My system is not decent

Chapter 1921 Overturned in pairs, clever design

Chen Wenzhe likes carving, so when he saw lacquerware, he immediately thought of ticking red.

However, Tihong is just a variety of lacquer withering, and it is also the most common variety.

Lacquerware has been produced for a long time, and lacquerware has existed for 7000 years from ancient times to the present.

The production of lacquerware as we know it covers the Song, Yuan, Ming and Qing Dynasties to modern and contemporary times.

For example, the one-color lacquer of the Northern Song Dynasty, the withered lacquer of the Southern Song Dynasty, and various types of lacquerware from the Yuan Dynasty to the early Ming Dynasty.

The largest number is Ming and Qing lacquer ware, and the lacquer ware from the Southern Song Dynasty to the early Ming Dynasty is relatively small.

One of the major categories is definitely withered lacquer. Among them, the high-quality withered lacquer is like the heavy withered lacquer craftsman Zhang Cheng of the Yuan Dynasty.

Withering lacquer is a process of painting layers of paint on the carcass, and carving the paint layer to form a pattern after the paint layer has a certain thickness. thickness.

Withering lacquer has a variety of varieties due to its complex production techniques, and withering lacquer makes the lacquer craft develop from a flat art to a floating withering art.

And because it is easy to preserve, it is also the largest variety of ancient lacquerware in the world.

A white line is formed on the side of the knife edge as a sign to distinguish the store.

It's just that the brocade ground is used as the background decoration, which is very common in the withered lacquer with flower and bird patterns in the Yuan Dynasty.

Judging from the engraved handwriting, it is like the previous engraving.

The method of adding white lines is most common in the red-picking ware from the Song to early Ming Dynasties.

Then use a knife to carve out the patterns, and then remove the parts other than the required decorations, so that the decorations will naturally protrude three-dimensionally under the carcass plane. That technique is not red picking.

The works with the theme of flowers and birds mainly use yellow lacquer as the ground and are carved with brocade patterns.

Such as Zhang Cheng, Yang Mao, Zhang Minde, Qian Lu and so on.

Paint the carcass with red lacquer, and draw the outline with pen and ink before the thick paint layer is completely dry.

White lines often appear in the primer layer, or from the topcoat layer.

Those needle engravings are very shallow, faintly visible.

The themes of landscape and figure patterns are all backgrounds of heaven, earth, and water brocade.

Another Yuantiao red lychee flower pattern plate, painted with red lacquer, the lacquer is tough, the lacquer layer is thin, and the bottom is painted with white lacquer, and the ice is broken.

Seven weeks are decorated with large flowers and buds ready to be released, with turbid layers.

The courtyard is surrounded by auspicious clouds and rippling blue waves.

The flowers that were favored in withered lacquer in the Yuan Dynasty included peonies, camellias, hibiscus, okra, plum blossoms, peach blossoms, gardenias, and chrysanthemums.

The flower pattern is the background pattern of brocade pattern, especially a huge and small flower is carved in the center of the dish.

The long leaves are curled freely, the meridians are fully revealed, and the lychees are full of fruits.

Its pile of lacquer is thick, the lacquer color is moist, and its charm is vivid. It is a masterpiece of withered lacquer in the Southern Song Dynasty.

Eight kinds of brocade patterns are the same, to simulate the texture of the small, medium and large shells in the same state, which is very spontaneous.

The consecration is decorated with eight kinds of flowers: gardenia, peony, apricot, chrysanthemum, pomegranate and chamomile.

The rhinoceros and cloud patterns are carved on the wall of the plate, and the knife technique is relaxed, flexible and weak.

A red lychee plate perfectly fits Yang Mao's decoration style.

However, the composition of the main lychee pattern is sparse and clear, with large flowers and large leaves, and the natural brocade as a foil, it will appear lively and interesting.

The pattern design and composition of official lacquerware are programmed and standardized, regular and stingy, but lacking in individuality.

Withered lacquer can be divided into red, black, colorful, yellow, green and rhinoceros according to different paint colors and techniques.

The lacquer layer is thick, the lacquer is soft, the color is warm and lustrous, and the withering is exquisite and round. It is a standard official work in the Yongle period.In the early red lacquer, one or two layers of white lacquer were added to the red lacquer layer.

