Chen Wenzhe likes carving, so after seeing lacquerware, he immediately thought of carving red.
However, Tihong is just a variety of lacquer carving, and it is also the most common variety.
The production of lacquerware takes a long time, and lacquerware has existed for seven thousand years from ancient times to the present.
The production of lacquerware as we know it covers the Song, Yuan, Ming and Qing dynasties to modern and contemporary times.
For example, the one-color lacquer in the Northern Song Dynasty, the carved lacquer in the Southern Song Dynasty, and various types of lacquerware from the Yuan to the early Ming Dynasty.
The largest number of lacquerware is carved lacquerware from the Ming and Qing Dynasties, while lacquerware from the Southern Song Dynasty to the early Ming Dynasty exists in relatively small quantities.
One of the major categories is definitely carved lacquer, among which the finest products are the heavy lacquerware made by Zhang Cheng, a famous lacquer craftsman from the Yuan Dynasty.
Carved lacquer is a process of layering paint on the carcass, and then carving the paint layer to form patterns after the paint layer has a certain thickness. The paint layers can range from twenty to thirty layers to hundreds of layers, forming different paint layer thicknesses.
Due to the complex production techniques and various varieties of carved lacquer, carved lacquer has developed the lacquer craft from a flat art to a relief art. It has a unique artistic beauty. It is the highest quality lacquer craft variety and takes the lead among lacquer wares.
And because it is easy to preserve, it is also the largest variety of ancient lacquerware in existence.
The lack of density is exactly where the designer is incompetent.
Jiaxing carved lacquer, represented by Zhang Cheng and Yang Mao, continues the round and rough style of the Song Dynasty.
In the early stage of red paint, one or two layers of white paint were added to the red paint layer.
The carved lacquer decorative patterns are mainly flowers, landscapes and figures.
The original packaging of the plate also comes with an appraisal letter from the 18th year of Showa (1938), saying that this plate is a representative masterpiece among lacquer ware.
The whole thing has a neat shape, bright color, and is polished so finely that it is shiny and shiny.
Those needle-engraved patterns are very shallow and faintly visible.
The floral patterns on the side walls are arranged in pairs, and the design is ingenious, complex but chaotic.
The distant mountains and nearby rocks echo each other, making it a spectacular sight.
Apply red paint on the carcass. Before the thick paint layer is completely dry, draw the outline with pen and ink.
The flowers and leaves are realistic, the plain yellow paint is the ground for carving brocade, the knife skills are mature, and the hidden edge is exposed.
Su You has many works handed down from generation to generation, but as far as is known, all of them are redware.
Then use a knife to carve out the pattern, and then remove the areas other than the desired decoration, so that the decoration will naturally protrude three-dimensionally below the plane of the carcass. That technique is not red picking.
For example, in the Southern Song Dynasty, the rhombus-style plate with white ribbons and peony patterns has luxuriant flowers and leaves, the petals can be rolled freely, the ribbon is heavy and flexible, and the feathers are all delicate.
According to different paint colors and craftsmanship, carved lacquer can be divided into red, black, color, yellow, green and rhinoceros.
The consecration is decorated with eight kinds of flowers: gardenia, peony, apricot blossom, chrysanthemum, pomegranate and chrysanthemum.
The brocade ground is used as background decoration, which is very common in the flower and bird pattern carving lacquers of the Yuan Dynasty.
The pattern design and composition of official lacquerware are programmed, standardized, regular and stingy, but lack individuality.
The method of adding white lines was most common among the red-marking wares from the Song Dynasty to the early Ming Dynasty.
The eight types are the same brocade pattern to simulate the texture of the small, medium and large fruit shells in the same state, which is very rough.
It is characterized by “thin paint pile, rough and rigorous carving, and slightly plain pattern.
The long leaves are unrolling freely, the meridians are fully visible, and the lychees are full of fruits.
It has thick piles of paint, moist paint color and vivid charm. It is a masterpiece of lacquer carving in the Southern Song Dynasty.
Whitening refers to carving lacquer that uses white paint as the paint material. It is common in carved lacquer in the Southern Song Dynasty.
The themes of landscape and figure patterns are all based on the background of sky, earth, water and brocade.
The courtyard is filled with auspicious clouds and rippling blue waves.
