China lacquer ware

Lacquerware is an important invention of chemical technology and arts and crafts in ancient China. Generally, it is painted black or painted black to form a beautiful color world with beautiful patterns on the surface of objects. Since the Neolithic Age, people in China have known the performance of lacquer and used it to make utensils. From the Shang and Zhou Dynasties to the Ming and Qing Dynasties, the lacquer craft in China has been developing continuously, reaching a fairly high level. China's gold-plated painted handicrafts have a far-reaching influence on Japanese and other places.

Daily utensils, handicrafts and artworks made by coating raw lacquer on the surfaces of various utensils are generally called "lacquerware". Raw lacquer is a natural juice cut from lacquer tree, which is mainly composed of urushiol, laccase, resin and water. It has special functions such as moisture-proof, high temperature resistance and corrosion resistance, and can also be used to prepare paints with different colors, which is radiant. Lacquerware is an important invention of chemical technology and arts and crafts in ancient China. It originated in the Neolithic Age, and after the Shang and Zhou Dynasties until the Ming and Qing Dynasties, its technology continued to develop and reached a fairly high level. Its gold-plated handicrafts have also had a far-reaching impact on Japan and other places.

Historical inheritance

Prehistoric history

About seven thousand years ago, our ancestors could make lacquerware. According to 1978, lacquered wooden bowls and lacquer tubes were found at Hemudu cultural site in Yuyao, Zhejiang. After chemical methods and spectral analysis, their coating is natural paint.

Pre-Qin era

After the Xia Dynasty, there were more and more varieties of lacquerware. During the Warring States period, the lacquer industry dominated, forming an unprecedented prosperity for five centuries. According to records, when Zhuangzi was young, he was a small official in charge of the lacquer industry. During the Warring States period, the production scale of lacquerware was already very large, which was listed as an important economic income by the state and managed by special personnel. Lacquer making process is complicated, labor-consuming and time-consuming, and there are many kinds of lacquerware, which are not only used to decorate furniture, utensils, stationery and works of art, but also used for musical instruments, funeral utensils, weapons and so on. Lacquerware was very expensive at this time, but the emerging princes were no longer keen on bronzes, but turned their interest to bright, clean, washable, lightweight, heat-insulating, corrosion-resistant lacquerware inlaid with colorful paintings. Therefore, lacquerware replaced bronze ware to some extent. Lacquerware in this period was generally painted black or black, forming a beautiful world of colors and exquisite patterns on the surface of objects. More than 220 pieces of lacquerware were unearthed from the tomb of Zeng Houyi in Hubei Province. These lacquerware are the earliest and most wonderful in Chu tombs, and they are of various types, huge volume and simple style. These exquisite lacquerware embodies the charm of Chu culture.

Han Dynasty

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 interweaving, it has formed a magnificent and colorful artistic style with a sense of music, showing a mythical world where man and god coexist, which is fascinating and magical.

the Tang Dynasty

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, and it is exquisitely carved and exquisite. Combined with the lacquer craft, it has become a handicraft representing the style of the prosperous Tang Dynasty, and red lacquerware also appeared in the 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 and Yuan Dynasties

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.

Ming and Qing dynasties

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. During 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.

Carving lacquer in Ming Dynasty takes Zhang Cheng and Yang Mao in Xitang, Jiaxing (now Jiaxing, Zhejiang) as examples.

Zhang Degang and Bao Liang, sons of Zhang Cheng, presided over the production of official lacquer 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 Times

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. [ 1]

Technical type

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 as "the 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 "snail filling" and "Luodian", it is a decorative technique that embeds 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.

Tang Gaoshi Feast Mother of Pearl

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 vessels come from Luling County, Ji 'an Prefecture, 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 the moment, but the ink is not thick and the painting 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: "Liu Bei has lacquer-filled vessels, piled with colorful thick paint and polished for painting" —— "A Brief Introduction to Neiting", filled with Qi Diao flowers and birds, filled with thick paint and polished for painting —— "This painting method is called" filling ".

