shape.

The curved shape of the lifting beam is coordinated with the shape of the furnace body.

The furnace body is illuminated on all sides, facing each other in pairs.

The inside of the consecration is dark, on which different landscapes are depicted with gold lacquer.

The composition of the picture is exquisite, the layout is sparse and clear, and the distant mountains and near rocks, pavilions, pavilions, vegetation and birds are all depicted in detail, just like a meticulous painting.

Although the picturesque landscapes are concentrated in a square inch, they reveal a misty and profound artistic conception.

The side decoration outside the consecration uses the technique of drawing gold and colored lacquer to depict the pattern of twining flowers.

Copper gallbladders are hung inside the mouth, and the cover is a dense mesh braided with copper wires for ventilation. There is a round hole in the bottom center for heat dissipation.

There are grayish-white charcoal ash left in the liners of the hand stoves collected by the Qing Palace.

However, the inner tank of this hand stove is extremely clean, without any traces of use.

It can be seen that it is not a practical device for warming hands, but a handicraft for viewing and displaying.

It is precisely because of its exquisite production and exquisite picture.

According to the color used in the gold painting and the painting skills of the screen, it should be a product of the Yongzheng Dynasty.

The Qing Dynasty was regarded as the last glory of the feudal dynasty, and high-quality lacquerware appeared during this period was not uncommon.

It looks like a picture box with red maple leaves and autumn insects. This is a box of maple leaves.

Its whole body is carved with red lacquer and the fine veins of maple leaves are used as a brocade ground, with one autumn cicada and one grasshopper carved in pressure.

The inside of the box is painted with black lacquer, and the inner bottom is engraved with the six-character inscription "Made in the Qianlong Year of the Qing Dynasty" in regular script.

The bottom of the box bears a maple-leaf-shaped seat, with seawater and lotus petal patterns engraved on the side.

Carved lacquer in the Qing Dynasty emphasized engraving and light grinding, and the carvings in the Qianlong period were particularly exquisite and delicate.

At that time, the new style of carved lacquer often used carved brocade patterns without much decoration.

Or the area of ​​the brocade floor is enlarged, and the decorations such as flowers, grasses and insects are reduced.

This box uses the fine veins of maple leaves as the brocade ground, and only two autumn insects are carved.

Carved into brocade pattern with natural objects, unique ingenuity, extremely subtle and exquisite.

This box is an outstanding piece of Qianlong carving lacquer.

On the whole, although neon lacquerware conveys its unique quiet, elegant and style beauty.

They are known for their exquisite craftsmanship and maki painting art, and the cultural connotations carried on ancient Chinese lacquerware and the peak attainments achieved by various dynasties are also priceless.

Regardless of the country and artistic style, what I can understand from these great lacquerware arts is the ancient people's strong sensibility for the beauty in life and the ultimate pursuit of art.

An ordinary bowl can also be eaten, but if it is a beautiful and exquisite bowl, the thought of eating may make you happy and happy. This kind of spiritual enjoyment cannot be exchanged for any amount of money.

Many people may say that only rich people have been able to afford these things since ancient times, and ordinary people are just exhausted for the "a few taels of silver".

But it is precisely in such a fast-paced, information-overloaded era that we need the ability to press the pause button.

Occasionally stop and open your sensory cells to listen, observe, feel the beauty in life, and even create beauty.

For example, start by observing the formation of ants crawling on the road, or listening to the rhythm of rain falling!
If our lives are full of work and we only see money, then what is the difference between us and the cold machines in the factory?
In fact, with the current level of economic development, the standard of living is more often related to life attitude and personal aesthetics, not necessarily related to money.

The luxury and privilege concepts of the ancient nobles are certainly not desirable, but why can't we learn from their full sense of ritual in life?
(End of this chapter)