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The mid-Ming period refers to the period from Xuande to Jiajing, when government-run workshops came to a standstill.

Most of the existing lacquerware from the mid-Ming Dynasty is withered lacquerware. No matter the lacquerwork techniques, decorative patterns, lacquer colors, and the fineness of workmanship, they do not have the unified characteristics and style patterns of imperial lacquerware in the early Ming Dynasty.

Showing distinctive features of different regions, folk lacquerware plays the leading role, and the decorative themes are mainly flowers, flowers and birds, and there is no dragon and phoenix decoration on lacquerware.

The lacquerware of Jiajing and Wanli in the late Ming Dynasty were mainly red and colorful.

The characteristics of withered lacquer are that there is less polishing, the brocade is fine and dense, and the knife is clumsy and heavy.

The style of the late Ming Dynasty continued until the early Qing Dynasty.

Jiajing lacquerware is mostly decorated with immortality and longevity as the theme, and flowers and animals become fairy grass and auspicious animals;

Wanli lacquerware, double dragons, double phoenixes, auspicious clouds, sea water and river cliffs have become the most important decorative themes.

By the middle of the Qing Dynasty, in addition to flying dragons and flying phoenixes, lions and sea beasts also became common symbols of auspiciousness.

The Ming Jiajing green land pick red double dragon pattern silver ingot style plate, Ming Jiajing pick color double dragon Fushou Pingan Ling fancy plate, Ming Jiajing pick red phoenix crane pattern official suitcase, etc., regardless of the decorative theme and production process, are all standard styles in the late Ming Dynasty , The official is a heavy weapon.

Although it has spanned several centuries, it is impossible to determine how many layers there are, but at most four layers without alternating red and white can be seen.

In particular, the "Longqing Year of the Ming Dynasty" style bowl with red double-dragon play and pearl pattern was only six years old in the Longqing Dynasty of the Ming Dynasty. According to published statistics, there are no more than 10 official Longqing lacquerware handed down from generation to generation, which is extremely precious.

Withered lacquer in the mid-Qing Dynasty was the most important type of lacquerware collected by Zeng Zaizhai. It is small in quantity and low in quality. This book only selects many parts of it.

In terms of white noodles and vermilion noodles, as long as they have a single and irregular pattern like hooked clouds or curly grass patterns, they are all called ticking rhinoceros.

From the Yuan to the early Ming Dynasty, the lacquer was withered, the lacquer was frequently removed, the decoration was dense, and the yellow lacquer ground was slightly exposed. This is a discussion of lacquer color and knife technique, emphasizing the ruddy and smooth lacquerware.

In addition, there is no general style of lacquer.

Yangshi is good at antique style, and seldom uses landscape and figure subjects.

The lacquer color, lacquer quality, decoration and shape of works such as the small rhinoceros picking bowl of the Song Dynasty are almost the same as the rhinoceros picking bowl with Ruyi cloud pattern in the Northern Song Dynasty unearthed in Zhangjiagang, Shazhou, Jiangsu.

In fact, utensils of that style were first seen in the Neon Nezu Art Museum's Southern Song Dynasty pile of white flower arabesque pattern plates.

It also includes the lacquerware of the Jiaqing period influenced by it, and it also specifically refers to the lacquerware of the Qianlong style. Withering lacquer is the most important lacquer craft variety.

That style of withered lacquer is the opposite, with less carving, and the surface of the lacquerware is removed in a small area, leaving only the top ridge of the decoration, which looks delicate and delicate.

The lacquer layer is thin, the lacquer color is dark, the pattern is fine and broken, and the engraver is grinding the edges and corners to expose the peaks.

Before the mid-Qing Dynasty, withered lacquer declined, and the level of withered lacquer was as small as later.

Seven years before Qianlong, samples were basically sent to Suzhou for production, and then sent back to the palace for engraving.

However, the withered lacquer in the Qing Dynasty focused on engraving and grinding, striving for fineness, delicacy and authenticity, and the lacquer layer became thicker and thicker.

The later Southern Song Dynasty cabinet with white peony pattern and double-door top is another example of early evidence, which is of great significance to the study of the origin of Nanyun lacquer.

In addition, there are some Ming Dynasty works, such as Mingtiao red peony pattern bowl, Mingtick white happy lion picture water chestnut square plate, Mingtick red lion ball pattern disc.

This large cabinet was once exhibited in the Neon Sizhou National Museum. The researchers conducted a thorough comparative study on the lacquer quality and decoration, and believed that this cabinet did not have the characteristics of the era of withered lacquer in the Southern Song Dynasty.

