What are the important developments and creations of arts and crafts in Ming and Qing Dynasties? What is his artistic tendency?

Ming and Qing arts and crafts

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.

Ceramic technology The production of official and private kilns in Jingdezhen, Jiangxi Province has expanded rapidly, the output has soared, and there has been a major creation, which has almost monopolized the national urban porcelain consumption market. Most local kilns are in decline, and only the production of Jian kiln, Guang kiln and Yixing kiln has made slight progress. During the reign of Yongle and Xuande in the early Ming Dynasty, blue-and-white porcelain and glazed red porcelain reached their peak. Yongle ruby red, sweet white and Xuande sapphire blue are all symbols of the great progress of porcelain in Yong and Xuan dynasties. Chenghua official kiln porcelain is innovative and unique. Blue and white porcelain is fine and firm, with rich glaze and elegant color. The firing of Doucai indicates that Jingdezhen kiln colored porcelain has entered a new era of glaze color, but it is still inseparable from the cooperation of underglaze blue and white. Jiajing multicolored colors include red, yellow, green, purple and other glaze colors, but also have the meaning of multicolored. Wanli's colorful paintings are different. Hongzhi's yellow glazed porcelain, yellow-green glazed porcelain and Zheng De's peacock blue glazed porcelain are also emerging porcelain. Blue-and-white, bucket-colored, multicolored and monochromatic glazes in Qing Dynasty all have distinct brand of the times. Pastel and enamel, which are newly created, began in Kangxi, became in Yongzheng and flourished in Qianlong. Pastel is a mixture of glass white and colored materials, opaque, soft and bright, similar to the meticulous painting of the flower-and-bird painting school initiated by Yun, a flower-and-bird painter in Qing Dynasty. Enamel color is made by coating enamel materials on porcelain tires and baking them. Porcelain tires were fired in Jingdezhen kiln, then transported to Beijing and handed over to the manufacturing institute for enamel painting and firing. This is the royal enamel kiln, which is exclusive to the royal family and does not overflow. Monochrome glazed porcelain in Kangxi period is rich and exquisite, unprecedented, such as cowpea red, rouge water, coral red, bean green, emerald green, parrot green, crab shell green, tea powder and dozens of new glaze colors. It is also a successful attempt to dry porcelain, multicolor and turn bottles. At the same time, there is a dangerous tendency of shoddy construction. After Jiaqing, Jingdezhen kiln turned into a low tide and went from bad to worse. Although it is not beyond the eyes of the law, the porcelains of the three generations of Kang, Yong and Gan are as grand as the River of No Return. Jingdezhen folk kilns have also developed greatly under the influence of the official kilns, leaving behind countless quaint and lovely products. Fujian Dehua Kiln is also a famous local kiln in the Ming and Qing Dynasties, and the porcelain produced is dense. Among them, the white glaze is warm and moist, like a rhinoceros horn cup. He Chaozong is the most famous porcelain and plastic artist in Dehua Kiln, and the representative figure is the image of Damocles crossing the sea. Jiangsu Yixing Zisha teapot was first created by the monks of Jinshan Temple in the late Ming Dynasty and improved by Shi Dabin. There is a simple, elegant and simple aesthetic feeling. In addition, Yixing's Jun glazed porcelain imitation is also a successful move, while Guangdong Shiwan kiln's Jun porcelain imitation is rough and simple, with Lingnan's unique humor.

