Ming with the shape of the root carving furnace (with the original wooden seat).
Chronology. Size 22cm (8 5/8 in.) wide 16.5cm. (6 1/2 in.) high
Take the natural wood root, slightly trim and make the furnace shape, the two ears and three legs are all according to the shape, no axe chisel, only the mouth is cut along the cross, there is no carving trace, from all angles, the weather is different. The lower inheritance is equipped with a conformal wooden seat, which is integrated with the furnace body. The body of the vessel is knotted, shrinking into the pattern of the landscape, which can be used as a dream of lying down. The gall wood is generated with the work of creation, and it is blessed with a variety of forms. The gall is tired, the texture is meandering, the pulp is moist, the ancient charm is clumsy, and it escapes on the surface of the vessel. In the Ming and Qing dynasties, utensils made of natural wood were favored by literati. The Palace Museum collection (Ming Zhengde) "Liuyun" chacha (257 cm wide) (Fig. 1), the shape is huge, originally the Ming Zhengde period of Yangzhou Kang to the mountain old things, and then in the early years of Qianlong was purchased by the daughter of Jiang Heting, in the 20th year of Daoguang (1840), by chance for Ruan Yuan to find the acquisition and repair, transferred to his friend Linqing, the governor of the river, Lin Qing, and then added with Nanmu moire wood seat, and included in the "Hongxue Marriage Diagram" compiled by Lin Qing himself. The history of a vessel shows the importance that the scribes attached to natural wood at that time. The roots of the tree in the Suzhou Museum (Ming) are washed with the shape (Fig. 2), and the bottom is engraved with the words "Hengxuan Guizhuang", which is an old object from the Ming Dynasty (1613-1673), which is also made of natural wood roots, hollowed out for pen washing, but the bottom circle is artificial, and the rest still retains the form of the roots, which also shows the aesthetic style of the literati of the Ming Dynasty. Natural wood furniture in the Qing Dynasty was more prevalent and was loved by the emperor. Judging from the similar utensils of the Qing Dynasty in many collections today, the texture of the materials is gradually becoming more complicated, the natural interest is slightly reduced, and the simple atmosphere of the Ming Dynasty is slightly inferior. This furnace is written by the Ming people, the attitude is vivid, quite interesting, placed in several cases, practical, observe and play also have a hole. See: "The Collection of Cultural Relics and Treasures in the Palace Museum: Ming and Qing Dynasty Furniture (I)" (edited by Zhu Jiaming, Shanghai Science and Technology Publishing House, Commercial Press, 2007) "Scholar's Elegant Play: Scholar's Utensils in the Collection of Suzhou Museum" (edited by Suzhou Museum, Cultural Relics Publishing House, 2011).
Ming imitation Song burnt spotted worm ear furnace.
Chronology. Size 105cm. (4 1/8 in.) calibe 5.6cm. (2 1/4 in.High weighs 1180 grams.
