The cover of this animal face lifting beam is decorated with animal face patterns, and the animal faces are decorated with opposite bird patterns.

A protruding animal head is decorated with the front and back of the neck, and its sides are decorated with Kuilong patterns.

The dragon's head faces the animal's head, with string patterns on the upper and lower sides, animal's face patterns on the belly, and bird's pattern bands on the ring feet.

The inscription between the cover and the instrument: the three words "Make Baoyi".

This cube shape and pattern are the same as the veins unearthed from Liuli River.

Its animal face pattern is unique and is the most valuable information for studying bronze ware in the Yan Kingdom.

Yan State was a vassal state that was enfeoffed in the early Western Zhou Dynasty. Its political center was in the capital area. The capital of Fangshan Liuli River has the ancient city site and ancient tombs.

Qianlong's classical sentiment inherited the traditional thought of literati who loved ancient times since the Song and Ming dynasties.

The so-called: the virtues of the ancient kings lies in rituals and music; the spirit of the scholars is in calligraphy and ink; playing with rituals and music can improve virtue, and playing with the old carvings of ink can make them exquisite. In today's world, you can meet the ancients.

This concept of fond of ancient times has led to the trend of imitating antique artifacts.

The antique artifacts in the Qing Palace have always been known as the Zhong Shenxiu of Creation, and are basically made by the palace building office.

Represented by the Qianlong Dynasty, it can be roughly divided into three categories.

First, imitate antique Yi ware in terms of shape, that is, imitate antiques based on the bronze ware in "Xuanhe Bo Ancient Picture", "Xiqing Ancient Music", "Ningshoujian Ancient" and "Archaeological Picture", which accounts for most of the antiques;

The second is to make new jade based on the ancient jade of the previous generation, imitate and innovate in shape and patterns;

Third, it imitates the style and meaning of the antique. Although the shape and pattern of the instrument are often added and damaged, it focuses on imitating its charm.

Among the imperial works of Qianlong's past, there are a large number of palace crafts works that copy antique ware-shaped textures and styles.

Among them, the jade artifacts are the best in the world. There is no such group of works with such quantity, material grade and craftsmanship quality in all dynasties. It is said that it is unprecedented and no one has come after it.

Or is the Huangyu Guibi just now, which is a model of antique instruments in the palace during the Qianlong period.

It uses luxurious materials, simple shape, and has the ancient and elegant, simple and beautiful and mysterious tools, and it also combines the rich and graceful and grand manner of making tools in prosperous times.

Such a Qing Dynasty palace had two main uses for auspicious jade and ritual vessels.

First, it is used according to tradition in specific occasions.

The second is to study and collect it as an integral part of traditional culture.

Volume 82 auspicious notes on "Qing Manuscripts": sacrifices,... jade, silk, prison, jade sixth grade, God's blue bi, the emperor's yellow cong, the big sorrow yellow gui, the big sorrow green gui, the day of red gui, the day of white gui, the old altar of the country, the spring and autumn of worship are often used, but if you pray for worship, it will not be possible.

This shows that the Qing Dynasty palace used ritual vessels such as Gui, Bi, Cong in the auspicious rituals.

This gui wall is full of beauty, with fine workmanship, complex craftsmanship and ingenious craftsmanship.

It is neat and refreshing in the big, and the small is exquisite and vivid. It is learned from the ancients without sticking to the ancients. It is ancient and has a profound and innovative style.

It can be said that it perfectly combines the ancient and distant elegant charm with the complex and majestic artistic style of the Qing Dynasty.

These heavy tools have changed and sought innovation in inheritance, showing the style of the palace jade made in Qianlong's dynasty.

If this gui wall is a complex and powerful thing, then a small thing pressed under this gui wall is unique.

There are many jade artifacts crafted by Qianlong here, but when it comes to small and exquisite, there is really one that is unique.

This is a jade badger with a size of 5.5cm, with white jade carvings.

This piece of white jade withered, and the carved one was a badger lying on the ground.

It bent its neck and looked back, kissed it for a short time, and rounded its eyes!

There are grooves in the ears, a fat body, beautiful lines and full of muscles.

The limbs are retracted and contracted under the abdomen, the claws are clenched in the shape of fists, the long tail is curled and clasped on the side of the body, and the bottom abdomen is also plump, round and convex, exquisite craftsmanship and vivid image.

A little badger climbed beside him, lively and cute, and cute.

This work is ingeniously conceived, withering the red and gold part of the jade material into the head of the badger, and taking good luck and good luck;

Take the black part of the jade material and wither it round and withered into a magpies flying over its back, with round eyes and sharp beaks, looking at the badger, and singing in harmony.

The neck is decorated with a circle of short and thin yin lines, and the wing feathers are closed to rest. The feathers are neat and fine, with clear roots.

Badger is homophonic with joy, meaning joy;

The magpies symbolize good news, and they are combined to bring joy and joy.

Only by using such a small thing to be able to wither to such a level, such means, craftsmanship, and this idea can you do it.

Therefore, jade production reached its peak during the Qianlong period of the Qing Dynasty.

This mainly uses ingenious shapes, gorgeous patterns, fine workmanship, and auspicious themes as styles.

At that time, it was said to be "same as the same as the times" and was widely loved.

The beauty of this ornament lies in its cleverness. It cannot be done without fantasy ideas. The knife is delicate and smooth, and it integrates ingenious thoughts into fine work. It is vivid and lifelike.

And it is auspicious and auspicious person, which makes people love it.

This is a handheld piece, which is small and suitable for playing with it in your hands.

Of course, besides this kind of toy, Chen Wenzhe valued the most practical tools.

He had bought a jade cup carved with agate at the street stall of Chenghuang Temple in Dahai City.

Now he has no shortage of jade cups, so this time he focused on not a jade cup, but a jade-holding pot.

Chen Wenzhe has made a lot of purple clay pots and porcelain pots, but he has never thought about carving a jade pot.

The main reason is that there is too much jade material required, too much waste of jade material and effort. Chen Wenzhe feels that it is a bit unworthy of the loss.

However, if he could get a piece of jade pot for nothing, his heart would be quite beautiful.

The piece in front of me is not a jade artifact from the Qing Dynasty, but a top jade colored Chilong holding pot from the Ming Dynasty.

Another jade artifact with the Chilong pattern, and another topaz work. I don’t know if it was a coincidence or a foreigner from the Ming and Qing dynasties really liked topaz and Chilong pattern.

No matter what, these things are likely to come from the royal family, and I don’t know how foreign merchants got them back then.

Anyway, he is cheap now, but he doesn't have time to follow the past now, because there are so many things that require him to study the origin here.

This Ming Dynasty topaz colored chilong kettle is really big, with a height of 17.4cm.

The shape of a pot is rectangular, with a straight edge of the mouth, slightly converging neck, rich bends, rectangular abdomen, tied tibia, and a high foot underneath.

The whole utensil is made of topaz, which is shiny and shiny. The oil-lifting technique forms several tan blocks to effectively retain the meaning of being charming;

Short flow is full, small mouth is slightly stroked;

A dragon floats high on the wall of the pot, withering a dragon with its eyes wide and its mouth wide, and its horns are closed behind it.

Chilong has agile limbs and a strong back.

It has a strong body, sharp fingers and claws, and climbs on the side wall, as if it wants to pounce on it, and is portrayed vividly;

The hand is made by floating high, withering, and carving various techniques.

The variant dragon shape is a pot-shaped keel, with the dragon head held at the edge of the mouth and the dragon's eyes wide open.
Chapter completed!