Chapter 1933: Paint and ink flowed on it, and it was lost to the palace as a food vessel
During the Five Dynasties, the piers developed to a greater extent and began to transition from a thin-waisted drum shape to a drum-belly shape. By the Song Dynasty, it had become a basic fixed shape.
In addition, the production of piers after the Song Dynasty was mostly influenced by the styles of the Song Dynasty.
Wang Shixiang has a detailed description in "Research on Ming Style Furniture".
From the cushions of the Song Dynasty, we can see that they often retain traces of two kinds of objects.
That is, the circular consecration comes from the rattan pier, and the drum nails come from the leather-covered nails in the drum pier cavity.
There are still these traces on most Ming-style wooden poufs, and even porcelain poufs are no exception.
In the palaces or halls of the Song and Liao dynasties, piers were used as seats for senior officials to receive special treatment.
In the Liao court, piers were used importantly.
For example, "History of the Liao" Volume 116 "Guoyu Jie" records: "The "Pai Ban Tu" of the Liao Dynasty includes high piers, short piers, and square piers. From the prime minister of Dacheng to Aza, they are all Dun officials."
It shows that at this time, the piers on the court halls of Liao Dynasty in the north were divided into high piers, short piers and square piers.
High-ranking officials from the Prime Minister to the Privy Council were all given the throne by the emperor, so they were called "Dun officials".
During the Song Dynasty, the standard of the pier was lower than that of the stool. Zhenzong of the Song Dynasty was originally planning to demote Ding Wei's official position. After Ding Wei's explanation, he restored his original position.
The left and right did not know the situation, so they first "wanted to set up a pier", and after Ding Wei said that the official was ordered to resume "the affairs of peace", he "then advanced with a pier".
It reflects that the etiquette system in the Song Dynasty palace was strict, rigorous and orderly, and even the seats of "杌" and "pier" were divided into hierarchies.
Therefore, the fragments of Goryeo celadon mounds unearthed from the Desu Palace site in Hangzhou may have some connection with the cultural life of the Southern Song Dynasty palace.
In fact, the terms "sitting pier" and "embroidered pier" appeared in the Song Dynasty.
There are also relevant records in Fan Chengda's "Guihai Yu Heng Zhi·Zhi Qi" in the Southern Song Dynasty.
"The bronze drum was used by the ancient barbarians. It is sometimes found in the soil in the south. It is said that it was left by Ma Fubo. It is made like a sitting pillar, with an empty bottom. The drum is full of fine patterns, which is extremely workmanlike. There are small toads on the four corners, and two people are playing with them.
Go ahead and pick it up with your hands, and the sound will be like a drum."
This shows that in the South at that time, the popular bronze drums were shaped like sitting piers.
It is also recorded in Volume 6 "Shuo Qi Xia" of "Tao Shuo" written by Zhu Yan in the Qing Dynasty.
"Wang Gui, a scholar of the Song Dynasty, called to the Ruizhu Hall opposite and set up a purple-flowered pier for people to sit on."
In the Song Dynasty, only those with high status could enjoy the treatment of sitting on the embroidered pier.
Zhang Dazhi of the Song Dynasty mentioned it in his poem "Inscribed on Qing Yundong Cave".
There is such a record in the notebook novel "The Legacy of Xuanhe of the Song Dynasty·Heng Ji", which originated from the Song Dynasty and was written in the Yuan Dynasty.
"Huizong sent palace officials to announce Master Li's entry. After the audience, he gave his wife a crown and robes, dressed him in clothes, and also gave him an embroidered pier. He then sat beside the throne."
All this shows that the history of embroidered piers is longer than we imagined, and the usage rate is also beyond our imagination.
There are so many embroidery piers with many styles, but the most common ones are wooden embroidery piers.
The more advanced ones are definitely porcelain piers, and then there are embroidery piers that use various top-notch techniques, such as embroidery piers that use enamel technology.
It's not difficult for Chen Wenzhe to do this at all, so he just made a series.
Now he is more interested in wood carvings and wooden utensils, so after finishing a batch of wooden embroidery piers, he felt that his skills were good, so he wanted to find some better ancient works to imitate.
