Chapter 1925: Beautiful scenery, condensed into a small area
The process of flattening gold and silver was an innovation of the Tang Dynasty.
Due to the high cost and complicated craftsmanship, the surface of the made utensils is rich in gold and silver luster, and is extremely gorgeous. It is a high-end customization that can only be enjoyed by the aristocratic class.
These extremely gorgeous and extravagant daily necessities may contain signals of the prosperity and decline of the Tang Dynasty.
The main reason is that these works are too luxurious, like Miduo painted lacquer boxes.
This "Mitra Painted" lacquer box was used to hold incense ashes at the "Eye-Opening Ceremony of the Great Buddha of Todaiji Temple" in 752 AD.
Miduo painting is a painting technique from the Tang Dynasty, which is similar to relatively primitive oil paintings.
The main raw material is Mitra (the ingredient is lead oxide), which is mixed with paint and painted on the vessel. It is also related to the craft lacquer painting that became popular in later generations.
This painting technique was introduced to neon in the Nara period. Because of its rich and luxurious colors and exquisite utensils, it fully catered to the luxury and pleasure-seeking trends of the royal aristocracy. Therefore, painters from both the government and the public competed to imitate it, and it became a branch of the Nara Painting Garden.
Weird.
In the Ming Dynasty, the lacquer carved plate preface to Tengwang Pavilion was unearthed from a Ming Dynasty tomb in Gan Province, my country, at the beginning of the last century.
Later, after being stolen from the tomb by tomb robbers, it was exiled abroad and is now collected in the British Museum.
It's like a box with red maple leaves and autumn insects. It's a maple leaf box.
Based on the color used for gold embroidery and the painting techniques, it should be a product of the Yongzheng Dynasty.
This box uses the fine veins of maple leaves as the brocade ground, and only two autumn insects are carved.
In fact, such high-quality lacquerware from the Ming Dynasty is not very common, such as the red round box with Du Fu's poems.
Stop beforehand and open your sensory cells to listen, observe, feel the beauty in life, and even create beauty beforehand.
Taken together, although neon lacquerware conveys its unique tranquility and elegant Japanese-style beauty.
Regardless of country and artistic style, what you can understand from those small lacquerware arts is not the ancient people's weak sensitivity to beauty in life and their ultimate pursuit of art.
The walls of the box are carved with plain yellow paint, peonies, camellias, pomegranates, chrysanthemums, roses and other flowers.
However, the inner pot of the hand stove was normally clean, with no signs of use.
It can be seen that it is not a practical device for warming hands, but a handicraft for viewing and display.
The inside and bottom of the box are painted white, and there is a gold-filled "Xiao Ming Yongle Year" imitation of the Qing Dynasty on the bottom.
Because of this, its production is exquisite and its pictures are exquisite.
In fact, with the current level of economic development, living standards are less often about life attitude and personal aesthetics, but definitely about money.
The lid of the box is carved with eight kinds of brocade patterns, and pavilions are carved underneath. The elders inside look up to the sky, and a row of egrets fly by in the sky.
A copper gall is hung inside the mouth rim, and the cover is a dense mesh made of copper wires for ventilation. There is a round hole in the bottom for cooling.
The pattern of this box is based on the poetry of Du Fu, a young poet of the Tang Dynasty, "Two orioles sing in the green willows, and a row of egrets descend to the blue sky. The window contains thousands of autumn snows in the West Ridge, and the door is docked with thousands of ships from the East Wu Dynasty." The artistic conception is beautiful and romantic, and the carving technology is exquisite.
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The hand stove is in the shape of a regular but very symmetrical oblong shape.
Of course, those are all regular lacquer ware, and some of them are not used in bronze ware.
The interior of the consecration is white lacquered, with gold lacquer depicting the same landscape underneath.
Your lives must be filled with work, and all you can see is money, so how are you no different from the cold machines outside the factory?