The large cabinet does not have the craftsmanship of Nanyun Kui lacquer. It is worth discussing when the style of Nanyun Kui lacquer ended.

The four strange plum-shaped holding boxes of the Red Sea in the Qianlong period of the Qing Dynasty, the treasure box of the double dragons in the Qianlong period of the Qing Dynasty, the cong-shaped box with a picture of birthday celebrations in the mid-Qing Dynasty, and the beam-carrying boxes with dragon patterns in the seawater in the mid-Qing Dynasty are all outstanding examples of Qianlong withered lacquer. can find the same artifacts.

The subject matter of Nanyun withered lacquer is rarely drawn from various scenes of small nature.

The characteristic of withered lacquer in the mid-Qing Dynasty is that the shape of the vessel rarely changes, and a small amount of literary imagery is used.

auspicious.

For example, a small bowl of rhinoceros in the Song Dynasty, the whole body is purple, the lacquer is translucent, as beautiful as amber, through the surface varnish, the eight red lines can be seen turbid.

Rhinoceros picking in Song, Yuan and Ming Dynasties is another important category, which is characterized by its early age and few fine works.

In addition to Suzhou City, Yang City is also an important production area of ​​withered lacquer.

Usually there are no white, purple, or vermilion noodles.

In the tenth year of Xianfeng (1860), the Taiping Army captured Suzhou, and the withered lacquer workshops in Suzhou ceased production.

When it reaches a certain thickness, use a knife to pick out curly grass, wishful clouds, etc. with the same pattern, and the same color paint layer will be revealed on the section of the knife edge.

The peony lattice-shaped flower core is a characteristic of the Southern Song Dynasty flower core. It is similar to the Southern Song Dynasty plate in the Nezu Art Museum, and the carving method is also different.

Such as flowers, insects, fish, birds, and animals, rich in the breath of life.

The level and strength of floating withering gradually weakened, and the brocade pattern became more and more exquisite, with little change.

The bowl with deep belly was also unique in the Song Dynasty.According to the Palace Museum’s analysis of the archives of the Qing Inner Mansion, it is speculated that the production of lacquerware in the Qing Dynasty palace began in the eighth year of Qianlong’s reign, and the lacquerware was first carved by dental craftsmen in the Manufacturing Office.

There are many works before the Ming Dynasty, such as the rectangular box with red double phoenix patterns in the Ming Dynasty, the square plate with the ball pattern of the red auspicious lion play in the middle of the Ming Dynasty, the holding box with the red and auspicious animal pattern in the middle and late Ming Dynasty, and the Hongxiang in the late Ming Dynasty. Fengyou pattern plate.

The method is similar to that of color picking, that is, two or eight kinds of paints are used to paint irregularly under the utensils.

In the early Qing Dynasty, was there any withered lacquerware with no clear date found? In the middle Qing Dynasty, lacquerware specifically refers to the lacquerware dominated by the court during the Qingshi period.

The lacquer is bright red, the carving is fine, the decoration is complicated, and the production is rigorous.

Those are yellow lacquer and withered flower or animal patterns, the carvings are sharp, and it looks like a grinder, but the patterns are jumpy and agile, full of wildness.

The withered lacquer of the Qing Dynasty inherited the style of the Jiajing and Wanli periods of the Ming Dynasty. Under the withered carving technique, it continued to maintain the technique of moving the knife like a brush, showing the beauty of sharpness.

The engraving is getting finer and finer, the depth of field is getting farther and farther, and the composition is dense and less layered, and the less is better, giving people the feeling of being too delicate, fragmented, and cumbersome.

There are not many lacquerware of that style, such as the large double-door cabinet with white peony pattern and top in the Southern Song Dynasty.

Generally, it is a beam-lifting casket in the mid-Qing Dynasty with a pattern of dragons swimming in seawater, with exquisite workmanship.

Such as the paint layer, on the low-magnification small mirror, it can be seen that the paint layer is alternately vermilion and white.

In the Southern Song Dynasty, there is a large double-door cabinet with a white peony pattern and a top. The lacquer is firm and moist, and the color is bright, white and red, without the visual effect of amber.

In addition to those withered lacquer, rhinoceros picking is also a kind of withered lacquer.

In the cultural relics industry of Shendu, it is commonly known as "Yundiao", and Neon calls it "Qulun".

That is the characteristic of the withered lacquer of the Tibetan front, which directly affected the production of withered lacquer in the late Ming Dynasty and the Qianlong generation.

According to literature records, that style appeared in the middle of the Ming Dynasty and was called "Nanyun Kuiqi", or "Dian Gong".

It is no longer a gourd-shaped holding pot with red passion lotus pattern, Ming Dynasty, [-]th and [-]th centuries.