He first learns to imitate, and then introduces new things from the old. This is his path to innovation.
If we talk about ancient woodware and lacquerware, the most famous ones must have come from some large tombs.
One of the more famous tombs that Chen Wenzhe knows must be the tomb of Haihunhou.
Most people know about the gold and silverware in the tomb of Haihunhou, but few people pay attention to the lacquerware in the tomb.
The most important thing is that after thousands of years, the wooden vessels in Haihunhou's tomb are still as bright as new.
This is very rare, so it is logical for Chen Wenzhe to want to imitate Haihunhou wooden wares.
It is not too difficult to find the wooden artifacts from Haihunhou's tomb.
Recently, at the Xijiang Provincial Museum's "Gandi Treasures 2022" cultural relics exhibition, a new exquisite dragon-patterned lacquer plate from the Western Han Dynasty was unveiled.
Also on display at that time were 7 lacquered wooden wares unearthed in 2015.
This is also the first batch of lacquered wooden wares unearthed from the tomb of Haihunhou that have been preserved and restored to meet the conditions for display.
After more than two thousand years, it still shines brightly and is as bright as new. What is the secret?
There must be one reason why they have been preserved for thousands of years, and that is that many wooden vessels were submerged in water.
Therefore, newly unearthed wooden vessels generally need to undergo dehydration treatment.
For example, the ear cups unearthed from the tomb of Haihunhou and some lacquerware fragments all need to be dehydrated.
Afterwards, these lacquered wood fragments still need to be spliced together by the staff.
Generally, plaster molds are used to shape the dehydrated lacquered woodware, so that these things will not be deformed or damaged.
This is not the first time that lacquerware unearthed from the tomb of Marquis Haihun has been discovered, so it is not difficult to find this information.
In particular, some of the exquisite pieces are still very beautiful even after thousands of years.
For example, the lacquer plate mentioned earlier has black paint on the outside and red paint on the inside. Three dragons are walking on the clouds, looking up at the center of the circle, and their bodies form a vortex, showing the beauty of the lacquer art of the Han Dynasty...
This exquisite dragon-patterned lacquer plate attracted many tourists to stop and admire it as soon as it was unveiled.
This lacquer plate comes from the tomb of Liu He, Marquis of Haihun, and dates from around the middle of the Western Han Dynasty, more than 2,000 years ago.
There is also a set of lacquer ear cups in red and black colors on display.
The lacquer plates and lacquer-eared cups on display were found in the north corridor of the tomb. They were used by the ancients for drinking and filling water. They are also examples of handicrafts that combine practicality and beauty.
In addition, the exhibition area also displays a replica of the Confucius screen unearthed from the tomb of Haihunhou.
This is also a lacquered wood screen with the earliest portrait of Confucius discovered so far in our country.
There is also a bronze mirror hidden in the screen, so it is also a dressing mirror for "upright clothes and hats".
my country is the first country in the world to discover and use natural paint.
"Han Feizi Shi Guo" also recorded: Shun made lacquer wood vessels, "lacquer and ink flowed on them, and they were sent to the palace as food utensils."
During the Western Han Dynasty when Haihun Hou Liu He lived, lacquer craftsmanship entered a golden age.
A total of about 3,000 lacquered wood vessels were unearthed from Haihunhou's tomb, of which more than 1,100 were well preserved and their shapes could be identified.
Therefore, it is the place with the largest variety of lacquerware unearthed from Han tombs.
Since the lacquerware was in unstable condition after being unearthed, the cultural relics protection team has continued to carry out protection and restoration work since 2015.
Half a month before the opening, eight pieces of lacquerware have just been restored and ready for display. They have traveled through two thousand years, and people can finally see their "true appearance".
Hidden underground for two thousand years, it is still immortal. This must be related to Poyang Lake.
"Decay" seems to be a problem that can never be overcome with wooden cultural relics.
However, during the archaeological excavation of the Haihunhou Tomb, a large number of lacquered wood vessels were discovered that were very impressive, many of which were well preserved and gilded with silver.