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.

technical characteristics

abstract

Lacquerware generally refers to some wooden or ceramic or metal objects coated with transparent or opaque paint. The lacquer of ancient lacquerware in China is the natural juice cut from lacquer trees. Rhus verniciflua is produced in China, and its sap, raw lacquer, can be cut around 10. The manufacturing process of lacquerware is quite complicated, and the matrix must be prepared first. Tires are made of wood, occasionally made of ceramics, copper or other materials. It can also be carved directly with cured paint without tires. After the carcass is completed, lacquerware artists use various techniques to decorate the surface. The main feature of lacquerware is that it can be polished as well as porcelain. The paint layer is dried under wet conditions, and the surface after curing is very hard, which has the characteristics of acid resistance, alkali resistance and wear resistance. Like ceramics and silk, the exquisite lacquerware made by our ancestors is a treasure of national culture.

"rhinoceros skin"

"Rhino skin" is also written as "Xipi" or "Xipi". The so-called "rhinoceros skin" here is not rhinoceros skin, but a decorative process in the production of ancient lacquerware in China. First, paint with different colors is piled on uneven tires, and then the paint is dried and polished, thus producing bright, smooth, abnormal, natural and vivid artistic effects.

As for the time when the "rhinoceros skin" craft appeared, according to the records of rhinoceros skin lacquerware in the literature, it mostly appeared in the late Tang Dynasty (AD 6 18 ~ 907), so people think that this lacquerware craft will not appear before the Tang Dynasty. The discovery of this pair in the Three Kingdoms period (AD 220-280) in the picture advanced the appearance of rhinoceros lacquerware by nearly 600 years.

Rhino leather gold-plated copper buckle leather tire ear cup

This pair of gold-plated rhinoceros pippi buckle lacquer ear cups were unearthed in the tomb of the Three Kingdoms Period (Wu Zhuran's tomb) in Maanshan City, Anhui Province, east of China, and are now in the Anhui Provincial Institute of Cultural Relics and Archaeology. The cup is about 9.6 cm long, 5.6 cm wide and 2.4 cm high. Both pieces are made of leather, and the cups are oval and flat. The ears and mouth edges are inlaid with copper buttons and plated with gold. The rhinoceros skin paint pattern on the body is composed of black, red and yellow paint, which is elegant and exquisite. This is of great significance to the discovery of rhinoceros lacquerware and the research on the development history of lacquerware technology in China.

The lacquerware technology of "rhinoceros skin" developed greatly in the Song and Yuan Dynasties (10 ~14th century), and the production technology became more and more mature. During the Ming and Qing Dynasties (A.D.1368 ~1911), the development of "rhinoceros skin" technology reached a perfect level. In the Qing Dynasty (A.D.1644 ~1911), lacquerware made by this technology, ranging from boxes to furniture, was presented as a tribute to the palace.

lacquer painting

Lacquer painting is a painting with natural paint as the main material, and cashew nut paint and synthetic paint can also be used. Lacquer painting has existed since the Tang and Song Dynasties, and it is common to hook gold with black paint. In the late Ming Dynasty, "Ming lacquer" was used to stun gold and silver, which produced the effect of changing the depth and enriched lacquer painting. Lacquer painting is a combination of painting and technology. It is not only a work of art, but also a practical ornament closely related to people's lives. It often appears in the form of wall decorations, screens and murals. Its materials are varied and its techniques are colorful. Lacquer painting can be divided into different varieties according to different techniques, such as engraving, folding, carving, embedding, painting and grinding. Therefore, lacquer painting is a kind of painting with great capacity, rich expressive force and great artistic potential.

