preface
China has always been known as a "silk country". The "porcelain country" is famous all over the world, but let us not forget that China is also the "country of lacquerware". It was the first country in the world to use lacquerware and the country with the most ancient lacquerware unearthed. As early as primitive societies, our ancestors knew how to use the sap of sumac trees to coat the surface of wood and pottery to make them beautiful and durable. The moisture and corrosion resistance of natural paints make these coatings still dazzling to this day. In the long history of civilization, all ethnic groups in China have been developing lacquer technology for thousands of years.
Whether in the three "mother river" basins of the Yellow River, the Yangtze River and the Pearl River, or in the northeast, northwest and Lingnan, ancient lacquerware has been unearthed. Its sheer number and genealogy are so complete that even archaeologists are amazed. They come in a variety of shapes and are beautifully decorated.
Painted Lacquer Tiger Seat (Warring States)
The seat height is 103 cm. Hubei Jiangling Lijiatai No. 4 Chu Tomb excavated. It is now in the collection of Jingzhou Museum.
Tiger Seat Standing Wind is a unique burial item of Chu Tomb, carved into wood as a tire, and each part can be disassembled. The base is a crouched tiger shape, and the wind uses the void as the base to stand high on the tiger, and the antlers representing the dragon's horn are inserted on the back. The whole apparatus needs to be painted black and vermilion. yellow. gold. Silver and other colors depict the feathers of the wind, the stripes of the tiger, and the details of the eyes, beak, and nose of the wind and the tiger. These patterns are very decorative and have a clear tendency to stylize. The antlers are also black lacquered and colored at the tip of the skill. The neck of the phoenix is exaggerated like a fluttering wing, and the antlers are very moving. Such as wings outstretched. But the tail is short, called "short-tailed phoenix". The base Crouching Tiger raises its head and tail to echo the dynamics of the wind. The shape of the whole instrument combines dynamic and static, and the phoenix wants to fly. The tiger wants to move, and its artistic value has long exceeded that of ordinary funerary objects, more like a monument.
Painted dragon and phoenix pattern inner coffin (late Warring States period)
Length 184 cm, width 46 cm, height 46 cm. The Chu Tomb of Baoshan No. 2 in Jingmen City, Hubei Province, was excavated. It is now in the collection of Hubei Provincial Museum.
This coffin tire, in the shape of a regular rectangle, the inner part of the red paint, the outer black paint, the coffin with red, yellow shou three colors painted dragon and phoenix pattern. The cover surface and the two sides of the phase plate are painted with realistic dragon and phoenix patterns, with four dragons and four winds as a unit as a four-square continuous, and the structure is symmetrical and rigorous. Its small phoenix is particularly vivid in form, with its wings flapped high, its long tail stretched, using bright yellow and pressing on the dragon's body, which is the main pattern of prominent status. The dragon is a double body, depicted in black, and painted with gold feather scales on the dragon's body, and the color is deep to set off the phoenix pattern. The entire cover and the pattern of the coffin plate are smoothly used, the color contrast is strong, and the decoration is strong, which is a rare treasure in the painted lacquer coffin of the Chu tomb. The patterns of the first and foot stalls are simplified and deformed dragon and phoenix patterns, which have been geometrically adjusted except for retaining some of the main features of the dragon and phoenix, similar to the painted lacquer coffin drawing method excavated from the Tomb of Guanchu in Nagatai. Decorating the coffin with dragon and phoenix and deformed dragon and phoenix patterns may have been a custom in the Chu state, and the custom of lacquer coffin painting was inherited and developed in the Western Han Dynasty.
Painted through-carved lacquer seat screen (middle Warring States period)
Length 51.8 cm, upper 3 cm, lower width 12 cm, through high dagger cm. The Chu Tomb of Wangshan No. 1 in Jiangling County, Hubei Province was excavated. It is now in the collection of Hubei Provincial Museum.
This screen is made of wood, surrounded by black paint, painted with vermilion, gray-green, gold, silver and other colors. The outer frame is rectangular, of which fifty-one animals are carved and embossed, including twenty large pythons, seventeen small snakes, two frogs, and four deer, phoenix, and finches. The perspective part is composed of two symmetrical figures, the two sets of figures are exactly the same, and the composition is very stable. Each set of graphics is decorated with double phoenixes. The double deer surrounds a center - the dove fighting the snake. The relief at the bottom features tangled snakes, pythons and snake-swallowing frogs. Except for the border which is straight, the deer. The silhouettes of the phoenix and the snake are curved, forming a dynamic rhythm. A variety of birds. Beasts, snakes, and frogs are all represented in a realistic way, but their dynamics and the feathers and markings on their bodies are idealized after all, so they are more regular and more beautiful than nature. For example, the two doves on the left and right each have two snakes, and we can imagine how ugly the snake struggling under the black beak is, but these two snakes are coiled into symmetrical knots, euphemistic and free, exquisite and clear, which is the most eye-catching part of the seat screen. This seat screen is extremely successful in art, and has always been regarded by art historians as a representative work of Chu lacquer crafts.
Painted Lacquer Town Tomb Beast (Warring States)
Pass height 170 cm. The No. 1 tomb of Tianxingguan in Jiangling County, Hubei Province, was excavated. It is now in the collection of Jingzhou Museum.
The town tomb beast has a solid square wooden base with a copper head on all four sides. The body of the beast is in the shape of a double bow with opposite sides, and is inserted into the base with a god. The head of the beast split to the left and right, and the face of the beast opened on both sides, staring. Broad nose, spit long tongue straight to the chest. The horns of two pairs of adult stags can also be removed. This horn opens to the two wings, vigorous and majestic, adding to the mysterious sense of the town tomb beast. The whole instrument is painted in black, the face is opened in red and gold, and the dragon, thunder and geometric patterns are painted on the body and base of the beast, and the colors are very rich. This double-headed town tomb beast is multi-shaped and tall, and when a person is buried, it is a burial heavy vessel for the large tombs of the Chu State, and it is not found in the tombs in other regions.
