Muzhi: China's ancient glazed aesthetics and collection

Chinese ancient glazed aesthetics and collection

Pastoral

(Founder of China Liuli.com, researcher at ancient Chinese Liuli Collection, curator of Shanghai Glass Museum)

1. The collection trend of ancient Liuli

The ancient glazed collection circled in China was gradually valued, and a blurred glory was shocked. "I hope that when I come in the next life, I am like Liuli" is the mood of the Buddhist pursuit of simple tranquility and clearing the Quartet, and it also shows the unique charm of the material of Liuli.

The "glazed" in ancient times was the category of modern glass, but the formula was different. Glass was known as "时” "," Lu Li "," Liuli ", etc., which were one of the earliest artificial materials and one of the most expensive materials. Whether it is China or the West, glassware has always been a luxury in the upper society in ancient times. The light and transparent, crystal and moisturizing traits have made the ancients fascinated infinitely, and they were regarded as a priceless treasure or show off.

The manufacturing process of glass is relatively complicated, and it is a representative of the early human civilization of human beings. It has affected many subjects such as micro -technology and astronomical technology. It can be said that it has greatly promoted social development and changed our world. Nowadays, the application of glass is omnipresent in life. Because it is too common, we can easily ignore their value.

China has more than 3,000 years of glazed development history. Although it has not been developed by the jade, ceramics and other industries, it has not developed into mainstream, but its distinctive nationality and unique artistic style have attracted much attention in the history of world glass. Glass art has always been a mainstream collection project in the West, and the price is expensive. From the perspective of the ancient Chinese glazed data unearthed today, due to the small number, small instrumental shape, and poor display of exhibition and appreciation, it has not been valued by the collection community. After quietly considering, you will find that Chinese glass art has unique aesthetic and cultural space. In recent years, many domestic museums with glass -themeds have come out one after another, and it can also see a trend of glass collection.

While the establishment of China Liuli.com, Mu Zhizhi actively participated in the collection and research and exhibition of ancient Liuli. For more than ten years, he has personally contacted tens of thousands of ancient glazing from the Western Zhou Dynasty to the Republic of China. Here I will share some collection experience with you.

Second, the aesthetic evolution of ancient Liuli

Ancient art has its obvious characteristics, as well as ancient Liuli, so it is necessary to mention the aesthetic evolution of Liuli art. We know that the value of a glass art depends on the history, culture, creativity and artistry it carries. As a technology that expresses ideas, looking at the history of ancient Chinese glass, the glass from the Shang and Zhou dynasties, the glory of the war Han, the turbulence of the Wei and Jin dynasties, the evolution of the Tang and Song dynasties, the continuation of the Yuan and Ming dynasties, and the rejuvenation of the Qing Dynasty. It was not closely consistent with factors such as social power, science and technology, culture, and economic diplomacy at that time.

In summary, ancient China had an imitation jade tendency from the origin of glass, and it has been running through the history of development. Compared with Western art, in terms of external forms, the aesthetic taste of the East is more subtle. Most of the ancient Chinese glassware are elegant and restrained, focusing on the internal tension and meaning. Of course, the style of jade in different ages is different, and so is Liuli.

The Zhou Dynasty was a era of etiquette. At that time, there were six organs in sacrifices: walls, 琮, 珪, 璋, Hu, and 璜. Among them, Yu Huanzheng is often worn as Ruiyu. The Western Zhou-Spring and Autumn Period is the initial development period of China's glazed glazed. The glass formula is unstable. Therefore, the color is not pure enough, the bubbles are large, the utensils are mostly opaque, and the shape of the bead tube is extremely simple.

Western Zhou-Spring and Autumn Period Flynis glazed beads

Economic prosperity from the Spring and Autumn Period to the Warring States Period, a hundred schools of contention. The jade knife of this era is exquisite and smooth. The main patterns are dragons, phoenixes, valley patterns, and persimmon patterns. The semi -diarrhea -like leading glass material is warm and moist, and the glazed pupae are mostly valley patterns. The glazed swords are more commonly seen in persimmon patterns. Among them, the most unearthed glazed razi was unearthed in Chu State. The function of making these rituals or accessories with glass crafts during the Han Dynasty was consistent with jade. The simple ritual shape has been given the mysterious power by the ancients to this day. The peace buckle wearing modern people comes from the shape of ancient jade.

The Warring States Dragonfly Eye Glass Bead is the most classic type of ancient glassware, combined with the "core method" and "inlaid method". There are more blue, green, and white glass tires. The surface is embedded with yellow, white, and blue. Although this pearl is derived from Egypt, the creative Warring States craftsman has evolved the dragonfly eye crafts to the extreme, breeding a unique Chinese style. The color layout is regular, making it a symbol of identity and power at that time.

Warring States Tao Terrish Glaze Dragonfly Eye Ball

Warring States Blue Liuli Ear

The Qin Kingdom unified the world, making more than local industrial and commercial trade and cultural exchanges more developed. Zhang Jian in the Han Dynasty opened up the history of the "Silk Road" traffic arteries, which made Changan pass directly on Rome in Central Asia. Coupled with other roads such as the northern grassland channel, Southwest Buddhist passage, and southern sea channels, it has greatly promoted the exchange of cultural and commerce in the East and the West. The jade in the Han Dynasty was bold and universal. With the most popular technology of the Han Dynasty, the same process used the same process. The gradients of the Han Dynasty are more commonly seen, and the swords are more commonly seen, which is thicker and straightforward than the Warring States Period.