[Lotus Statue of Colored Heron in Qing Dynasty]

The weaving, dyeing and embroidering of silk, hemp, cotton and wool in the textile processing in Ming and Qing Dynasties were directly related to the costumes of the whole nation, so it had the widest mass base, and folk embroidery blossomed everywhere. Based on this solid foundation, weaving, dyeing, embroidery and other industries have strong vitality. Its production centers are Suzhou, Jiangning (now Nanjing) and Hangzhou. Suzhou and Jiangning mainly produce colorful jacquard silk fabrics, with heavy warp or heavy weft brocade. Suzhou brocade, with patterns mostly imitating the Song Dynasty, is beautiful and quaint, also known as Song Brocade. Jiangning brocade is thick in texture, edged with gold thread, rich in color and magnificent in momentum. It is like a gorgeous cloud, so it is known as a brocade by fading from shallow to deep. Brocades in the Qing Dynasty have more elaborate patterns, more elegant color combinations, endless changes, and more beautiful and harmonious. Zhejiang is famous for its plain weave, and Suzhou is famous for its makeup. The makeup system adopts the "flower digging" process, which can change color at any time, up to more than 20 kinds. The machine was changed to Lin Hong satin woven by Fujian loom workers in Hongzhi period of Ming Dynasty, which may be a double-layer hollow bag-like fabric woven by a four-layer satin loom. There were many silk reeling techniques in the Ming Dynasty, such as phoenix tail silk reeling. Suzhou silk reeling was the most famous in Qing Dynasty. Besides imitating the paintings and calligraphy of celebrities, it is also used as clothes, curtains, screens, cushions, buns and so on. Double-sided reeling is more difficult. In order to cut corners, it was actually used to outline details when it was dry, which backfired and ruined its artistic life. During the Ming and Qing Dynasties, the embroidery industry developed rapidly and formed different local characteristics, including Gu embroidery, Su embroidery, Xiang embroidery, Yue embroidery, Shu embroidery and Jing embroidery. Gu embroidery originated from a famous family in Gu Ming during Jiajing period of Ming Dynasty, hence its name. Gu embroidery is famous for its combination of embroidery and painting. The articles it weaved won the appreciation and admiration of many painters and calligraphers such as Dong Qichang, a famous scholar at that time, and became famous as the only literati embroidery school at that time, which influenced future generations. Suzhou embroidery is characterized by fine stitches and elegant colors. Its craft pays attention to smoothness, smoothness and fluency, and the patterns are mostly introduced by facets, which is rich in decoration. Xiang embroidery formed an independent system in the late Qing Dynasty with realistic style. The works with the theme of beasts are the most distinctive, and their needling methods are used more. At the same time, a series of stitches, such as double printing, four printing, neat and soft, are adopted to make the embroidery realistic. Guangdong embroidery takes birds and chickens as its theme, with complex patterns, rich colors and unique effects. Shu embroidery centered on Chengdu is deeply loved by people because of its neat and thick lines and bright colors. Beijing embroidery is centered on royal embroidery and serves the royal family. Embroidery is exquisite and rich. In addition, such as thread embroidery in Beijing and garment thread embroidery in Shandong and Hebei. It is also very local. At this time, printing and dyeing has spread all over the cities and towns in China, with developed technology and rich colors, mainly including dyed warp, valerian, batik, blue-and-white printed cloth, oil-colored printed cloth, roller printed cloth, water printed cloth and other varieties. Wool carpets are the most popular in Mongolian, Tibetan, Uygur and other ethnic minority areas, which are full of their own national characteristics. Suzhou is famous for imitating foreign carpets. Most of the textiles, printing and dyeing, embroidery and knitting of ethnic minorities are made by women, and most of them are for their own use, so they are arbitrary and eclectic. Zhuang brocade, Uighur brocade, Hotan silk, gold and silver thread carpet, Tibetan batik, Miao batik, Li embroidery and Kazak embroidery are all treasures in national handicrafts.