Painted Lacquer Town Tomb Beast (Early Warring States Period)
Height 128 cm. The Chu Tomb of No. 1 Changtaiguan in Xinyang, Henan Province, was excavated. It is now in the Collection of Henan Provincial Institute of Cultural Relics.
The beast is painted in wood, squatting, with two painted antlers inserted in its head, but it is mutilated, and only 15 centimeters remain. The ears are pointed and upturned; the eyes are round and large, like the eyes of the beast; the mouth is large, spitting out a long tongue, straight down to the abdomen; the chest is painted with double breasts, the back is carved with four symmetrical cirrus patterns; the front strand is raised upwards, holding the snake as a swallow. The two forelimbs are connected to the body of the beast by a prototype. The beast's eyes and tongue are painted red, the ears and claws are painted yellow, and the rest of the parts are painted with brown paint, and then painted with red and yellow scales. Double-tailed outer roll. The parts of the whole beast are exquisitely carved and the colors are also very colorful. It is different from the single-headed and double-headed town tomb beasts excavated from the TianxingGuan and Yutai Mountain, and is expressed in a more realistic way. In addition to the complete claws, ears and eyes. The eyes, tongue and scales are all described in detail, and because the eyes are large and the tongue is long, and the snake swallows, the momentum is very unusual. It not only reflects the unique funerary rites of the Warring States Chu Tomb, but also reflects the high level of wood carving at that time.
Painted animal head phoenix-shaped lacquer spoon (Qin Dynasty)
Height 13.3 cm. The No. 9 Qin Tomb in Sleeping Tiger Land, Yunmeng County, Hubei Province, was excavated. It is now in the collection of Hubei Provincial Museum.
This spoon of wooden tires has a novel shape. It has a head, a bird's neck as a handle, a bird's body as a spoon, and a flattened three-pronged tail at the back. Paint the inside, black paint on the outside, and then use vermilion. Brown lacquer paints bird feathers and details of animal heads. The beast-headed black body may be a dragon-headed phoenix-like deity. Dragon head phoenix and phoenix head dragon are not uncommon in ancient Chinese decoration. The phenomenon of dragons and phoenixes being abstracted into geometric shapes and then combined into a pattern is particularly common in Chu lacquerware. This is a phenomenon that unites the divinity of the dragon and the phoenix. The Qin people had the custom of offering pheasants to the gods, and the image of the pheasant in the lacquerware of the sleeping tiger in yunmeng often appeared, and the bird body in the spoon may also be a pheasant.
Painted amphora lacquer box (Qin Dynasty)
Length 27.8cm, width 13.3cm, pass height 11.8cm. The No. 9 Qin Tomb in Sleeping Tiger Land, Yunmeng County, Hubei Province, was excavated. It is now in the collection of Yunmeng County Museum in Hubei Province.
Amphora boxes were first found in Qin Dynasty lacquerware. It is made of the same shape of the body and the lid buckled together, oval shape, with two ears at both ends, and false feet on the lid and the bottom of the device. If you open the box and turn it over, it will become two identical containers. This box is covered with vermilion paint. The exterior is black lacquered and painted with vermilion paint on the ground in black lacquer. In the prosthetic foot of the lid and the body, the X-shaped structure is painted with an inverse symmetrical deformed bird pattern, the positive and negative contrast between red and black is very clever, and the contrast between straight lines and curves is also very harmonious, from which it can be seen that one of the cultural exchanges between Qin and Chu can be seen. Some people think that it is a parrot pattern according to the shape of the bird's head. On the shoulder of the box, there are pairs of animal eyes, and the ears are like noses, which look like a two-headed lying beast, which is not only unique in shape, but also vivid and interesting.
Painted black lacquer coffin (early Western Han Dynasty)
Length 256 cm, width 118 cm, height 114 cm. The No. 1 Han Tomb of Mawangdui in Changsha, Hunan Province, was excavated. It is now in the collection of Hunan Provincial Museum.
This coffin is the second layer of a four-story casket, rectangular, wooden tires. The inner hair is painted vermilion, and the outer hair is painted black. The cover and four edges are decorated with a band of cirrus patterns. The cover plate, the coffin plates on both sides, and the head and foot stalls are all painted with imposing cloud qi divine beast patterns. The cloud pattern is edged with asphalt powder, and the color paint of Zhu, white, yellow, green, and ochre is applied, which is the so-called "five-color cloud". It is neither like the Cloud Dragon pattern of the Qin Dynasty, which has the partial looming of the dragon, nor does it resemble the tuanyun of the descendants, and the flowing long lines are dominated by "Qi", and there are also flowing and unrestrained lines around the small "wind", which promotes the momentum of the clouds. These clouds swirl around like "back" glyphs, sometimes flowing horizontally and suddenly
Straight up, dignified and solemn. Between the clouds and qi, there are paintings of divine beasts, immortals, birds, cranes, leopards, cattle, sheep, deer, horses, rabbits, snakes, etc., including horseback riding, music and dance, fighting, piano, snake hunting and other plots, the protagonist is a monster with horned hooves, some people think that it is the same as the town tomb beast unearthed from the Chu Tomb. The paintings of clouds and divine beasts are all unfolded in a plane, without overlapping before and after, which is the same as the five treatment methods of Han Dynasty portraits. But the black paint appears far-reaching and mysterious, making up for the lack of layers. The whole coffin wrapped around the tomb owner like a cosmic celestial body, and seemed to welcome her soul to one day walk out of the coffin and stop and rise to the sky.
Painted God Eight Monster Pattern Turtle Carapace-shaped Lacquer Shield (Early Western Han Dynasty)
Length 32cm, width 20.1cm. The No. 8 Han Tomb of Fenghuangshan in Jiangling County, Hubei Province, was excavated. It is now in the collection of Jingzhou Museum.
