My system is not decent

Chapter 1934 Paint and ink flowed on it, and it was transported to the palace as a food utensil
During the Five Dynasties, the pier developed to a greater extent, and began to transition from a thin-waisted drum shape to a drum-shaped belly. By the Song Dynasty, it had become a basic fixed form.

In addition, the production of piers after the Song Dynasty was mostly influenced by the styles of the Song Dynasty.

Wang Shixiang described it in detail in "Research on Ming-style Furniture".

From the poufs of the Song Dynasty, we can see that it often retains traces of two kinds of objects.

That is, the circular consecration from the cane pier, and the drum nails from the leather of the drum pier cavity.

There are still these traces on most Ming-style wooden poufs, even porcelain poufs are no exception.

In the courts or courts of the Song and Liao dynasties, pier was used as a special treatment seat for senior officials.

In the court of the Liao Dynasty, the pier was used in an important way.

For example, "Liao History" Volume 116 "Guoyu Jie" records: "Liao's "Pai Ban Tu" has high pier, short pier, and square pier. From the prime minister to Azha, they are all pier officials."

It shows that on the court hall of the Liao Dynasty in the north at this time, the piers are divided into high piers, short piers, and square piers.

From the prime minister to the senior officials of the Privy Council, they were all given pier seats by the emperor, so they were called "dun officials".

Song Shidun's standard was lower than that of the stool. Song Zhenzong originally planned to demote Ding Wei's official position, but after Ding Wei's explanation, he resumed his original position.

The left and right don't know the situation, so they "wanted to build a pier" first, and after Ding Wei said that the official ordered to restore the "Ping Zhang thing", then "it was more advanced".

It reflects that the etiquette system in the court of the Song Dynasty was strict, rigorous and orderly, and even the seats of "杌" and "Dun" were divided into high and low levels.

Therefore, the remnants of Goryeo celadon piers unearthed from the Deoksugung Palace site in Hangzhou may have some connection with the cultural life of the Southern Song court.

In fact, the titles of Zuidun and Xiudun already appeared in the Song Dynasty.

There are also relevant records in Fan Chengda of the Southern Song Dynasty's "Guihai Yuhengzhi Zhiqi".

"Bronze drums were used by the ancient barbarians. Some people dug them out of the soil in the south. According to legend, they were left behind by Ma Fubo. Its construction is like a pier, but the bottom is empty. The drum is full of fine patterns and is extremely exquisite. There are small toads at the four corners, and two people. Let's go, use your hands to strike it, and the sound is like a drum."

This shows that in the south at that time, the popular bronze drums looked like poufs.

It is also recorded in Volume 6 "Shuo Qi Xia" of "Tao Shuo" written by Zhu Yan in the Qing Dynasty.

"Wang Yu, a scholar of the Song Dynasty, ordered to set up a purple flower pier in front of the Ruizhu Hall, and ordered him to sit on it."

In the Song Dynasty, only those with high status could enjoy the treatment of sitting on the embroidered pier.

Zhang Dazhi in the Song Dynasty mentioned it in his poem "Tiqing Yundong Cave".

However, it originated from the Song version and was written in the Yuan Dynasty. There is such a record in the book "Da Song Xuanhe's Legacy·Heng Ji".

"Huizong sent the palace official Xuan Li Shishi to enter. After the meeting, he gave his wife a crown and made the teacher wear clothes. He still gave an embroidered pier and sat next to the throne."

All this shows that the history of Xiudun is longer than we imagined, and the utilization rate is also beyond our imagination.

There are so many embroidered piers and many styles, but most of them are wooden embroidered piers.

The more advanced ones must be porcelain piers, and then there are embroidered piers that use various top-level craftsmanship, such as embroidered piers that use enamel craftsmanship.

It is not difficult for Chen Wenzhe to do these, so it is fine for him to make a series.

Now he is more interested in woodcarving and woodware, so after finishing a batch of wooden embroidered piers, he felt that his craftsmanship was good, so he wanted to find some better ancient works to imitate.

