Then there is the pan-style box with red landscapes and figures, which is also a masterpiece from the Qianlong period.
On the cover of this "Qianlong-style red elegance gathering treasure box", an elegant scholar is playing the piano under the pine tree, and two elegant scholars are sitting on the ground chatting, which embodies the interest of ancient literati gatherings.
There were many boxes like this during the Qianlong period, such as the "Qianlong Model Red Elegant Collection Box", which is a carved lacquer work with red techniques, and every detail is extremely complicated.
For example, a Qianlong Baizi treasure box has a total of 52 boys carved on both sides and 48 boys carved on the side wall.
Together they form "Hundred Sons" as the representative of "auspicious meaning".
For example, the large-scale cultural relics on site are professionally represented, among which the classic is the red-inset screen with the Shoushan and Fuhai pictures.
The whole body of the insert screen is painted red, with carvings and patterns on both sides.
On one side, the sea is wide, dotted with sails, and a fairy mountain floats in the middle. The mountains are stacked with mountains, palaces and pavilions are lined up in rows, and the trees on the seaside are shaded, which means "Longevity Mountain and Blessed Sea".
On the other side, there are sixty pairs of red lacquer characters carved on the yellow lacquer floor, including the characters "Fu Shou" and "Fu Shou".
The base has three layers stacked on top of each other, and is fully carved with red lacquer patterns, which is complex and exquisite.
During the Qianlong period, screens were mostly used for display and appreciation. They were often decorated with hundreds of seeds, cranes, deer, dragons and phoenixes, and flowers, which symbolized good luck.
As a representative of "display appreciation", the red-cut Shoushan and Fuhai picture illustration screen, a red-cut scroll-shaped box is very special.
The box is divided into three layers, consisting of a stacked book box and three scroll boxes, with a vivid shape.
The box is engraved with a long strip of inscription, with ivory inlays at both ends, symbolizing paper pages.
The whole body is made of green paint as the ground and red lacquered flowers as the pattern, imitating the effect of brocade. The flowers are divided into three categories: Chilong, four-petaled flowers, and the character longevity. They are arranged in horizontal rows, vertical columns are staggered, the diagonal direction is unified, and the flowers are sparse and clear.
, full of literati flavor.
The base is painted black and carved with brocade.
There are many kinds of scroll-style boxes handed down from the Qing Dynasty, with different shapes and sizes, and they are both practical and ornamental.
For example, a set of the Eighteen Arhats Pen Holder with "Red Picking Three Things - Kuifeng Pattern Furnace" embodies the nature of "exclusive function".
The so-called three things are utensils placed on several tables for burning incense and purification. They usually consist of three pieces: a stove, a bottle, and a box.
The stove is a burner, the box holds spices, and the bottle holds chopsticks and shovels.
When using, use chopsticks to pick up the sandalwood in the box and burn it in the furnace. After burning, use an incense shovel to remove the ashes.
The Sanshi combination originated from the mid-Ming Dynasty and was produced in large quantities during the Qianlong period of the Qing Dynasty. The craftsmanship is rich and the materials include jade, enamel, porcelain, glass, etc. Such lacquer Sanshi is relatively rare.
This set of three pieces of carved lacquer comes with another piece, for a total of four pieces.
The surface is painted with red paint and decorated with carved phoenixes, animal faces, banana leaves, flowers, geometric figures and other patterns.
The top of the furnace lid is inlaid with a white jade cloud-bat pattern button, which is very elegant and reflects the elegance of the palace furnishings.
The following Qianlong-style ink-color "Dragon and Phoenix Blessing Plate" has eight sunflower petals, with rounded feet that follow the shape.
The disk is painted with seven layers of paint from bottom to top: red, green, red, brown, yellow, green and red.
The heart of the plate is deeply engraved with a pair of hooks with the character "Fu", and inside the strokes are plum blossoms, bamboo branches, Ruyi, Guqin, silver ingots, orbs, corals and other treasures.
Outside the consecration, three patterns of dragon, phoenix and crane are staggered.
The outer walls are carved with roses, gardenias, lotus, plum blossoms and other branched flowers.
The center of the outer sole is inscribed with the six-character and three-line inscription "Made in the Qianlong Year of the Qing Dynasty" in regular gold script, and the inscription "Dragon and Phoenix Blessing Plate" is engraved horizontally on it.
The name of the instrument is usually four characters, but this is five characters, which is a special case.
This plate is imitated from the works of the Jiajing Dynasty. It has bright and rich colors, dense and diverse patterns, and a neat and symmetrical layout. It can be regarded as an artistic re-creation.