For example, Yuan Ti red gardenia skylark pattern small plate, the plate shape is round, the paint is thick and smooth, the paint color is ruddy and bright, and the most important thing is that the patina is shiny and ugly.
The quantity and low quality of lacquerware in the early Song, Yuan and Ming dynasties is shocking.
There are many red lacquerwares from the Song, Yuan and Ming dynasties that have survived for a long time, and each piece is a rarity.
In the early Ming Dynasty, the carved lacquers at this time inherited the characteristics of the Yuan Dynasty carved lacquers, which were meticulously carved, with vague hidden edges, smooth hidden edges, and skillful and smooth knife skills.
The lacquer layer is thick, the texture is soft, the color is warm and lustrous, and the carving is exquisite and mature. It is the standard of official craftsmanship in the Yongle period.
Various flowers are carved on the inside of the plate or on the cover. Among the flowers, two birds are fluttering about to fly, or dancing and playing against each other, such as peonies with ribbons, camellias with ribbons, herons, hibiscus, and chrysanthemums with two cranes.
Realistic flowers and patterned flowers are combined, rich in decorative interest, giving people a simple and simple beauty.
The "Zhang Chengzao" model should be a front-engraved model based on the analysis of brushstrokes, but the lacquer plate is indeed a masterpiece of Yuan Dynasty red painting.
The flower pattern is a brocade background pattern, especially a small flower carved in the middle of the plate.
Judging from the lacquerware that has been unearthed and handed down from generation to generation, the level of technology and patterns is not very low, and it has received extremely low evaluation from the previous generation.
Judging from the handwriting on the engraving, it looks like it was engraving on the front.
The carved lacquers of the Yuan Dynasty are divided into two parts: those with no designation and those with designation. The ones without designation are all inscribed with large characters and are all personal designations.
Tick red is just the most common variety of carved lacquer.
In the early Song, Yuan and Ming dynasties, the red paint was of excellent quality and was made of very fresh red paint.
A red lychee plate is completely in line with Yang Mao's decorative style.
The center of the plate is in the shape of a plum blossom and is consecrated, with a double-line square grid and rice-shaped brocade ground inside, and embossed carvings with folded branches and litchi patterns.
The seven weeks are decorated with large flowers and buds that are about to bloom, with layers of turbidity.
Another Yuan Ti red lychee flower pattern plate is painted entirely with vermilion paint. The paint is tough but the paint layer is thin. The base is painted with white paint and is now cracked by ice.
In the Yongle period of the Ming Dynasty, there is a round box with a low figure in the red courtyard. In the courtyard, there are towering pines and strange stones. Pavilions and pavilions are built along the mountain, where literati and poets talked and discussed.
White lines often appear in the primer layer or far away from the topcoat layer.
In the Yuan Dynasty, famous artists emerged in large numbers and made great achievements in carving lacquer.
Su You's lacquer carvings, whether on flowers or landscapes, always give people a sense of cleanliness, elegance and elegance, which shows that the author has profound painting accomplishments and superb carving skills.
Neither are they shown individually, nor are several flowers displayed in one vessel.
The favorite flowers used in carved lacquer in the Yuan Dynasty include peonies, camellias, hibiscus, okra, plum blossoms, peach blossoms, gardenias, chrysanthemums, etc.
Such as Zhang Cheng, Su You, Zhang Minde, Qian Lu, etc.
The works with themes of flowers and birds are based on yellow plain lacquer and are engraved with brocade patterns.
The inner wall of the plate is carved with rhinoceros and curling cloud patterns, and the knife technique is relaxed and flexible, yet flexible and powerful.
The "Zhang Chengzao" model can be vaguely seen on the inner edge of the circle foot, but from the decorative style, it is not Yang Mao's decorative style.
The hidden edge of our works is vague, showing knife marks, but the paint is thicker than that of the Song Dynasty, and the patterns appear rounded and plump, but the details are extremely fine and rich in texture.
The composition is sparse and natural, and the brocade workmanship is meticulous, giving people an elegant and clear aesthetic feeling.
However, the main lychee pattern has a sparse composition and large flowers and leaves. It must be accompanied by a brocade ground, which will make it appear interesting.
A white line is formed on the side of the knife edge as a mark to distinguish the store.
I make good use of flowers and landscape figures, and my flower compositions are meticulous and detailed, with large flowers and leaves, running through branches and stems, sparse and natural, elegant and beautiful."