This lacquered shield horn carapace is called "turtle shield". There was a wooden handle on the back. Both sides are painted black and painted with vermilion paint. On the back of the two figures in the kirito stand facing each other. The one on the right holds a staff and should be the master; the one on the left wears a leopard tail crown, as if to be obeyed. This is a portrayal of the tomb owner's life. The rear upper and lower parts are painted with a fierce beast, and there is a cloud in front and behind, which may be the shape of a dragon. Above the dragon there is a god-man, with a human body and legs like a bird. According to Peng Hao's explanation in the Complete Works of Chinese Art lacquerware, "The god man should be the embodiment of the owner of the tomb, riding a dragon to ascend to heaven." "Judging from the size of the shield, it is not a practical object, it may be a funeral vessel, and the lacquer painting in it shows the wish of the owner of the tomb to ascend to heaven after death. This painting is simple with a brush, which is a kind of freehand lacquer painting, which is very rare.
Painted seven leopard pattern flat lacquer pot (early Western Han Dynasty)
Height 48.5cm, width 65cm. No. 168, FenghuangShan, Jiangling County, Hubei Province
The tomb was excavated and is now in the Jingzhou Museum.
This pot of wooden tires. After being cut in two halves, it is glued, for a wine reservoir, with a flat belly, short circle feet, and a pair of copper paving street rings on both shoulders. The body of the pot is approximately a angular rectangle, with sides
There are circles in the square of the line, and the shape is washed and simple. The inside of the pot is painted with vermilion paint, and the outer part is painted with black paint and painted. The side is painted with vermilion lacquer to deform the bird pattern, and its form is basically the same as the Chu lacquer wart deformed bird pattern. It can be seen that during the Western Han Dynasty, Chu lacquerware was still influenced by the Warring States Chu culture. The roof is clouded on all four sides, with a leopard in the middle. Three leopards are painted with vermilion paint on the front of the abdomen as a positive triangular arrangement; on the back, three leopards are painted with vermilion paint as an inverted triangular arrangement. The leopard body stripes are painted in blue-gray lacquer, and three of the leopards have upturned wings. All seven leopards use line hooks, and the lines are accurate and powerful, full of ups and downs. The seven leopards are all different in form, and each one has both gods and gods. Very dynamic. Among them, the hunting leopard in the lower right corner of the front is the best. The clouds on both sides are symmetrical structures, with a diamond in the middle and S-shaped flow clouds interspersed in the gaps. The cloud patterns are painted with blue and gray paint, which is closer to the black earth, making the vermilion leopard print very prominent and eye-catching. These cloud patterns are painted in flat painting, and the form has been different from the Warring States and Qin Dynasty Five Dragon Patterns, and is more abstract. Three of the seven leopards have long wings, and they are all active in the clouds, which should be gods in the sky. According to the Chu Ci, it can be determined that it is the genus of the tiger and leopard of the Nine Gates (i.e., the Gate of Heaven) of the Shoutian Emperor.
Painted duckbill-shaped handle lacquer box (late Western Han Dynasty)
Box caliber 17. 5 cm, height 11. 5 cm, pass length 30 cm. The Han tomb in Anle Township, Tianchang County, Anhui Province, was excavated. It is now in the collection of Anhui Provincial Museum.
This box of wooden tires, flat mouth left bottom low circle foot, divided into two parts of the lid and the bottom. The upper and lower rubbers of the duckbill-shaped handle are joined to the lid and the bottom of the cassette respectively, and then connected with a shaft. Press the beak box lid by hand to open naturally, and the hand release lid is closed, and the design is very clever. The inside of the box is painted with vermilion paint, and the outer black paint is painted with vermilion paint cloud qi god beast pattern, including dragons, phoenixes, immortals and so on. The duck-bill shaped handle is painted with vermilion paint on the inside and black on the outside, and the details such as the head, eyes, and mouth are drawn with red paint to make it convey the spirit. The whole apparatus resembles a deformed duck or a duck-billed beast. It is set practical. The design of convenience and fun is one of the "fun design" works of the Han Dynasty.
Gold and silver foil inlaid with agate beads lacquer seven zi 奁 (late Western Han Dynasty)
Height 14.5 cm, mouth diameter 22.5 cm. Tomb No. 101 of Yaozhuang, Ganquan Township, Xingjiang County, Jiangsu Province, was excavated. It is now in the collection of Yangzhou Museum.
This wooden tire, with a lid, contains seven sub-tires. The inner part of the coat is painted with vermilion paint, and the black paint on the outside is painted and pasted with gold and silver foil patterns. Six persimmon patterns are attached to the middle of the necklace with silver foil, and a red agate with a diameter of about 1.8 cm is embedded in the center of the persimmon. Each flap is inlaid with a chicken heart-shaped red onyx (most of which have fallen off). The agate is decorated with chicken heart-shaped vermilion-painted spiral patterns. The outer ring is a decorative belt of gold and silver foil, the pattern has been blurred, only a few sets of pictures of gold leaf are clear, the content is yuren playing the piano, yuren riding a wolf, etc. The three silver buckles on the outer wall of the cover form two ribbons, which are composed of cloud-shrouded peaks, as well as the birthday celebrations of the feathers between the clouds and the mountains, the travel of carriages and horses, hunting, bullfighting, liubo, and listening to the qin. There is a circle of cloud gas patterns in the outer outsole, five rings in the middle, a flying swallow in the middle ring, and a dragon pattern in each of the remaining four rings. The above decoration is Han
The patterns of cloud qi divine beasts and gods and people commonly used in the generation show the life of the immortals on the Immortal Mountain, which is similar to the aristocratic life in the human world. The body shape and face of the feather person are like ordinary people, with a high bun behind the head and long wings on the shoulders and back.
The seven sub-niches in the cun are extremely small and the shape is also very chic, with two rectangular pieces, two round pieces, a horseshoe-shaped piece, a square one piece, and an oval shape, all of which are thin wooden tires. The tops are covered with silver foil persimmon patterns and inlaid with yellow onyx. The decorative style of each cup is similar to that of the mother, and the main pattern is gold and silver foil paste cloud qi divine beast and god-man pattern.