Paragraph: Yutang Qing Play Publishing: Xuande Furnace of the Ming and Qing Dynasties (edited by Zhang Ming and He Chaoyang, Forbidden City Publishing House, 2012) 163 pages The shape of the instrument is elegant, the ears are upward, the sense of power is rich, and the inner chamber is full of spiral marks, which is a typical Ming Dynasty style. The skin color of the furnace is relatively special, mottled and ancient, the surface is concave and convex, and if you look at it carefully, it is like an abstract painting, the color is rhythmic, and there is a sense of texture, which is different from the skin color treatment process of common copper furnaces, which should be the "imitation Song Dynasty burning spots" recorded in the "Imperial Scenery and Things" (Fig. 1). Compared with the common "Yutang Qingwan" furnace (taking Mr. Wang Shixiang's old collection of "Yutang Qingwan" ear furnace as an example) (Fig. 2), the word table of this furnace is flat, and the bottom of the furnace is on the same plane, and the traces of character and ground repair are obvious, which is a typical carving model and is more ancient. The obvious rotation marks in the chamber are also evidence of its age. This furnace was published in Xuande Furnace of the Ming and Qing Dynasties (Forbidden City Publishing House, 2012), which is quite unique and clear, and is particularly rare. "Imperial Scenery and Things" believes that "imitation of Song Dynasty burning" was the skin color that was admired in the early days of Xuande in the Ming Dynasty, and it was also popular before Jiajing and Longqing. However, the physical objects that are credible and accurate to the age have not been seen in private collections. This furnace is a typical style of the late Ming Dynasty, with the process of "imitation Song burning" to achieve the effect of ancient mottling, not only different from the common "Yutang Qing play" furnace, even in all kinds of surviving Ming and Qing Dynasty Xuan copper furnaces, it is also difficult to see. See: "The Scenery of the Imperial Palace" (written by Liu Tong and Yu Yizheng in the Ming Dynasty, engraved in Chongdetang, Jinling, Qianlong in the Qing Dynasty) "Self-Treasured Collection: Li Songju Changwuzhi" (edited by Wang Shixiang, Life, Reading, New Knowledge Sanlian Bookstore, 2003).
Qing Qianlong copper kui dragon pattern rectangular smoke.
Chronology: Qianlong of the Qing Dynasty.
Size 385cm. (15 1/8 in.) long 12cm. (4 3/4 in.) wide 16cm. (6 1/4 in.High weighs 6310 grams.
Paragraph: Qianlong year smoker shape narrow and long, the mouth along the Yin carved grass pattern for a week, the micro bundle under it, with the Ming style furniture of the "waist", rectangular belly, four sides to thunder pattern as the ground, carved two pairs of opposite Kui dragon pattern four groups, the front in a pair of Kui dragon pattern in the middle of the open box sign minus the Yang text "Qianlong year" four-character regular book. The design of the abdomen is derived from the "tooth" structure of Ming-style furniture, and the "tooth" is decorated with the common abduction pattern on the furniture, and the four-legged shape and ornamentation are combined into an abstract animal head, and its structure resembles a miniature version of the "three bent legs". It can be seen that the novelty of the design is deeply influenced by Ming-style furniture. The smoked cover is raised, the triangular hollow is densely spread on the cover surface, the spherical bead button is placed in the middle, the top is engraved with lotus petal pattern, the rest is decorated with entwined flowers, and the connection between the button and the furnace cover is the lotus petal pattern, the hook pattern, and the ruyi head pattern are each a circle. The overall style of copper smoke is similar to that of the Rosewood Copper Wire Kui Dragon Pattern Ding Strip Table (Fig. 1) in the collection of the Palace Museum (mid-Qing Dynasty). The former is a copper furnace design that borrows furniture elements, while the latter is the opposite, and the furniture imitates the design of bronze ware, which is full of fun. This is the aesthetic orientation of the design of utensils in the heyday of the dynasty, striving to break free from the shackles of tradition and self-expression. This kind of furnace type is an extremely rare style in the bronze ware made by Qianlong officials, and there should be no similar ware in the previous dynasty. Not only is the furnace style rare, there are few people of the same kind, and its signature method is also rare. Qianlong's official bronze ware is mostly in the six-character regular script of the "Qianlong Year of the Great Qing Dynasty" in Diyang inscription, and the four-character regular script of the "Qianlong Year" is engraved in YinThose who are signed on the body of the instrument are mostly horizontally arranged. The pattern of this furnace is consistent with the casting and engraving on the cloisonné enamel ware made by Qianlong officials in the old collection of the Palace Museum (Fig. 2). Ornamentation is also more common on Qianlong's official artifacts (Fig. 3). In addition, the furnace button is round, like the treasure roof of the Forbidden City Palace from a distance (Fig. 4), its material metal ratio is different from the furnace body and lid, the skin color is red, and the lids are riveted after being carefully carved and decorated separately, and the craftsmanship is very refined. With the courage of the instrument, it is undoubtedly the handiwork of the Qing Palace.
