What are the characteristics of Qing dynasty lacquerware?

The Qing dynasty in the Kang, Yong, Qian three dynasties of arts and crafts, such as glass, porcelain, enamel, gold and silver, jade, lacquer, etc., are beautifully produced, decorated, reflecting the Qing dynasty "Kang Qian Sheng Shih" of the spirit and characteristics of the period.

Only in terms of lacquer, in the Qing Dynasty Kang, Yong, Qian period into the golden age of lacquer development. The most representative of the qing dynasty lacquer production level is the qing official manufacturing office production of lacquer, which, qing dynasty production of a color lacquer, black lacquer and gold lacquer, etc..

Black lacquer and vermilion lacquer are the most commonly used decorative techniques in lacquer craft, and they are also the most produced and popular varieties of lacquer craft.

Black lacquer and vermilion lacquer came into being with the creation of lacquer craft, and the Qing Dynasty inherited this traditional craft with a history of thousands of years, producing many black lacquer and vermilion lacquer objects.

Black lacquer and vermilion lacquer ware made during the Qing Dynasty were mostly of practical value, including round-legged desk, table, dining table, incense table, inkstone box, box, brush tube, etc.; and vermilion lacquer desk, spittoon, incense box and box.

This kind of lacquer ware is without any decoration and pattern, but with its beautiful shape and pure lacquer color to win. Among them, the stripped vermilion lacquer plates, bowls and boxes made during the Qianlong period of the Qing Dynasty are the masterpieces of vermilion lacquer.

Gold lacquer is the practice of applying gold on the objects. There are methods of applying gold, on gold, and clay gold. The most famous lacquerware made of gold lacquer in the Qing Dynasty is the gold lacquer dragon throne, screen and other works displayed in the Hall of Supreme Harmony to symbolize the majesty and sanctity of imperial power. In the Qing Dynasty, more lacquerware was made of gold lacquer, and other decorative techniques, such as gold, silver, lacquer, etc. were added to it.

There are two kinds of gold lacquer: black lacquer and vermilion lacquer. There are fewer gold-drawn lacquer wares belonging to the early Qing Dynasty, and a large number of gold-drawn lacquer wares were produced during the Yongzheng and Qianlong periods.

The Qianlong period of gold lacquer ware is not only a large number, the shape of the object changes, and black lacquer gold, vermilion lacquer gold both, there are a few purple lacquer gold, gold lacquer and so on.

Shading gold lacquer should be called "shading gold lacquer", generally in the shading gold pattern and then cover a layer of transparent lacquer, you can still see the shading gold pattern. This technique in the late Ming dynasty lacquer ware has, to disk mostly.

The Qing Dynasty inherited this tradition of lacquer painting, the production of objects is still mainly disk, depicting landscapes, or flowers with poems. The gold lacquer not only protects the gold color of the objects from wear and tear, but also makes the pattern distinctive from the gold, distinctive.

For example, the Qianlong black lacquer and gilded open light Fang Sheng style box is 36.7 centimeters long, 19 centimeters wide, and 3.7 centimeters high, in the shape of a double-sided Sheng. The whole body black lacquer ground, apply color gold elephant tracing gold and sprinkle gold ground flower pattern. Double plate heart are with the shape of the open light, painted landscape figures, pavilions and salons scenery, plate side decorative floral brocade pattern.

The outside of the dish is painted with chrysanthemums, stone flowers, plum blossoms, peonies, orchids and other floral motifs. The bottom of the plate is lacquered with black lacquer, depicting gold flowers and red lacquer texture, with concise strokes and neat and beautiful patterns. In the center of the bottom of the plate is a double-line inscription in regular script, Qianlong nian zhi (Made during the Qianlong period).

In addition to the gold, there are lacquer and oil tracings in the lacquer tracings. Lacquer is the most commonly used lacquer craft in the early lacquerware, that is, the practice of painting patterns with various colors of lacquer on a plain lacquer ground, also known as "colored lacquer", "tracing colored lacquer".

The early Qing Dynasty lacquer ware with the early Qing Dynasty style of painted lacquer is peony pattern rectangular several. Qing Yongzheng period of painted lacquer works more. Qing Qianlong period of painted lacquer products are relatively less, with fewer works with the mark.

Lacquer painting is also a kind of lacquer, but the color is more simple and more realistic. It is to use a color lacquer to depict the pattern on the lacquer ground, and then use black lacquer, gold lacquer or other color lacquer to outline the texture.

Oil painting is the practice of using oil instead of lacquer to paint patterns on lacquer ware. The difference between oil painting and lacquer painting is that oil painting can be made in any color, with many color variations and colorful patterns.