Lacquer painting has the characteristics of unique technology, exquisite materials and excellent production. The whole process is made by hand, which is very difficult and requires a lot of man-hours. Only the process has 1, plate making: 2, copying: 3, material inlay: 4, touch-up paint; 5, painting: 6, painting: 7, grinding: 8, polishing and other processes. The technical performance of the product has the characteristics of anti-corrosion, moisture-proof, no deformation, strong color stability and long storage time, and has strong collection value.

The beauty of lacquer painting lies in its unique materials and techniques. Paint scraping brush is a tool for painting, and paint solution is the toner of pigment, while special materials such as mother of pearl and eggshell constitute the special quality of paint painting effect by embedding, hanging, laying, covering and grinding. All kinds of simple, bright, shiny or matt materials are embedded with beautiful pictures that are at arm's length, like and dislike. If bread flour and color pigments are filled in the uneven and rank-less paint surface, a surprising image effect can be formed. The dilution and flow of paint solution, as well as the texture formed by the folds and undulations of paint film, are by no means interesting things. When the paint reaches a certain thickness, the three-dimensional effect of mountains, rivers, trees, stones and flowers and birds can be carved. If the metal foil powder is presented on the lacquer painting with different faces, not only can the magnificent effect be obtained, but also a soft and implicit charm can be formed. If metal foil powder is combined with paint, it can also achieve a strange effect of luster and brightness that is difficult for any pigment to achieve. Natural lacquer gives people a deep, restrained, profound and natural aesthetic feeling. With various mosaic materials, it can achieve artistic effects of deep or shallow, golden or Yin Hui, colorful or flashing. And transparent enameled gold, the pictures are layered and polished, just like a hidden moon mirror flower, giving people endless reverie. Deep and mysterious oriental style, rich and magical texture, confusing poetic mood, and harmonious overall decoration flavor.

lacquer painting

The exquisite treatment of details makes lacquer painting art have a strange effect that varies from time to time, which is intriguing and interesting.

The beauty of lacquer painting lies in its rich artistic expression and diversified techniques. The broad inclusiveness makes it infinitely beautiful: painting is as beautiful as meticulous painting, painting as beautiful as heavy color, carving as beautiful as printmaking, overlapping as beautiful as relief, scraping as beautiful as oil painting and splashing as beautiful as watercolor painting. It can be compressed into relief, or it can be decorated into mosaic in blocks, which can be thicker than oil painting or shorter than oil painting. It can dance vertically and horizontally, and the gold splashes like water. It can also be two-color, rich and gorgeous, and it can be lightly wiped, elegant and elegant. The screen appeared in the week 3000 years ago, which is a symbol of fame and power. After continuous evolution, screens have been used for wind protection, partition and concealment, and have the functions of decorating the environment and beautifying the space, so they have been circulated for a long time and derived various forms of expression. Nowadays, screens are mainly divided into various forms, such as enclosure screen, seat screen, hanging screen, desk screen, etc. Among them, large screen can show that noble momentum and is the first choice for living rooms, halls, conference rooms and offices. Combining practicality and appreciation, it not only has practical value, but also gives the picture new aesthetic connotation. It is definitely a handicraft with national traditional characteristics.

screen

Screens are mainly divided into two categories: seat screen and folding screen: seat screen is a screen with a base that cannot be folded. Some people call it site screen, others call it screen insertion. There are single fans, double fans and three fans. Among them, the smaller seat screen is placed in front of the bed and above the desk; Used for decoration; A folding screen is a folding screen, also called a screen enclosure, with six, eight or twelve screens. After continuous development and evolution, there are more and more types of screens, including floor screen, bed screen, comb screen, light screen and so on. And according to the texture, there are more, jade carving screen, carved screen, glass screen, mica screen, silk screen, painting screen and so on. Screens in Qing dynasty can be roughly divided into three types: throne screen, enclosure screen and inset screen.

