Lacquerware in Han Dynasty was mainly black and red. Han Dynasty was the heyday of lacquerware, and the variety of lacquerware increased, including boxes, plates, boxes, earrings, plates, baskets, boxes, rulers, spittoons, masks, chessboards, stools, knives, knives and so on. At the same time, new techniques have been created, such as multicolor, needle carving, copper buckle, gold-plated parts, tortoise shell and so on.
Lacquer patterns are expressed by rough and concise lines or complex compositions according to different utensils, which enhances the movement and strength of people or animals. The black and red colors produced bright special effects. On the screen of red and black, a colorful and musical artistic style is formed, showing a mysterious, floating and magical mythical world where man and god coexist and Stephy is mysterious. Lacquerware in the Tang Dynasty reached an unprecedented level, piled up with thick lacquer and embossed patterns. Useful shells are cut into objects, carved with lines, and inlaid with patterns on the paint surface; Gold and silver strippers embedded with honeysuckle slices are available. The craft is superior to the previous generation, carved and exquisite, and combined with lacquer craft, it has become a kind of handicraft representing the style of Tang Dynasty, and red lacquer ware also appeared in Tang Dynasty.
Bamboo carving is the inheritance and development of bodiless techniques since the Southern and Northern Dynasties. First of all, embryos are made of clay and wrapped in ramie cloth. Dry paint in Dunhuang Mogao Grottoes is expensive and time-consuming, so it is scarce because of its small quantity. At present, the most complete preserved dry lacquer of bamboo Buddha statue in Dunhuang is circulated in the British Museum in the United States.
Among the Buddhist relics unearthed in Hotan, there are pottery statues, a few wood carvings and works similar to bamboo lacquer statues. In clay sculpture and pottery sculpture, besides Buddha and Bodhisattva, there are many statues of kings, warriors and patrons in various images, and most of them are figures with different identities and personalities absorbed by sculptors from local real life.
Among the wood carvings unearthed in Hotan, southern Xinjiang, there is a broken statue of the heavenly king. Most of its armor and costumes are in the form of the Central Plains, but their demeanor is dominated by local figures. Another woodcarving statue, divided into three layers, is naked and straight, almost purely Indian. On the right side of the lowest floor, there are two male providers engraved, which are the clothes of the Central Plains at that time. There is also a broken bergamot, which is made of ramie cloth and painted in pastel, which is very similar to China's practice of making lacquer statues with ramie. From this bergamot, we can further realize the reality of Buddhist sculpture art in Xinjiang. The muscles and joints of this hand are very round and soft, as if the cortex is full of flowing blood. A beautiful work of art like this can never be compared with a work that is only imitated in appearance. Song dynasty was once considered as the era of lacquerware with the same color, but the excavation of many lacquerware with high ornamentation in Song dynasty corrected the past understanding. The real pearl relics found in Suzhou Ruiguang Temple Tower, the precious flowers on the pedestal and the supporting staff were all removed with thick paint. Among the lacquerware in the Yuan Dynasty, Qi Diao made the highest achievement, which is characterized by thick lacquer piles and rich and round patterns carved by Tibetan front knife. The appearance is simple and elegant, the details are exquisite, and it has a special charm in texture, such as Zhang Chengzao's mast-patterned red plate in the Palace Museum, Yang Mao's early waterfall view, and Zhang Chengzao's black-lined rhinoceros box in the Anhui Provincial Museum.
China was the capital of Beijing in the Ming and Qing Dynasties, and its culture and art were inherited from the Song and Yuan Dynasties, and were constantly developing and perfecting. At the same time, the living customs and cultural characteristics of Mongolian, Tibetan, Uygur, Manchu and other ethnic minorities have had a certain impact on the traditional culture of the Han nationality and greatly enriched the cultural tradition of the Chinese nation. Foreign trade in Ming and Qing Dynasties was relatively developed. At the same time, some Arab and European crafts were introduced, imitated, absorbed and digested, which injected new blood into the development of arts and crafts in Ming and Qing Dynasties. The arts and crafts of this period experienced 549 years of development and changes, forming a unique style and the face of the times. In this period, the painting technology was combined with architecture, furniture and furnishings, and turned from practicality to furnishings and decoration. It has entered a new era with colorful, heavy decoration, mosaic and tattoo as the basic techniques.
