This collection is a Qing Dynasty Songhe Yannian gold silk nan wood lacquer plate. The theme of carving the song crane extends the year, the crane in ancient times is "under a bird, above ten thousand birds", second only to the phoenix of the "one bird", representing longevity and wealth, the crane is independent, looking forward to the distance, beautiful posture, elegant and generous. Pine, proud of frost and snow, outstanding, because of its long age, through the winter does not wither, pine is used to wish for longevity, Yu Changsheng: "Rank Rank Sigan, quiet Nanshan." Such as bamboo buds, such as pines. This original symbolic meaning of song was accepted by Taoism and became an important archetype of immortality in Taoist mythology. This collection is exquisitely carved, in line with the characteristics of the times, and has certain ornamental value, collection value and economic value.
Pine crane extension golden silk nan wood lacquer plate
Lacquerware is a daily utensils, handicrafts, art products, etc. made of lacquer applied to the surface of various utensils, which are generally referred to as "lacquerware". Raw lacquer is a natural sap cut from the lacquer tree, mainly composed of urushiol, laccase, gum and water. Using it as a coating, it has special functions such as moisture resistance, high temperature resistance, corrosion resistance, etc., and can be formulated with different colors of paint, which is brilliant. In China, the properties of lacquer have been known since the Neolithic Age and used to make utensils. Through the Shang Zhou Dynasty until the Ming and Qing dynasties, China's lacquerware craftsmanship continued to develop and reached a fairly high level. Chinese handicrafts such as gold smelting and gold depiction have had a profound impact on Japan and other places. Lacquerware is an important invention in ancient China in terms of chemical technology and arts and crafts.
Huichang carved lacquer
【Huichang carving lacquer】
Huichang, a merchant name in the late Qing Dynasty and the early Republic of China, was an art workshop for the nobles of the imperial palace to carve lacquerware. The lacquerware carved was specially used by dignitaries and nobles in the late Qing Dynasty and the Republic of China. It can be described as a royal lacquerware craft workshop. The carved lacquer objects produced are quite exquisite and atmospheric. Its carving paint has a small amount of existence, coupled with the political turmoil in the late Qing Dynasty and the Republic of China, and its active time is not long, so it is not well known to the world.
The process of ancient Chinese lacquerware has appeared as early as the Neolithic Age, and the wooden tire lacquerware of the Xia Dynasty is not only used for daily life, but also for sacrifice, and is often used to spray Zhu and black. In the Yin Shang era, there was already a lacquer art of "stone tool carving, carving and carving". In 1973, fragments of lacquerware excavated from the Shang Dynasty site in Chengtaixi Village, Henan Province, were carved and decorated with gluttonous patterns on wooden tires and painted with Zhu and black lacquer. After the Western Jin Dynasty to the Southern and Northern Dynasties, due to the prevalence of Buddhism, there were large Buddha statues made using the twisting process, and the lacquer craft at this time was used to serve religious beliefs, and the lacquerware of the clamped tire was also developed. The so-called clip is painted with lacquered gray and linen as a lacquer tire, and the fetal bone is light and firm.
Material: Golden silk nan wood
The Tang Dynasty developed the economy and culture prospered, and various factors also developed the arts and crafts, far exceeding the early period in art, technology and production. Tang Dynasty lacquerware shined, showing a gorgeous style, lacquerware production technology also developed in the direction of richness, gold and silver flat removal, screw, carving lacquer and other time-consuming, expensive techniques were extremely popular at that time. The tire-making and ornamental techniques of Lacquerware in the Song Dynasty were already very mature, and at that time, not only did the official set up a special production agency, but also the folk production of lacquerware was also common. The vessels made of lacquerware are rich in styles and variations, and the shape is simple, showing the beauty of the proportion of the structure of the utensils. Generally speaking, Song Dynasty lacquerware is dominated by plain and quiet.
The arts and crafts of the Ming Dynasty entered a new stage, and the official factory set up a variety of lacquerware for the exclusive use of the imperial family, and managed by famous lacquer artists. In addition to the official lacquerware factory, folk lacquerware production also spreads throughout the north and south of the river. In the Ming Dynasty, jiangnan lacquerware masters were born, zhang Degang and Bao Liang in the early Ming Dynasty, Fang Xinchuan in the middle of the Ming Dynasty, Jiang Qianli in the late Ming Dynasty, etc., and there were works that set the great achievements of lacquerware craftsmanship: Huang Cheng, Yang Ming's annotations "Records of Qi Ornaments". At this time, there was a great innovation in the decoration process, combining a variety of traditional techniques, combining more than two techniques, and replacing different ornaments on different plains, creating a prosperous situation of thousands of texts. In China, lacquerware is still an important part of folk craftsmanship, and the famous lacquerware process includes Pingyao push-light lacquerware decoration technique, Poyang lacquerware moth decoration technique, etc.