Chapter 1,287 National Treasure Reconstruction Project
Gorgeous peonies, delicate roses, and elegant lotuses, beautiful pictures appeared before Chen Wenzhe's eyes.
Chen Wenzhe only stopped what he was doing when all the paint at hand was used up.
Among the more than a dozen paintings of flowers and several flower-and-bird paintings, the most beautiful ones are definitely those of peonies and golden pheasants.
Not to mention peony, Chen Wenzhe likes it the most and does the most.
Now even if he shifts his focus to cloisonné enamel paintings, his skills are still very good, and the paintings will naturally look good.
The peonies are graceful and luxurious, using an expression method without background, and the painting techniques are rich and diverse.
In terms of composition, the form of "broken branches and flowers" is often used, that is, the most characteristic parts of natural flowers are captured into the painting, which is more delicate and moving than the overall depiction.
Chen Wenzhe's flower-and-bird paintings are now very mature and have reached perfection in terms of pictograms, artistic conception, and brush and ink techniques.
Almost all of his techniques were learned during the Northern Song Dynasty, because the flower-and-bird painting in the early Northern Song Dynasty was very prosperous.
During the Northern Song Dynasty, the traditions of the Five Dynasties were mainly inherited, with many painting techniques being from Xu Xi and Huang Quan styles.
The rich and noble style of the yellow body, which is "outlined and filled with color, with rich and colorful meanings", is even more popular in the world.
In the late Northern Song Dynasty, due to Song Huizong Zhao Ji's special interest in painting, under his strong advocacy, flower and bird paintings took the courtyard style as the mainstream and further developed towards meticulous realism.
The flower-and-bird painting at this time was characterized by neat and delicate brushwork, which brought the meticulous flower-and-bird painting to its peak level.
This style extended to the court of the Southern Song Dynasty, and the creation of flower and bird paintings continued to flourish and present a diversified situation.
For example, the combination of craftsmanship and calligraphy, the use of both ink and color, and the combination of flowers and birds with trees, rocks, and landscapes form a novel and colorful look.
During the Southern Song Dynasty, there were not only small albums, but also long and giant albums.
From Huizong of the Northern Song Dynasty to Ningzong of the Southern Song Dynasty, Lizong produced the most works in this period, and their styles were mostly characterized by rigor, sophistication, and meticulous workmanship.
The picture is small but large, with endless interest. It is a very distinctive part of the flower-and-bird paintings of the Song Dynasty, especially the Southern Song Dynasty.
Chen Wenzhe immersed himself in the flower and bird painting techniques of the Southern and Northern Song Dynasties, so he has a very high level of painting both flowers and birds.
For example, the peony flower is purple in color, has a huge corolla with overlapping petals, is delicate and luxurious, and is contrasted by green leaves on the left and right.
The petals are rich in layers and delicately carved. First, use a fine center-stroke pen to outline the petals, and then render them layer by layer with carmine. The flower core is dotted with light yellow, and the flower leaves are dyed with flower green juice.
After this painting is completed, it is exquisitely crafted, rich and beautiful!
Coupled with the rich composition and bright and elegant colors, this painting is taken to a higher level.
This is still a simple flower. If it is a combination of flowers and birds, then many of the artistic conceptions expressed by Chen Wenzhe will be even more natural.
Therefore, the various chickens he painted are even better.
Big roosters, old hens, and chicks, he had achieved success in all of these when he imitated the chemically colored chicken cups.
Therefore, I am very proficient in doing it now, and the final product is naturally the least.
Fill the reserved blue glaze with red, green, yellow and other colors, then bake it in the kiln at low temperature for the second time, and you can achieve it.
Peonies, lake rocks and groups of various chickens form a warm picture.
For example, a group of roosters are shown arrogantly, a female chicken and a chick are pecking at a centipede, and two chicks are playing with each other.
Another group depicts a rooster crowing, a female chicken and three chicks pecking at a centipede. The picture is vivid and full of interest.
Others include hens chasing roosters in a row, and golden tails and roosters hiding in front of their heads.
The rooster and the hen lead the chicks to forage in the wild.
The hen lowers her head to peck at insects, while the chicks spread their wings and jump for joy.
Even in the small picture, it still shows a warm and lovely scene.
Especially in "Picture of Chicken and Chicken", this performance is even more obvious.
And among them, there are many colors used.
Bright red, leaf green, aqua, goose yellow, turmeric, black and other colors, it can be said that Chen Wenzhe used all the colors that could be used.
He used techniques such as filling, overlaying, dyeing, and stippling, so that the enamel paintings he is making now have the three-dimensional beauty of enamel paintings and the splendor of fighting colors.
He used blue and white outlines and flat dyed lake stones, bright red to cover the flowers, aqua green to cover the leaves, and goose yellow and turmeric to fill in the chickens.
The combs and wings of the cock are dotted with red, and the slopes are dyed with green.
The color is applied in the dense and clear water, which is both elegant and bright.
Make the whole picture full of energy and full of interest of sketching.
Looking at the exquisite cloisonné paintings with satisfaction, Chen Wenzhe felt that his flower and bird painting techniques at this time must have reached the master level.
As for the Grand Master, he didn't dare to think about it yet.
“With this technique, can we create some truly national treasure-level works?”
Chen Wenzhe felt a little like Long Wangshu. He felt that his craftsmanship had improved very quickly recently, and all his skills should have reached the master level.
In this case, can some real national treasures be put on the agenda for imitation?
Apart from anything else, he should be able to imitate the national treasure-level cultural relics of the Qing Dynasty.
At the very least, he should be able to imitate the multi-glazed porcelain mother.
However, the artistic value of that piece is very little. If he really has this ability, why not imitate a real national treasure?
The ten most expensive national treasures of the Qing Dynasty are all rare and good things.
This time treasure is even called "Top Ten Treasures of Porcelain in the Forbidden City".
Of course, this is a reputation achieved under specific conditions. It does not mean that these ten treasures are the best among the treasures in the Forbidden City.
On October 10, 1925, the Forbidden City completed its historical transformation from a palace to a museum.
Since then, it has become the largest ancient culture and art museum in China and one of the most famous museums in the world.
Wandering around, people sincerely appreciate the essence of China's five thousand years of beautiful architectural art. At the same time, they are also attracted by the countless national treasures collected in the Palace Museum.
Due to the large number of cultural relics in the Palace Museum and their high value, the cultural relics in the Palace Museum cannot be publicly displayed on a large scale at one time.
It is difficult for many professionals to see some of the best cultural relics with their own eyes.
For many collectors and ordinary people, they can only learn about some of the supreme national treasures from some books and pictures.
In line with the protection and inheritance of traditional Chinese culture and national treasures in the museum.
On the occasion of the 90th anniversary of the founding of the Forbidden City, the State Council of China established a project to be implemented by the Palace Museum to select 10 most representative treasures from the nearly 350,000 pieces of precious porcelain in the Forbidden City's collection.
Regardless of the type of porcelain, glaze, or shape of the vessel, it is a national first-class cultural relic of extremely high value.
A large-scale expert team was formed to conduct repeated demonstrations and discussions, and finally completed the professional national treasure reconstruction project.
These are ten rare national treasures created by the three prosperous emperors Kangxi, Yongzheng and Qianlong throughout their lives, which are rare in the world;
It is also the representative of colored porcelain among the 350,000 pieces of porcelain in the Forbidden City, covering multiple craft categories and types of royal colored porcelain.