Drawn gold lacquer is a collective name for the two lacquer crafts of drawn gold and painted lacquer. One of the characteristics of Qing Dynasty lacquerware is the comprehensive use of multiple lacquer techniques, i.e., the application of two or more lacquer techniques on a single object.

The number of gold lacquer works in the Qing Dynasty was relatively large, and the shapes were colorful, and there were two categories of objects and ornamental items. Generally to outline the outline and fine texture of the decorations in gold, lacquer decorative pattern, both brilliant and brilliant, and colorful and gorgeous. Lacquerware made of gold lacquer include plates, boxes, cups, bottles, brush holders, and several others. Among them, the plate has sunflower petal type, begonia type, diamond flower type, the box has the word box, the word box, the octagonal box, the gourd box, six-petal box, and so on.

Bumping gold lacquer is the process of "bumping gold" and "colored lacquer" applied to a vessel at the same time. There are two kinds of gold-impressed lacquer: one is "gold-impressed lacquer" and the other is "gold-impressed lacquer".

These two methods of lacquerware existed simultaneously in the Qing Dynasty, and both of them used "bumping gold" to outline the outlines of floral patterns and the fine textures of branches and leaves.

The earliest impregnated gold lacquer of the Qing Dynasty was that of the Kangxi period. Among them, there are a square table with an impregnated gold and dragon pattern, a kang table with an impregnated gold and dragon pattern, and a dish with an impregnated gold and dragon pattern. Some of the lacquer works of the Kangxi period were decorated with flowers directly on the lacquer ground, while others were made into lacquer-filled brocade ground, and then decorated with flowers on top of the brocade ground. They are in the production process, although there is a difference between simple and complex, but from the decorative effect of the object, when the latter is better, like "锦上添花".

Qing dynasty Qianlong period of bump gold lacquer objects rich in shape, decorative opulence, and in the bottom of the object based on the content of the decorative pattern for the name of the object. For example, double phoenix long box, auspicious round plate, eight immortals long box, crane and deer long box, Ruiqiu round box, Ruyi Palace box, double happiness square box, diamond phoenix box, begonias box, Wanfu phoenix plate and so on. As can be seen from the name of the objects they set, most of them are auspicious motifs related to longevity and blessings.

In addition, there are bump gold lacquer longevity spring plate, silver ingot box, fish box, peach box, Yunlong chrysanthemum petal box, six-petal plate, etc., with its peculiar shape and rich in changes in the pattern of the form and content of the unity of the coordination. This kind of crafts is the production of crafts after the Qing dynasty Qianlong lacquer craft can not reach.

The inlaid tin craft in the Qing Dynasty in the inheritance of the Ming Dynasty tradition on the basis of a significant development. The number of inlaid tin lacquerware increased, rich in shape. Both large pieces of furniture, but also small pieces of plates and bowls; both inlaid thick inlaid, but also inlaid thin inlaid, and the emergence of brightly colored lined inlaid.

The inlaid inlaid lacquer ware in the Qing Dynasty, pure inlaid inlaid, but also with other crafts such as gold, lacquer and other combinations.

such as the Kangxi black lacquer inlaid with colorful inlaid tin landscape flowers book frame, 223 cm high, 114 cm wide, 57 cm long. The book of a pair of grams, nanmu tire, square corner, 4 layers, each layer of the board with 3 under the belt support, the top layer of the top plate through the belt on the board. The bottom layer is supported by three bands under each layer, and the top band is placed on the board. The bottom layer is added with a tooth strip and a tooth head between the four feet. The perimeter of the book frame black lacquer, lacquer with colorful inlays and gold, silver sheet inlaid into 136 pieces of 66 different patterns, including 8 kinds of figures in landscape, 22 kinds of flowers, fruits, grasses and insects, 36 kinds of brocade pattern. It is the most decorative brocade pattern seen so far in the physical book frame, four legs chiseled copper gilded tube-shaped corner.

Below the second layer of the center band engraved with "the Qing dynasty Kangxi dec ugly year system" paragraph. Fine workmanship, rich patterns, colorful, especially the embedded inlays, gold and silver sheet is extremely thin. In a small area to make more than a dozen units of brocade pattern, showing a very high level of craftsmanship skills.