During the Wei and Jin Dynasties of the Han Dynasty, the Han tombs in various places had archeological Roman glassware, such as bowls, cups, dishes, bottles, etc. It shows that there is a lot of exchanges at that time, and it is also affected in terms of utensils. During this period, the types of glass utility are extremely rich. In addition to bead pipe accessories, there are also glass containers, concentoscope, flat glass windows and other utensils. The Han Dynasty Nirvana White Liuli

Han Dynasty blue -green glazed cicada and nasal congestion

Han Dynasty blue glazed ears

The Tang Dynasty was one of the most prosperous and most developed and open times in Chinese history. It expands Xinjiang and has a wide range of diplomacy. The characteristics of the Tang Dynasty jade are characterized by innovative spirit, and they are romantic and not bad. Affected by foreign cultures, especially Buddhist colors, such as paying attention to painting, gilt gold and other processes, soaring, Hu Ren and other shapes. The ceramic industry of the Tang Dynasty has been greatly developed, and the southern celadon and northern white porcelain have become the first choice for daily containers. The court mostly use gold and silver utensils, and most of the glassware is imported.

For example, Jingzhi Temple in Dingxian County, Hebei, and the royal Buddhist Buddha from the Gate of Fafeng Famen Temple in Shaanxi, are imported products. It can be seen from these situations that the development of domestic glassware at that time was very limited. Although the Tang Dynasty was unearthed from local glass beads, pendants, bands, and crickets, there were not many quantities from the data.

The five -color glazed bead skewers during the Jin and Tang dynasties

The eulsion of the Song and Yuan dynasties of the gold and the golden period, achieved the high unity of life and art. The jade articles are affected by realistic flower and bird painting. They are mostly the themes of autumn mountains and spring water and boy flowers. The gorgeous Zhucui decoration became fashion in the Song Dynasty, making the local glazed blowing and lighting technology popular in the folk. Except for glass containers such as bottles, pots, cups, etc., jewelry and other jewelry production of beads is extremely large. Many historical records have records of maternal women using glass crickets.

In addition, large -scale glass products appeared in the Song Dynasty, such as historical materials recorded "Five -color glazed Su Lantern lantern, three or four feet ..., Liuli Lantern Mountains, the five feet high", etc., indicating that the application of the glass industry was quite wide.

Song Dynasty Liuli Badmap and accessories

The glass of the Ming Dynasty was called "Yaoyu". Due to the lack of jade materials in the territory, jade carving was also known for its rough Ming. At that time, Bai Guan was served, and more than three grades could be applied to Zhenyu, and the medicine below the four grades. For example, Yangzhou Shi Kefa's Yaoyu belt in Yangzhou Shi Kefa, and the medicine jade group collected by Mr. Guan Shanming, Hong Kong.

So far, many handed down products in the north and south show that the glass industry in the Ming Dynasty was used as a community with bead decoration, earrings, and hair accessories. It can be seen that there are fewer thin tire blowing products, and it is estimated that it has not overcome the disadvantages of domestic glass crispy. From the excavated site of the Yuanming Glass Workshop of Boshan Boshan Boshan Boshan, and the records of "Yanshan Miscellaneous-Liuli" in the Ming Dynasty, it can be seen that at that time, glass products were mostly tribute to the court, some were exported to the border, and there were special export products. Essence

In the Ming Dynasty Nirvana white glazed belt board

Due to the attention of the royal family in the Qing Dynasty, it became the last peak of Chinese jade culture. Qianlong workers became synonymous with exquisite sword workers, as well as glassware. The Kangxi dynasty introduced the Western glass technology and talents, and set up royal glass factories in the creation office, which greatly improved the domestic glass manufacturing level, reaching another glory after the war of the war.

In the Qianlong dynasty, the glass process was a bit colorful, sprinkled, stirred, carved, grinding flowers, painting, drawing gold, 戗 [qiàng] gold, etc., while glass kits, Venus, and enamel technologies are even more unique.

The court glass art during this period can be called a model of Chinese and Western combination. The western technology is matched with traditional Chinese shapes and tones. It is gorgeous enough to be comparable to the glass art of the same period in Western countries.

Qing Dynasty Point Belly Liuli Bracelet

Qing Dynasty red glazed and flower basket pattern sterling silver earrings

By the end of the Qing Dynasty, the new glass products became indispensable daily necessities, and glass was imported from Europe. After entering the road of industrial production in China, it has been developing so far. However, ordinary flat glass and glass utensils cannot be included in the category of glass art. Large quantities are synonymous with low volume. Such industrial products do not have an inner spiritual performance.

Third, the artistic perception of ancient Liuli

Craft technology and materials are the tools for artists to express aesthetic concepts and life feelings. All works will be engraved with the brand culture. Western art uses the unique light transmittability of glass materials to show the colorful visual effects with the cooperation of light with the corresponding shape and production skills. East's glazed glazed has a strong auspicious cultural complex, which can perceive the traditional meaning of tolerance, implicit, humble, condensed, and the understanding and exploration of the world's religious culture.

Life is alive, when the inside and outside are clear and flawless. "Liuli" is not only a traditional handicraft, but also represents a kind of spirit and belief. You and I cherish together! (Finish)

This article has been authorized by the author.

This article was published in "Favorite Investment Guide" 2016 01 (total 126)

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