In China, the performance of lacquer has been known since the Neolithic Age, and it is used to make utensils. From the Shang and Zhou Dynasties to the Ming and Qing Dynasties, the lacquer craft in China has been developing continuously, reaching a fairly high level. China's gold-plated painted handicrafts have a far-reaching influence on Japanese and other places. Lacquerware is an important invention of chemical technology and arts and crafts in ancient China. The raw material of lacquer ware is lacquer, which is made of a tree called lacquer tree. Only after the paint is processed into paint solution can paint creation be carried out. Lacquer painting is an artistic painting that mixes various pigments with lacquer, paints it on a lacquer board, and polishes it to make its color gradually layered and crystal clear. Because the lacquer board is made by sealing and polishing the wooden board with paint and tile ash, it can isolate acid, alkali, oxygen and moisture, and lacquer painting can generally maintain the bright color characteristics for thousands of years. Lacquer painting with lacquer as raw material has a strong sense of color and strong visual impact. Compared with oil painting, traditional Chinese painting, printmaking and gouache painting, lacquer painting is characterized by massiness, layering, crystal, color, material, easy care and long shelf life. Moreover, lacquer painting can achieve the effect of the above art forms very well, and can be made into lacquer paintings of Chinese painting, oil painting and other styles, with the characteristics and advantages of lacquer painting.

Lacquer painting expression form

Large-scale three-dimensional Tianchen lacquer painting is a high-grade and noble art painting that is most suitable for hotels, hotels, clubs, halls, offices and so on. According to the different placement positions, it can be made into wall-mounted lacquer painting, floor-standing screen, floor-standing screen and partition screen.

Four pieces of lacquerware

bodiless lacquerware

Fuzhou bodiless lacquerware is an artistic treasure with unique national style and strong local characteristics. Together with Beijing Cloisonne and Jiangxi Jingdezhen Porcelain, it is also known as the "Three Treasures" of China's traditional crafts and enjoys a good reputation at home and abroad. It has a history of more than 200 years. It has the advantages of strong and light texture, elegant and unique shape, magnificent and bright color, exquisite decoration, firmness and durability, and is not easy to break, not easy to break, resistant to paint and not fade.

Fuzhou lacquerware began in the Southern Song Dynasty. It is said that during the Qianlong period of the Qing Dynasty, the painter Shen Shaoan found in a temple that the plaque at the gate was rotten, but the bottom embryo of the lacquered gray summer cloth was intact. Careful Shen Shaoan got inspiration from it. After returning to China, he constantly pondered and experimented, inherited and carried forward the traditional lacquer art, and created the earliest bodiless lacquer ware. Therefore, Shen Shaoan became the originator of Fuzhou bodiless lacquerware.

There are two ways to make Fuzhou bodiless lacquerware: one is bodiless, that is, using clay, gypsum and so on. To mold the embryo, paint is used as adhesive, and then summer cloth (ramie cloth) or silk cloth is used to mount on the embryo layer by layer. After drying in the shade, the embryo is removed, leaving the embryonic form of lacquer cloth, and then painted with various decorative patterns. Second, tires made of wood tires and other materials are hard, directly painted, and are not born out, basically the same as born out.

A remarkable feature of Fuzhou bodiless lacquerware is "magnificent color and bright as a mirror", and people's love for it depends on the richness of decoration to some extent. Its traditional decoration techniques include black push light, color push light, thin paint, colored paint with light gold, brocade, vermicelli paint with gold, silver inlaid color, table flower, Luo shop and so on. After the founding of New China, the techniques of gem flashing, flower sinking, lacquer relief, Qi Diao, imitation of color kiln change, painting change and imitation of bronze were developed, and lacquer painting techniques were combined with jade carving, stone carving, tooth carving, wood carving and horn carving to make the surface decoration of lacquerware dazzling and more colorful.

yangzhou lacquer ware

Since 1950s, as many as10,000 pieces of lacquerware and its fragments have been unearthed in many Han tombs in the suburbs of Yangzhou. There are bowls, plates, pots, spoons, ear cups and other daily necessities, such as bowls, cases, boxes, pillows, rulers, combs, boxes, barnacles and other study, utensils and painted coffins. Its decorative techniques include painting, needle engraving, gilding, gold and silver inlaying, etc. Most of its fetal bones are made of wood, so some scholars call Yangzhou the birthplace of China wooden fetal lacquerware. There are also many dry paint clips, also known as bodiless paint, and a small number of bamboo tires, copper tires and leather tires.

