Chapter 1929: Delicate and gentle, caressing it like jade
There is such a description in the thirty-eighth chapter of "Dream of Red Mansions" "Lin Xiaoxiang won the first prize in chrysanthemum poems, Xue Hengwu satire and crab chant".
Jia Mu, Xiangyun, Baochai, Lin Daiyu and other sisters were drinking wine and reciting poems in the Grand View Garden.
Since Lin Daiyu didn't drink much wine and didn't eat crabs, she made an embroidered pier and sat leaning against the railing, fishing with a fishing rod.
It can be seen that Xiudun is a kind of backless seat that does not need to be relied on. It can be placed wherever needed, which is very convenient.
In the 85th chapter of "A Dream of Red Mansions", "Jia Cunzhou was promoted to a doctor and appointed Xue Wenqi to be sentenced to exile again", there is also a description of Xiudun.
Jia She and the others withdrew respectfully. King Beijing ordered the eunuchs to entertain all the relatives, but Baoyu was left alone to talk and sit down.
Baoyu kowtowed again to thank him, sat sideways on the embroidered pillar next to the door, and talked about reading and writing.
King Beijing took great care of him and rewarded him with tea.
Xiudun was an important seat in the Ming and Qing Dynasties, which can be seen from this.
Of course, the embroidery piers of this period also absorbed many foreign technologies.
This embroidered pier is regular in shape, simple and elegant, full of literati flavor, and has a delicate and warm glaze that feels like jade.
For example, in the Old Summer Palace, there are many buildings that are all in Western style from form to interior decoration.
Clear pastel embroidered pier with longevity pattern, top diameter 29cm, belly diameter 36cm, low 46cm.
The whole shape is round and round, the composition is dense and dense, and the colors are bright and clean.
The red sandalwood embroidered pier with guano pattern is a combination of Chinese and Western furniture made to cater to the royal taste.
The whole body is open and engraved with peony decorations.
There is also a Ming Dynasty blue and white lion and peony pattern embroidered pier, with a top diameter of 26 cm, a belly diameter of 32 cm, and a height of 44 cm.
There are not many pastel porcelain piers like that, such as the clear pastel embroidered pier with longevity characters.
The pier is in the shape of an octagon, with a large bottom and a bulging middle. The inner wall of the pier is piled with a circle of drum nails on the lower and upper sides, and the whole is decorated with blue and white flowers.
This pier is in the shape of a drum with a hollow arc belly. The pier feet are glazed and rounded inward. The whole body is decorated with pastel colors and is colorful.
Today, those pieces of furniture can still be seen in the Palace Museum, the capital of China, but the handed down embroidered piers with all-over reliefs of passionflower patterns are extremely rare.
The vessel is in the shape of a drum, with a compact carcass and a hollow abdomen. The bottom and top of the pier are decorated with a circle of drum nails.
The pier has a rugged surface and is decorated with a hollow money pattern in the middle, surrounded by seven bats, which means "luck lies behind your eyes".
During the Kangxi period, a large number of Western art craftsmen were used in the court.
In the Qing Dynasty, the number of embroidered piers increased even more.
The passion flower pattern embossed under the embroidered pier is a representative of Western decoration.
Porcelain piers like that were not produced by some porcelain kilns in the Ming Dynasty.
From Yongzheng to Qianlong and Jiaqing, the trend of imitating Western-style architecture flourished.
The shape of the whole device is simple and simple, giving people a sense of stability and solidity.
It is in the shape of a drum, with a hollow arc belly. The base of the pier is glazed and rounded inward. The whole body is decorated with pastels, and the color is bright and slow.
The most important thing is that the blue and white hair color is bright, delicate and elegant, without any blurring effect.
There are many classics among them, such as the eight-edge embroidered pier with blue and white Taotie pattern in the Qing Dynasty, with a top diameter of 23 cm, a belly diameter of 27 cm, and a bottom of 38 cm.
It cannot be said that the embroidered pier exudes a strong imitation of Ming Xuande's back-cut green material "Su Ma Li Qing", which is extremely elegant and elegant.
In the West, that kind of decoration is as popular as the peony in your country.
There is a majestic lion-shaped auxiliary head on each side for easy transportation.
Each side of the pier is embossed with a lion-shaped auxiliary head for easy handling, which increases the majesty of the entire artifact.