There are many exquisite lacquerwares from the Qianlong Dynasty, such as the Qianlong style "Dragon and Phoenix Blessing Plate".
Of course, there were also such types of utensils during the Jiaqing period, such as a Jiajing-style square plate with the word "Fu" carved in red. The plate is square and has corners.
The center of the plate is consecrated according to the shape, with a square swastika brocade pattern as the ground, and the regular script "福" engraved on it, with raised double lines on the edges of the strokes, showing a three-dimensional effect of heavy strokes.
The four sides of the plate are carved with dragon patterns on the inside, and the corners are decorated with patterns of miscellaneous treasures.
The outer wall is illuminated on four sides and the interior is carved with Ganoderma lucidum supporting miscellaneous treasure patterns.
The base is painted black, with a six-character vertical inscription "Made in the Jiajing Year of the Ming Dynasty" engraved in gold and regular script in the middle.
Jiajing style square plate with red inlays with the word "Fu" on it. Literature records that the lacquer carving technique existed in the Tang Dynasty and flourished during the Song, Yuan and Ming dynasties.
Carved lacquer was used in the palace of the Qing Dynasty, and its production was resumed in the Qianlong Dynasty.
Generally speaking, on the basis of inheriting the lacquer carving craftsmanship of the Ming Dynasty, it has formed its own characteristics of the times and is produced in large quantities.
There are many kinds of utensils, covering everything from imperial regulations to daily utensils in terms of their functions.
They range in size from large to a screen throne several meters wide, to as small as an inch-high ink cartridge cigarette pot.
All kinds of utensils are dignified in shape, bright in color, fine in carving, sharp in edge, rigorous in composition and dense in layout.
The decoration is rich in content, including common landscape figures, flowers, birds, fish and insects, dragons, phoenixes and auspicious animals, literati allusions, etc.
During the Qianlong Dynasty, the carving and lacquer craftsmanship reached its peak, pushing the ancient lacquer carving craftsmanship to another peak.
In the history of the development of lacquerware, the Qianlong Dynasty can be described as a golden age.
The craftsmanship is dazzling and there are many types of lacquerware. The workmanship is meticulous and the materials are fine.
That's because Emperor Qianlong was particularly concerned about his own lacquerware, and personally gave guidance on the lacquerware's fetal bones, styles, colors, and lacquering techniques.
According to the "Collection of the Manufacturing Office of the Qing Palace Internal Affairs Office", Emperor Qianlong would describe lacquerware that he was not satisfied with as "stupid" and "rough".
These lacquerwares will be required to be modified in the direction of "delicacy", "delicacy" and "meticulousness".
In addition, Emperor Qianlong was also a very creative emperor with a clear mind.
His lacquerware would imitate the shapes and patterns of other objects, such as bronze, jade, porcelain, ivory, lacquerware from previous dynasties, etc.
As long as it can be imitated, he will not let it go, so the lacquerware of the Qianlong Dynasty was exquisite, rich and diverse.
The overall style of the lacquerware of the Qianlong Dynasty was complicated and gorgeous, and no expense was spared in the production, and excellence was strived for. It has become a dazzling wave in the history of lacquerware of seven thousand years.
It can be said that the Qianlong Dynasty made great use of various crafts, especially those with luxurious appearance, which were the best.
The same goes for wood products and lacquerware.
For example, the round box of the Shouchun picture is decorated with gold lacquer. This kind of technology is rich, and the imitation of other materials can almost be real. In the lacquer craft, gold tracing, color lacquer tracing, oil tracing, etc. can be classified as craft techniques for depicting patterns.
During the Yongzheng and Qianlong dynasties, a large number of gold-painted lacquerwares were produced, which can be divided into two types: traditional techniques and imitation foreign lacquer techniques.
Colorful lacquer painting became popular during the Warring States Period and the Han Dynasty, and its decorations were elegant and flourished for a while.
Since the Tang and Song Dynasties, the variety of painted lacquerware has gradually declined. In the Qing Dynasty, there were not many painted lacquerware made in the palace, but they had a high level of craftsmanship.
The color displayed by the painted oil makes up for the lack of vividness of the paint.
The oil painting works collected in the Palace Museum were all produced in the Qing Dynasty. Although none of them have inscriptions, judging from their rich colors and exquisite workmanship, they must be works from the Qianlong Dynasty.
Gold lacquerware is elegant and luxurious, and was produced in large quantities by the Qing Dynasty court.