My system is not decent

The cover of this beast-mask handle girder is decorated with animal-mask patterns, and the animal-mask patterns are decorated with opposing bird patterns.

A protruding animal head is decorated on the front and back of the neck, and the two sides are decorated with Kui dragon patterns.

The dragon head faces the animal head, its upper and lower sides are decorated with string patterns, its abdomen is decorated with animal face patterns, and the ring foot is decorated with a bird pattern belt.

The inscription on the cover and the vessel: "Zuo Baoyi".

The shape and pattern of this pot are consistent with those unearthed from Liulihe.

Its animal face pattern has a unique style, and it is the most valuable material for the study of Yan State bronzes.

Yan State was a vassal state enfeoffed in the early Western Zhou Dynasty. Its political center is in the capital area. There are ancient city sites and ancient tombs of Yan State in Liuli River, Fangshan, the capital.

Qianlong's classical sentiments inherited the traditional thinking of literati since the Song and Ming Dynasties.

The so-called: The great virtue of the ancient kings lies in ritual and music; the spirit of literati exists in calligraphy; playing with ritual and musical tools can improve virtue, playing with old ink engravings can improve skills, and living in this world can meet the ancients.

This kind of old-fashioned concept also drives the trend of imitating ancient artifacts.

Antique utensils in the Qing Palace have always been known as the good fortune bells, and they are basically produced by the Palace Office.

Represented by the Qianlong Dynasty, it can be roughly divided into three categories.

One is to imitate the ancient Yi wares in shape, that is, to imitate the bronze wares in "Xuanhe Bo Gu Tu", "Xi Qing Gu Jian", "Ning Shou Jian Gu" and "Archaeological Map" as blueprints. most;

The second is to imitate the ancient jade of the previous generation to make new jade, imitating and innovating in shape and decoration;

The third is to imitate ancient times in terms of style and implication. Although there are many gains and losses in the shape and decoration of the utensils, it focuses on imitating its charm.

Among the handed down Qianlong imperial works of art, there are a large number of palace crafts that imitate the shapes, textures and styles of ancient objects.

Among them, the imitation of ancient jade articles can be said to be the first in the world. There has never been a group of works of such quantity, scale, material grade and craftsmanship in all dynasties.

Or the topaz guibi just now, which is a model of court antiques in the Qianlong period.

Its materials are luxurious and its shape is simple and unsophisticated. It has the elegance, simplicity, beauty and mystery of the ancient auspicious gold and heavy vessels, and also combines the richness, grace and grandeur of the flourishing age.

Such Qing Dynasty courts had two main uses for Ruiyu and ritual vessels.

One is to use it according to tradition on specific occasions.

The second is to study him as an integral part of traditional culture, research and collect them.

"Manuscripts of the Qing Dynasty" Volume 82 Ji Notes: Sacrificial offerings,... Jade, silk, animal prison, jade six, etc., Cang Bi of God, Huang Cong of Emperor Zhi, Huang Gui of Dashe, Qing Gui of Daji, Chibi of Asahi, Baibi of Xiri , the old Sheji altar, jade is often used for sacrifices in the Spring and Autumn Period, but not for prayers.

This shows that the Qing court used ritual vessels such as Gui, Bi, and Cong in auspicious rituals.

This piece of guibi is full and full, full of beauty, fine workmanship, complicated craftsmanship, and unique ingenuity.

The big places are neat and happy, the small places are exquisite and vivid, learning from the ancients but not sticking to the ancients, ancient and deeply innovative.

It can be said that it perfectly combines the ancient and elegant charm with the complex and vigorous artistic style of the Qing Dynasty.

These heavy utensils were changed and innovated in the process of inheritance, showing the style of court jade making in Qianlong's first dynasty.

If this piece of guibi is a complex and majestic object, then a small object under this guibi is of unique ingenuity.

Now there are quite a few Qianlong crafted jade wares here, but when it comes to small and exquisite, there is really one unique one.