Take Zhang Cheng and Yang Mao in Xitang, Jiaxing (now Jiaxing, Zhejiang) in Ming Dynasty as examples. Zhang Cheng's sons Zhang Degang and Bao Liang presided over the production of official lacquer works in Neiting Orchard Factory. During Chenghua and Hongzhi years, the imperial court carved lacquer, and the tires became thinner and the patterns were sparse, indicating that the Xitang school carved lacquer had come to an end. Dali is another origin of Qi Diao, and there is only one painter named Wang Song. During Jiajing period, Yunnan carved lacquer began to enter the imperial court, and its skills were greatly exhibited. Finally, it replaced Xitang School and changed the lacquer carving of the imperial court. Its characteristic is that the knife does not hide the front and the cutting edge is not polished. Lacquer carving was lost in the late Ming and early Qing dynasties, and it was carved by a famous bamboo carving master for four years. Suzhou woven lacquer was copied successfully, and most of the carved lacquer used in the court was made in Suzhou. There are many kinds of carved lacquer in Yangzhou, such as mother of pearl and inlaid treasure. Mother-of-pearl is the most distinctive, among which point beads are the most exquisite, and the lacquerware made is slender and colorful. Famous ones are Lu Yingzhi and Xia. The latter is especially good at making antique lacquerware. The lacquerware works of the Soviet Union and Yang were destroyed in the war of suppressing the revolution of the Taiping Heavenly Kingdom by the Qing court. Fuzhou lacquerware is famous for its bodiless appearance, gorgeous colors and light weight. It was created by Shen Zhaoan, a famous worker, with the traditional clip method. In the late Qing Dynasty, Beijing developed from mending Qi Diao to imitating Yongle, Xuande and Qianlong Qi Diao. Yan lacquer painting is a famous lacquer ware in Japan. During the Xuande period of the Ming Dynasty, the painter Yang was ordered to go to Japan to learn Yan painting lacquerware, and he imitated it after returning home. His son, Yang Yun, learned a lesson from it, and the system was chaotic enough. Another painter, Jiang, is also good at copying lacquerware. Suzhou in Qing Dynasty imitated lacquer, and the golden lacquer was magnificent. Soft mother-of-pearl which appeared in the late Ming and early Qing dynasties is a new variety of mother-of-pearl. Fang Xinchuan's embedded hills in Xin 'an (now Xin 'an County, Anhui Province) and Lu Kui's raw sand embedded paint in Yangzhou are all famous for a while. Lacquerware such as gilded bodiless has also made progress in different degrees. Modern lacquer crafts are mainly distributed in Beijing, Jiangsu, Yangzhou, Shanghai, Sichuan, Chongqing, Fujian, Pingyao, Shanxi, Dafang, Guizhou, Tianshui, Gansu, Yichun, Jiangxi and Fengxiang, Shaanxi. Among them, Beijing Qi Diao carved dozens or even hundreds of layers on wooden tires or copper tires, and then embossed them, with vermilion as the main color and rich and luxurious style. Lacquerware in Yangzhou, Jiangsu province is characterized by mother-of-pearl inlay, which is very beautiful under the light. Fujian bodiless lacquerware is characterized by bright color, lightness and beauty, water immersion resistance, temperature resistance and acid and alkali corrosion resistance. Sichuan lacquerware, mainly push-light painting, is good at carving and filling, or is famous for grinding and painting. In addition, there are lacquer lines in Xiamen and carvings in Tianshui, all of which have different artistic characteristics.
The luster of ancient lacquerware is like dark gold rather than cold, bright and magnificent, with a solemn and rich temperament. In ancient times, they were mostly used by the royal family and nobles. Contemporary China arts and crafts workers rely on the natural beauty of lacquer materials and production techniques, through a variety of visual languages such as color, luster, texture and texture, combined with the dazzling artistic effect of China traditional cloisonne craft, re-display in graphic art, resulting in visual pleasure and arousal. A decorative method of drawing patterns with gold on the surface of lacquerware. Gold paint is the most common on black paint ground, followed by vermilion or purple ground. Others call tracing gold "a decorative method of tracing gold and silver paint".
"Eight Notes on Respect for Life": "Xuande has lacquer-filled vessels, which are piled with colorful thick paint and polished for painting." "A Brief Introduction to the Forbidden City" is called "filling", which is made of flowers and birds in Qi Diao, filled with thick paint and polished into a painting.
Also known as Luotian and Luodian, it is a decorative technique to embed figures, birds and animals, flowers and plants in carved or painted objects. After the flat painting, there are colorful decorations, such as painting, painting, floating Xia makeup, flower painting, painting, etc., while those who decorate with gold have the names of sand gold, painting gold, painting gold, clay gold and gilding. According to their names, we can infer that their production methods are different. In a word, among lacquerware, carved lacquer is the noblest and the most artistic, so all previous dynasties have been trying to make it. Song people carved red lacquerware. If the palace is made of boxes, gold and silver tires, and red lacquerware is piled up to dozens of layers. At first, people, terraces, flowers and plants were carved with skill, just like strokes. There are tin tires, ground, safflower and yellow ground, and five colors. The depth of carving is exposed with makeup, such as red flowers and green leaves, yellow heart and black stone, which is impressive, but few people have passed it down. It is also useful to carve ten kinds of flowers and plants with Zhu as the land and all kinds of flowers and plants with black as the face. Flowers and tapestries are embossed, red and black are lovely, but most of them are boxes, followed by plates and boxes. The boxes are steamed cakes, Hexi style, curtain style, three-impact style, two-impact style, plum blossom style and goose egg style, ranging in size from several feet to several feet, with patterns on both sides. There are round, square, waist-shaped, quadrangular, octagonal, tapestry and quadrangular peony petals. Boxes have rectangles, squares, two strikes, three strikes and four strikes.