[Picture of the Paradise of Colorful Brocade in Qing Dynasty (partial)]

Jade crafts in the Ming Dynasty came from the tribute of the leaders of Huozhou, Turpan, Samarkand and Khotan in the Western Regions. But not many people can use it, so there are very few sheep fat white jade handed down in the Ming Dynasty, most of which are blue white jade. The centers of jade production in Ming Dynasty were Beijing and Suzhou, and the latter won by technology, and a number of famous jade workers such as Lu Zigang emerged. In addition to hairpin, bead, pendant, ring and other ornaments, there are various daily utensils such as cups, bowls, bottles, pots, basins, washing basins and flower arrangements. In the middle and early Ming dynasty, jade articles were naturally polished, but later they tended to be trivial and rough, and some thallium marks remained. Although jade articles in the Ming Dynasty have a wide range of uses and varieties, they are still nothing more than antique jade and seasonal jade. Antique jade is "carved into a pseudo-chaotic ancient system", and it was quite innovative to make jade at that time. Jade articles in the early Qing Dynasty were similar to those in the Ming Dynasty. In the middle and late Qianlong period, due to the annual tribute of more than 4,000 kilograms of high-quality jade articles in Xinjiang and the office of hall of mental cultivation, Su, Yang, Ning, Huai,, and so on were all ground jade articles by the court, so the jade articles in the Qianlong period were still white in color, polished carefully, with perfect technology, regular shape and dense patterns, and penetrated into every corner of court life. During the Qianlong period, grinding jade was particularly popular. The maximum workload is 8000 words in Manchu and 4000 words in Chinese. Yushan is a masterpiece of Qianlong jade, weighing 7 tons and taking 10 years. It uses a variety of techniques, such as intaglio engraving, positive engraving, hiding and highlighting in a device, and has rich forms and texts. In order to pursue the quaint charm of ancient jade in the pre-Qin, Qin and Han dynasties, the antique jade in the Qing court used high-quality jade materials, and the effect was quite good. Private factories pursue high value, and their ancient jade is genuine. In the late Qianlong period, Mughal jade entered the palace, and the emperor ordered the interior office to copy it, which influenced the jade articles in Shi Jing, Suzhou and Yangzhou. Suzhou jade is exquisitely made, while Yangzhou is good at making big jade.

[Jasper Antique in Qing Dynasty]

Lacquer Craft Lacquer Craft in Ming and Qing Dynasties 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 the famous worker Shen Zhaoan with the traditional clamping 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.

Metal Craft The characteristics of gold and silver crafts in Ming Dynasty are the combination with gem inlaying. The Forbidden City set up a silver bureau to build gold and silver vessels for the royal family. Its representatives include the golden crown unearthed from Dingling of Ming Tombs and various gold and silver objects unearthed from Yi Ming's tomb in Jiangxi. The gold and silver wares of the imperial palace in Qing Dynasty were made by Yangxintang. In the fifty-fourth year of Kangxi, a set of chimes weighing more than 460 kilograms 16 was made. During the Qianlong period, the largest golden pagoda was about 5.33 meters high, with gold1119. The existing golden pagoda of Empress Dowager Cixi, the mother of Emperor Li Hong, is 1.47 meters high and costs more than 3,000 yuan. As a substitute for gold, silverware is made into jewelry and utensils, which are very popular in urban and rural areas all over the country. The technology of copper casting has made special progress. The most famous is Zhong Yan, a diamond flower cast in Yongle period, which is now in Beijing Dazhong Temple. With a height of 6.94m, an outer diameter of 3.3m and a weight of about 46.5t, it is the largest existing bronze bell in China. Hua Yan Jing, Diamond Jing, Guang Jin Ming Jing were cast inside and outside the clock, and more than 227,000 pavilions were engraved. The font is elegant, rigorous, dignified and charming. Xuande Ding, also called Xuande Furnace, was produced in Xuande period, and has been copied in later generations. According to literature records, it is made of foreign raw materials such as copper, lead, tin, sand, purple, rouge stone and An Lan sand, which have been refined for as many as twelve times, and used as temple fair offerings or indoor desk furnishings. Because of its rarity, imperial courts and factories copied it one after another. Famous bronze casting artists, Zhang and Zhang, their products have been handed down from generation to generation. The bronze lions, stoves, pots, turtles and cranes in the Forbidden City are enough to represent the technical level of copper casting in Qianlong period.