This set of lacquer reserve materials is noble. Exquisitely crafted, and combining gold and silver foil, gem-encrusted stones, silver clasp craftsmanship and painting, it is a magnificent and valuable lacquerware. At that time, the use of lacquerware in Yangzhou (Guangling County) was relatively common, and it should be one of the main production areas of lacquerware in the Han Dynasty.
Painted three-fish lacquer ear cup (early Western Han Dynasty)
Length 21.3cm, height 5.9cm. The Han Tomb No. 168 of FenghuangShan, Jiangling County, Hubei Province, was excavated. It is now in the collection of Jingzhou Museum.
This cup of wooden tires, oval mouth, binaural crescent shape, flat bottom. The inside and outside are painted black. The inner insole is painted with a lotus flower in yellow and vermilion, and the flower shape has been patterned. There are three swimming fish around the lotus, filling the insole. The fish body is painted in large yellow strokes, and the head and tail are filled with red blocks, which is very skilled. Flowers and fish are mostly red and yellow, and contrast strongly with black ground. The appearance is different from the use of red. Black lacquerware is similar to the characteristics of folk art that are good at painting in primary colors. The above fish pattern may have a certain influence on the painting method of folk blue and white porcelain fish plates after the Yuan Dynasty. The outer edge of this cup and the inner and outer of the ears are surveyed and mapped with twists and turns, and the inner mouth edge is painted with deformed bird patterns, which are common patterns in Chu lacquerware.
Silver foil lacquer sandstone (late Western Han Dynasty)
Length 19 cm, front width 9.8 cm, back width 8.2 cm, height 6.6 cm
。 The Han Tomb No. 101 of Yaozhuang, Ganquan Township, Xingjiang County, Jiangsu Province, was excavated. It is now in the collection of Yangzhou Museum.
This brick wooden tire, the plane is phoenix-tail shaped, and there are two parts: a brick pond and a brick box. The box is semi-elliptical and dome-shaped, and there is a hole between the box and the pool, and it is equipped with a wood carved sheep's head bolt, which can store the residual ink into the box and seal it with a sheep's head shaped wooden bolt. When you use it, take out the wooden pillar and the remaining ink can flow out. The surface of the yanchi has a sense of sand grain by hand, which is the main feature of the lacquer sandstone, which makes the ink smooth and is considered to be similar to the characteristics of the clay brick. The exterior of this brick is black lacquered and the exterior is richly decorated. It is mainly based on the pattern of cloud qi god beasts, and is affixed with silver leaf animals. The top of the box is decorated with four silver leaf persimmon patterns, the front wall of the box has flying geese, the left side is decorated with a tiger, the right side is decorated with a leopard, and the rear is decorated with a deer. On the outside of the pond, a kneeling man with a high bun feather is decorated on the front, and there is a peacock with wings spread on the opposite side; on the left side is decorated with a tiger and a cow and sheep; and on the right side is decorated with a samurai fighting beast. The bottom of the stone is painted with vermilion paint, and the dragon cloud qi pattern is painted with black paint, and the dragon's ridge protrusion has a three-dimensional sense. In addition, a dancing style is painted in black paint on the gap in the vertical façade of the stone base. Some people think that the dragon and phoenix pattern here means "dragon flying phoenix dance".
Painted Boy vs. Stick Diagram Lacquer Plate (Three Kingdoms, Wu)
With a diameter of 14 cm, the tomb of Zhu Ran of the Three Kingdoms (Wu) in Ma'anshan City, Anhui Province, was excavated. It is now in the Anhui Provincial Institute of Cultural Relics and Archaeology.
This spiral-made water tank, shallow abdomen. The interior is divided into three layers by concentric circles. In the center, two children are painted dancing sticks against each other in the clearing in front of the mountain, which is a close-up painting method for "close-up shots", focusing on the depiction of the appearance of the characters. Except for the black lines in important places such as faces, eyes, and hands, the rest are drawn using the "boneless" method. The distant mountains and near the trunk line gradually fade, so that the picture has a profound sense of space. The outer line of the boy figure is a circle of black painted swimming fish. Aquatic grass, lotus pattern, fish back fish sheng smudge shade, realistic painting method, and even not difficult to identify the type of fish, far beyond the Western Han Ear Cup fish pattern pattern, conceptual technique, extremely vivid and natural. The outer line is a Zhudi painted cloud dragon pattern, which is obviously a traditional pattern since the Qin and Han dynasties. The back of the plate is painted with black paint, the edge is decorated with a cloud dragon pattern, and the central Zhushu "Shu County Prison" four characters.
Painted Palace Feast Music Picture Paint Case (Three Kingdoms Wu)
Length 82cm, width 56.6cm. The tomb of Zhu Ran of the Three Kingdoms (Wu) in Ma'anshan City, Anhui Province, was excavated. It is now in the Anhui Provincial Institute of Cultural Relics and Archaeology.
Cases are plates with full feet; used to hold food. This case is a wooden tire, and the case surface is rectangular
Shaped, four lines slightly above the case surface, gilded copper skin inlaid on the rim, and four dwarf hoofed feet are mounted on the back. The case is painted red, and there are several layers of decorative patterns on the four edges, and the content is cloud gas pattern and animal pattern. The back is black painted, and the word "official" in the middle of Zhu Shuyi is the middle. In the middle of the case is the main body of decoration, that is, the "Palace Banquet Music Diagram". The palace refers to the inner palace where the queen concubine lived, and this picture should write the scene of the feast in the outdoor courtyard of the inner palace. There is a row of buildings listed above, and there are people inside the windows. There is a tent in the upper left corner, which is the imperial seat. The right column is listed as an official and a noblewoman. The prospect is mainly the performance scene of the hundred opera artists, and the middle performance is the "dance wheel". This figure is composed of a large number of characters to form a lively and disorderly scene, with three horizontal columns as the main structure, and the activities of hundred opera artists naturally break through the stereotypes of horizontal columns. All characters do not overlap, only high and low. The subject matter content and composition method of this painting are the same as those of the Eastern Han Dynasty portrait stone.