Mother-of-pearl technology originated very early and became popular in the Zhou Dynasty. Judging from the existing mother-of-pearl in the Tang Dynasty, it was of a high level at that time. Cao Zhao's On Gegu: Mother-of-Pearl, published in Luling County, Ji 'an District, Jiangxi Province. In the Song Dynasty, all the people in the inner government were old craftsmen, but those who used strong lacquer or embedded copper wires were very good. The wealth of the Yuan Dynasty is not limited to years, and the lacquer characters are lovely. There are two schools, Rizo and Yang Mao, who are good at it for a while, but the pen and ink are not thick and the painted skin is cracked.
Mother-of-pearl lacquerware is a traditional handicraft in China. 1966, a lacquer dish was unearthed from the ruins of the Yuan Dynasty in Beijing and embedded in the Guanghan Palace with screws. The Ming Dynasty was the heyday of point-screw lacquerware, and the craft level had reached a quite exquisite level. Shell, luminous snail, etc. They are all raw materials, refined into spiral slices as thin as cicada wings, and then the thin spiral slices are "spotted" on the lacquer blank, hence the name "point snail". Because it is thinner and softer than ordinary mother-of-pearl, it is also called "thin mother-of-pearl" and "soft mother-of-pearl". Today, some snail lacquerware is still produced in Yangzhou and other places.
Thin gold and silver are made into various figures, birds, animals, flowers and so on. , and glued to the polished lacquer tire. After drying, brush two or three layers of paint all over the floor, then polish the gold and silver patterns to make them as flat as the bottom of the paint, and then polish them to become a beautiful flat paint remover. Fine lines can also be carved where the gold and silver lines are wide, but the gold and silver pieces cannot be carved through. This decorative method is elaborate, labor-consuming, and noble in materials, but the luster of gold, silver and lacquer color reflects each other very luxuriously, and it is a very precious lacquer. Youyang's Miscellaneous Works, An Lushan's Deeds, Taizhenzhuan, Tang Yulin, etc. Various names of flat lacquerware given to An Lushan by Emperor Xuanzong of the Tang Dynasty and Yang Guifei are recorded.
Painting skills of making patterns with pigments different from those without paint ash primer. Now the pile of paint can be made of rubber, gold-plated and spray-painted, which has a wide range of meanings.
The technology of carving patterns on piled flat paint tires. Qi Diao in China began in the Tang Dynasty and is most famous for its history of Xitang in Jiaxing in the Yuan Dynasty. Modern main producing areas are Beijing, Yangzhou, Tianshui and Huizhou. Carving paint mostly uses red paint, so it is also called "picking red". Qi Diao is often made of wood ash and metal, which are piled with paint, ranging from 80 to 90 layers to 100 to 200 layers. This is a semi-dry painting and carving technique. Generally, brocade is used as the ground, and the pattern is hidden, which is beautiful and solemn.
Painting is a kind of lacquer decoration technique in the Jin and Southern and Northern Dynasties, which was used as automobile decoration in ancient times. This method is named after the use of more than two kinds of colored pigments, which are interlaced with each other and present various patterns, just like the markings on animals and plants. "Deputy History of the Meeting Record of Kun Ji": "Fine decoration". Yang Ming's Note: "All the ornaments listed are suitable for fine spots, including black, green, red, yellow, purple and brown, as well as the quality and color. They are six colors, two colors and three colors mixed, and the spots are the same color, which is divided into light color and dark color. " This seems to be similar to spot paint. In addition, monochrome paints are used to display different shades of marks, some of which are called spot paints.
"Eight Notes on Respect for Life": Xuande has lacquer-filled vessels, which are painted with colorful thick paint and polished, while Qi Diao flowers and birds are painted with thick paint and polished. This painting technique is called painting.
There is no other procedure for drawing things, it is called flat paint. This is the first way to draw things. It's simple, well-made and very cute. So this method is used more today.
The vessel is painted with pigment, carved with a needle when it is dry, and then sprinkled with gold chips to make it flat, which is called throwing gold. The person who scatters silver scraps is called a silver shovel. It is said that this is a way to decorate objects with gold, by creating ancient characters and eliminating sounds in popular reading. According to the Records of Dan and Lead, there are 14 kinds of gold in Six Codes of Tang Dynasty, and there is alchemy method. Wu You wrote "Cricket Song" and "Cricket Basin" by Emperor Xuanzong of the Tang Dynasty, which were very successful in making gold in the Ming Dynasty, hence the names of many utensils.
The surface of lacquerware is piled into various patterns and coated with cinnabar, which is called pile red. "Gegu Yaolun" said that fake red picking is made of gray balls and coated with cinnabar, which is called pile red, also called cover red.