For example, the Ming Dynasty Longquan kiln celadon embroidered pier with hidden engraved peony patterns has a top diameter of 30 cm, a belly diameter of 36 cm, and a height of 39 cm.
This embroidered pier is half the size of the special embroidered pier. Its exquisite and unique shape and decorative painting style reflect the characteristics of blue and white porcelain during the Qianlong period of the Qing Dynasty.
There are no seams on the shoulders, and a circle of plastic drum nails is piled around the seams, just like a piece of brocade covered under the pouf.
This embroidered pier is regular and dignified, small and elegant, and judging from its bright pastel hair color, it must be a masterpiece of the mid-Qing Dynasty.
During the Ming and Qing Dynasties, there were still many kinds of embroidery piers, and there were many classics among them.
The entire inner wall of this pier has a reasonable layout, clear layers, and rich blue and white colors.
There are a few auspicious patterns in this embroidered pier, which are brought together together with bright and harmonious colors to create an auspicious, beautiful and festive atmosphere. They are preserved in pairs, which is rare. This pair of embroidered piers
It is a work of the late Qing Dynasty.
The inner wall of the pier is fully decorated with blue and white flowers. Judging from its color, it is blue with a hint of purple, giving people a bright and noisy feeling.
Judging from the blue and white hair color, the blue is tinged with purple, the thicker parts are brighter, and the thinner parts are lighter. It should be a work of the late Ming Dynasty.
By the Qing Dynasty, it had almost reached the point where "the picture must be meaningless, and the meaning must be auspicious".
Those that are blue and white are pretty good, and they are definitely more beautiful, but also the pastels.
There is no less random deformation than peony under the carving, so it was favored by the royal family of the Qing Dynasty.
For example, the Ming Dynasty blue and white cloud and dragon pattern embroidered pier has a top diameter of 25 cm, a belly diameter of 33 cm, and a low height of 42 cm.
The vessel is octagonal in shape, with a bulge in the middle of the pier, a firm and delicate body, and a graceful and large shape.
Its carcass is thick and compact, shaped like a drum and hollow.
The classic embroidery pier of the Qing Dynasty does not have the eight-edge embroidery pier with the blue and white Taotie pattern. Its top diameter is 20 cm, its belly diameter is 24 cm, and its height is 23 cm.
The top of the pier is rugged, with a coin pattern hollowed out in the middle, and surrounded by a lotus pattern, a common decoration found on porcelain.
The vessel is in the shape of a drum, with a hollow curved belly, and the body is decorated with pastel patterns, which is gorgeous and colorful.
It clearly reflects the aesthetic taste of advocating nature in ancient China, and this pier is a work of the late Qing Dynasty.
In addition, there is a clear pastel lotus pattern embroidered pier, with a top diameter of 28 cm, a belly diameter of 35 cm, and a height of 47 cm.
A circle of drum nails is molded on the lower and upper walls of the pier, and the whole is decorated with blue and white patterns.
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, Western techniques of architecture, sculpture, painting and other techniques were gradually applied in our country.
Since the Shang and Zhou dynasties, people have liked to use symbols, homonyms and other techniques to put various good and bad things together.
In this way, auspicious patterns with different meanings of good and bad are formed to pray for "blessing, wealth, longevity, happiness and wealth".
The Qing Dynasty pastel phoenix with peony pattern embroidery on the pier is not one of the classics.
Judging from its blue and white hair color, it should be a work from the mid-Qing Dynasty.
According to historical records, rosewood tables and chairs similar to this style were made during the Qianlong period of the Qing Dynasty.
The overall pattern is laid out to form an auspicious picture that symbolizes happiness and longevity.
It is drum-shaped, hollow, with a solid and thick carcass, and two circles of raised drum nails are piled on the inner wall.
Although there are not many large dots in the lines that have been carelessly rendered with a pen, like the characteristics of the "Suni Bo Qing" cobalt material that was exported during the Yongxuan period, it does not have the flat feeling of the Xuande blue and white.
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The classic embroidery pier of the Qing Dynasty is an eight-sided embroidery pier with blue and white lotus branches and lotus patterns. Its top diameter is 26.5, its belly diameter is 33, and its height is 47 cm.
The clear pastel phoenix is embroidered with peony patterns. Its top diameter is 29cm, its belly diameter is 36cm, and its height is 46cm.
The pier is drum-shaped, the carcass is thick, and the top of the pier is slightly arched downward.