Painted Jiza Hanging Sword Diagram Lacquer Plate (Three Kingdoms, Wu)
Diameter 248 cm. The tomb of Zhu Ran of the Three Kingdoms (Wu) in Ma'anshan City, Anhui Province, was excavated. It is now in the Anhui Provincial Institute of Cultural Relics and Archaeology.
This disc is a wooden tire with a shallow abdomen and gilded copper buckle along the original mouth. The lacquering process is to paste a linen cloth on the wooden tire, then paint it greasy, and then paint it red and black. There are three layers of painted on the bottom of the plate, including two circles of decorative patterns and a picture of the Jizha hanging sword in the center of the plate. The sword hanging by Ji Zha is painted in black, showing the story of Ji Zha of the State of Wu giving the sword to Xu Jun after his death in the Spring and Autumn Period. This painting is mainly painted with oil paint, the characters use the "boneless method", only the head, face, hands and other parts of the black line outline, a few brush expressions have been very vivid. The distant mountains paint virtual and real changes. Although the characters and scenes are still composed in a flat column, the distant mountains and the rabbits in the close-up make the picture have a three-story scene, highlighting the sense of depth of space. The outer circle of fish, lotuses, boys, and egrets got rid of the flat
The constraints of the scribble line drawing method draw the changes in light and shade with vivid brushstrokes. It shows that the level of lacquer painting in the Three Kingdoms has greatly improved in the Han Dynasty. The back of the plate is covered with black paint, and there is a Zhu lacquer seal book "Shu County Made Prison".
Painted bird, beast, fish pattern lacquer bristle (Three Kingdoms, Wu)
Length 25.4cm, width 16.3cm, height 4.8cm. The tomb of Zhu Ran of the Three Kingdoms (Wu) in Ma'anshan City, Anhui Province, was excavated. It is now in the Anhui Provincial Institute of Cultural Relics and Archaeology.
The bottom of this mane is a wooden tire, rectangular. The walls are made of bamboo tires, connected with bamboo needles and reinforced with linen. There are pot door feet. The mane is divided into seven squares, vermilion lacquer, each of which is painted with an auspicious spiritual object, including celestial deer, phoenix bird, divine fish, unicorn, flying lian, and pisces. White Tiger and so on. Paint with oil paint and outline and details with black lines. The lines are spontaneous and accurate. Decorating an artifact with a variety of independent and dispersed patterns without adding clouds and vines is a decorative method not seen in the Han Dynasty. Fu's sides are painted with arabesque patterns and eagles. Only one piece of painted lacquer bristle has been unearthed so far, so it is even more precious.
Cone engraved gold black lacquer box lid (Three Kingdoms Wu)
Side length 22.5 cm, height 11.5 cm. The tomb of Zhu Ran of the Three Kingdoms (Wu) in Ma'anshan City, Anhui Province, was excavated. It is now in the Anhui Provincial Institute of Cultural Relics and Archaeology.
The lid is a thin wooden tire with a linen cloth attached to the tire, and then painted with greasy and then lacquered. The inner part is red lacquer and the outer hair is black lacquer. The lid is square in plan, the top of the lid is protruding, and the corners on all four sides are rounded. The black lacquered ground outside the vessel is covered with a pattern of cone carved gold, and only a black ground is left at the edge of the junction of each façade, so that the pattern forms a positive or rectangular surface suitable for the shape of the instrument. The pattern is a fine cloud pattern, and there are sixty-five divine beasts in the cloud pattern, including dragons, tigers, birds, unicorns, tianlu, etc., which is actually a kind of "Ruiying map". There are three other characters: the Sabres, the Flag Bearer, and the Festival Bearer. This vessel lays a large amount of gold thread on the black lacquer floor, the golden luster is very prominent, the effect is extremely gorgeous, and it is a treasure of gold lacquerware excavated earlier and with exquisite craftsmanship.
Rhino gilded bronze buckle leather tire lacquer ear cup (Three Kingdoms Wu)
Each piece is 9.6 cm long, 5.6 cm wide and 2.4 cm high. The tomb of Zhu Ran of the Three Kingdoms (Wu) in Ma'anshan City, Anhui Province, was excavated. It is now in the Anhui Provincial Institute of Cultural Relics and Archaeology.
There are two pieces in total, both leather tires, oval mouth, flat bottom. The ears and mouth edges are inlaid with copper buckles, and the copper buckles are luan gold. The pattern of the rhinoceros skin paint is composed of black, red and yellow paint, and the black surface, red middle and yellow ground, such as the flowing water of the clouds, is very natural. The discovery of these two pieces of rhinoceros lacquerware is of great significance in the history of Chinese lacquerware. In the past, according to the literature, records of rhinoceros paint appeared in the late Tang Dynasty, so it is believed that the emergence of this lacquer craft will not predate the Tang Dynasty. The pair of ear cups found in Zhu Ran's tomb have advanced the appearance of rhinoceros lacquerware by nearly six hundred years.
Painted Character Story Painting Paint Screen (Partial) (Northern Wei)
Each piece is about 80 cm long, about 20 cm wide and about 2.5 cm thick.
The lacquer screen is made of wooden planks, and there are five more complete pieces when unearthed, and the vermilion paint is read and then painted, with yellow ink book titles and inscriptions. There were original paintings on both sides of the screen, the lower side was seriously peeled off due to dampness, and the upper side was better preserved. The figure shows the upward side of the first and second blocks that can still be flattened.
