Chapter 1713 Maki Lacquer Ware
Farewell to Lao Zhong who was terrified of collecting money, Zhou Zhi went back to Lianhe Township to pick up Wu Renzhong, took the two foreigners and Brother Dayong back to the prefecture, and took them to visit the Autonomous Prefecture Lacquer Ware Factory .
Zhou Lacquerware Factory is a collectively owned enterprise, and its business is not doing well now. It mainly relies on the production of tourism products to survive.
Lacquerware is something that can easily make people allergic, so Zhou Zhi asked several people to hide it in full gear from beginning to end, even wearing goggles.
In fact, Zhou Zhi also wanted to test whether a statement is true. Legend has it that lacquer sores are allergic to lacquer and are spread through sight. As long as you look at lacquer, the person who is allergic to lacquer will also be allergic.
But Zhou Zhi does not have this problem, nor do the painters. It is the famous Yi artist Lisuoage who guides the improvement of lacquer craftsmanship.
Lesoage is really a young painter, not even thirty-five years old. His long hair is tied into a ponytail, wearing a straw hat with a natural cowhide trim and a loose plaid shirt. , the hem of his shirt was tucked into his jeans, and his body was covered with colorful doodles. He didn’t look like a Yi, but quite like an Indian.
Thinking of this, Zhou Zhi suddenly discovered a problem. The Yi people and the Indians are really similar in appearance.
“Elbow!” Lesoage shook hands with Zhou Zhi enthusiastically: “Thank you for the information you sent! It opened our eyes!”
Zhou Zhi’s art in Sui Huaxuan There are many picture albums. The picture album brought back from the island country contains many pictures of Japanese style lacquerware.
To put it bluntly, there are actually two main methods of Japanese lacquerware, one is mother-of-pearl and the other is maki-e.
They are all leftover stuff from Chinese ancestors.
Mother-of-pearl is inlaid, and there are countless exquisite products in the National Museum and the Forbidden City for reference.
The maki-e craft originated from the Chinese "gold painting".
Huang Cheng of the Ming Dynasty once recorded in "Painting and Decoration Records": "Golden painting, also known as lacquer painting, is also a pure gold flower text. Zhu ground and black matter are both suitable. The text is based on landscapes and feathers. , flowers and fruits, character stories, etc.; while thin hooks are yang, sparse lines are yin, or black, or colored gold statues. ”
In real history, this craft was far earlier than the time when Huang Cheng was recorded, and it can even be traced back to the Warring States Period in China.
The Chinese gold painting technique is to paint the polished plain tire, and then apply red paint or black paint. This layer of paint is called "top coating". After the "top coating" is dry, polished and smoothed, and polished until it is bright, use transparent paint to adjust the color, thinly trace the pattern on the lacquerware surface, and then place it in the greenhouse.
When the lacquer painting is about to dry, dip a silk cotton ball into the finest gold or silver powder and brush it on the pattern. The pattern will turn into beautiful gold and silver.
Afterwards, a layer of clear paint is applied to the surface and re-promoted. The gold and silver pattern is protected by the surface varnish and will never fall off again.
How the technique of gold painting was spread from China to the island country is not yet known, but what is known is that the word Maki-e appeared in Japan during the Heian period and has a history of thousands of years.
For more than a thousand years, Maki-e has been uniquely nourished on the land of the island country. Japanese craftsmen used this technique to leave their understanding of beauty on various lacquerwares, creating an art that belongs to the island country itself. Taste. The technique further developed and was divided into three types: flat-maki-e, kenko-e, and high-maki-e.
Taira-maki-e is a traditional Chinese gold-painting technique. The difference is that the final protective layer applied by the islanders is very thin, so thin that the height difference between the flat tire and the pattern part cannot be stacked. Therefore, the characteristic of flat-maki-e is the pattern. The part is usually slightly higher than the surroundings, like the enamel porcelain and pastel porcelain of the third generation of the Qing Dynasty, giving the visual effect of a bit of bas-relief.
The preliminary process of developing maki-e is basically the same as that of plain maki-e. First, paint the pattern with lacquer, and then sprinkle it with maki-e powder while the lacquer is still wet. This makes the painting powder no longer limited to gold and silver, but also includes other colors, forming a richer picture.
After that, another layer of paint will be applied to completely cover the painting. After the paint dries and hardens, the maki-e part is polished out using delicate sanding techniques. The surface of the maki-e utensils produced in this way is smooth, and the patterns will appear faintly, giving it a unique hazy beauty.
Takamaki-e is similar to the domestic "piling lacquer", which uses lacquer strips to pile up a raised lacquer surface on the surface of the object, and then paints maki-e on it. The biggest difference between this work and the previous two is that it is full of three-dimensionality and strength. It is also a creative breakthrough from two-dimensional to three-dimensional.
Later on, as lacquer painting patterns became increasingly sophisticated and gorgeous, a technique of "Nutai Maki-e" was developed based on "Takamaki-e", which made the raised paint surface form a gentle slope. It is often used to represent mountains and clouds, making the performance of the meeting more vivid and realistic.
The Edo period was the most glorious period of Maki-e. A large number of excellent works emerged, showing the utmost luxury. Among them, Honami Koetsu reached the pinnacle of art, which is equivalent to Wang Xizhi in Chinese calligraphy. .
In addition to gold and silver, his maki-e paintings often use materials such as lead, tin, and green clams. He can use classical themes, add new ideas, and select materials boldly and richly.
There are also many novel attempts in techniques, creating many unique effects, and the overall style is generous and highly decorative.
Eventually he created the "Koetsu Maki-e" style named after him.
During the entire process, Shimagumi Maki-e has also created many inheritances in shapes, patterns, and craftsmanship, forming a large system.
But just like the antique people who played "soft films" in the old days and looked down upon the "hard films", painters study the skills of craftsmen, which is dimensionality reduction.
Lesoage himself is an oil painter and a lacquer painter. The large-scale ceramic tile mural "Liangshan Love" on the Autonomous Prefecture Railway Station has a strong lacquer painting style.
So he quickly imitated lacquerware with a strong Japanese style, and also designed patterns that were both traditional and innovative, and won the three flavors of "Koetsu Maki-e".
In addition, a wooden bowl was designed. The wooden bowl is divided into several spaces by several beautiful arcs. Each space is filled with a color and separated by gold edges. It is then polished with varnish and uses traditional techniques and techniques. Showing modern style, this is already superior to the previous one.
“As expected of a young artist, these lines are so beautiful.” Zhou Zhi couldn’t help but admire.
Zu Matsui and Jin Junyi also nodded repeatedly. After the artwork reaches a certain level, the aesthetics of all countries and nationalities are the same. Even if everyone is not an artist, they can all distinguish the good from the bad.
Unexpectedly, Lesoage showed a look of shame: "These were all painted by the ladies from the lacquer factory. I can't even achieve this level of proficiency."
"Really? ?”
"We'll find out when we go to the workshop and take a look."
When we arrived at the paint workshop, the female workers were using their pens to quickly draw the lines on the paint bowls. Their proficiency made Matsui and Jin Chunyi heartbroken. Shocked.
They are making the semi-finished product of the beautiful set of lacquerware they just saw. The beautiful lines are quickly outlined and shaped by the female workers using fine brushes dipped in paint on the utensils with skillful and almost instinctive movements. .
Such a pure handmade technique that is as precise and unrestrained as machine printing is so eye-catching that everyone is speechless and speechless.
“This is not what they are most proficient in.” Lesoage said: “What they are most proficient in is creating ethnic lacquerware. How about I let them show it to everyone?”