Chapter 1920: It’s hard to tell the truth from the fake, it’s a masterpiece
This Qianlong style "Ruyi Palace Box" with solid gold lacquer is engraved with a solid gold Ruyi cloud head in the center, with a flying bat holding a lotus wrapped in its mouth, supporting two symmetrical Tuan Shou characters.
The head of the cloud is surrounded by eight ruyi branches wrapped in ribbons, with the head and tail facing each other, and four chimes tied up, down, left, and right.
There are four rhombus-shaped openings on the lid and the curved wall of the vessel. The interior has swastika knots, flying bats and various entwined flowers, which means "all blessings and good fortune".
The top and bottom of the mouth are densely covered with brocade patterns, and the ground is decorated with patterns of flying bats consecrated by auspicious clouds, separated by lotus flowers.
The outer wall of the foot is painted with a pattern of Kui dragon entwining lotus branches, and the inner and outer soles are painted black.
In the center of the outer sole, near the upper edge, is a six-character horizontal inscription "Made in the Qianlong Year of the Qing Dynasty" engraved in gold regular script, and below is the inscription "Ruyi Palace Box".
This kind of box, you don't need to look at anything else, just look at the appearance, you will know that it is extraordinary.
No matter who sees it, they will think it is a treasure and will never admit it wrong.
The objects in the palace are naturally extraordinary, such as a square box made of gold and lacquer with patterns of flowers and birds. The color is elegant and equally wonderful.
This box is made of wood, square, and has two floors.
The material of mother-of-pearl comes from oyster shells, pearl oysters, abalone oysters, clams and other shell snails. There is no distinction between thin and thick mother-of-pearl. Thick mother-of-pearl is especially white and is also called hard mother-of-pearl.
The imperial utensils used in the Jincai Dynasty were not only imitations and antiques, but also cross imitations of the same materials and craftsmanship, which became one of the highlights of the imperial utensils used in the Qing Dynasty.
Porcelain imitation lacquerware is one of the most representative categories.
The inner and outer soles are all painted with vermilion lacquer.
The gold color imitation vermilion lacquer box with gold lid is not one of the classics.
You can't see the ingenuity and taste of people at that time without a little bit of time.
The wonderful thing about this box is that there is no interlayer inside the lid, which is filled with mercury.
The walls of the box are decorated with flower and bird patterns such as chrysanthemums, colorful butterflies, and golden pheasants.
It is not inlaid with processed, exquisite and precious materials on the surface of lacquerware.
Themes include flowers and feathers, character stories, landscapes, dragons, phoenixes, auspicious animals, good luck and other decorative themes.
His father, Emperor Yongzheng, had not yet borrowed shapes, imitated patterns or textures from the same craftsmanship.
In the distance, you can see the cottages on the opposite bank, with a few reed geese perched nearby.
The surface is decorated with jade-inlaid wintersweet, autumn chrysanthemum, narcissus, peony and other seven-season flowers, as well as Ganoderma lucidum, green bamboo and butterflies, and is decorated with golden flowers and plants.
In the middle scene, the waves are rolling on the lake, and a water tanker is drawing water from the lake for irrigation;
A red lacquered box inlaid with mother-of-pearl patterns proves this point very well.
Decorated according to the color, the brilliance can be admired in lacquerware inlaid with hundreds of treasures.
The center of the inner bottom is left blank, and is inscribed with the eight-character and eight-line inscription "Xiao Qing Jin Cai Nian Zhi" in alum red color seal script.
For example, the Baibao inlaid butterfly pattern and crabapple-style pen holder has the inner wall painted brown and half white.
Those precious materials are designed to form patterns to achieve the purpose of gorgeous decoration.
Baibao Inlay also uses the adhesive properties of natural paint to embed various precious materials under the paint surface before carving them into shape.
According to literature records, the craft of inlaying treasures on lacquerware did not exist in the late Ming Dynasty, but the works are rare.
The craftsmanship covers carved lacquer, mother-of-pearl, lacquered gold, one-color lacquer and other types of painting.
Imitation lacquer porcelain uses a bright glaze color to approximate the color of lacquer.
Compared with thick mother-of-pearl, thin mother-of-pearl is less colorful and brilliant, also known as soft mother-of-pearl.
This box integrates all kinds of group flowers into one, the layout seems random but contains rules, the colors are gorgeous and luxurious, and the palace atmosphere is rich.