The Qing dynasty carved lacquer to the Qianlong period to produce the most, there are red, yellow, color, black, pick rhinoceros and other varieties, carved lacquer works in the scope of almost every aspect of life in the court. Among them, the ceremonial items have throne, screen, such as; furniture category has table, chair, embroidery pier, a few, etc.; furnishings with bottles, goblets, zun, screen, ball vase, stove vase box, etc.; stationery items have pen tube, complete set of stationery, pen tube, pen box, etc., and a large number of beautifully crafted curiosities.

such as the Qianlong red "Wash Tong Figure" box, 12 cm high, caliber 29.6 cm, box body painted lacquer, the cover with the shape of the light, the carving of the day, the ground, the water brocade pattern for the ground, on the pressure of the carving of the clouds, rocks, bamboo, curved bar, sycamore, an old man sitting in the courtyard, a child standing behind, and another three children are washing and rubbing the sycamore tree. The wall of the box has five openings, each carved with peonies, chrysanthemums, plum blossoms, lotus flowers, moonflowers and other floral motifs, and outside the openings are carved with miscellaneous jeweled motifs, and the mouth edge is carved with a back pattern.

The inside and the bottom of the box are painted in black lacquer; the lid is filled with the name of the box in gold, and the bottom is inscribed in regular script with "Made in the Qianlong period of the Qing dynasty".

Qing dynasty Qianlong years, yangxintian manufacturing office still has a "paint", responsible for the production of royal use of various lacquer supplies. Imperial lacquer is not made in the Office, but made in Suzhou. Qing official files have a clear record.

The Qing dynasty carved lacquer inherited the style of the Ming dynasty Jiajing and Wanli period, not good at hiding the blade, knife marks exposed, although there is grinding, but far less than the early Ming Dynasty that rounded and smooth. Nevertheless, the early Qing dynasty carved lacquer craft in the expression of the richness of the carving of the fine and so on still beyond the previous generation, to reach the peak of history.

such as the Hall of Supreme Harmony gold lacquer dragon pattern throne, that is, the emperor wore court dress sitting in the dragon chair, 172.5 cm high, 49 cm high seat, 158.5 cm wide. Seat in front of the footrest 30 centimeters high. Throne has a "circle chair" type back, made of gold nanmu, carved with vivid images of coiled dragon. Throne "chair" from the center to the sides gradually lower. The backrest back plate is carved flat Yangwen Yunlong.

The whole throne from top to bottom have the corresponding pattern pattern, **** there are 13 gold dragons coiled. The entire throne outside the gold lacquer, appearing golden, opulent, is the Forbidden City is also the country's largest, highest-grade ceremonial appliances.

Ching Jiaqing carving lacquer has a with the paragraph "Xizhi view of the geese" brush holder, its knife, pattern style are maintained with the characteristics of the Qing dynasty Qianlong period.

Guanyu brush holder height 14.8 cm, caliber 10.2 cm. The brush pot has a narrow folded edge mouth, flat bottom, and attached seat. The outer wall of the brushpot is embossed with landscapes, pavilions, figures and trees. In the picture, a pool of clear water, swimming geese, an old man sitting in the poolside pavilion to watch the water swimming geese, two people walking on a small bridge, followed by a child holding a piano in his arms, is to bring the piano to visit friends.

The scenery is many, but the level is clear, the mood is calm and far-reaching. There are several kinds of jindi engraved on the vessel to indicate different spaces. The bottom of the bottle is painted in black lacquer, and the center of the bottle is engraved in seal script, Jiaqing nian zhi (Made during the Jiaqing period).

This brush holder has a thick layer of lacquer, precise carving techniques, deep and strong lines, clear and eye-catching motifs, and brilliant colors. The style of the knife and the pattern maintain some of the characteristics of the Qianlong period lacquer carving.

This brushpot is the only known Jiaqing lacquer work, which is extremely valuable for the study of the development of lacquer craftsmanship after the Qianlong period and the stylistic characteristics of the Jiaqing lacquer carving.

After the Jiaqing period, the lacquer craftsmanship declined. Qing Guangxu technology lost, Cixi dowager sixty birthday of Suzhou catering lacquer ware, only carved lacquer a no one can make.

The development of lacquerware in the Qing Dynasty was respected by the emperor, so in the palace, lacquerware is very widely used, has penetrated into every area of court life, officials from all over the lacquerware as an important tribute to the court.

The Qing Dynasty manufacturing office concentrated on skilled craftsmen from all over the country, with a strong material base. Since no expense was spared, the lacquerware produced was gorgeous and exquisite, representing the highest level of lacquer art in the Qing Dynasty, and also reflecting the artistic style and aesthetic taste of the royal family.

such as the Qing dynasty black lacquer inlaid inlaid studs five children to win the box, height 6.8 cm, caliber 16.8 cm, round, flat top. Black lacquer inlaid with thin inlays between gold. Under the sycamore tree on the cover, a woman sits on a stone table and watches her five children play in front of the court. Inside the box, there is a white jade box with twelve phases of the zodiac and an album page entitled "Imperial Poem on Shoumin".