Learn to imitate first, and then innovate, this is his way of innovation.

If we talk about ancient woodware and lacquerware, the more famous ones must come from some large tombs.

One of the more famous tombs that Chen Wenzhe knows must be the tomb of Marquis Haihun.

Most people are aware of the gold and silver wares in Haihunhou's tomb, but few pay attention to the lacquered wood wares in the tomb.

The most important thing is that the wooden utensils in Haihunhou's tomb after thousands of years are still as bright as new.

This is very rare, so it is logical for Chen Wenzhe to want to imitate Haihunhou wooden wares.

It is really not too difficult to find the wooden materials of Haihunhou's tomb.

Recently, at the "Gandi Treasure 2022" cultural relics exhibition of the Xijiang Provincial Museum, a new exquisite dragon pattern lacquer plate from the Western Han Dynasty was released.

Also exhibited at the time were seven lacquered woodware unearthed together in 2015.

This is also the first batch of lacquered woodware unearthed from the tomb of Haihunhou and restored by cultural preservation to meet the exhibition conditions.

After more than 2000 years, it is still radiant and bright as new. What is the secret?
There must be a reason why it can be preserved for thousands of years, that is, many wooden utensils are submerged in water.

Therefore, newly unearthed wooden utensils generally need to be dehydrated.

For example, the ear cups unearthed from the tomb of Haihunhou, and some lacquerware fragments, all of which need to be dehydrated.

Afterwards, these lacquered wood fragments still need to be spliced ​​together by the staff.

Generally, plaster models are used to shape the lacquered woodware that has been dehydrated, so that these things will not be deformed or damaged.

It is not the first time that the lacquered woodware unearthed from Haihunhou's tomb has appeared, so it is not too difficult to find these materials.

In particular, some of the boutiques are very beautiful even after thousands of years.

For example, the lacquer plate mentioned earlier, with black paint on the outside and red painting on the inside, three divine dragons come on the clouds, looking up to the center of the circle, their bodies form a vortex, showing the beauty of the lacquer art of the Han Dynasty...

This exquisite dragon-pattern lacquer plate attracted many tourists to stop and watch as soon as it was unveiled.

This lacquer plate comes from the tomb of Liu He, Marquis of Haihun, dating from the middle of the Western Han Dynasty, more than 2000 years ago.

There is also a set of lacquered ear cups with red and black colors on display.

The exhibited lacquer plates and lacquer ear cups were found in the north corridor of the tomb. They were used by the ancients for drinking and holding water. They are also examples of handicrafts combining practicality and beauty.

In addition, the exhibition area also displays a replica of the Confucius screen unearthed from the tomb of Haihunhou.

This is also a lacquered wood screen, painted with the earliest statue of Confucius discovered in my country so far.

There is also a bronze mirror hidden in the screen, so this is also a full-length mirror for "correct dressing".

my country is the first country in the world to discover and use natural lacquer.

"Han Feizi Ten Passes" also records: Shun made lacquered woodware, "flowing lacquer and ink on it, and transporting it to the palace as food utensils."

During the Western Han Dynasty, when Haihunhou Liu He lived, lacquerware technology entered a golden age.

About 3000 pieces of lacquered woodware were unearthed from the tomb of Haihunhou, of which more than 1100 pieces are well preserved and recognizable in shape.

Therefore, it is the one with the largest variety and quantity of lacquerware unearthed in the known Han tombs.

Due to the unstable properties of lacquered woodware after unearthed, since 2015, the cultural relics protection team has continued to carry out protection and restoration work.

Half a month before the exhibition, 8 pieces of lacquered woodware have just been repaired and reached the exhibition conditions. They have passed through 2000 years, and people can finally see their "true appearance".

Hidden underground for 2000 years, it is still not rotten, which must be related to Poyang Lake.

"Decadence" seems to be a difficult problem that wooden cultural relics can never get around.

However, during the archaeological excavation of Haihunhou's tomb, a large number of lacquered wood wares were discovered, and many of them were still well preserved, pasted with gold and silver.

(End of this chapter)