The first and second screen painting columns are divided into four layers. The six characters on the first layer are the stories of Emperor Shunge's filial piety; the three characters on the second floor are the standing statues of Princess Taijiang of Zhou, the eldest sister of The Queen Mother of Zhou Wu, and the mother of Zhou Wen; the two characters on the third floor are lushi chunjiang and chunjiang female statues; the six characters on the fourth layer are the story of Ban Jiezai's resignation as emperor tongcheng. Most of the above stories come from the "Biography of the Daughters of Lie" written by Liu Xiang of the Western Han Dynasty, and the deeds of Emperor Shun can be found in the "History of the Five Emperors". The content of the painting is inherited from the tradition of the Han Dynasty using historical figure stories to describe the people of the world, the characters painted with black lines are drawn with iron wire, the faces and hands are painted with lead white, and the costumes and utensils are rendered in yellow and white, green, orange red, gray and blue, etc. The painting style is very similar to the works of Gu Kaizhi, a famous painter of the Eastern Jin Dynasty, and the face has seen the beginning of the Southern Dynasty's "Xiu Bone Qing Xiang". Painting with lacquer or oil paint is more difficult than painting on paper and drapery, which shows that the lacquer craftsmanship is superb. This screen not only belonged to the top quality at that time, but also a rare quality among the existing Relics of the Northern Dynasty. Along with the screen, there are four stone carved screens, which were originally used for interstitial screens, each with a side length of about 32 cm and a height of 6.5 cm. The carving of the screen is extremely exquisite, but the content is not related to the screen painting, which is related to Buddhism, indicating that Buddhism was very prosperous in the Northern Wei Dynasty at that time.
Figure flower and bird pattern inlaid screw tin lacquer back copper mirror (Tang Dynasty)
Diameter 25 cm. The Tang Tomb No. 67 in the Sixteen Works District of Luoyang City, Henan Province was excavated.
It is now in the collection of the Museum of Chinese History.
This mirror is round and round, and the back of the mirror pattern is completely inlaid with screws on the brown lacquer floor. The main characters are a man with a left and a right sitting on the floor, all of them wearing wide robes and wearing scarves. The left one plays Nguyen Salty, and one person drinks with a cup. At the rear of the right side, there is a low-bun maid in tang costume, and the characters are preceded by a crane dance and a swim. In the center of the rear there is a flower tree, under which there is a parrot and a dog-like beast, and a pair of birds in the tree. One is a pair of ubiquitous. There are mountain stones and flowers and leaves in the gaps. The layout of the whole map is symmetrical and the structure is rigorous. The combination of movement and static of characters and scenes is quite poetic. The composition clearly divides the prospects. The three parts of the middle scene and the background have broken through the common flat column style of the Han Dynasty, so there is a significant depth of field and a sense of space. The lines carved on the screw are fine and accurate, the folds and faces of the characters are like white drawings, which are more realistic, and the flowers and trees and bird patterns have strong decoration, and the combination of the two is more natural. The traces of inlaying some of the screw fragments remaining in the ground can be seen that the ground behind the original mirror should all be embedded with broken screws with "texture" effects, which is the same as the copper mirror of the snail steel in the shosoin. This mirror is the highest level among the Tang Dynasty lacquerware figures. The owner of the tomb died in the second year of the Tang Dynasty to the Second Year of Germany (757), and this mirror was made by the Sheng Tang Dynasty.
"Nine Xiao Huan Pei" purple lacquer qin (Tang Dynasty)
It is 124 cm long and 21 cm wide at its largest. It is now in the collection of the Palace Museum in Beijing.
This violin is of the Fuxi style, with paulownia wood as the face and fir wood as the bottom. The gray tire is a roasted antler modulation, called "antler tire". Dark chestnut bright lacquer, made up with vermilion paint. Small snake belly stripes are all over the body. Thirteen micro-inlays with mussel pieces. The surface is semicircular and raised. According to research, its characteristics are consistent with the recorded Tang Dynasty Kaiyuan Lei's qin. There is a four-character square seal of "Nine Xiao Huan Pei" above the dragon pond on the back of the qin, and a large seal with a thin edge of "containing" below him, which are all moments of making the piano. The rest of the belly section, inscriptions, etc., are all post-engraved. The rosewood lacquered guard (the button that rotates the strings under the piano) was installed during the Qing Dynasty reconstruction. This piano is simple in shape, with curved shoulders and waist curves, elegant and beautiful. The sound of the piano is pure and warm, which is rare for the piano after the generation. Zheng Haozhong in The Complete Works of Chinese Art lacquerware
He said: "At the end of the Qing Dynasty, this piano enjoyed a high reputation and was known as 'Dingding Tang Dynasty' and 'Immortal Product'. Both are recorded in the "Qinxue Series" and the "Jinyu Qin Journal". The late music historian Yang Yinliu attached this piece of music as a typical instrument of the Tang Dynasty Leiqin to his "Manuscript of the History of Chinese Music". ”
Flower and bird pattern inlaid screw tungsten black lacquer warp box (5th generation)
Length 35cm, width 12cm, height 12. 5 cm. Ruiguang Pagoda was excavated in Suzhou, Jiangsu Province. It is now in the collection of Suzhou Museum.
This box is a wooden tire, rectangular, with a Sumire seat underneath, a flat pot door on all four sides, and a gold flat de-pattern inside. Black lacquer throughout, inlaid with a spiral pattern. The lid has three juxtaposed clusters of flowers, scattered around them, inlaid with semicircular crystals and colored gemstones. The walls of the box are flowers such as pomegranates and peonies and birds and butterflies. The flowers and leaves are arranged in succession, the branches are mostly covered, and the characteristics of the tangled branches are no longer obvious. Among them, the pomegranate pattern is a new pattern in the Tang Dynasty, which was mostly used as a flower core when it was first used, and is now more realistic. The above two points show that this box pattern follows the Tang style, but has changed, slightly losing the charm and vividness of the Tang Dynasty. This is a common feature of the patterns from the late Tang Dynasty to the Five Dynasties.
Petal-shaped circle foot black lacquer bowl (early Northern Song Dynasty)
The mouth diameter is 22.5 cm, the bottom diameter is 11 cm, and the height of the pass is 7.7 cm. The Song Tomb of Futian Temple in Jianli County, Hubei Province, was excavated. It is now in the collection of Jingzhou Museum.
