My system is not decent

Chapter 1929 The old collection of the Qing Palace, noble and gorgeous

In the eighth paragraph "Xiao Zhi Zhang" of "School Girl Xiaojing Ma Hezhi Supplement" written by Emperor Gaozong of the Song Dynasty, the shape of the case drawn shows that this kind of furniture can be placed freely indoors and outdoors.

The round embroidered pier on which the six ladies sit beside the couch can represent the basic form of this kind of pier in the Song Dynasty, and it was also a common seat in the Five Dynasties and Song Dynasty.

The real sitting with feet down began in the Song Dynasty.

In the Song and Yuan Dynasties, flower decorations such as purple flowers and brown flowers appeared.

Embroidered piers were popular in the Ming and Qing dynasties, and were often used in informal occasions such as communication with relatives and friends.

The embroidered pier is the best among the stools, not only elegant, but also rich.

The embroidered pier has a variety of shapes, round, with a large abdomen and small upper and lower parts. Its shape is especially like an ancient drum, so it is also called drum pier.

"Embroidery" refers to the things covered on the pier.

The early embroidered piers were made of wood and cattail grass.

In the later period, it appeared made of porcelain carving lacquer, colored lacquer and other materials.

Material can be made of materials such as grass, rattan, mahogany, lacquer wood, porcelain, stone.

The ancient embroidered pier directly adopts the method of drumming with wooden boards, and makes it into the shape of a waist drum with small ends and a large middle.

Both ends are carved with string patterns and breast nails to fix the drum skin, so it is also called "Huagu Pier".

From the perspective of decoration techniques, there are also various methods such as inlaying, carving, stacking, and window opening.

For the convenience of carrying, some still have nail rings on both sides of the waist, or have four begonia-style through holes in the middle.

From the perspective of craftsmanship, there are red glaze, blue glaze, pastel, blue and white, enamel, three-color and other techniques;

From the perspective of decoration, there are various themes such as animals, flowers and fruits.

The waist-drum-shaped pier is a special seat for women to keep warm with incense since the Warring States period;
Before the Tang Dynasty, people generally sat on the floor, and most of the furniture was low-profile.

After the Tang Dynasty, the living style changed to sitting on the feet, and the furniture also became taller.

The embroidered pier, as a form of furniture for sitting on the feet, was born from this.

In the Tang Dynasty, influenced by the Buddhist lotus platform, most of the women's seats in the Tang Dynasty were in the waist drum style, which was called "abutment" or "quan hoof".

These seats are used in the court, covered with an embroidered handkerchief, so they are also called "embroidered pier";
After the inheritance of the Song Dynasty, until the Ming and Qing Dynasties, the embroidered pier has become a kind of seat. The embroidered pier in the Song and Yuan Dynasties is generally larger;
The embroidered piers of Ming and Qing dynasties were not only used indoors, but also often displayed in courtyards and outdoors.

The embroidered piers in the Ming Dynasty were relatively small, but larger than those in the Qing Dynasty.

The embroidered piers of the Ming Dynasty have different styles. Some embroidered piers are completely covered by embroidery burdens, and some only cover the upper half of them, and the delicate structure inside can be seen.

Generally, there are boxwood carvings around the embroidered pier, giving people a sense of elegance;
In terms of shape, the embroidered piers of the Qing Dynasty are thinner and more elegant than those of the Ming Dynasty.

In addition, in terms of appearance, many other forms of embroidered piers are derived.

For example, the Dousai lotus figure drum nail embroidered pier is 52.9cm high and 31cm in diameter.

The diameter of the pier surface and the diameter of the bottom are similar, and the body is oblong and drum-shaped, with four cloud-shaped hollow decorations.

The surface of the pier is decorated with purple ground rolling pastel, and its center is decorated with sky blue ground bucket color.

The large area of ​​lotus pattern on the body is painted with pastels in blue ground bucket color, and the glaze is filled with alum red, green, blue, white, purple, blue and white and other materials.

The most obvious thing is that there is a week of golden colored drum nails on purple ground on the upper and lower sides.

This embroidered pier is a representative work during the Qianlong period. It is exquisitely made and uses a variety of color decoration techniques with distinct layers.

This makes the dignified and simple shape of the embroidered pier reveal a bit of pretty sentiment.

The color floor is decorated with bucket colors, which is already gorgeous, but this vessel has added the rolling pastel process, which makes it more luxurious.

