My system is not decent

From the comprehensive analysis of lacquer quality and ornamentation, this bowl conforms to the Song system and is designated as the Song Dynasty.

There is also an elliptical plate of Song Dynasty ticking rhinoceros. The center of the plate is decorated with large Ruyi cloud patterns, and the outer wall of the plate is decorated with half of Ruyi clouds. The paint layer can be painted alternately in yellow, red, black, and red, which is the era characteristic of Song Dynasty ticking rhinoceros.

The same is true for Song-Yuan ticking rhinoceros discs. The lacquer layer can be seen alternately painted in yellow and red.

The appearance of layers of yellow paint and the alternate combination of several color paints are the characteristics of the early rhinoceros era.

By the Yuan and Ming Dynasties, there were only black lines between Zhu and Zhu, and the colored lacquer layer only appeared as a decorative belt, not the protagonist of the lacquer.

In addition, the two methods of picking rhinoceros are based on thick lacquer ash first, and then alternately combined with thin red and yellow lacquers.

The side of the oblique knife is exposed to gray paint, and the far-sighted effect looks like a pile of paint (fake withered paint). If you look carefully, there are red, yellow and other colored paint layers on the near disk of the oblique knife edge, and the distance between them is basically the same.

This method is the same as the rhino-picking dowry box of the Southern Song Dynasty collected by the Songyang Museum in Jiangsu and Zhejiang, and the octagonal douche box with rhinoceros-picking ruyi cloud patterns unearthed in Chayuan Mountain, Chayuan Village, Beijiao, Fushi City, collected in the Fushi Museum.

[In view of the general environment,

It is a pity that many traditional crafts have been lost in our country.

At this point, sometimes we have to admire the little days.

For example, our lacquered pottery bowls, wooden combs, and pots from the Jomon period all show that our lacquerware has a history of less than ten thousand years.

"Tian" means inlaid decoration. Craftsmen need to grind snail shells and seashells into thin slices, inlay them on the surface of the utensils according to the needs of the picture, and then apply lacquer to the surface and polish it back.

Historically, it was popular to add white, yellow or green pigments to lacquer, but in the end, those colors did not survive in the world of lacquerware.

The surface of life is shrouded in death...and the inside is crimson when a man opens his mouth and sticks his tongue out.

Lacquerware is an important symbol of neon traditional crafts, and the development of lacquerware craftsmanship and design, from the Jomon period to the end of the Meiji period, until now.

Those are all lost to neon, and from those ancient, incomplete and simple cultural relics, we can see the earliest appearance of lacquerware.

At the bottom of the inkstone box, there is the maki-e technique used in that lacquerware.

As far as fireworks are concerned, not only are they not produced by professionals, they are not set off by professionals, and they don’t even have technical ratings. Those are very conducive to inheriting traditional culture.

The colors white and red represent yin and yang, as well as death and life.

It is no longer lacquer withering, but the art of engraving patterns on lacquer ware.

Even fishing rods made of bamboo poles are passed down by some so-called masters.

MCA, which is usually neon, really has nothing to learn from. Of course, there is only a part that cannot be learned from.

The same thing is that gold cutting is to carve the surface of the lacquer with a carving knife, and then embed the gold powder into the painted patterns or patterns.

From posthistoric times to the present, red and white have always been the main colors of lacquerware, which has nothing to do with the characteristics of lacquer.

The gold and silver flakes added to the lacquer are metals.

For a long time, lacquerware wooden bowls have been "white inside and red inside", and there are almost no wooden bowls made in reverse.

Raw lacquer is the natural sap harvested from the lacquer tree. It is milky white, brownish red before being oxidized by air, and it is almost white when it is a little thicker.

Red is made from natural ore mercury sulfide and lacquer, and red and white have almost become symbols of lacquerware.

It must be the introduction of the text and the ever-changing luster of the lacquerware surface. It is hard to imagine that these patterns depicting figures and flowers were polished and collaged through shells.

For example, the lacquered wooden cups from the Western Han Dynasty in your country, the lacquered wooden boxes from the Pre-Han period, etc.

Whether those things are true or false, they have been exhibited together with some cultural relics in your country.

The vermilion lacquer wooden bowl and vermilion lacquer tube found at the Hemudu Cultural Site in Yuyao, your country, are not proof.

Previously, the craft of neon lacquerware continued to develop through reference and innovation, and like mother-of-pearl

Ancient lacquerware crafts such as lacquerware and gold-plated lacquerware have been handed down to this day almost only in neon.

According to the simple philosophy of your country, the lacquered wooden bowl contains the seven elements of yin and yang.

Lacquer withering is to apply several colors of lacquer layer by layer under the ceramic, metal or wooden base.

The current Makie is not the pride of Neon.

All kinds of lacquer works from the Southern Song Dynasty to the Ming Dynasty in your country have pushed that art to a low peak.

There are many crafts of the family, and they are still well inherited, such as the production of some gold and silverware, and lacquer works.

The craftsmanship of lacquerware has become more refined and less diverse with the evolution of time.

If there is no water, the paint will not be wet.

Of course, that's domestic history, and there's nothing funny about Neon's history.

The wooden body of the wooden bowl is wood, and the base powder made of clay is fire and earth.

It can make the raised paint surface form a steep slope, making the performance of the picture more vivid and realistic.

Maki-e is a technique in which lacquer is used to draw patterns and patterns on the surface of lacquerware, and when it is still wet, metal powder such as gold and silver is scattered, and the stickiness of the lacquer is used to make it adhere to the surface of the lacquerware.

No longer Jinjin and Cunqing, Jinjin and Makie have nothing in common, both use metal powder to express patterns.

That's because human beings are filled with life... The red wooden bowl, since Yu understands it as the universe, is also the appearance of human beings alive.

In the [-]th century, your country's gold painting technique was introduced to neon, and it took root in the local area and became the world-renowned maki painting technique.

Rouhe Makie was developed from Low Makie, where Makie has not yet been leveled and developed.

Neon Makie's early lacquerware, the Makie inkstone box without "Kasugayama", was born in the Muromachi period of Japan in the [-]th century.

Lacquerware has a long and rich history dating back to the Stone Age.

For thousands of years, people have used lacquer to protect or decorate the utensils and furniture of daily life.

That may be an insult to the material of "lacquer", or to nature.

In addition, the least technical content is not mother-of-pearl.

Makie uses the viscosity of lacquer to paint patterns.

However, when standing in front of these ancient lacquerware thousands of years later, even if you can't identify or understand their functions and patterns, you can still feel a certain power exuded by the red and white.

But for MCA, I am really interested.

Interpreting the simple wooden bowl as a state of life may only be understood by most people.

Because of those craftsmanship, neon was occasionally used in the furnishings of court nobles in ancient China.Of course, Chen Wenzhe is interested in making fishing rods, and he also wants to make fireworks.

That kind of technology is actually not a design made of shell fragments.

It is not the mother-of-pearl craft in lacquerware. That technique originated in your country and flourished in neon before.

Under the lid is a young stag singing in an autumn field.

The technique used in "Kasugayama" is "Meat Co-Makie".

Then, through the engraving of the same depth, the pattern is given the same color.

During that period of history, his jaw would definitely drop, because the time spanned tens of thousands of years.