(Continued from the previous issue)
This series of interpreting the characteristics of jade culture production processes in various periods from the background of history and culture has finally come to an end. This is another series of serials after the previous topic "History of the Development of Jade Culture", because many of the articles I wrote did not determine the topic when I began to write, and I slowly determined the theme and writing mode when I wrote it, so friends who have carefully read my series of articles can also see the gradually improved mode and difference from the format of the title to the fullness of the content.
So the more later, the more difficult to write, for example, now to the characteristics of jade in the Qing Dynasty, in the content of my last special series of articles, more than a dozen articles have been written in all aspects, and this time when it comes to Qing Dynasty jade, there is no way to write after two days, on the one hand, many historical allusions of modern history have been publicized and popularized by our film and television dramas, on the other hand, because of the relationship between time and time, a lot of history has become a sensitive topic that cannot be described and cannot be sued.
However, this series can not be without content, so this article will give you some detailed introductions to several artifacts that are typical of the Qing Dynasty.
First, the historical and cultural background and artistic characteristics of the snuff bottle
In the late Ming Dynasty, economic and cultural exchanges between China and foreign countries were frequent. As early as the Wanli Dynasty, snus was introduced to China by Italian merchants as a tribute to the Chinese emperor.
Snuff bottles that cater to the aesthetic psychology of Chinese were created by the development of medicine bottles in the late Ming Dynasty.
China's earliest special copper snuff bottle was first seen in the Shunzhi period of the Qing Dynasty, made by Cheng Rongzhang, porcelain appeared in the Kangxi period, jade appeared in the Yongzheng period, and jade snuff bottles in the Qianlong period reached their peak and were widely selected.
Snuff bottles blend many disciplines of Chinese art, absorbing the strengths of all and showing their own strange posture.
There is no wonder in style and no beauty in decoration, which is the epitome of Traditional Chinese Culture and Art, and also the wonder of Cultural and Artistic Exchanges between China and foreign countries.
Second, the basic characteristics of snuff bottles in the Qing Dynasty
Snuff bottles, commonly known as cigarette bottles, are containers specially used to store snuff.
Materials include gold, silver, copper, porcelain, material, jade, stone, bamboo, wood, teeth, lacquer and so on.
Qing Dynasty jade snuff bottles have the characteristics of exquisite texture, rich shape, diverse ornamentation, and exquisite craftsmanship.
For example, during the Qianlong period, the popular white jade smoke pot that was warm as grease, others were green jade, jasper, etc., especially the overall extraction of Xinjiang Hetian seed material was the most famous, and the value was jade.
Rich in shape, small and exquisite, full of fun.
The shape of the snuff bottle has square, round, flat geometric shape; there are antique artifact forms such as bottles; more are the shape of bionic or imitation daily utensils, such as imitation plant flowers, melons, fruits, branches and leaves, etc., imitation animal cicadas, fish, bats, toads and other shapes, imitation of daily utensils of fishing baskets, purses, lanterns and other shapes.
The small ones are only 4 to 5 cm tall, the large ones are 8 to 9 cm tall, and some are more than 10 cm tall.
The ornamentation is all-encompassing, including animals, flowers and birds, insects, fish, plants and trees, landscape figures, allusions and legends, poetry and calligraphy.
Third, the key points of appreciation of snuff bottles in the Qing Dynasty
The production process mainly adopts three kinds: grinding, carving and craftsmanship.
The most distinctive feature of the ingenuity is the selection of zi jade with skin color, the rational use of defects or skin color "beauty deficiencies", with the shape of the chamber, or the pattern, as if clumsy and clever, especially simple fun.
Commonly used themes include cockroaches, dragons, flowers and birds, fish and algae, characters, landscapes, etc., more freehand techniques, sometimes plausible, artistic appeal, more and more exquisite.
Snuff bottle lids are also generally made of various pearls and jade gems.
At the bottom of the instrument, there are many four-character models of the "Qianlong Year System" with a seal book or a lishu engraved in yin, with one line in a straight line or two horizontal rows, and very few are engraved in the hidden place of the body.
Fourth, the antique trend of Ming and Qing jade and the historical and cultural background
During the Ming and Qing dynasties, retro ideas flooded, imitating the ancient system became a fashion, coupled with the attention and respect of the emperor, so that from the budding antique jade of the Song Dynasty to the Qing Dynasty has reached the peak of the state.
The unique style of the jade of the Qing Dynasty, which is simple and thick and antique, complements and reflects the jade of the times, and together constitutes a brilliant and brilliant characteristics of the times.
Imitation has both the original and the technique is more special, so it has a unique style plot and special aesthetic value.
People's thinking and aesthetics cannot transcend the limitations of the times, but wisdom and skills can be used to trace the antique through indirect methods such as modeling and ornamentation, and reproduce the artistic conception and artistic style of ancient jade to supplement the timeless charm lacking in the jade at that time and reflect the artistic outlook of the times.