In the four surrounding large fan-shaped plates, bats with different postures are also represented by the technique of inscriptions and gold. The drawings are detailed and as bright as new.
Emperor Jincai had a wide range of interests and made various attempts and explorations in the production of handicrafts.
Thin mother-of-pearl often cannot be polished with a few coats of paint, and it will be flush with the paint surface and feel smooth and rough to the touch.
Of course, apart from the box, there is no other lacquerware.
Up to now, there are not many lacquerwares in the country, such as neon and Northern and Southern Dynasties.
And those are still the worst, and the worst should be the boxes made with Baobao inlay technology.
Regarding the lacquerware inlaid with hundreds of treasures, "Painting and Decoration Records" says: "Coral, amber, agate, gemstones, tortoiseshell, mother-of-pearl, ivory, rhinoceros horn, etc., mixed with the lacquer board and carved and inlaid, are very expensive."
The inner wall is scattered with yellow and white, small and large, with different styles of mother-of-pearl flowers, either eight or two stacked on top of each other, or decorated alone, which contrasts strongly with the color and texture of the vermilion lacquer, making it even darker.
The interior decorations are combined with each other, taking the auspicious meaning of "good fortune and longevity".
Inlaid lacquerware includes mother-of-pearl inlay, treasure inlay, etc.
That was not the golden age of the Jin Cai Dynasty in the history of lacquerware development.
Regarding mother-of-pearl inlays, "The Record of Painting and Decoration" says: "Mother-of-pearls are known as Dianzi, Zhenmu, and Kanlu. They are also filled with snails. All kinds of text, pictures, dots, wipes, hooks, and strips are always fine and dense.
It is wonderful to make it look like a painting. It also divides the shell colors into sections and embellishes them according to the colors, and the brilliance can be appreciated. If there is no piece of inlay, all the edges and edges are marked with writing. And if there is no sand added, the sand will not be as fine or thick."
This box uses dark lacquer to set off floral cordyceps drawings made of dyed ivory, turquoise, white jade, agate, mother-of-pearl and other various materials. The coloring is refreshing, bright and slow, and the taste is elegant.
The whole body is painted with brown paint, and the gold pattern is filled with red, yellow and green paint.
The inside of the box and the inside of the ring are glazed with turquoise green glaze. The entire inner wall imitates the effect of bamboo woven lacquerware, and the red lacquer floor is decorated with Qianlong patterns.
The box is in the shape of a steamed bun, with the lower and upper parts fastened together, a deep arc belly, and round feet.
The overall style of lacquerware at this time was complicated and gorgeous, and the production was done with great care and excellence, so it became a dazzling wave in the thousand-year history of lacquerware.
The lid and the side walls of the box are each decorated with seven fan-shaped golden consecrations. The interior of the consecration is engraved with a bamboo pattern, and the interior of the consecration is painted with a pattern of folded branches along the border.
Taken together, there are very few major ancient lacquerwares in your country.
Even now, some neon Meiji and later lacquerware can still be found, as well as a large amount of Korean, Ryukyu and East Asian lacquerware.
The cover shows a beautiful picture of an idyllic mountain home, with green grass near the lake and buffaloes strolling for food;
In the center of the cover is the Chinese character Tuan Shou, surrounded by seven bats, which means "seven blessings and longevity".
For example, the chrysanthemum-shaped porcelain imitating the bodiless vermilion lacquer and using the technique of carving the porcelain body to imitate the carved lacquer makes it difficult to tell the real thing from the fake, which is a masterpiece.
There are four grand platters inside, with a round plate in the middle, and the lower part is decorated with inscriptions depicting the Chinese characters "Tuan Shou" in gold.
At that time, there were only a few types of lacquerware, and the craftsmanship and materials were too fine.
That form of imitation is also where the joy of the craftsmanship of the Emperor Game lies.
The box was painted entirely with vermilion paint, and the top of the lid was inlaid with the Chinese character Tuanshou in gilt bronze.
In the past, the development of lacquerware was also changing rapidly.
In the Qing Dynasty, the number of lacquerware inlaid with treasures increased significantly, ranging from hanging screens and standing cabinets for palace furnishings to boxes, boxes, stationery, etc. for a few tables.
It looks like a Qianlong lacquered sea house with double peach box inlay.
The lacquerware of the Jincai period was small in quantity, varied in variety, and exquisite.
When taking the box, look through the glass inlaid at the waterwheel and observe that the big wheel above rotates with the swaying of the mercury, like a waterwheel running.