Monochrome lacquerware is also called "plain lacquer" because it has no decoration or pattern. Monochrome lacquerware in Song Dynasty was mainly black, including red, brown, ochre and yellow. The shapes of Song Yicai's lacquers are plates, bowls, dishes, boxes, bowls, cans, spoons, pots, slag barrels and so on. Combs, pen containers, paperweights in tableware, saucers, powder boxes and toiletries, painting axes in stationery, and a few in furniture, as well as bottles and cans, sticks and swords. Petal-shaped bowls, plates and boxes of various shapes were popular in this period. Bowls and plates are the same as porcelain of the same period in Otawa.
The most distinctive feature of lacquerware craft in Song Dynasty is that fetal bones are made of overlapping tires. Overlapping tires are made by cutting thin wood into strips, slender and regular, softening with hot water, and overlapping one by one from small to large. After bonding and drying, the corners of the trapezoid are trimmed into various shapes.
This technology was developed on the basis of Toona sinensis tires which appeared in the Warring States Period. It combines the technology of wood tire and sandwich tire. It is a kind of tire-making method that wooden tires are mounted with linen and then painted with pigment, and its performance is superior.
The lamination of several thin wood chips is beneficial to overcome the anisotropy of wood and shape various types of devices, while the lining effect of flax and paint ash makes the carcass lighter and more durable.
The tire ring lacquerware unearthed from Tang Tomb in Jianli, Hubei Province is the earliest tire ring lacquerware found in China. This new tire making method has been widely used in many lacquerware unearthed from Song Tombs all over the country.
There were also some representative lacquerware in Song Dynasty, such as tracing gold, piling lacquer, mother-of-pearl, covering gold and carving lacquer. Mother-of-pearl inlay is an important variety of lacquerware in Song Dynasty. The mother-of-pearl in the Song Dynasty was thinner and finer than the previous generation, and exquisite patterns were carved on the mother-of-pearl.
Xu Jing, who visited Korea in Xuanhe, recorded the Korean mother-of-pearl influenced by China at that time in the Korean Picture Scroll, and spoke highly of it.
13, 14 century The mother-of-pearl boxes and round boxes with Tang grass patterns made in Korea are inlaid with copper wires, which are similar to those in the early Ming Dynasty. The article "Mother-of-pearl" says that "everything in the inner government of the Song Dynasty and the old dynasty was hard painted, or everything with copper wire was very good". The use of copper wire is enough to show that the mother-of-pearl technique in Song Dynasty spread to North Korea.
In the Southern Song Dynasty, mother-of-pearl was more popular in Lin 'an. The Old Man in the West Lake talks about mother-of-pearl as a top chair, mother-of-pearl drum, mother-of-pearl drum stand and mother-of-pearl plaything, which shows that mother-of-pearl has been used to make various utensils in the Southern Song Dynasty.
The gold paintings and lacquer paintings in the Song Dynasty were inherited from the Tang Dynasty. Among them, the Sanjing found in Huiguang Tower in Rui 'an not only adopted a simple gold paint process, but also adopted a paint pile process on the surrounding walls and corners. In addition, the practice of painting has also been applied to the residents of the stupa relic building in Ruiguang Temple.
The so-called gold decoration is to carve a fine pattern on the floor of vermilion or black paint with a needle tip or blade, fill the pattern with pigment, then paste gold foil or silver foil on it, and then polish it to form a gold or silver pattern.
The discovery of Song Daijin lacquer in Wujin, Jiangsu Province provides a reliable basis for people to understand Song Daijin lacquer. The exquisite craftsmanship and meticulous description of Mrs. Jin's Picture, the Rectangular Box of Travel Picture and the Rectangular Box of Liutang Picture have all reached the level of perfection, which is the masterpiece of gold-plated lacquerware in the Song Dynasty and also represents the highest level of lacquerware production in the Song Dynasty.