In addition to the Office, there are many other places in the country also made with strong local characteristics of lacquerware, such as Yangzhou inlaid lacquerware, Fujian, Fujian, Fujian, Shanxi, Shanxi color lacquerware, Guizhou, leather lacquerware, etc., as well as Suzhou, Hangzhou, Sichuan, Guangdong, Beijing and other places have produced a variety of unique lacquerware.

Historically, Yangzhou was an important place for making lacquer ware. By the Qing Dynasty, Yangzhou was a famous commercial city, and jade and lacquer ware were renowned throughout the country.

The crowning achievement of Yangzhou lacquerware is the craft of Baibao inlay. Lu Kaisheng was a famous lacquer painter in Yangzhou, specializing in the craft of Baibao inlay, and most of Lu's works were scholarly objects, such as lacquer inkstone boxes, lacquer pots, brush holders, fruit boxes, sets of boxes, arm rests, and pipas.

Fujian in the Qing Dynasty was famous for making lacquer and wood carving. Shen Shaoan, a famous lacquer painter in the middle of the Qing Dynasty, mastered the technique of lacquer painting and realized the method of Buddha statue and ramie in China, thus creating unique stripped lacquer ware.

Shen's lacquerware in the mixing of materials, in addition to the use of oil to dilute the original lacquer, mainly gold powder, silver powder as a mixing material, to solve the general lacquer color after drying into dark, difficult to reconcile with other bright colors and pigments, and mix a lot of unprecedented lacquer colors, such as coral red, yellow, orange, white, apple green, pine green and other vibrant colors.

Guizhou in the Qing Dynasty was famous for making leather lacquerware. It was presented to the court as a variety of local lacquerware. Leather lacquerware is lighter and tougher than wood.

The production method for the cowhide tire on the brush black lacquer or vermilion lacquer for the ground, and then in the lacquer on the ground with the gold depiction of patterns, and in some cases, then covered with a layer of shrouded lacquer. The gold lacquerware made in Guizhou is mostly used for daily necessities such as plates, bowls, pots and boxes, which are of high value.

Suzhou is the center of the Qing dynasty palace manufacturing office production of carved lacquer, its shape, pattern, paragraph directly by the palace manufacturing office command and control. In addition to the government-run workshops directly serving the court, the local lacquer workshops were also heavily influenced by the palace lacquer, and their carving styles were the same.

Every year, Cixi birthday, many ministers also buy Beijing carved lacquer as a valuable gift tribute to the Palace. Such as the Empress Dowager Cixi carved lacquer embedded jade screen, rumored to be the Governor of the two rivers Duanfang to congratulate the Empress Dowager Cixi 60 birthday tribute to the carved lacquer, for the Suzhou master craftsman Liang Fusheng production. The throne is 115 centimeters high and 127 centimeters wide. The screen is 271 centimeters high, with the seat 314 centimeters high.

Hangzhou was once one of the centers of lacquer making in the Southern Song Dynasty, with many one-family lacquer workshops. Hangzhou in the Qing Dynasty still retained the tradition of the past, where lacquerware was made in one-family units, mostly making overlay lacquer.

In the local tribute, Sichuan tribute lacquerware records are fewer, only the Qing dynasty Qianlong fifty-two years, Sichuan Buzhengzhu Wang station column tribute carved lacquer records. There is a square set of boxes, the bottom of the box has a book "Sichuan persuade the Bureau to make" paragraph. This box has a concise composition, sparse ornamentation, and smooth lines, and it uses two lacquer techniques, namely, painted lacquer and painted lacquer. Analyzing the mark of this box, it is clear that this lacquerware was made in the mid- to late-Qing period in a government-run workshop in Sichuan, and that it is relatively delicate and original in form.

Guangdong was an important foreign trade port during the Qing Dynasty, and also a famous place for making many kinds of crafts in the Qing Dynasty. Ivory, furniture, enamel, glass, tortoiseshell and snuff bottles made in Guangdong were renowned in the capital, and were also the main crafts that Guangdong officials paid tribute to Qing officials.

Beijing lacquerware is mainly carved lacquer. During the years of Guangxu and Xuantong, Beijing's De Cheng Bureau, Fu Run Zhai and other workshops had studied the Qianlong carved lacquer of the Qing Dynasty that had been strayed from the folklore. In addition, Jiguzhai three masters also make carved lacquer, but they make carved lacquer does not imitate ancient times, has its own unique approach.