A comprehensive analysis of the lacquer quality and patterns of the large rhinoceros bowl of the Song Dynasty shows that this bowl conforms to the Song Dynasty system and is designated as the Song Dynasty.
There is also an oval plate with rhinoceros ink from the Song Dynasty. The center of the plate is decorated with a large Ruyi cloud pattern, and the outer wall of the plate is decorated with half a Ruyi cloud. The paint layer can be seen in yellow, red, black and red alternately, which is a characteristic of the rhinoceros in Song Dynasty.
The same goes for the rhinoceros discs from the Song and Yuan Dynasties. The lacquer layer can be seen to be alternately painted with yellow and red.
The appearance of yellow paint layers and the alternating combination of several colors of paint are all characteristics of the early rhinoceros era.
By the Yuan and Ming dynasties, there were only black lines between vermilion or vermilion lines between black, and the colored lacquer layer only appeared as a decorative strip, not the protagonist of the lacquer.
In addition, these two methods of painting rhinoceros are based on thick paint gray first, and then thin layers of red, yellow and other colors of paint are combined alternately.
The side of the oblique knife shows gray paint, which looks like a pile of paint (fake carved paint) when viewed from a distance. If you look closely at the edge of the oblique knife, there are red, yellow and other colored paint layers on the surface, and the distance between them is basically the same.
This method is the same as the Southern Song Dynasty rhinoceros-cut rhinoceros box in the Songyang Museum of Jiangsu and Zhejiang provinces, and the Southern Song Dynasty rhinoceros-inlaid octagonal box with Ruyi cloud patterns unearthed from Chayuanshan in Chayuan Village, Beijiao, Fuzhou City in the collection of the Fushi Museum.
It is a pity that many traditional crafts have been lost in our country.
At this point, sometimes we have to admire Xiaoli.
The gold and silver shavings added to the paint are metals.
Those are all lost to neon, and from those ancient, incomplete and simple cultural relics, we can see the earliest appearance of lacquerware.
It’s no longer Tu Xi, the art of carving patterns into lacquerware.
Regardless of whether those things are authentic or not, they have all been exhibited together with some of your domestic cultural relics.
Raw lacquer is a natural sap harvested from the lacquer tree. It is milky white in color and turns brownish red before being oxidized by the air. When thicker, it becomes almost white.
Apart from this, the most untechnical ones have not yet been turned into mother-of-pearl.
From posthistoric times to the present, red and white have always been the main colors of lacquerware, which has nothing to do with the characteristics of lacquer.
Nowadays, Maki-e has become the pride of neon.
That historical period would definitely shock him because it spanned thousands of years.
Lacquerware is an important symbol of neon traditional craftsmanship. The development of lacquerware craftsmanship and design has spanned from the Jomon period to the end of the Meiji period until now.
The wooden base of the wooden bowl is wood, and the base powder made of clay is fire and earth.
Historically, it was popular to add white, yellow or green pigments to lacquer, but in the end, those colors did not survive in the world of lacquerware.
Interpreting a simple wooden bowl as a state of life may only be the understanding of most people.
Various Tu Xi works from the Southern Song Dynasty to the Ming Dynasty in your country have pushed that kind of art to its lowest point.
Lacquerware wooden bowls have always been "white on the inside and red on the inside", and there are almost no wooden bowls made the other way around.
The technique used in "Kasugayama" is "Gogo Maki-e".
Of course, Chen Wenzhe is interested in making fishing rods and also wants to make fireworks.
For thousands of years, people have used paint to protect or decorate everyday objects and furniture.
Then, by carving the same depth, the pattern is given the same color.
Of course, that is domestic history, and the history of neon is not ridiculous at all.
Let’s talk about fireworks. Not only do they not have professionals to make them, they don’t have professionals to set them off, and they don’t even have technical ratings. These are very conducive to the inheritance of traditional culture.
Even fishing rods made of bamboo are passed down by some so-called masters.
Lacquerware has a long and profound history, dating back to the Stone Age.
It is not the mother-of-pearl craft used in lacquerware. That technique originated in your country and was popular in neon.
The cinnabar lacquer wooden bowls and cinnabar lacquer tubes discovered at the Hemudu Cultural Site in Yuyao, your country, are not proof.
That kind of technology is not actually a design made of shell fragments.
That's because the inside of human beings is filled with life... The wooden bowl with a red inside cannot be understood as the universe, nor as a living person.
It must be the introduction of the text and the ever-changing luster on the surface of the lacquerware. It is difficult to imagine that these patterns depicting figures and flowers are ground and collaged from shells.
Under the lid of the box is a picture of a stag chirping in the autumn fields.
But I am really interested in lacquer carving.
That may be due to the material "lacquer", or an insult to nature.
The craftsmanship of lacquerware has evolved over time, becoming more sophisticated and sophisticated.
Maki-e is a technique in which lacquer is used to draw patterns on the surface of lacquerware. While it is still wet, metal powder such as gold and silver is sprinkled on the surface, and the stickiness of the lacquer is used to make it adhere to the surface of the lacquerware.
For example, the lacquered wooden cups from the Western Han Dynasty in your country, the lacquered wooden boxes from the Pre-Han Dynasty, etc.
Lacquer carving involves applying several colors of paint layer by layer under a ceramic, metal or wooden base.
The early neon maki-e lacquerware, the maki-e inkstone box without "Kasugayama", was born in the Muromachi period of Japan in the 17th century.
Kongo Maki-e developed from low Maki-e, and there were no flat Maki-e and developed Maki-e here.
As long as there is no water, the paint will have its own way.
"Din" means inlaid decoration. The craftsman needs to grind the shells and seashells into thin slices and inlay them on the surface of the object according to the needs of the painting. Then, he applies lacquer to the surface and polishes it.
For example, our Jomon period lacquered pottery bowls, wooden combs, and pottery pots all show that our lacquerware has a history of more than 10,000 years.
According to the simple philosophy of your country, the lacquered wooden bowl contains the seven elements of yin and yang.
Apart from 戗金 and Cunqing, 戗金 and Maki-e have nothing in common. They both use metal powder to express patterns.
Previously, Neon's lacquerware craftsmanship continued to develop through reference and innovation, while ancient lacquerware crafts such as mother-of-pearl and gilded gold have almost never been passed down in Neon to this day.
Due to the simple craftsmanship, neon was occasionally used in the furnishings of the court nobles in ancient China.
However, when standing behind these ancient lacquerware surfaces thousands of years later, even if one cannot identify or understand their functions and patterns, one can still feel a certain power exuded by the red and white colors.
In the fourth century, your country's gold-painting technique was introduced to Neon, and it took root in the country and became the world-renowned maki-e technique today.
It can make the raised paint surface form a sharp slope, making the picture more vivid and realistic.
Generally speaking, neon lacquer carvings really have nothing to learn from. Of course, there is only one part that cannot be learned from.
The colors white and red represent Yin and Yang, as well as death and life.
The surface of life is shrouded in death...and when humans open their mouths and stick out their tongues, the inside is red.
Many of their craftsmanship are still passed down to this day, such as the production of gold and silverware and lacquer carvings.
The maki-e technique used in that lacquerware is attached below the inkstone box.
The same thing is that Jinjin is carved on the surface of the lacquer with a carving knife, and then the gold powder is buried into the painted pattern or pattern.
Red is made from the natural mineral mercury sulfide and lacquer. Red and white have almost become symbols of lacquerware.
Maki-e uses the viscosity of lacquer to depict patterns.