Fifth, the basic characteristics of antique jade in the Qing Dynasty
Qing Dynasty antique jade, a wide variety, simple and thick, is an important part of Qing Dynasty jade carving.
There are three main modes: antique ornamentation, antique modeling and both.
A large number of Hetian jasper production, mainly copied bronze color, but this is not the standard of identification, from the Forbidden City stored in the antique ware, this proportion is larger.
Or imitated from the previous generation of jade, or imitated from the third generation of bronze, or imitated from other kinds of utensils.
Antique jade is generally similar to ancient artifacts in terms of shape, ornamentation and color, but it clearly bears the characteristics of Qing Dynasty carving techniques.
For example, the shapes, patterns, styles, etc. of the imitation of the shang jade are very similar, but they lose the clumsy meaning of the carving process and appear exquisite.
The imitation of Song, Yuan and Ming jade not only pursues similarity, but also has a Song and Yuan style in carving technology and detail processing.
Imitation of bronze, or overall imitation, or partial imitation, or the development and change of shape and ornamentation to form a new style.
The overall characteristics are antique rather than mud, antique and innovative, forming a unique and unique art system, which is a special arts and crafts.
Imitation of Han Dynasty jade is the mainstream of antique jade in the Qing Dynasty, and all kinds of jade represented by chicken heart pendant are the most common.
In the Qing Dynasty, the imitation Han chicken heart was mostly rectangular through carving, which was deformed and evolved on the basis of the Han Dynasty shape system, and the whole was slightly raised tile surface, the middle perforation was reduced, and the decoration outside the hole became complex and exquisite.
There are cloud nymphs or phoenixes decorated, and the "gossamer jumping knife" method on the Han Dynasty jade pendant is used to craft a fine yin line ornament, if the line is intermittent, accurate and not chaotic, but the luster and color are not Han Dynasty characteristics.
6. The historical and cultural background of jade production in the Qing Dynasty
During the Ming and Qing dynasties, Suzhou was a handicraft city with a prosperous commercial boom and one of the important areas for jade making.
Lu Zigang, a famous jade master in the Ming Dynasty jiajing and wanli period, was engaged in artistic creation activities in Suzhou.
Suzhou in the Qing Dynasty was the country's premier jade center, representing the highest level of jade production, with a division of labor and professional cooperation, and the scale of production.
Accepting the paintings and jade materials of the court, he is good at making works with ingenious craftsmanship and exquisite clarity, and is frequently appreciated by the Qianlong Emperor, and has the reputation of "specializing in many clever hands in the alleys, pondering nothing too pu pu section".
It embodies the artistic style that relies on the delicate and delicate Wu cultural background.
7. The basic characteristics of jade production in the Qing Dynasty
Suzhou Jade Works in the Qing Dynasty was a branch workshop set up by the Qing Dynasty Manufacturing Office in various places, and skilled craftsmen were concentrated in the area of Zhongzhu Lane in Zhangmen, inheriting the jade skills of the Ming Dynasty and creating countless excellent works.
The unique technical style is called "Suzhou Gong" by posterity.
The selection of materials is exquisite, the requirements for materials are higher than other periods, and most of them use Hetian seed jade, and the jade is delicate and moist, just like the skin of children.
There is a wide variety of jewelry, from jewelry to large furnishings.
The shape is chic and novel, small and exquisite, crystal clear. "The craftsmen in the alleys are in a fight, and there is no end to the new samples."
VIII. Key points of appreciation of jade production in the Qing Dynasty
The production techniques follow the characteristics of the Ming Dynasty, and gradually integrate the tastes of the court to form a unique new style.
Flat milling, hollow carving, live chain loops, thin tire techniques, etc. are the main features.
Carving rigidity and softness, the lines are intertwined with yin and yang, some are precise and powerful, some are smooth and soft, there is no suspicion of dragging mud and water, to describe it as "no trace", it is not exaggerated at all, and it can more appropriately reflect the artistic conception of literati painting.
For example, we are giving an example of a Tongyin lady figure today, this jade ornament is carefully designed and made using the jade left over from the bowl making, and the cultural background and production instructions of this piece of jade have been introduced in detail in the previous series.
The whole round carving is a view of the garden surrounded by Tongyin Stacked Mountain. The main body is a door pavilion, the doorpost, tile eaves, door opening is hidden under the shade of the tong, two half-moon screen doors, one cover and one open, the door inside and outside a long-clothed girl, through the door gap to look at each other to echo.
The craftsmen use white jade and red piqin to skillfully form lake stone stands and stone pedestals, recreating the beautiful scenery of Jiangnan Garden.
The bottom of the instrument is slightly flat, and the Imperial Inscription Poem and the Imperial Inscription Poem of the Qianlong Emperor are inscribed.
It fully shows the keen artistic insight and superb jade technology of the jade smiths of the Qing Dynasty.