Gold and silver crafts are iron decorations, which are particularly popular in ethnic minority areas. Multi-layer hollowed-out gold, silver and iron bowl covers are the essence of Tibetan iron and gold technology. In the early Qing Dynasty, Tang Peng, an iron worker in Wuhu, Anhui Province, created iron paintings, hammered iron blocks and made a variety of paintings and calligraphy works, which were unique. As a substitute for silverware, tinware became popular among people. At the end of Ming and the beginning of Qing Dynasty, he was good at making tin pots. Later, Zhu Jian, Chen Hongshou and others made tin pots, which were praised by scholars.

Glass Craft The center of glass production in Ming Dynasty is still Shen Yan Town, Yidu, Shandong Province (now Boshan District, Zibo City, Shandong Province). In the early years of Hongwu, the official governor set up a royal glass workshop here to make glass "green curtains" for the temple curtains. Shen Yan Zhenmin Kiln mainly produces hairpin beads. Glass in Qing Dynasty was produced in Shen Yan Town, Guangzhou, Suzhou and other places. In the 12th year of Yongzheng, Boshan County was established in Shen Yan Town. Since then, the glass produced has been called Boshan glazed glass, and the products have been sold all over the country. In the 30th year of Guangxu (1904), Governor Hu of Shandong Province founded a glass company in Liuxiang, Boshan, and hired Germans as technicians to teach European flat glass technology. Beijing Feeder Industry buys glass strips from Boshan, and fires various feeders such as animals and flowers with lamps. During the Kangxi period, a kind of "skidding" was created, that is, "getting something for nothing" or "collecting". In the late Qing dynasty, he also created internal painting pots, including famous artists Zhou Leyuan and Ye Zhongsan. Guangzhou is the main producing area of southern glass in Qing Dynasty, which is closely related to western glass. It calls itself "Guangzhou Casting", and also uses remelted glass made of European glass scraps, which is also called "earth glass" as opposed to imported glass. Suzhou glass is called "Su Zhu", which seems to be inferior to "Zhu Guang". On this basis, the Qing Palace established the Royal Glass Factory in the thirty-fifth year of Kangxi, and initially recruited glassmakers from Guangzhou to burn glassware in the palace. After Yongzheng, Boshan glassblowers replaced Guangzhou craftsmen. In the early years of Qianlong, two European missionaries, Wang Zhizhong and Moon Hee, entered the palace to burn glassware, and completed huge projects such as the chandelier in the West Building of Yuanmingyuan. Our existing glass products include furnaces, bottles, cans, pots, bowls, bowls, snuff bottles and Xiao Sheng. Colors are mud white, electric white, light yellow, brown, realgar, bright tea, bright tea yellow, moonlight, sapphire blue, sky blue, bright light blue, bright deep red, bright rose red, bright ruby red, coral red, cowpea purple, light purple and bright deep purple. In addition, there are multicolored glasses made of gold star materials, twisted wires, gold clips and color clips, and decorative techniques such as color tracing, gold tracing, clay gold, enamel color, nesting, hiding and intaglio carving are adopted. It is said that it is a kind of glassware that uses enamel to write Qianlong year numbers, poems, seals and painted patterns, but it has not been handed down so far. During the Daoguang period, the glass-making technology declined. From Xianfeng, the imperial court only made plain glassware, and it ended in 19 1 1 Qing dynasty.

