A large bowl of rhinoceros picking in the Song Dynasty was analyzed in a comprehensive analysis of the lacquer quality and patterns. This bowl was in line with the Song Dynasty and was designated as the Song Dynasty.

There is also the Song Dynasty elliptical disc, with the center of the plate being decorated with large Ruyi cloud patterns, and the outer wall of the plate is decorated with half of the Ruyi clouds. The lacquer layer can be painted alternately, which is the characteristic of the Song Dynasty elliptical disc.

The same is true for the Song-Yuan rhinoceros disc, and the lacquer layer can be seen yellow and red alternately painted.

The appearance of yellow paint layers and the alternating combination of several color paints are all characteristics of the early era of rhinoceros removal.

By the Yuan and Ming dynasties, they were just red and black lines or black and red lines, and the lacquer layer only appeared as a decorative belt, not the protagonist of the lacquer.

In addition, the two methods of rhinoceros are used to make the base with thick lacquer ash, and then thinly painted red, yellow and other colors of paint alternately.

The side of the oblique knife is exposed to paint gray, and the far-sighted effect is like pile of paint (fake carved paint). If you look carefully, there are red and yellow paint layers near the plate on the edge of the oblique knife, and the spacing between them is basically the same.

This practice is the same as the Southern Song Dynasty ripped rhinoceros box found in Songyang Museum in Jiangsu and Zhejiang, and the octagonal ripped rhinoceros Ruyi cloud pattern unearthed from the Tea Garden Mountain in Tea Garden Village, Beijiao Tea Garden Village, Fushi Museum collected in the second year of Duanping, Southern Song Dynasty (1235).

Unfortunately, many traditional crafts have been lost in our country.

At this point, sometimes we have to admire the little days.

The gold and silver sausage added to the paint are metal.

Those are all wandering into neon lights, and from those ancient, incomplete and simple cultural relics, you can see the earliest appearance of lacquerware.

It’s not Tu Xi anymore, but the art of engraving patterns to remove lacquerware.

Those things are true and fake, and they have been exhibited together with some of your domestic cultural relics.

Raw lacquer is a natural juice harvested from under the sapphire tree. It is milky white and brown-red before air oxidation. It is slightly thicker and is almost white.

Apart from this, the one with the least technical content has not been given yet and has become mother-of-pearl.

From the post-history era to the present, red and white have always been the main colors of lacquerware, and that has nothing to do with the characteristics of lacquer.

Now Masae has become the pride of neon again.

During that period of history, he could definitely be shocked because the age spans thousands of years.

Lacquerware is an important symbol of neon traditional craftsmanship. The development of lacquerware craftsmanship and design has been from the Jomon era to the end of the Meiji era, and until now.

The wooden body of the wooden bowl is wood, and the base powder made of soil is fire and earth.

In history, it was once popular to add white, yellow or green pigments to paint, but in the end, those colors have not been preserved in the world of lacquerware.

The interpretation of the simple wooden bowl into the state of life may be just the understanding of most people.

All the works of Tu Xi from the Southern Song Dynasty to the Ming Dynasty in your country have pushed that kind of art to the lowest point.

All along, lacquerware wooden bowls have "white inside and red inside", and there are almost no wooden bowls made in reverse.

The technique used in "Shunhishan" is "Meat and Mai E".

Of course, Chen Wenzhe was interested in making fishing rods and also wanted to make fireworks.

For thousands of years, people have used paint to protect or decorate the utensils and furniture of daily life.

However, the carvings of the same depth are given to the same color.

Of course, that is domestic history, and the history of Neon is not a bit ridiculous.

Just talking about fireworks, people nowadays not only have no professionals to make them, no professionals to set off them, and even have no technical level assessments. Those are very conducive to inheriting traditional culture.

Even fishing rods made of bamboo poles are passed down by some so-called masters.

The history of lacquerware has a long and profound date back to the Stone Age.

It is not the mother-of-pearl craft in lacquerware. That technique originated from your country and was prevalent in neon lights.

The red lacquer wooden bowls and red lacquer tubes found in the Hemudu cultural site in Yuyao, your country is not a proof.

That kind of technology is actually not a design made of shell fragments.

That's because the inside of human beings is filled with life... The red wooden bowl cannot be understood as the universe, and it is also the way people live.

It must be a text introduction and the lacquerware surface has a varied luster. It is hard to imagine these characters depicting the characters, and the patterns of the flowers are ground and collage through shells.

Under the lid of the box, a stag sings in the autumn fields.

But I am really interested in lacquer sculptures.

That may be due to an insult to the material "paint" or to nature.

The craftsmanship of lacquerware has become more refined and less complex as time goes by.

Maihui is a technique of using lacquer to depict patterns and patterns on the surface of the lacquerware, and before it is dried, metal powder such as gold and silver are spread, and the viscosity of the lacquer is used to make it adhere to the surface of the lacquerware.

For example, the lacquered wooden cups from the Western Han Dynasty, the lacquered wooden box from the Pre-Han Dynasty, etc.

Paint sculpture is to apply several colors of paint layer by layer under the bottom table of ceramic, metal or wooden.

The early lacquerware of Neon Maki's era and the Maki's inkstone box without "Kurakayama" were born in the Muromachi period of Japan in the 17th century.

The development of the meat-coated Masae has been low, and there has not been any other place.

If there is water or not, the paint will be done.

"Dian" means inlaid and decorative. The craftsman needs to grind the snail shell and sea shells into thin slices, inlaid it on the surface of the utensil according to the needs of the picture, and then apply the paint on the surface and polish it back.

For example, our Jomon era painted pottery bowls, wooden combs, and pottery jars all show that our lacquerware history has not been less than ten thousand years.

According to your country's simple philosophy, the lacquered wooden bowl contains the seven elements of yin and yang.

It’s not about gold and cunqing, gold and Makie have nothing in common, they all use metal powder to express the pattern.

Previously, Neon's lacquerware craftsmanship had been developing in reference and innovation, while ancient lacquerware craftsmanship such as mother-of-pearl and gold have almost never been passed down in Neon.

Because of the simple techniques, in ancient times, neon was occasionally used in the furnishings of the palace nobles.

However, when standing on these ancient lacquerware surfaces thousands of years later, even if you have the method to identify or understand their functions and patterns, you can still feel a certain power that red and white are revealed.

In the fourth century, the gold-painting craft of your country was introduced to neon lights, and it took root in the local area and became the world-renowned painting craft that was recently famous.

It can make the raised paint surface form a sharp slope, making the picture more vivid and realistic.

Generally, neon lacquer sculptures are not referenced. Of course, there is only one part that cannot be referenced.

The colors of white and red represent yin and yang, and also symbolize death and life.

The surface of life is shrouded in death... and when humans open their mouths and stick their tongues, the interior is red.

Many craftsmen still have a good inheritance, such as the production of gold and silverware and lacquer sculptures.

Below the inkstone box, there is no painting technique used in the lacquerware.

The same is that gold is carved with a carving knife on the surface of the paint, and then the gold powder is buried in the drawn pattern or pattern.

Red is made of natural ore mercury sulfide and paint, and red and white have almost become the symbols of lacquerware.
Chapter completed!