This bowl of wooden tires, the mouth edge is petal-shaped, open outer luxury, low circle foot. The carcass is made of a circle stacking method, and the tire is covered with a layer of linen cloth and then painted with gray hair, so it is light and solid. The outer part of the vessel is black and brown lacquer, and the inner part of the vessel is vermilion lacquer, which is the same as that of traditional lacquerware, but the whole vessel is not decorated, and the color and luster of the shape and one-color lacquer win. One-color lacquerware has been unearthed in the tomb of the Three Kingdoms (Wu) weiran, but the wood is more common. Song Dynasty lacquerware has a large number of excavations, more than a hundred for practical utensils, it can be seen that this kind of lacquerware was very popular at that time, its shape was deeply influenced by Song porcelain, with a simple and elegant unique style.
Purple-brown lacquer box (early Southern Song Dynasty))
The 25.3 cm high tombs of Yixing County and Qiao Song in Jiangsu Province were excavated and are now in the Nanjing Museum.
This box is a fetus with a lid and a mother-to-child mouth closure. The outer part of the box is purple-brown lacquer, and the inner part is black lacquer, and the shape is a variant of the cylinder, without grain decoration, quaint and simple. The cassette is larger, but the tire is thin and light. When it was unearthed, the box contained more than 30 small pieces of lacquerware.
Purple-brown lacquer slag bucket (early Southern Song Dynasty)
Height 6.2 cm, mouth diameter 10.5 cm. Yixing County, Jiangsu Province, and Qiao Song Tombs were excavated. It is now in the Nanjing Museum.
This slag bucket is a wooden tire, which requires purple-brown paint on the outside, black paint on the inside, a black paint edge along the mouth edge, and the thin tire is light. Slag bucket is a kind of medicinal tool, and there are also slag buckets in Tang Dynasty gold and silverware, but the shape is quite different. This lacquered slag bucket is not only unique in shape, but also harmonious and beautiful in proportions. Its ratio of height to caliber is extremely similar to that of the "gold ratio" (1:1618). We cannot say that the Song Dynasty craftsmen have mastered the gold ratio, this is just a coincidence. However, the gold ratio was originally summed up from a large number of practices, and it was inevitable that the mature design of the Song Dynasty craftsmen would coincide with the gold ratio.
Baby play drawing black lacquer plate (late Southern Song Dynasty)
Height 4.5 cm, diameter 31.2 cm. It is now in the possession of the Agency for Cultural Affairs of Japan.
The outer ring of this disc is engraved with a dense folded osmanthus pattern. The inner circle is carved with a triple pavilion, and there are ten children playing in the vast courtyard in front of the pavilion, the courtyard has a curved bar, and there are pisces in the water outside the fence, and the courtyard is carved to the brocade. Behind the door of the building, the shadow of the osmanthus tree is shaky, and there is a full moon in the shadow of the tree, and there are osmanthus flowers and jade rabbits. It should be the Mid-Autumn Festival night scene, of which the children's form is the most vivid, the ten people's dynamics are different, and the appearance is vivid. The composition of the whole picture is complete, rigorous, with far, medium and near three layers of scenery, there is a clear sense of space, reflecting the level of Song Dynasty painting, this plate carving technique is still an early style. That is, on a flat surface, the ground is flattened, and the engraving is shallow. Therefore, the sense of subjectivity of the object expressed is not strong, and it all depends on the size of the block surface and the virtual reality of the line to distinguish between the primary and secondary, the strength and weakness, which is similar to the engraving method of monochrome woodcut or engraving printing, and the carving and lacquer technique of the Yuan Dynasty bas-relief carving is quite different.
Garden Lady Figure Makes Golden Lotus Petal Shape Zhu Lacquer (Mid-Southern Song Dynasty)
Diameter 19.2 cm, height 21.3 cm. The fifth tomb of the Southern Song Dynasty in wujin county, Jiangsu province, was excavated. It is now in the collection of Changzhou Museum.
This wooden tire, the section is like six deformed lotus flowers, divided into four layers of lid, plate, middle and bottom, the mouth edge is silver buckle, the whole body is painted with vermilion, and the gold pattern decoration is engraved. The lid has twelve branches of flowers with gold folded branches, and the middle plane part is engraved with a picture of the garden lady, which depicts two noble ladies walking arm in arm on the stone path of the garden, cutting and whispering, and a maid on the right holding a long-necked bottle, surrounded by rockeries and flower trees, and a vine pier not far behind. In the Song Dynasty, the art of gardening developed rapidly, and the southern gardens were especially good at stacking stones and mountainous mountains, and juxtaposing Taihu stones for enjoyment. There are rockeries and rattans in the picture, which should be a private garden view in the south, which is consistent with the southern people of Wenzhou. Among them, the costumes and costumes of the ladies and maids are typical of the Southern Song Dynasty style, and the characters have been very different from the Tang Dynasty ladies, who have low shoulders, weak figures, and skirts under the hem. The of the bow shoe is faintly visible under the skirt. The whole body side lift is engraved with life folded branches and flowers, and the structure is accurate. The lines are straight and beautiful. Full of life. The decorative style based on realistic flowers is also very different from the decorative style of the Tang Dynasty based on deformed flowers. On the inside of the cover there is the Zhu Shu "Wenzhou Xinhe Jin Nian Erlang Prison".
"Zhang Chengzao" gardenia pattern red plate (Yuan Dynasty)
Mouth diameter 17.8 cm, height 2.8 cm. It is now in the collection of the Palace Museum in Beijing.
This disc is rounded and circled. There are about 100 pieces of vermilion paint on the ground of yellow lacquer, and the paint layer is very thick. The whole disk is decorated with carved lacquer. A cluster of gardenias is carved on the front of the plate, which is suitable for the disc shape in a realistic free form. The gardenia at the center of the plate is the main body of this cluster of flowers, which is about half the size of the whole disk. The flower is blooming, and the petals are blooming. The three layers of petals are enlarged from the inside to the outside, and then overlapped layer by layer, successfully expressing the sense of depth and volume of the front flower, and the petal rolls are extremely vivid. The buds and foliage next to the main flower spread out in all directions, crowding the space of the plate, almost without revealing it, and it seemed to be full of life and luxuriant. The back of the plate is carved with a yin wen vine leather pattern, and there is a needle engraving "Zhang Chengzao" line. Zhang Cheng was a famous lacquer painter in Yanghui, Xitang, Jiaxing, in the Yuan Dynasty, and was famous for picking red.