Enamel technology cloisonne (cloisonne enamel) technology in Ming Dynasty developed rapidly on the basis of the big food kiln in Yuan Dynasty. Produced by the Imperial Palace Supervision Factory, for the exclusive use of the royal family. Take Yunlong Gai can, which was made in Xuande and supervised by the imperial court, as the representative. However, during the Jingtai period, the system of palace workshops could only maintain the level of the previous generation, with a slight change. Since then, almost all the products of past dynasties have been passed down from generation to generation. Wanli cloisonne enamel ware is characterized by short and unrestrained cloisonne and bright and warm glaze color. This is a great change in enamel. Folk cloisonne enamel products are produced in Beijing and Yunnan, and are specially used for women's boudoir, not for study. Cloisonne was very popular in Qing dynasty, court and folk, and its cloisonne and enamel materials were also different from those in Ming dynasty. The producing areas are Beijing, Yangzhou, Jiujiang and Guangzhou, with different styles and advantages. In the late Qing Dynasty, only private factories in Beijing maintained production. There are few remains of enamel color in Ming dynasty, but it is widely popular in Qing dynasty. This is related to the development of copper technology in Guangzhou. The enamel factory of the Forbidden City in Qing Dynasty also produced enamel, but the quantity was very small. The theory of enamel painting began in the Ming Dynasty, and the existing objects began in Kangxi of the Qing Dynasty. Kangxi painted enamel has two products: trial production and standardization. It is estimated that the earliest painted enamel in the Qing Dynasty may have been introduced to Guangzhou after the opening of the maritime ban, and was first trial-produced and fired by Guangzhou craftsmen. However, the Forbidden City Enamel Factory has also experienced the process of independent trial firing. Missionaries' enamelware entered the palace a few years later than Guangzhou, so they played a very small role in spreading the technology of firing enamelware. The largest producing area of painted enamel is Guangzhou, which not only has a large-scale painted enamel industry and workshops, but also sends painted enamel craftsmen to the palace, providing enamel materials produced or imported in Guangzhou and a large number of finished products. But there are differences in workmanship and style, including "palace made" and "foreign made", royal and local. Art is also interrelated and different, completely different. At the end of the Qing Dynasty, Guangzhou painting enamel disappeared, and only Beijing folk workshops were still producing it, but the quality was low, which was not what it used to be. Transparent enamel is almost only produced in Guangzhou, while blue burning can be done in jewelry buildings in cities and rural areas all over the country.

Wood and bamboo tooth carving technology is the general term for organic material carving. Besides bamboo, wood and teeth, it also includes materials such as nails, horns and bones. The carving of organic materials has a long history and superb skills. It was not until the Ming Dynasty that they were favored by literati and boarded the altar of craftsmanship that craftsmen were able to leave their names and works without being in obscurity. At the end of the Ming Dynasty, two schools of bamboo carving appeared, Jinling and Jiading. Pu Zhongqian, the founder of the former, is good at selecting intertwined bamboo roots and carving them a little, which is quite interesting. The latter was initiated by Zhu He, but different from the former, it created a deep and steep, concave and shallow, convex and concave hollow carving method, which can reach five or six floors. Zhu, the son of Zhu He, and Zhu, the son of Sun Zhu, can inherit his family's heritage. There were Wu Zhi, Feng Xijue and Feng Xilu in Qing Dynasty. They are all famous scholars of Jiading School. Feng Xilu and his nephew Feng Qi served in the imperial courts of Kangxi, Yongzheng and Qianlong dynasties. Bamboo yellow craft, carved by removing green, leaving yellow and flattening, prevailed in Jiangsu and Zhejiang provinces and flourished in Suzhou. Wood carving is divided into miscellaneous wood, hardwood and cork. Miscellaneous wood carvings are used in architecture and furniture decoration, and are most famous in Anhui, Jiangsu, Zhejiang, Fujian and Guangdong provinces. Woodcarving in Dongyang, Zhejiang, Chaozhou, Guangdong and Guangzhou is an important school. Because of the wide tide, it is often painted with gold lacquer, also known as gold lacquer wood carving. Guangzhou's hardwood carving ranks first in the country, while Suzhou strives for success with Excellence, but the supervision is far less than the former. Guangzhou's tooth carvings are deep and steep, and are colored with alizarin. Multi-layered carved hydrangeas, pavilions, dragons and phoenixes are all its masterpieces. Floss weaving is also one of the stunts in Guangzhou's dental carving industry, and ivory seats and floss fans can reflect its achievements. The Qing Palace Construction Department recruited famous workers from Suzhou and Guangzhou, such as Ye, Chen Zuzhang, Li, Xiao, Huang Zhenxiao, Yang Weizhan, Gu Pengnian and Chen Guanquan, to serve the royal family. The ivory carving "Full Moon and Quiet Book" is its representative. The carving of rhinoceros horn in Ming dynasty was simple and clumsy, and it was neat and meticulous in Qing dynasty, and it was dyed and waxed, but the rhinoceros horn cup in Neiting was not dyed and kept its original color. Famous rhinoceros horn sculptors include Bao Tiancheng, Pu Zhongqian, You Tong, You Kan and others. During the reign of Kangxi, Youtong was good at making rhinoceros horn cups, which were called "Youxi Cup".