Early Qing Dynasty copper rectangular plain furnace (with old hardwood seat).
Early Qing Dynasty.
Size 277cm. (10 7/8 in.) long 16.7cm. (6 5/8 in.) wide 6.9cm. (2 3/4 in.High weighs 3412 grams.
Title: Wanglai's Collection Publishing: "Shuangqing Furnace" (written by Hong Sanxiong, published by Taipei Museum of History) 113 pages The furnace body is rectangular, oblique and straight, gradually closed from top to bottom, and four "L" shaped feet - in the copper furnace, the type of vessel is only seen so far. The copper furnace type of the Ming and Qing dynasties is mostly round, and the square is few. In the square furnace category, the size of this furnace is relatively large. From the picture book of the "Han Fang Cup" (Fig. 1) contained in the "Ancient Records of the Western Qing Dynasty", it can be seen that the shape of this furnace should inherit the design of the Han Dynasty copper square bowl. Its aesthetic taste is slightly closer to the stone basins used by the court and the aristocratic literati class in the Ming Dynasty and early Qing Dynasty to decorate the courtyard. Engraved during the Wanli period of the Ming Dynasty, the Illustrated Zongyi contains a flower pot of similar shape (Fig. 2), which is composed of pine and strange stones, which can be regarded as a portrayal of the life of the literati at that time. The Ming painting "Shangyuan Lantern Color" depicts the street market scene during the Lantern Festival in Nanjing in the middle and late Ming Dynasty, and is believed to be a market activity that depicts the combination of the lantern market and antiques**. The wealth and comfort of Jinling in the middle of the Ming Dynasty can be glimpsed from this picture scroll. There are several rectangular flower pots in the picture (Fig. 3), which are also the same as the rectangular plain stove type of this piece. Ding Wen's book "The Elegance of the Stone Basin" (Cultural Relics Publishing House) contains a rectangular basin with the inscription of Baishi Lishu in the Ming Dynasty (Fig. 4), which is similar in shape to the furnace, but in contrast, the furnace has more refined and perfect lines, and its most prominent features are simplicity and minimalism. In addition, there are stone basins of similar shape in the Imperial Garden of the Palace Museum (Fig. 5). At the bottom of the furnace, the frame is opened to reduce the Diyang text seal book "Wanglai's Collection" five-character single-line horizontal arrangement, the seal style is regular and accurate, the word is flat, and there are slight traces of repair. The style recognition process has the characteristics of the early Qing Dynasty, and it is extremely outstanding in the style of private copper furnaces in the same period. "Wanglai's" failed the exam. About the word "Wanglai": Zhejiang Yueqing ancient "Wanglai Bridge", "Daoguang Yueqing County Chronicles" has the first year of Yuan Taiding "Wanglai Bridge bad" record, "Zhejiang Tongzhi" and "Qing Dynasty Unification Chronicles" all record its name, a said that the ancients had seen Penglai Wonderland here, hence the name. The whole Song Ci includes Li Zengbo's "He Bridegroom (Ji Chou is the birthday of the court)" has the sentence "Wanglaiting, Banyi Greeting", where "Wanglaiting" is to congratulate Gaotang on his birthday by the Chu hermit Lao Laizi opera Caiyu pro-allusion in the Spring and Autumn Period. It can be seen that the word "Wanglai" either expresses the yearning for Penglai Wonderland (the fairy mountain in the myths and legends of the pre-Qin Dynasty), or flaunts the meaning of respecting filial piety. In addition, this furnace was included in the "Shuangqing Collection Furnace" (Taipei Museum of History, 2000), which was handed over to Hong Sanxiong, the owner of the Shuangqing Museum in Taiwan. The shape is rare, the style is rare, and the old hardwood seat is attached.
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