According to books such as Miscellaneous Notes of Youyang and Biography of Yang Taizhen, Emperor Xuanzong of the Tang Dynasty and Yang Guifei presented precious lacquerware such as gold and silver to courtiers such as An Lushan. In Tang Xizong, Gao Pian was appointed as Yangzhou Salt and Iron History. In order to flatter the imperial court, he once sent more than 10,000 pieces of Yangzhou lacquerware to Chang 'an.

The Buddha statue of Pilushena, the Tathagata statue of pharmacist and the Bodhisattva statue of Guanyin with a thousand hands in Tangzhaoti Temple in Nara, Japan are all made by Jian Zhen's disciple and the Yijing monk in Yangzhou Xingyun Temple, and they are all national treasures of Japan. By the Yuan Dynasty, Yangzhou had become the national lacquerware production center. Qi Diao is particularly exquisite. At the end of Yuan Dynasty and the beginning of Ming Dynasty, the "point snail" technology appeared.

Ming and Qing Dynasties are the heyday of Yangzhou lacquerware history, with many famous artists and various products. At the end of Qing Dynasty, Yangzhou lacquerware was exported to Europe and America, with an annual sales volume of more than 20,000 pieces and an annual income of 32,000 pieces.

Paint pusher

According to historical records, Pingyao Tuiguang lacquerware began in the Kaiyuan period of the Tang Dynasty, with a history of 1200 years. 19 17, six painters, including Qiao and others from Pingyao City, jointly founded a "synthetic workshop" to produce lacquerware. The lacquerware produced has excellent texture and unique style, and most of the products are exported to Japan, France and other places. 1937, production stopped after Japan invaded China. After 1950s, Pingyao's push-light lacquerware entered its heyday.

Push-gloss paint comes from the plant lacquer tree and is called "old paint" and "big paint". The production of push-light lacquerware has a unique process. First, choose wood, make tires, sew and polish with pig blood and brick powder, then start painting with natural old paint, polish and redraw it many times, and finally dip the palm of your hand in sesame oil to promote the gloss of the paint. After several processes such as scrutiny, gold painting and painting, various designs such as landscape figures, birds and animals, pavilions, exotic flowers and exotic grasses are displayed respectively. Push-light lacquerware, the paint color is sparkling, and the reflection is like a mirror, also known as "golden lacquer furniture".

The surface is bright and clean, the painter is exquisite and delicate, the colors are clever and bright, the lines are both rigid and flexible, the brushwork is both rigid and flexible, the time is light and firm, it is resistant to damp and heat, and it has a unique national style and local color. It can not only be used as an ornamental display ornament, but also has practical value.

Chengdu lacquer ware

Chengdu lacquerware is also called halogen lacquer. On the world-famous lacquerware of the Han Dynasty unearthed in Mawangdui, Changsha, Hunan Province, the words "Shichengcao" and "Shichengman" are engraved. During the Warring States Period, it was exported to Pyongyang, Korea (Gulelang County), and now there are 7 Chengdu lacquerware crafts in the Treasures Museum of China Arts and Crafts Museum.

Chengdu lacquerware has exquisite craftsmanship and exquisite workmanship. Most of the processes are hand-made, and the bottom tires are made of finely dehydrated logs. Crafts include carving, embedding, filling, drawing, pushing, painting and pasting. The most distinctive features are fine painting, carving and filling (the painter is good at ghostwriting with a knife and applying the eighteen methods of drawing to the tip of the knife) and tin carving halo mercerization (a unique decoration method)