[Huang Zhenxiao in Qing Dynasty: Ivory Carved "Fishing Music Map" Pen Container]

Mosaic technology uses gold, silver, jade, glass, enamel, bamboo, wood, teeth, bone and other materials to carve and inlay hardwood objects to enhance their decorative effect, which is the inevitable result of highly developed carving technology. Wooden tires are inlaid with gold and silver patterns, which were called Shang silks by the Qing court. They are mostly used for hardwood or pedestal, and are more popular in Suzhou and Beijing. A device carved and inlaid with a variety of precious materials presents a colorful mosaic, which is called treasure mosaic and is an outstanding representative of mosaic technology. Yangzhou Zhouyi was a master of treasure embedding in the late Ming Dynasty. He made good use of precious materials such as gold, silver, precious stones and agate, and inlaid and carved landscape figures, trees and stone platforms on hardwood and lacquerware, showing an indescribable artistic effect. In addition, Jiang in the late Ming Dynasty, Lu Yingzhi in the Qing Dynasty, and Lu Kuisheng in Jiaqing and Daoguang periods also made certain contributions to the development of treasure. Guangzhou has a well-developed mosaic technology with metal or ivory as the skeleton, while Suzhou is good at using rosewood, mahogany and wood as the ground, and inlaying various patterns and pictures with gold and silver thread or jade. In the Ming dynasty, the treasure inlay was simple and eye-catching, and in the Qing dynasty, it became more and more complicated. A variety of mosaic materials are used, the pattern composition is full, the image is vivid and the color is rich, which is conducive to the wonderful picture. The metal is inlaid with copper, gold, silver, iron, gold and so on. , distinctive features and unique charm.

Furniture technology Ming dynasty furniture basically follows the profit and loss of Song style furniture. Generally, people in urban and rural areas use miscellaneous wood furniture, while the rich use hardwood furniture such as rosewood, mahogany, rosewood and wood, nanmu furniture or painted furniture. From a small step to a large screen, its shape and style are based on the principle of convenience and beauty. The proportion balance is more scientific and reasonable, and the additional ornaments and carvings are relatively simple. Suzhou furniture, also known as Soviet-style furniture, is copied all over the country. Beijing furniture is also very famous, and its shape and style are close to that of Soviet furniture. Before Kangxi in the Qing Dynasty, Ming furniture was still used, mainly lacquerware or mother-of-pearl furniture. Qing dynasty furniture was formed in Qianlong period. At this time, many changes have taken place in hardwood furniture in Suzhou and Beijing. Furniture decoration in Suzhou is complex, hardwood furniture is mostly combined with lacquer and jade inlay, and furniture such as carved lacquer, carved filling, gold lacquer, colored lacquer, gold lacquer, simulation painting, asparagus, bamboo yellow and spotted bamboo is far from that in Ming Dynasty. Guangzhou furniture entered the palace, which broke the balance pattern of the original furniture and changed the situation that Soviet-style furniture was banned from entering the city, and gradually occupied an important position in the furnishings of the palace. Its shape, pattern, decoration, materials and other aspects have their own characteristics. Yangzhou furniture can't be ignored, its style is between the Soviet Union and Guangzhou, and it has a color of compromise. In particular, the furniture embedded in Zhouyi is the most precious, which is one of its characteristics. On the basis of Ming-style furniture, Beijing furniture has absorbed Soviet-style, Yang-style and Cantonese-style furniture, and has also undergone significant changes. Palace furniture, made of oilwood and hardwood, paid tribute to Jiangsu, Yangzhou, Guangzhou and Luchang, and became a collection of furniture in China. During the Qianlong period of Qing Dynasty, four styles of furniture, Beijing style, Soviet style, Yang style and Guang style, coexisted and influenced each other, and the isomorphism of * * * became the unique trend of elegance and luxury at this time. Although Soviet-style and Yang-style furniture recovered in the war in the late Qing Dynasty, they are still in decline. Beijing-style and Cantonese-style furniture have also lost the exquisite and prosperous atmosphere of the18th century. At this time, European and Japanese furniture has been imported from Shanghai, Tianjin and other ports, so "new" furniture that imitates foreign furniture or compromises between China and the West has emerged.