"Zhang Chengzao" cloud pattern secondary rhinoceros box (Yuan Dynasty)
Diameter 14.8 cm, height 6.2 cm. It is now in the collection of Anhui Provincial Museum.
This box is round, wooden tire, used for black lacquer interspersed with about a hundred ways, the paint layer is very thick, the lid and the box body are carved with ruyi cloud pattern. The pattern is three points according to the center of the circle, each has a set of cloud patterns, three levels of the same, very rhythmic, the composition is also very rigorous, this box knife method is deep, the grinding is round, the paint color is bright and warm, the pattern curve is smooth, there is a sense of flow, the texture of different colors of the paint layer strengthens this feeling. This is the best one in Zhang Cheng's heirloom rhinoceros works, and it is also the best one in the entire Yuan Dynasty rhinoceros works.
"Yang Maozao" floral pattern red zun (Yuan Dynasty)
The mouth diameter of the "Yang Maozao" floral pattern Red Zun (Yuan Dynasty) is 12.8 cm in diameter and 9.4 cm in height. It is now in the collection of the Palace Museum in Beijing.
This wooden tire, short neck and round abdomen, stable shape, quite the characteristics of Song Dynasty jun porcelain. The outer and inner parts of the neck form a thick layer of red lacquer on the yellow lacquer floor. Brown lacquer on the inside of the foot. The shoulders are engraved with strings, dividing the neck and abdomen into two decorative areas. The inside of the mouth, neck and abdomen are carved with floral patterns. Varieties include okra, camellia, peach blossom, plum blossom, vibrator, chrysanthemum. Lilies, etc., between the flowers, exposed yellow paint hard ground. This pattern is very similar to the knife method and the "Zhang Chengzao" gardenia pattern red plate, and is a work of the same region in the same period. It can be seen from the line of "Yang Maozao" drawn inside and outside the foot that the author is Yang Mao, a Yanghui person in Xitang, Jiaxing, Zhejiang Province, who is equally famous as Zhang Cheng. The difference is that this figure adopts a combination of a hundred flowers, the pattern is dense, and the connection between the flowers naturally becomes a whole. If the pattern is unfolded, it becomes three banded patterns that are connected end to end. Since the Song Dynasty adopted a large number of realistic flowers as decorative themes, it has become a routine to reflect the beauty of nature and express auspiciousness with various flowers in bloom, and it is still common to see such pattern designs, which can be said to be an important style of traditional Chinese national decorative patterns.
Lin Bao Shuang Peng Tu Color Holding Box (Ming Dynasty Xuande)
Mouth diameter 44 cm, height 19.8 cm. It is now in the collection of the Palace Museum in Beijing.
This box is round, the color paint has red, yellow, black, green four kinds, from top to bottom red, yellow, green, red, black, yellow. Green, black, yellow, red, yellow, green, and red are formed layer by layer, with a total of thirteen layers. The pattern traps the shades of the carving and forms different colors, rich and gorgeous. This requires careful design and superb engraving skills, so there are few works of the same level. The main structure of the picture is a sand fruit (i.e., forest engaged) with its branches and leaves stretched out and fruitful, and is evenly distributed on the circular cover. There are two yellow pengs crying at the branches of the sand fruit, and there is a butterfly and a dragonfly between the leaves. The style of this drawing is between decorative patterns and flower and bird paintings, which have both the charm of the flower and bird carving and lacquer works at the end of the Yuan Dynasty and the influence of gongbi flower and bird paintings. Therefore, the distribution of sand fruit branches and leaves is as uniform as the decorative pattern, but the double bird has changed the formula of flying on the flower cluster, and stands on the branch duet, making the relationship between the bird and the flower and tree more harmonious. The lid of this box is carved around the lid and the upper part of the foot for a week, including peaches, pomegranates, cherries, grapes and so on. The upper and lower mouths are carved with flowers for two weeks, including peonies, camellias, masts, chrysanthemums, etc. His style is similar to that of Zhang Cheng and Yang Mao.
Peacock peony pattern skin tire red plate (mid to late Ming Dynasty)
Caliber 35 cm, height 52 cm. It is now in the collection of the Palace Museum in Beijing.
This disc is round, the skin tire is gray and the skin is red. In the middle of the plate is the main pattern with the theme of peony and peacock. Six peony flowers, one large and one small, are evenly distributed in the circle, and the two main trunks are pierced from behind the rockery. A peacock is behind a rock, and a peacock flies in the air. This composition is similar to Zhang Cheng's work at the end of the Yuan Dynasty, but the knife technique has changed greatly. It no longer uses the body block with perspective relationship to express flowers and birds, and more uses white-drawn lines to outline, and the carving is rough and does not hide the front, which is a carving lacquer style that appeared in the middle and late Ming Dynasty. The brocade around the center of the plate is opened, and the melon and fruit patterns are engraved in the open light, which is also expressed by lines, which echoes the center of the plate.
Dragon and phoenix pattern square victory carved lacquer box (Ming Dynasty Jiajing)
Length 28.5 original, width 15.3 cm, height 11 cm, now in the Palace Museum in Beijing This box has a unique shape. It is the shape of the concentric square, taking its auspicious meaning of "concentric". The hexagonal beads are made into a round halberd shape, with square victory-shaped feet. The whole body is painted with purple lacquer, and it is carved with red, green, yellow and black lacquer, which is very gorgeous. The so-called carving and filling, that is, the process of carving out the contours and textures of the pattern, and then filling with gold or paint, prevailed in the Ming and Qing dynasties. The lid of this box is carved with cloud phoenix pattern on one side and cloud dragon pattern on the other. The walls of the box are decorated with flowers, ganoderma lucidum, miscellaneous treasures, cranes, water patterns, etc., all decorated in a ribbon shape according to the shape of the vessel.