In particular, these three works have inscriptions, indicating the time, place and craftsman's name, which also proves that the main producing area of gold-plated lacquerware in Song Dynasty is Wenzhou, Zhejiang.
Song Daijin lacquer formed its own style in three aspects. First, the picture composition is dense, highlighting the theme to be expressed. Secondly, in the bronzing process, fine hook and fine fiber technology are used to brush off the fine structures of objects and images one by one, and the outlines of objects and images are expressed with thicker lines.
Using thin lines and points to express the details and levels of objects has a realistic style; Third, in terms of artistic effect, figures and flowers have been expressed, reaching the effect of painters.
The rise of carved lacquer is an outstanding achievement in the development of lacquerware in Song Dynasty. Qi Diao paints the wooden tire layer by layer, and then engraves it according to the required pattern after reaching a certain thickness, which has a relief effect with distinct layers and prominent themes.
Due to the different colors of carved lacquer, carved lacquer is divided into red, yellow, color, green, black and rhinoceros. Although the appearance of carved lacquer was relatively late, it came from behind and became the main variety of lacquerware.
There are three kinds of carved lacquer in Song Dynasty: black, red and rhinoceros. Select and carve. Removing black is carving black paint. Several pieces of lacquerware handed down from the Song Dynasty were discovered in Japan, typical of which are the precious black baby-removing opera disc in the Song Dynasty and the black-removing disc of Zuiwengting Zhu Jindi. The two boards have the same knife method, but the pattern is not high, which is different from Qi Diao with thick paint layer in Yuan Dynasty, and both are Qi Diao in Southern Song Dynasty.
The black-pulled baby play tray is 4.5 cm high and 3 1.2 cm in diameter. It's a round shallow dish, maybe a fruit bowl. Sandwich tire, the surface is dark and slightly brown, with a thin red paint layer below and a dark yellow ground at the bottom.
The front and back sides of the plate are engraved with lace, and the center of the front is engraved with a pavilion three times, with a courtyard in front, a pond on the left and a garden on the right. The triple cornice gatehouse is hidden in front and behind, and under the shade, it has the interest of "how deep the courtyard is"; In front of the cornice gate, there is a courtyard surrounded by a sill. 10 The children are lying or standing, stopping or running, playing games, and the atmosphere is warm. The water outside the curved sill fluctuates, and carp swim in the pool.
Around the pavilion, there are lush flowering trees, and a full moon hangs in the sky at the top of the tree. Osmanthus fragrans and Jade Rabbit are clearly visible in the wheel, which shows that they depict the night scene of the Mid-Autumn Festival. The side wall of the disc is a tangled mosaic pattern, and the two groups of patterns are separated by two concentric circles.
Qi Diao in Song Dynasty mainly eliminated rhinoceros. Removing rhinoceros is also a kind of Qi Diao. Different from removing black and red, its decorative techniques are relatively independent. The way to get rid of rhinoceros is to use two or three kinds of paints. Brush the fetal bone with one color pigment for several times to form a color layer, and then brush it with another color pigment for several times.
Use two or more color layers regularly to reach a certain thickness, and then carve moire, palindrome, grass scroll, etc. with a knife. Different color layers are exposed on the cross section of the knife edge. Therefore, the removal of rhinoceros can achieve more diverse decorative art effects than solid color Qi Diao.
Although picking rhinoceros belongs to the category of Qi Diao, this technique only focuses on carving simple lines, smooth and generous moiré, palindromes and so on. Do not carve landscape figures, flowers, birds, fish and insects.
In the Song Dynasty, there were two kinds of colored paints: continuous painting on the surface of musical instruments and pushing light to paint. Before and after the Tang Dynasty, the surface of lacquerware was painted with red, brown and dark red, or with black, brown and brown.
Lacquerware found in the tomb of the Northern Song Dynasty in Shilipu, Wuhan, Hubei Province, was painted with red and black colors continuously, shining like a mirror, and almost no defects could be seen, indicating that various polishing techniques such as rough grinding, fine grinding, water immersion or oil polishing had been adopted at that time, showing a superb level of polishing technology.