Withered lacquer in the Yuan Dynasty, famous masters came out in large numbers and made great achievements.

The composition is sparse and natural, and the brocade ground is meticulously crafted, giving people an elegant and beautiful aesthetic feeling.

The flower pattern on the side wall is turned upside down in pairs, the design is ingenious, complex but chaotic.

Tihong is just the most common variety of withered lacquer.

The original packaging of the disk also included a letter from Showa 18 (

1938), claiming that this plate is an unrepresentative masterpiece in lacquerware.

Xing Yanqing's early red picks are all of excellent lacquer quality, using Zhu Jixian.

Many of Yang Mao's works have been handed down from generation to generation, and all of them are red-picked ware.

Yang Mao's withered lacquer, whether it is about flowers or landscapes, can always give people a sense of beauty with clear bones, ruili and elegance, which shows whether the author has profound painting accomplishment and superb withering skills.

Our works hide the front and contain the lake, showing knife marks, but the pile of paint is thicker than that of the Song Dynasty, and the patterns are round and fat, but the details are extremely fine, rich in texture.

The shape of the whole vessel is upright, the color is bright, and the workmanship is so fine that the pulp is smooth.

The "Zhang Chengzao" mark should be a former engraved mark based on the analysis of brushstrokes, but the lacquer plate is indeed a masterpiece of the Yuan Dynasty.

The density is not uniform, and that is where the designer is so clever.

There are neither individual performances, nor several kinds of flowers in one vessel.

All kinds of flowers are carved on the plate or on the cover. In the flowers, the two birds flutter their wings and want to fly, or dance and play against each other, such as peonies with ribbons, camellias with ribbons, egrets and hibiscus, and double cranes and chrysanthemums.

The distant mountains and near rocks echo each other, which is magnificent.

It is characterized by "thin pile of lacquer, rough and rigorous carving, and slightly plain patterns.

In the early Ming Dynasty, the withered lacquer at this time inherited the characteristics of the Yuan Dynasty's withered lacquer.

The decorative patterns of withered lacquer are mainly flowers, landscapes and figures.

For example, in the Southern Song Dynasty, the peony-patterned rhombic plate with a white ribbon has a peony pattern. The flowers and leaves are stacked and lush, and the petals can be curled freely. The ribbon is heavy and flexible, and the feathers are fully visible.

The center of the plate is consecrated in the shape of a plum blossom, and the inside is covered with a double-line square grid of rice-shaped brocade ground, embossed with a pattern of withered branches and lychees.

The flowers and leaves are realistic, the yellow lacquer is plain, it is carved brocade, the knife is well-rounded, and the hidden front is dew.

The quantity and quality of Xing Yanqing's early lacquerware are shocking.

Jiaxing withered lacquer, represented by Zhang Cheng and Yang Mao, continued the round and rough style of the Song Dynasty.

Tibai refers to the withered lacquer that uses white lacquer as the paint material, which is common in the Southern Song Dynasty withered lacquer.

There are many red lacquer ware in the early Song, Yuan and Ming dynasties, each of which is rare.

The "Zhang Chengzao" style can be vaguely seen on the inner edge of the ring foot, but from the perspective of decoration style, it does not have the decoration style of Xing Yan.

For example, the small plate with gardenia and skylark patterns in Yuan Tihong, the shape of the plate is regular, the lacquer is thick and smooth, the lacquer is ruddy and bright, and the most important thing is that the patina is shiny and ugly.

Realistic flowers and eucalyptus-shaped flowers are combined, which are full of strong decorative interest and give people a simple and simple beauty.

In the Yongle Tihong Courtyard of the Ming Dynasty, there is a round box with a low scholar picture. In the courtyard, there are towering pine trees, strange stones, pavilions and pavilions built against the mountains, where literati and inkmen chat and discuss.

Yuan Dynasty withered lacquer is divided into two sub-sections, those without type and those with type.

I make good use of flowers and landscape figures, and the composition of flowers is exquisite and detailed, with large flowers and large leaves, interspersed with branches and stems, sparse and natural, elegant and beautiful."

Judging from the unearthed and handed down lacquerware, it is not quite low in terms of technology or pattern, and has received extremely low evaluations from previous generations.

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