We are famous for our exquisite craftsmanship and maki-e art, and the cultural connotation carried by your country's ancient lacquerware and the peak attainments achieved by each dynasty are also valuable.
The box has a maple leaf-shaped base on it, and the edges are engraved with sea water and lotus petal patterns.
For example, observe the formation of ants crawling up and down the road, or listen to the rhythmic sound of rain falling on the road!
At that time, Wang Bo wrote a preface to the collection of poems written by the guests.
The Qing Dynasty was considered the earliest glory of the feudal dynasty, and there were not many high-quality lacquerwares produced during that period.
The brocade patterns are carved from natural objects, with unique ingenuity and extreme subtlety.
There are only two orioles perched under the willow trees on the shore, and there are no big boats docked in the water, which is very poetic.
The border decoration inside the consecration uses the technique of gold paint to depict the pattern of entwining flowers.
The Ming Dynasty lacquerware plate has a simple and elegant shape, a delicate and moist lacquer texture, a dry pattern and composition, and fine and mature carving. It is a model of lacquerware used by the imperial court in the Ming Dynasty.
The beautiful landscape paintings are condensed into a small area, but they reveal an ethereal and profound artistic conception.
The curved shape of the lifting beam is in harmony with the shape of the furnace body.
For example, a masterpiece from the Qing Dynasty is a white lacquer hand-burning stove with gilded landscapes and pavilions.
Those exquisite plates were occasionally ordered for the emperor, and some were even given to Neon as a gift from the emperor.
The new style of lacquer carving at that time often included brocade carvings but little decoration.
The inside of the box is painted with white lacquer, and the inner bottom is engraved with the eight-character inscription "xiao varnishing nianzhi" in regular script.
In the Qing Dynasty, lacquer carvings focused on engraving and polishing, and the carvings were especially delicate and delicate during lacquer carving.
The composition of the picture is exquisite, the layout is sparse, the mountains in the distance and the rocks near, the pavilions, pavilions, grass, trees and birds are all painted in detail, just like a meticulous painting.
There is no gray-white charcoal ash remaining in the inner pots of the hand stoves collected by the Qing Palace.
Inscribed on the back of Fan Yun's plate is part of the preface ("Preface to Prince Teng's Pavilion").
Because the engraver engraved his name and date on the door of the attic, and used red paint, green paint, yellow paint and white paint in the production, it is extremely rare and therefore extremely valuable.
The concepts of luxury and privilege of the ancient aristocrats are certainly desirable, but why can't you learn from the ritualistic way we treat life?
But precisely in this era of slow pace and information overload, you need the ability to not press the pause button even more.
The furnace body is illuminated on seven sides, two facing each other.
The poet Wang Bo (650-676 AD) participated in this gathering.
An elder in the courtyard came over, and a boy in front of him was carrying a harp.
This lacquer carving plate depicts the scene of a farewell party held in Tengwang Pavilion.
This most famous gathering was held in AD 675.
You can eat with a pre-made bowl, but it must be a beautiful and rough bowl. The thought of eating may make you feel depressed and happy. That kind of spiritual enjoyment can definitely be bought with a little money.
It has a whole body with red Qianlong maple leaves and fine veins as brocade ground, with carved cicadas and grasshoppers each.
Or the brocade ground area may be reduced, and the decorations such as flowers, grass and insects may be enlarged.
People drink wine, compose poems, and climb down to gaze at the beautiful scenery. The whole scene is like a fairyland on earth, which makes people think a lot.
The cranes soaring in the sky and the deer on the ground both symbolize longevity.
Few people would say that only people with no money can afford those things from ancient times to the present. Special people have always been struggling for these "a few taels of silver".
Apart from this Tang Dynasty bronze mirror, there are not many other works of bronze and lacquerware like that.
Under the plate, the sky is covered with dense clouds, pavilions and pavilions, and water waves are rippling in random patterns.
That box is an outstanding piece of lacquer carving.