In terms of the mode of production of lacquerware, in Song Dynasty, not only an official organization was established to manage lacquerware production, but also folk lacquerware workshops became increasingly prosperous and spread all over the country. The reward and distribution system of private lacquer workshops is in sharp contrast with that of government-run lacquer workshops, and it has become one of the two indispensable wheels to promote the diversified and sustainable development of ancient lacquer painting technology in China.
Bianliang, the capital of the Northern Song Dynasty, and Lin 'an, the capital of the Southern Song Dynasty, are all concentrated places of lacquer production, and Jiaxing, Wenzhou and Jiangning in the Song and Yuan Dynasties are also famous producing areas. At that time, "Zhejiang lacquer" was known as "the best in the world", among which Wenzhou lacquer was the most famous, and its lacquerware was exported to Changzhou, Wuhan, Huai 'an and other places.
Due to the increasing production scale of lacquerware workshops, lacquerware products are often engraved with year, model, place of origin, shop name or craftsman's name for the needs of market competition, and the commercialization characteristics are more intense. Various professional paint shops and shops came into being, and big cities have "shops" and "shops" with fine division of labor.
In the Southern Song Dynasty, Lin 'an not only had famous lacquer shops, rhinoceros skin shops, Youjia lacquer shops and Wenzhou lacquer shops, but also had place names named after lacquerware, such as the famous "Li Shuangxing Jiedu Pill" located under the lacquer wall. Song Shi? "Diet" records:
In the fourth year, I went from Xixia to Jingdezhen and bought a market in the security forces. I traded incense, porcelain, lacquerware, ginger, cinnamon and other things for honey, wax, musk deer umbilical cord, fur brown and so on. Unofficial market, listen to trading with the people. Those who pay tribute to Beijing regard Beijing as a city.
It can be seen that lacquerware has been widely used as a commodity among the people. Lacquer production in the Song Dynasty was mainly in the south, forming lacquerware production centers such as Wenzhou and Hangzhou, and finding a large number of lacquerware in the Song Dynasty. For example, a number of important lacquerware, such as writing scriptures, engraving scriptures, relic letters, etc. , found in the Huiguang Tower in Xianyan, Ruian County, Zhejiang Province.
For example, a set of painted scriptures with boxes inside and outside were found in Huiguang Temple Tower in the Northern Song Dynasty. The external envelope is 40 cm long, 18 cm wide and 16.5 cm high; The inner envelope is 33.8cm long, 1 1 cm wide and1/0.5cm high. The outer envelope is made of wood, with sumeru on the top, painted brown all over, and piled with sacrificial bodhisattvas, beasts, flying fairies, flowers and so on. , and embedded with small pearls. On the paint surface, flying, flowers and birds, drums, arpeggios, flutes and other musical instruments are depicted with golden pens, with fine line drawing and superb paint overlapping technology.
This letter reflects the level of lacquer painting technology in the early Northern Song Dynasty. According to the inscription of the tower-building donor, this letter was given by Yongjia Yan Shiyuan. There was a line of gold at the bottom of the letter, and the handwriting was vague, only the words "the second year of the Great Song Dynasty" could be vaguely distinguished. This letter should be made in Wenzhou.
Painted with gold, the Buddhist scriptures are covered with wood and painted with red paint. Everything is gold except the bottom of the letter. The top is painted with three flowers around the double phoenix pattern, and the four walls are painted with eight birds and six petals, and the flowers are the ground. There is a pot door on the lower sumeru, which is decorated with bud-shaped patterns and takes the cross-shaped leaves as the ground. Because the internal letter is placed in the external letter, it is well preserved.
This letter is dated and an early product of the Northern Song Dynasty and the Qing Dynasty. It is a model of gold lacquerware in the early Northern Song Dynasty, and it is a treasure among lacquerware in the Northern Song Dynasty.