Then there is the Pihong Mountain and Water Character Picture Box, which is also a fine product from the Qianlong period.

On the cover of this "Qianlong style picking red collection treasure box", one elegant man plays the piano under the pine tree, and two elegant man talks on the ground, reflecting the fun of ancient literati's collection.

There are many such boxes during the Qianlong period, such as the "Qianlong style picking red Yaji Treasure Box", which are extremely complicated in every detail.

For example, a Qianlong Treasure Box with 52 boys carved on both sides and 48 boys carved on the side walls.

It is combined into "hundred sons" as the representative of "auspicious meaning".

For example, it is a professional cultural relic with a larger size on site, among which the classic is the screen insert of the red Shoushan Fuhai chart.

The screen is painted with red lacquer throughout, and carved patterns on both sides.

One side of the sea is wide, with sails dotted, and a fairy mountain floats in the middle. There are mountains on the mountain, with palaces and pavilions lined up, and trees on the seaside are hidden, meaning "Shoushan and Fuhai".

On the other side, there are sixty pairs of red lacquer and blessing and longevity characters carved on the yellow lacquer ground.

The base is stacked with three layers, full of red lacquer patterns, complex and exquisite.

During the Qianlong period, screen inserts were mostly used for decoration and appreciation. They were often decorated with hundreds of sons, cranes, deer, dragons and phoenixes, and flowers, which meant auspiciousness.

As a representative of "decoration and enjoyment", a red-colored book-style box with red-colored ball pattern looks very special.

The box is divided into three layers, and is made of a one-book box and a three-scroll box, with a vivid shape.

A long strip of inscription is carved on the box, and ivory is embedded at both ends, symbolizing paper pages.

The whole body is made of green lacquer patterns as the ground and red lacquer balls as the pattern, which imitates the brocade effect. The ball flowers are divided into three categories: Chilong, four-petal flowers, and the character "Shou" characters, which are rows horizontally, interlaced vertically, unified in oblique directions, sparse and orderly, and have a strong literary atmosphere.

The base is painted with black lacquer and carved with brocade floors.

There are many types of book-style boxes passed down from the Qing Dynasty, with different shapes and sizes, and both practical and ornamental.

For example, the set of "Three Things to Cut Red - Kui Feng Pattern Furnace" in the Eighteen Arhat Pen Holder reflects the nature of "functional exclusive".

The so-called three things are placed on several tables and used for incense burning and purification, which are generally composed of three pieces: furnace, bottle and box.

The furnace is a burner, the box contains spices, and the bottle is placed in chopsticks and shovels.

When using it, use chopsticks to pick up the sandalwood in the box and burn it in the furnace. After burning it, use an incense shovel to remove the ashes.

The combination of the three events originated from the mid-Ming Dynasty and was manufactured in large quantities during the Qianlong period of the Qing Dynasty. It has a rich variety of craftsmanship and materials including jade, enamel, porcelain, glass, etc. It is relatively rare for such lacquerware.

This set of carved lacquer is equipped with one more piece, a total of four pieces.

The surface is painted with red lacquer, carved with Kuifeng, animal face, banana leaves, flowers, geometric figures and other patterns.

The top of the furnace cover is decorated with white jade cloud bat pattern buttons, which is very exquisite and reflects the elegance of the palace decorations.

The following Qianlong style colored "Dragon and Phoenix Collection Blessing" is a 8-inch sun-shaped plate with a ring foot following the shape.

The plate surface is painted with seven layers of color paint from bottom to top.

The heart of the pan is consecrated and carved with a pair of hooks and blessing characters, and the pen is filled with plum blossoms, bamboo branches, Ruyi, guqin, silver ingots, beads, corals and other treasures.

The consecration is arranged in three patterns: dragon, phoenix and crane.

The outer wall carved roses, gardenias, lotus, plum blossoms and other branches.

The outsole is engraved with a six-character three-line style "made in the Qianlong period of the Qing Dynasty" in the central part of the outsole, and the name of the "Dragon and Phoenix Collection of Fu Pan" is engraved horizontally on it.

The name of the instrument is generally four characters, and this is five characters, which is a special case.

This plate is imitated from works in the Jiajing Dynasty. It has bright colors, dense and diverse patterns, and neat and symmetrical layouts, which is still a recreation of art.