Four Treasures of the Study arts and crafts Four Treasures of the Study not only paid attention to its practical value, but also emphasized its aesthetic functions such as decoration, appreciation and display, and the level of arts and crafts reached a peak. Among them, the brush is the most famous one produced in Huzhou (now Huzhou City, Zhejiang Province). The imperial brush in the Forbidden City has the titles of Xuande, Jiajing and Wanli. Use sheep and wolves to make bamboo shoots, orchids or gourds. The shaft is decorated with black paint and painted with Un-yong Kim pattern, or with jade rod. In order to improve the decorative beauty of pens, jade, lacquerware, ivory, hardwood, asparagus, fragrant bamboo, tortoise shell, red mining and gold lacquer were mostly used in pens in Qing Dynasty. The decoration and appreciation of ink have also been greatly improved, and there are many famous ink makers. In the Ming Dynasty, Hefang was the representative, and Cheng's Mo Yuan and Fang's Mo Pu were handed down from generation to generation. After entering the Qing Dynasty, Cao Sugong became famous. After 13 generations, he moved to Shanghai to continue his business. The Qing Dynasty was the heyday of collecting ink. During the Kangxi period, the ink collections made by the famous artist Wu, after renovation, were exquisitely carved and beautifully decorated, and were mostly treasured by literati. Liu Yuan's national treasure ink, official tribute map, ploughing and weaving map and other inks are fine works produced by the courts of Kangxi, Yongzheng and Qianlong Dynasties. The greatest achievement of paper and silk in Ming and Qing dynasties was the improvement of Xuan paper and the secondary artistic processing of paper and silk. Decorating paper and silk with dyeing, powdering, waxing, sprinkling gold, tracing gold, pinching silk and printing watermark is a beautiful handicraft in itself. This inkstone still attaches great importance to these two inkstones. Suzhou Gu Erniang was a famous inkstone maker in Jiangnan during Kangxi period. The imperial court made an inkstone out of turquoise. There are other famous local inkstones, such as Suzhou Chengni inkstone, Shandong Jishi inkstone, Hongsi inkstone, Ningxia Helanshan inkstone, Gansu Taohe inkstone and Hunan Chrysanthemum inkstone, which have a certain reputation all over the country. In addition, there are dozens of supporting stationery, such as inkstone drops, brush mountains, ink beds, rulers, handrails, etc., with diverse materials and exquisite craftsmanship. They are exquisite in shape and decoration, and can be called craft treasures.

In addition, there are clothes and shoes, sedan chair saddles, weapons and equipment, bonsai, clocks and watches, jewelry, tortoise shell, bamboo, rattan, paper and other weaving, as well as handicrafts of local people and nationalities, which is a unique field and important specialty of arts and crafts in the Ming and Qing Dynasties.