This is a 5.5cm long jade badger carved with white jade.

This piece of white jade is carved with a badger lying on the ground.

It bends its neck and looks back, with short kisses and round eyes!

There are grooves in the ears, and the body is fat, graceful and muscular.

The limbs are retracted under the abdomen, the claws are fist-shaped, the long tail curls up and sticks to the side of the body, and the abdomen at the bottom is also plump and rounded. The craftsmanship is exquisite and the image is vivid.

A little round withered badger climbed beside him, lively and cute, with a naive attitude.

This work is ingeniously conceived. The red gold part of the jade material is withered into the head of a badger, which means good luck and good luck;

Take the black part of the jade material, make a magpie fly to its back, with round eyes and sharp beak, look at the badger, and sing in harmony with each other.

The neck is decorated with a circle of short and thin Yin lines, and the wing feathers are gathered in a resting shape. The feathers are neat and dense, and the roots are distinct.

Badger is a homonym for joy, which means joy;

The magpie symbolizes the arrival of good news, and the combination means joy and joy.

Such a small thing can be engraved to such an extent, this method, this technique, and this idea, that it can only be achieved by the top engraving masters.

Therefore, jade production reached its peak during the Qianlong period of the Qing Dynasty.

This mainly takes ingenious shapes, gorgeous decorations, fine workmanship, and auspicious themes as the style.

At that time, it was called "the style of the season" and was widely loved.

The beauty of this ornament lies in its ingenuity. It can't be done without a whimsical idea. The knife is delicate and smooth, and the ingenuity is integrated in the fine workmanship. The image is vivid and lifelike.

And the meaning is auspicious, which makes people fondle admiringly.

This is a handle piece, small in size, just suitable for playing in the hand.

Of course, besides playthings like this, what Chen Wenzhe values ​​most is utility.

He once bought a jade cup carved with agate at the stall of Chenghuang Temple in Dahai City before.

But now he has no shortage of jade cups here, so this time what he focused on was not the jade cups, but a jade holding pot.

Chen Wenzhe has made quite a few purple sand teapots and porcelain teapots, but he has never thought about carving a jade teapot.

The main reason is that it requires too much jade, and it is too much waste of jade and effort. Chen Wenzhe feels that the gain outweighs the gain.

However, if he could get a jade pot for nothing, it would be beautiful in his heart.

The one in front of me is not a jade from the Qing Dynasty, but a topaz ewer with color-enhancing Chilong holding it from the Ming Dynasty.

Another piece of jade with chilong patterns, and another piece of topaz. I don’t know if it’s a coincidence, or foreigners in the Ming and Qing Dynasties really like topaz and chilong patterns.

In any case, these things are likely to come from the royal family, and I don't know how the foreign businessmen got them back then.

Anyway, it's cheaper for him now, but he doesn't have time to go back to the past now, because there are too many things here that require him to study the origin.

This Ming Dynasty Topaz Colored Chilong Holding Pot is really not small, with a height of 17.4cm.

The shape of the holding pot is rectangular, the mouth is straight, the neck is slightly convergent, the bend is rich, the belly is rectangular, the shins are tied, and the bottom is high.

The topaz is used as the material of the whole vessel, which is smooth and lustrous, and several tan blocks are formed by the oil extraction technique, so as to leave the meaning of skin wither;

The short stream is full, and the mouth is slightly skimmed;

A Chilong floats on the wall of the pot, with sharp eyes and a wide mouth, and its horns are retracted.

Chilong has strong limbs and a strong back.

It has a strong body, sharp fingers and claws, climbs on the side wall, and seems to want to jump up, and the depiction is lifelike;

The hands are carved with high floating, engraving and engraving techniques.

The shape of the modified dragon is a pot, the dragon's head is held on the edge of the mouth, and the dragon's eyes are round.

It can be said that the image of Chilong is vividly expressed.