There were many fine lacquerware in the Qianlong Dynasty, such as the Qianlong style "Dragon and Phoenix Collection Blessings".

Of course, there were also such shapes in the Jiaqing period, such as a Jiajing style red Fu character square corner plate, square and corner plate.

The heart of the plate is consecrated according to the shape, and the square characters and brocade patterns are used as the ground. The character "Fu" is carved on it. The strokes are protruding in double lines at the edges, presenting a three-dimensional effect of heavy strokes.

The four-plate walls are consecrated and the sea water swimming dragon patterns are carved, and the corners are decorated with miscellaneous treasure patterns.

The outer wall is consecrated and the inner wall is carved with Ganoderma lucidum supporting the miscellaneous treasure patterns.

The base is painted with black lacquer, and there is a knife-carved and gold-filled regular script with six-character vertical style "made in the Jiajing period of the Ming Dynasty" in the middle.

The Jiajing style is a square corner plate with red Fu characters. The literature records that the carving and lacquer technology has been found in the Tang Dynasty and has developed and flourished during the Song, Yuan and Ming dynasties.

The Qing Dynasty palace used carved lacquer and was restored to production during the Qianlong period.

Generally, based on inheriting the lacquer carving process in the Ming Dynasty, it formed its own characteristics of the times and made a large number of products.

There are many types of utensils, and in terms of usage functions, everything from court rules to daily life utensils.

There are everything from large to screen thrones several meters wide to small to ink cartridges and cigarette bottles that are high.

All kinds of utensils are dignified in shape, bright in color, finely carved, deep sharp, rigorous in composition, and densely laid out.

The decoration content is rich, including common landscape characters, flowers, birds, fish and insects, dragons, phoenixes and auspicious beasts, literati allusions, etc.

The lacquer carving craftsmanship reached its peak in the Qianlong Dynasty, pushing the ancient lacquer carving craftsmanship to another peak.

In the history of the development of lacquerware, the Qianlong Dynasty was the golden age.

All the craftsmen compete for their skill. There are many types of lacquerware, and they never get tired of fine workmanship and fine materials.

That's because Emperor Qianlong was particularly concerned about his own lacquerware and personally gave guidance on the body, style, color, lacquer technology and other aspects of the lacquerware.

According to the "Summary of the Interior Affairs Office of the Qing Palace", Emperor Qianlong would describe lacquerware that he was not satisfied with was "stupid" and "rough".

These lacquerware will be asked to modify in the direction of "delicity", "subtle", and "detailed".

In addition, Emperor Qianlong was also a very creative emperor.

His lacquerware will imitate the shapes and patterns of other utensils, such as bronzes, jades, porcelains, ivory, lacquerware from previous dynasties, etc.

As long as it can be imitated, he will not let it go, so the lacquerware of the Qianlong Dynasty was subtle and detailed, rich and diverse.

The overall style of lacquerware in the Qianlong Dynasty was complex and gorgeous. It was made with no effort and kept striving for excellence, becoming a dazzling wave in the long history of lacquerware for seven thousand years.

It can be said that the Qianlong Dynasty played all kinds of crafts, especially some luxurious craftsmanship, which were the best.

The same is true for wood lacquerware.

For example, the colored Shouchun picture round box drawing decoration and gold paint, this process is rich, and other materials can be imitated and can be scattered in the paint process. Gold drawing, color drawing, oil drawing, etc. can be classified as technology techniques for drawing patterns.

The Yongzheng and Qianlong dynasties made a large number of gold-drawing lacquerware, which can be divided into traditional techniques and imitation foreign lacquer techniques.

Colored lacquer was popular in the Warring States Period and the Han Dynasty, with elegant patterns and prosperity.

Since the Tang and Song dynasties, the variety of colored lacquer has gradually declined. There are not many colored lacquerware made by the palaces of the Qing Dynasty, but they have a high level of craftsmanship.

The color displayed by the oil scribing makes up for the shortcomings of the inconspicuous color paint.

The oil-drawing works collected by the Palace Museum were all made in the Qing Dynasty. Although there were no inscriptions, they should be works of the Qianlong Dynasty from the perspective of their rich colors and exquisite workmanship.

Golden lacquerware was elegant and luxurious, and was produced in large quantities in the palaces of the Qing Dynasty.

(End of this chapter)
Chapter completed!