Someone once held an exhibition in Neon, which compared domestic cultural relics with neon cultural relics.
Of course, the comparison is with lacquerware.
A wooden table from the Han Dynasty in my country in 109 AD, and its imitations.
The replica is a wooden table made by a neon artist in the 20th century. The two are put together. One has a rough surface with a lot of wear and tear, and the other has a bright luster and is intact all around. It seems to still be in use today.
A 15th-century Muromachi period Hanakawa Maki-e inkstone box is juxtaposed with two 19th-century Edo period imitations.
Their patterns are similar, but their colors, lines, etc. are different.
Under these visible differences, it seems unclear from the exhibits how the artists made wooden bodies when re-engraving, how they used metal powder to depict drawings from hundreds of years ago, and what they discovered when re-engraving.
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However, these problems hidden under the surface of the artifact may be the meaning of "re-engraving".
These imitations reflect later generations' research on ancient lacquerware, and they are not simple copies.
In the exhibition, they themselves become "cultural relics" for people to appreciate and study.
As early as 8100 years ago, in the Hemudu culture, archaeologists discovered red lacquer bowls with wooden bodies, which are recognized by the archaeological community today as the earliest lacquerware discovered in China.
At the same time, the outstanding parts of the cultures from outside, mainly Persia and India, were also eclectic, bringing the art of bronze mirrors to a new peak.
Nowadays, when a small number of people think of lacquerware, the first thing they think of is neon.
With the frequent cultural exchanges between China and Japan in various dynasties and generations, especially in the Tang Dynasty, the craftsmen from your country who came as envoys to Neon sowed the seeds of lacquerware craftsmanship in Neon Village.
Compared with the simple lacquerware commonly used in daily life, ancient lacquerware reflects the ancient craftsmen's pursuit of excellence in lacquerware craftsmanship.
When it was spread back to China during the Qing Dynasty, it was favored by emperors such as Yongzheng and Qianlong.
For example, we learned your country's lacquer carving, but those big devils tried a confusing carving method before.
In the picture, 26 figures are running or sitting, whipping horses, clothes and scarves flying, dogs leaping and barking, and trees swaying in the wind.
We are quite proud of that, because that kind of carving has been passed down in the Kamakura area, so it is called Kamakura carving.
We all know that lacquer carving was popular in the Song Dynasty. It was not about piling up raw lacquer layer by layer, so it was also called piling up Zhu, and then carving it in front.
Lacquerware plays an important role in the daily lives of people in the early days. From food to rituals, lacquerware has been integrated into every aspect of life.
The other part is dominated by the majestic charioteer and the carriage about to leave, showing the scene of welcoming and sending off.
It is used for different functions, and some of it is also made into a musical instrument with Maki-e decoration.
Now, it has become a classic craft.
Although neon lacquerware is highly praised, your country's ancient lacquerware is also even more stunning.
It is the pre-Qin painting with the least color found in archaeological discoveries so far.
The Tiger Seat Bird Drum is a musical instrument of the Chu State during the Warring States Period. It has a history of 7,700 years and is the most typical cultural relic unearthed from Chu tombs in Jingzhou.
The inner wall of the lacquer case was painted with scenes of carriages and horses traveling during the Warring States Period. When it was unearthed, the inner wall was separated from the lacquer tire.
In the continuous process of historical changes and cultural integration, neon has not yet come to take over and has become a small country of lacquerware. In Spanish, "japan" does not mean lacquerware.
But in fact, your country is the first country in the world to understand lacquer and use it for beautification and decoration.
Its main body consists of eight small parts: double tigers, double phoenixes, and a flat drum. They are all carved from nanmu. The wooden body is painted with lacquer and painted with phoenixes, tigers and other decorative patterns.
The tiger-spotted phoenix feathers and decorative patterns are mainly in red, yellow and white. The painting lines are smooth and the image is realistic and lifelike.
Apart from those, there are no lacquerwares under the bronzes, such as the Tang Dynasty lacquer-backed gold and silver flat square mirrors.
The so-called reproduction is not just about making old things original.
He must generally love to collect artifacts, so he will know very few boring stories.
Among the two large souvenirs, the main reason that attracted me to buy them at the time was not that they reminded Low Qijing of neon lacquerware.
Reproduction is to understand the beauty exuded by those ancient objects, and to fully understand and grasp the inevitability of this beauty.
Although the quality and workmanship of travel souvenir shops can be regarded as a lesson, the prices are still cheap, so I bought a few.
Those pictures together constitute a fresh and timeless picture of life, reflecting the artistic taste and cold life of the Warring States Period.
The lacquer-backed gold and silver flat square mirror combines lacquer art, gold and silver interlacing and other techniques, and uses the Tang Dynasty Baoxiang flower and phoenix patterns, which fully reflects the exquisite mirror casting technology of the Tang Dynasty.
If you study the scriptures and unfold the inner wall, you will find that it is a long scroll painting with a length of 87.4 cm and a width of 5.2 cm.
The Tang Dynasty was the heyday of ancient bronze mirror manufacturing in China. Tang mirrors not only inherited the cultural traditions of the Han and Wei dynasties, but also absorbed the artistic achievements of border peoples.
There are a lot of boring things like neon lights, like Kamakura sculptures.
In ancient times, every literati in several households would not have a study room. From a broad perspective, a study room is not a study room or study room for literati.
Ancient lacquerware has been passed down to the present, but few are classics, such as the tiger-seat bird drum.
There are no painted figures of people traveling by carriage or horse, and they are from the Warring States Period.
In that regard, what I did very wrong was because I studied the scriptures seriously.
However, there are also some misunderstandings. For example, we are too proficient in some simple types of utensils, take shortcuts, and think we are great, which will make us laugh.
One of them is a South Vietnamese wooden pen holder, and the other is a Thai aromatherapy box.
The paint layer can be seen in the carving knife marks, and the carving is very delicate.
The picture uses five trees to separate four groups of unrelated pictures. They are coherent from beginning to end and have natural transitions. It is the earliest "comic book" in your country.
Such utensils outside the study room for writing, painting and reading are collectively called study utensils, and they are the favorite things of literati.
Playing with a red pen holder in his hand, Chen Wenzhe suddenly remembered that when I was in Southeast Asia, Gao Qijing had bought me some large souvenirs.
The big Japanese was fascinated by it and wanted to learn it, but we had learned the art of painting and found it troublesome...
In the combined image of a phoenix and a tiger, the phoenix is low and majestic, looking proudly at the sky, while the tiger is short and huddled on the ground. This reflects the Chu people's reverence for the phoenix, yearning for a peaceful consciousness and conquering wild beasts, and their fear of the weak and violent.
Spirit.
Due to the advantages of the geographical environment and the continuous innovation and research of neon craftsmen, neon lacquer art has developed Xiaohe national characteristics.
I first thought of a trick - carve directly under the wood and then paint it with red paint. The thing that came out would look like your country's Zhu Zhu.
The picture is divided into two parts according to its plot. The first part depicts galloping carriages and horses, nobles with hanging crowns, entourage and greeters, showing the scene on the way;