There is also an embroidered pier with a colorful dragon piercing a lotus pond. This pier with a colorful dragon piercing a lotus pond belongs to the old collection of the Qing Palace.

It was made in the Jiajing period of the Ming Dynasty. It is 36.9cm high, 24.0cm in surface diameter, and 24.0cm in bottom diameter.

The embroidered pier is drum-shaped, hollow, and slightly raised.

The inner plain tire, the outer blue and white multicolored decoration.

The front of the pier is painted with a dragon leaping over the lotus pond.

The theme decoration in the middle of the outer wall is two dragons walking through the lotus pond.

The upper and lower drum nails are raised for a week, and the drum nails and the pier surface and between the bottom feet are painted with back lines.

There are all kinds of embroidered piers, and naturally there are also lacquerware.

For example, black lacquer embossed pier with gold dragon and phoenix patterns, Qing Dynasty, 43cm high, 35.5cm in diameter, formerly collected by the Qing Palace.

The whole body of the embroidered pier is painted with black lacquer, the black lacquer floor is decorated with gold patterns, and the surface of the round pier is decorated with dragon and phoenix patterns.

The sides of the pier face are decorated with cloud patterns and miscellaneous treasure patterns, and the waist is decorated with fretwork patterns for a week.

The pier wall is open-carved with Kui patterns and painted with gold hooks. The decoration on the side edge of the circular base is the same as the side edge of the pier surface, echoing up and down.

This pier is made of black lacquer and gold. The black lacquer and gold decoration are in sharp contrast and set off each other, showing dignity and beauty in the darkness.

It is not uncommon for Qing Dynasty furniture to be decorated with black lacquer and gold decoration, which shows that this style was liked by people at that time.

Of course, since it is wooden, there must be embroidered piers made of precious wood.

Like red sandalwood inlaid enamel embroidered piers, this is not only precious wood, but also very extraordinary craftsmanship.

Zitan inlaid enamel embroidered pier, with a height of 52cm and a surface diameter of 28cm.

The shape of the embroidered pier resembles a waist drum, and the surface and bottom diameters are similar.

Two black patterns are carved on the upper and lower ends, and the outer relief of the black patterns symbolizes the breast nails that fix the drum skin.

Between the Xuan patterns, there are 6 grids surrounded by embossed curly grass patterns, and each grid is inlaid with an enamel piece of Kui dragon pattern.

In the middle of the abdominal cavity are 6 groups of Begonia-style consecrations, which are connected with each other.

The interior of the consecration is also inlaid with red sandalwood boards, with cloud pattern circles carved on the edges, and enamel pieces with bat patterns and Baoxiang patterns inlaid in the middle.

This embroidered pier is ingenious in design, reasonable in structure, and has high artistic value.

The embroidered piers of the Ming and Qing dynasties were made of wood, bamboo, rattan, carved lacquer, and porcelain.

The embroidered pier has the taste of elegance, and it is even more varied in terms of plastic arts. In addition to the round shape, the seat surface includes crabapple, plum blossom, melon edge, oval and so on.

Many embroidered piers have a string pattern on the upper and lower ends, and drum nails are carved, which is simple and beautiful.

The piers are exquisitely carved, or begonias, bamboo joints, or vines, which are lifelike and full of artistic appeal.

The decoration of the pier surface is also very particular, in addition to boards, there are also inlaid colored stone shadow wood, marble, rattan and so on.

The embroidered pier is made of very particular wood, such as red sandalwood, rosewood, and mahogany.

In addition, the use of porcelain piers in the Ming and Qing dynasties is very common, and there are products from Dehua, Liling, Jingzhen and other places.

The blue-and-white embroidered pier with lotus and flower patterns was a relatively common type of porcelain for daily use at that time.

The lotus flower pattern is the most eye-catching decorative pattern in blue and white porcelain.

Whether it is freehand brushwork or deformed painters, they are all rigorous and delicate, with clear decorations and neat arrangements, with the effect of pattern painting.

Because the blue and white color is fresh and elegant, the porcelain decorated with it became the main supplies for people's daily life, display and appreciation, and study at that time.

Things like embroidered piers are naturally common in works describing some boudoirs.

For example, in "A Dream of Red Mansions", there are descriptions of Qing Dynasty furniture, and there are quite a few, at least nearly a hundred.

It involves beds, table cases, chairs, stools, shelves, cabinets, screens, lacquer boxes, embroidered piers and so on in various materials, techniques and shapes.

(End of this chapter)