My system is not decent

Jin Ou Yonggu cup with gold inlaid treasures in the Qianlong period of the Qing Dynasty collected by the Palace Museum, 12.5 cm high, 8 cm in diameter, made of gold, tripod-shaped, round, straight mouth;

The back of the mouth is chiseled for a week, one side is chiseled in the middle of the seal script "Jin Ou Yonggu", and the other side is chiseled with the four-character "Qianlong Year System";

The outer wall is covered with chiseled treasure-shaped flowers, and the stamens are mainly pearls, red and sapphires;

There is a deformed dragon ear on each side, and there are beads on the dragon head;

The three legs are all in the elephant head style, with slightly smaller ears, long tusks and a curled nose, and jewels are embedded on the top of the forehead and between the eyes.

Wanwan Jin Ou Yonggu cup with gold inlaid treasures in the Qing Emperor Qianlong collected by the Palace Museum, 12.5 cm high, 8 cm in diameter, 5 cm in foot height, made of [-]% gold;

The cup has a round mouth with fretwork engraved on the edge of the mouth.

There are seal scripts of "Jin Ou Yonggu" and "Qianlong Year System" cast on the edge of the cup;

The whole body is engraved with twining flowers, inlaid with dozens of huge pearls, red, sapphire and pink tourmaline;

There are double standing Kui ears on both sides of the cup, and a pearl is embedded in each of the dragon heads;

At the bottom are three elephants with heads and feet, and the shape is in the shape of a tripod.

The "Jin Ou Yonggu Cup" is famous not only for its luxurious appearance, but also because it is a rare drinking vessel for emperors in the Qing palace.

Jin Ou Yonggu cup with gold inlaid treasures in the Qianlong period of the Qing Dynasty in the Wallace Museum, with a height of 12.6 cm, a diameter of 7.71 cm, and a maximum width of 8.18 cm;

There are small receptacles on the top of the Kuilong along the sides, and the inlays (probably pearls) are missing;

Inlaid gemstones include sapphires, cabochon-cut red spinels, cabochon-cut tourmalines, and freshwater pearls;

Although it is missing, the integrity of the two cups preserved in the Wallace Collection Museum in England is far better than the previous two.

During the Qianlong period, the Qing Palace Manufacturing Office produced all kinds of wine glasses, including many dragon ear works, and there were many styles, but there were very few such works with elephant trunks as the foot.

The design and processing of the Jin Ou Yonggu Cup with gold inlaid treasures in the Qianlong period of the Qing Dynasty are both superior and cost Qianlong a lot of hard work.

These cups are generally on the left and right sides of the cup body, each with a dragon galloping upwards, representing vitality and majesty;

It symbolizes the permanent territory and political power of the Qing Dynasty. It is a wine glass specially used by the emperors of the Qing Dynasty when they hold the opening ceremony every New Year.

Every year in the early hours of the new year, the emperor would place the Jin Ou Yonggu Cup, a gold inlaid treasure from the Qianlong period of the Qing Dynasty, on the long red sandalwood table in the open window of the Hall of Mental Cultivation.

Fill the cup with Tusu wine, then personally light the candle, lift the brush, and write auspicious words to pray for the peace and stability of the country and society.

Therefore, the Jin Ou Yonggu Cup with gold inlaid treasures in the Qianlong period of the Qing Dynasty was regarded as a precious ancestral artifact by the emperor of the Qing Dynasty.

It is a pity that two of these four cups were taken away.

"Since it's gone, let's imitate it!"

In fact, although these things are precious, they are only precious craftsmanship, and the rest are piles of gold and gemstones.

However, it is obviously not easy to pile up so many gold and precious stones on a cup.

However, for Chen Wenzhe who can dream for thousands of years, it is just a little effort.

And this kind of filigree inlay work, as long as it is produced, its exquisiteness is definitely not comparable to that of ordinary porcelain.

So, after Chen Wenzhe thought about it, he decided to imitate it.

After he has learned the skills, if he wants to test his skills, he must imitate some top crafts.

For example, this set of permanent cups, and the bonsai with golden branches and jade leaves.

Not to mention the Yonggu Cup, just talk about the gem bonsai made of filigree inlays, and there are many in the Treasure Hall of the Forbidden City.

This kind of thing, even if an ordinary person sees it, knows that it is a treasure.

If you want to imitate, you must imitate this kind of thing.

The conditions for imitation, in addition to craftsmanship, must be gold and gems.

Not to mention gold, Chen Wenzhe's treasury has already piled up like a mountain, right?

Besides gems, his first big harvest was Sun Dianying's hidden treasure.

Those precious stones, when he had no money, he didn't want to flow into the market.

Well now, they also have a way out, just use them directly to make bonsai.

Although Chen Wenzhe hasn't moved his nest recently, he now has many subordinates, and he really doesn't lack all kinds of gems.

In the midst of learning, various gems, and some gold, have been sent over, and of course, various tools.

Mainly pliers, tweezers, files, hammers, micro welding machines and so on.

Filigree inlay is the real "art of gold and fire", the main craft is "filigree as bone, inlay as decoration".

An exquisite filigree inlay craft requires a combination of multiple techniques and complex processes.

Among them, the filigree uses precious metals such as gold and silver as raw materials, and adopts eight technological processes of pinching, filling, saving, welding, stacking, building, weaving and weaving.

To put it simply, inlaying is to manually carve metal sheets into claw-shaped grooves with techniques such as filing, hammering, stuffing, beating, collapsing, squeezing, and inlaying, and then set them with beautifully colored gemstones.

In the end, the "golden crown weaves with thousands of strands of filigree, and the universe is inlaid with exquisite hands", which is an exquisite summary of the art of filigree inlay.

But the real skill also pays attention to the unity of heart and hand.

From pinching at the beginning, to filling, saving, welding, stacking, building, knitting, and weaving, a work of art will be achieved in the end.

Regardless of making and tidying up or bonsai, as long as the filigree inlay technique is used, pinching must be the first thing to do.

Before filigree, the drawn single plain silk should be kneaded into the required filigree according to the technical requirements of the drawing.

The tools needed for frustrating filaments include silk rubbing boards, silk rubbing wood, tweezers, tweezers, etc.

Rubbing is to put two or more round plain silks on a rubbing board, and use a silk rubbing wood to knead them into one filament.

Rubbing is divided into forward and reverse. Forward rubbing is forward filament, and reverse rubbing is reverse filament. The forward filament and reverse filament are determined by the process requirements.

After the filaments are twisted, they must be filigreeed.

When filigreeing, the tweezers must be upright, and the graphics should be placed horizontally and vertically.

The setbacks should be neat, and the insiders should be "ke'er", and the lines should be smooth, especially when pinching "ke'er", pay attention to the angle.

After the tweezers find the correct position, use force to reach the position in one step, so as to avoid "meat shuttles" when looking back and forth.

When pinching the petals, the arc should be smooth and smooth, and the transition of the lines should be smooth and natural, without unevenness.

All this is done, the next step is to fill.

Filigree filling is to fill the finished filaments into the outline.

Before filling the wire, according to the requirements of the drawing, the wire of a certain shape is pinched into the required outline of the ball.

After pinching the outer contour, fill the finished filigree pattern with tweezers. This process is called silk filling.

Commonly used tools for silk filling include tweezers, silk sticks, small plates, small spoons, sticky paper, rulers, scissors, etc.

Therefore, if you want to use the filigree inlay technique, you need to use a lot of tools, and you must be specially prepared.

You must know that these are all professional tools. If the tools are not suitable, nothing can be done. At least it will be more difficult to do, and it may not be done well.